Business Ethics, Stakeholder Relationships, And Social...

Complete Name: Complete 1 Student Name: McGee, Latricia L. ********************************************************************************************************** 1. An Overview of Business Ethics, Stakeholder Relationships, Social Responsibility Click Here to access the Wal-Mart case study ********************************************************************************************************** 2. Case Summary In a narrative format, discuss the key facts and critical issues presented in the case. Student Answer: The world’s largest retailer that is perhaps the most controversial company in America (Ferrell, Fraedrich, Ferrell). Walmart is one of largest employers in America. It saves families the average family a little over two thousand dollars a year. Walmart has it adversaries within the company. Walmart’s employees feel they aren’t treated well when it comes to pay, benefits. The women in the company feel they aren’t treated well when it comes to pay, benefits. They also feel that they aren’t given the same opportunities as the male employees such giving them the higher positions in the company. The women feel that their human rights are being challenged in every aspect of doing an over and above good job for Walmart. The female employees make-up about sixty seven percent of all Walmart employees (Ferrell, Fraedrich, Ferrell). Walmart has different a group that says that the company has engaged in some misconduct (Ferre ll, Fraedrich,Show MoreRelatedEthics Reflection Paper1082 Words   |  5 PagesEthics Reflection Paper Lourdes Munoz STR/581 Strategic Planning Implementation September 2nd, 2010 Gary Solomon Abstract Ethics and Social responsibility resides in an important set of our own personal values. 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The whole concept of ethics and business is a bitRead MoreThe Ethics And Social Responsibility1040 Words   |  5 PagesAbstract Every individual view ethics differently. No matter how one view ethics at the end of the day ethics is a determination of an individual’s own belief of what is right or wrong. Corporate social responsibility (CSR) is defined as â€Å"the notion that corporations have an obligation to constituent group’s union contracts.† No matter how one may view ethics and social responsibility in developing a strategic plan, or considering the stakeholders needs. Ethnic Ethics are defined as â€Å"the inner guidingRead MoreEthics And Corporate Social Responsibility1637 Words   |  7 Pagescontributed to Managing Sustainability: Ethics and Corporate Social Responsibility in the post-bureaucratic era. â€Å"Leadership is the process of directing, controlling, motivating and inspiring staff toward the realization of stated organizational goals† (Clegg, S.R. Kornberger, M. Pitsis. 2011, p.126.) Leadership in the post-bureaucratic era is essential for the success of a company, and also plays part into the Sustainability of Ethics and Corporate Social Responsibility for an enterprise. In this essayRead MoreCorporate Social Responsibility1015 Words   |  5 Pagesa CSR (Corporate Social Responsibility) and mainly their core values. Core values are used in marketing strategies (Berry, 1999) also in customer-retention management in order to create distinctive, long-lasting relationships with customers (Prahald and Ramaswamy, 2004; Normann, 2001) and stakeholders (Pruzan, 1998; Post et a, 2002). The interaction with a stakeholder and concerns a business operation use to understood CSR as the voluntary integration of environmental and social, but it has failedRead MoreThe Social C apital Theory ( Sct ) And Stakeholder Theory1168 Words   |  5 Pages Despite the conflicting nature between the social-capital theory (SCT) and stakeholder theory (ST), the role of ‘Corporate social responsibility’ (CSR) is a factor for a majority of organisations to gain an economic advantage amongst its competitors. Through globalisation, aspects involving profit maximisation and business reputation have become the primary influences of the ST. Alternatively, the minority of organisations engaging in CSR with the altruistic concern for the stability ofRead MoreEthics Reflection Paper818 Words   |  4 PagesRunning head: ETHICS REFLECTION PAPER Ethics Reflection Paper STR/581 September 30, 2012 Ethics Reflection Paper Social responsibility and ethics are essential elements in establishing a strategic plan while contemplating the needs of stakeholders. Social responsibility and ethics should be conceived as fundamental strategic concerns within organizations. Social responsibility and ethics have the potentiality to help an organization succeedRead MoreEthics : The Inner Guiding Moral Principles, Values, And Beliefs790 Words   |  4 PagesEthics are defined as â€Å"the inner guiding moral principles, values, and beliefs use to analyze or interpret a situation and then decide what is the right or appropriate way to behave† . In other words, ethics represent the way people should act. When a person behaves ethnically, they follow rules of conduct that respects the rights of a particular group or individual, distinguishing between right and wrong. In regards to business, ethics has a say in the decisions managers make since these decisionRead MoreBusiness Ethics, Corporate Social Responsibility, Integrity, And Integrity1318 Words   |  6 Pagessuccess of business now a days is apparent, but recently there is much concern in the business (and in society) literature and in the general press on whether business fulfils its social role responsibly. Business ethics, have been created in recent years as responses to an increasing sense of corporate wrong doing. This essay attempts to discuss what business ethics are for improvement of business behavior to the satisfaction of the â€Å"constituents† of business, i.e. the major stakeholders. In additionRead MoreLeadership, Trustworthiness And Ethical Stewardship1832 Words   |  7 PagesLeadership, Trustworthines s and Ethical Stewardship The problem to be investigated is; how the leaders manage to stay ethical in their role while maintaining trust with the followers and focus on organisational goals. Most of the times, the biggest responsibility of leaders is to lead the team of the people to achieve organisational goals willingly. Leaders are supposed to create harmony between the workforce and management so that win-win situation can be created. It is a challenge for the leaders to

Why Don t More People Know About This Deadly Disease

Why don’t more people know about this deadly disease? Why is there not more funding pouring in from around the nation? After all, a disease that claims the lives of about 1,920 people ages 65 and up per day (700,000 per year) (â€Å"Facts And Figures†) deserves a little more attention. Remember, this number is just the deaths and doesn’t even include the over five million people who currently live with Alzheimer’s (â€Å"Facts and Figures†) or those who must step up daily and reteach their loved ones the most pedestrian of tasks time after time. So join me, as I travel through this Ivers 3 largely underestimated disease and some of its biggest misconceptions. The Alzheimer s disease itself is not the most dangerous factor in this issue. No, by†¦show more content†¦A woman came into his clinic with extreme paranoia and memory loss. The patient did not survive, and upon further observation of her brain, Dr. Alzheimer found a gathering of unidentifiable material around and within her nerve cells. Also, the brain was below average size, indicating brain shrinkage (â€Å"Milestones†). Since its discovery, Alzheimer s has leapt to 6th place on the United Ivers 4 State’s list of leading causes of death (â€Å"Facts and Figures†). This disease tends to hit close to home for many of us as it ranks third for causes of death in the state of North Dakota (ND Statistics†). This disease kills more people than are killed by the first and second ranking most common cancers (which are skin and lung cancer) combined (â€Å"Facts and Figures†). An estimated 10,000 will die from melanoma skin cancer in the coming year (â€Å"Skin Cancer†)and there were over 160,00 deaths from lung cancer in 2012(â€Å"Common Cancers†). While these are large numbers, they are still several hundred thousand less than were claimed by Alzheimer’s. Alzheimer s has been fast-growing with deaths having skyrocketed almost 70% in just 13 years (â€Å"Facts and Figures†), which is another reason people must be more aware of this epidemic. People who are just thirty years old can get a less common, but still very real, type of Alzheimer’s known as â€Å"early onset Alzheimer’s† which generally is found in those 40 to 50 years old (â€Å"Top

Rubaiyat of Omar Khayyam Free Essays

string(182) " 32 There was a Door to which I found no Key: There was a Veil past which I could not see: Some little Talk awhile of ME and THEE There seemed—and then no more of THEE and ME\." Edward FitzGerald’s Translation. 1 Awake! for Morning in the Bowl of Night Has flung the Stone that puts the Stars to Flight: And Lo! the Hunter of the East has caught The Sultan’s Turret in a Noose of Light. 2 Dreaming when Dawn’s Left Hand was in the Sky I heard a Voice within the Tavern cry, â€Å"Awake, my Little ones, and fill the Cup â€Å"Before Life’s Liquor in its Cup be dry. We will write a custom essay sample on Rubaiyat of Omar Khayyam or any similar topic only for you Order Now † 3 And, as the Cock crew, those who stood before The Tavern shouted–â€Å"Open then the Door! â€Å"You know how little while we have to stay, â€Å"And, once departed, may return no more. † 4 Now the New Year reviving old Desires, The thoughtful Soul to Solitude retires, Where the WHITE HAND OF MOSES on the Bough Puts out, and Jesus from the Ground suspires. ***** 5 Iram indeed is gone with all its Rose, And Jamshyd’s Sev’n-ring’d Cup where no one knows; But still the Vine her ancient Ruby yields, And still a Garden by the Water blows. 6 And David’s Lips are lock’t; but in divine High piping Pehlevi, with â€Å"Wine! Wine! Wine! â€Å"Red Wine! â€Å"—the Nightingale cries to the Rose That yellow Cheek of hers to incarnadine. 7 Come, fill the Cup, and in the Fire of Spring The Winter Garment of Repentance fling: The Bird of Time has but a little way To fly—and Lo! the Bird is on the Wing. And look—a thousand Blossoms with the Day Woke—and a thousand scatter’d into Clay: And this first Summer Month that brings the Rose Shall take Jamshyd and Kaikobad away. ***** 9 But come with old Khayyam, and leave the Lot Of Kaikobad and Kaikhosru forgot! Let Rustum lay about him as he will, O r Hatim Tai cry Supper—heed them not. 10 With me along some Strip of Herbage strown That just divides the desert from the sown, Where name of Slave and Sultan scarce is known, And pity Sultan Mahmud on his Throne. 11 Here with a Loaf of Bread beneath the Bough, A Flask of Wine, a Book of Verse—and Thou Beside me singing in the Wilderness— And Wilderness is Paradise enow. 12 â€Å"How sweet is mortal Sovranty! â€Å"—think some: Others—â€Å"How blest the Paradise to come! † Ah, take the Cash in hand and waive the Rest; Oh, the brave Music of a distant Drum! ***** 13 Look to the Rose that blows about us—â€Å"Lo, â€Å"Laughing,† she says, â€Å"into the World I blow: â€Å"At once the silken Tassel of my Purse â€Å"Tear, and its Treasure on the Garden throw. † 14 The Worldly Hope men set their Hearts upon Turns Ashes—or it prospers; and anon, Like Snow upon the Desert’s dusty Face Lighting a little Hour or two—is gone. 15 And those who husbanded the Golden Grain, And those who flung it to the Winds like Rain, Alike to no such aureate Earth are turn’d As, buried once, Men want dug up again. 16 Think, in this batter’d Caravanserai Whose Doorways are alternate Night and Day, How Sultan after Sultan with his Pomp Abode his Hour or two, and went his way. ***** 17 They say the Lion and the Lizard keep The Courts where Jamshyd gloried and drank deep; And Bahram, that great Hunter—the Wild Ass Stamps o’er his Head, and he lies fast asleep. 18 I sometimes think that never so red The Rose as where some buried Caesar bled; That every Hyacinth the Garden wears Dropt in its Lap from some once lovely Head. 19 And this delightful Herb whose tender Green Fledges the River’s Lip on which we lean— Ah, lean upon it lightly! for who knows From what once lovely Lip it springs unseen! 20 Ah, my Beloved, fill the Cup that clears TO-DAY of past Regrets and future Fears— To-morrow? —Why, To-morrow I may be Myself with Yesterday’s Sev’n Thousand Years. ***** 21 Lo! some we loved, the loveliest and best That Time and Fate of all their Vintage prest, Have drunk their Cup a Round or two before, And one by one crept silently to Rest. 22 And we, that now make merry in the Room They left, and Summer dresses in new Bloom, Ourselves must we beneath the Couch of Earth Descend, ourselves to make a Couch—for whom? 23 Ah, make the most of what we yet may spend, Before we too into the Dust descend; Dust into Dust, and under Dust, to lie, Sans Wine, sans Song, sans Singer, and—sans End! 24 Alike for those who for TO-DAY prepare, And those that after a TO-MORROW stare, A Muezzin from the Tower of Darkness cries â€Å"Fools! your Reward is neither Here nor There! † ***** 25 Why, all the Saints and Sages who discuss’d Of the Two Worlds so learnedly, are thrust Like foolish Prophets forth; their Words to Scorn Are scatter’d, and their Mouths are stopt with Dust. 26 Oh, come with old Khayyam, and leave the Wise To talk; one thing is certain, that Life flies; One thing is certain, and the Rest is Lies; The Flower that once has blown for ever dies. 27 Myself when young did eagerly frequent Doctor and Saint, and heard great Argument About it and about: but evermore Came out by the same Door as in I went. 28 With them the Seed of Wisdom did I sow, And with my own hand labour’d it to grow: And this was all the Harvest that I reap’d— â€Å"I came like Water, and like Wind I go. † ***** 29 Into this Universe, and why not knowing, Nor whence, like Water willy-nilly flowing: And out of it, as Wind along the Waste, I know not whither, willy-nilly blowing. 30 What, without asking, hither hurried whence? And, without asking, whither hurried hence! Another and another Cup to drown The Memory of this Impertinence! 31 Up from Earth’s Centre through the Seventh Gate I rose, and on the Throne of Saturn sate, And many Knots unravel’d by the Road; But not the Knot of Human Death and Fate. 32 There was a Door to which I found no Key: There was a Veil past which I could not see: Some little Talk awhile of ME and THEE There seemed—and then no more of THEE and ME. You read "Rubaiyat of Omar Khayyam" in category "Essay examples" **** 33 Then to the rolling Heav’n itself I cried, Asking, â€Å"What Lamp had Destiny to guide â€Å"Her little Children stumbling in the Dark? † And—â€Å"A blind Understanding! † Heav’n replied. 34 Then to this earthen Bowl did I adjourn My L ip the secret Well of Life to learn: And Lip to Lip it murmur’d—â€Å"While you live â€Å"Drink! —for once dead you never shall return. † 35 I think the Vessel, that with fugitive Articulation answer’d, once did live, And merry-make; and the cold Lip I kiss’d How many Kisses might it take—and give! 36 For in the Market-place, one Dusk of Day, I watch’d the Potter thumping his wet Clay: And with its all obliterated Tongue It murmur’d—â€Å"Gently, Brother, gently, pray! † ***** 37 Ah, fill the Cup:—what boots it to repeat How Time is slipping underneath our Feet: Unborn TO-MORROW, and dead YESTERDAY, Why fret about them if TO-DAY be sweet! 38 One Moment in Annihilation’s Waste, One Moment, of the Well of Life to taste— The Stars are setting and the Caravan Starts for the Dawn of Nothing—Oh, make haste! 39 How long, how long, in infinite Pursuit Of This and That endeavour and dispute? Better be merry with the fruitful Grape Than sadden after none, or bitter, Fruit. 40 You know, my Friends, how long since in my House For a new Marriage I did make Carouse: Divorced old barren Reason from my Bed, And took the Daughter of the Vine to Spouse. ***** 41 For â€Å"IS† and â€Å"IS-NOT† though with Rule and Line, And â€Å"UP-AND-DOWN† without, I could define, I yet in all I only cared to know, Was never deep in anything but—Wine. 42 And lately, by the Tavern Door agape, Came stealing through the Dusk an Angel Shape Bearing a Vessel on his Shoulder; and He bid me taste of it; and ’twas—the Grape! 43 The Grape that can with Logic absolute The Two-and-Seventy jarring Sects confute: The subtle Alchemist that in a Trice Life’s leaden Metal into Gold transmute. 4 The mighty Mahmud, the victorious Lord, That all the misbelieving and black Horde Of Fears and Sorrows that infest the Soul Scatters and slays with his enchanted Sword. ***** 45 But leave the Wise to wrangle, and with me The Quarrel of the Universe let be: And, in some corner of the Hubbub coucht, Make Game of that which makes as much of Thee. 46 For in and out, above, about, below, ‘Tis nothing but a Magic Shadow-show, Play’d in a Box whose Candle is the Sun, Round which we Phantom Figures come and go. 47 And if the Wine you drink, the Lip you press, End in the Nothing all Things end in —Yes— Then fancy while Thou art, Thou art but what Thou shalt be—Nothing—Thou shalt not be less. 48 While the Rose blows along the River Brink, With old Khayyam the Ruby Vintage drink: And when the Angel with his darker Draught Draws up to Thee—take that, and do not shrink. ***** 49 ‘Tis all a Chequer-board of Nights and Days Where Destiny with Men for Pieces plays: Hither and thither moves, and mates, and slays, And one by one back in the Closet lays. 50 The Ball no Question makes of Ayes and Noes, But Right or Left, as strikes the Player goes; And He that toss’d Thee down into the Field, *He* knows about it all—He knows—HE knows! 1 The Moving Finger writes; and, having writ, Moves on: nor all thy Piety nor Wit Shall lure it back to cancel half a Line, Nor all thy Tears wash out a Word of it. 52 And that inverted Bowl we call The Sky, Whereunder crawling coop’t we live and die, Lift not thy hands to *It* for help—for It Rolls i mpotently on as Thou or I. ***** 53 With Earth’s first Clay They did the Last Man’s knead, And then of the Last Harvest sow’d the Seed: Yea, the first Morning of Creation wrote What the Last Dawn of Reckoning shall read. 54 I tell Thee this—When, starting from the Goal, Over the shoulders of the flaming Foal Of Heav’n Parvin and Mushtara they flung, In my predestin’d Plot of Dust and Soul 55 The Vine had struck a Fibre; which about If clings my Being—let the Sufi flout; Of my Base Metal may be filed a Key, That shall unlock the Door he howls without 56 And this I know: whether the one True Light, Kindle to Love, or Wrathconsume me quite, One Glimpse of It within the Tavern caught Better than in the Temple lost outright. ***** 57 Oh, Thou, who didst with Pitfall and with Gin Beset the Road I was to wander in, Thou wilt not with Predestination round Enmesh me, and impute my Fall to Sin? 58 Oh, Thou, who Man of baser Earth didst make, And who with Eden didst devise the Snake; For all the Sin wherewith the Face of Man Is blacken’d, Man’s Forgiveness give—and take! KUZA-NAMA (â€Å"Book of Pots. â€Å") 59 Listen again. One Evening at the Close Of Ramazan, ere the better Moon arose, In that old Potter’s Shop I stood alone With the clay Population round in Rows. 60 And, strange to tell, among that Earthen Lot Some could articulate, while others not: And suddenly one more impatient cried— â€Å"Who *is* the Potter, pray, and who the Pot? † ***** 61 Then said another—â€Å"Surely not in vain â€Å"My Substance from the common Earth was ta’en, â€Å"That He who subtly wrought me into Shape Should stamp me back to common Earth again. † 62 Another said—â€Å"Why, ne’er a peevish Boy, â€Å"Would break the Bowl from which he drank in Joy; â€Å"Shall He that *made* the Vessel in pure Love â€Å"And Fancy, in an after Rage destroy! † 63 None answer’d this; but after Silence spake A Vessel of a more ungainly Make: â€Å"They sneer at me for learning all awry; â€Å"What! did the Hand then of the Potter shake? † 64 Said one—â€Å"Folk of a surly Tapster tell â€Å"And daub his Visage with the Smoke of Hell; â€Å"They talk of some strict Testing of us—Pish! â€Å"He’s a Good Fellow, and ‘t will all be well. † ***** 65 Then said another with a long-drawn Sigh, My Clay with long oblivion is gone dry: â€Å"But, fill me with the old familiar Juice, â€Å"Methinks I might recover by-and-bye! † 66 So while the Vessels one by one were speaking, One spied the little Crescent all were seeking: And then they jogg’d each other, â€Å"Brother! Brother! â€Å"Hark to the Porter’s Shoulder-knot a-creaking! † 67 Ah, with the Grape my fading Life provide, And wash my Body whence the Life has died, And in the Windingsheet of Vine-leaf wrapt, So bury me by some sweet Garden-side. 68 That ev’n my buried Ashes such a Snare Of Perfume shall fling up into the Air, As not a True Believer passing by But shall be overtaken unaware. ***** 9 Indeed the Idols I have loved so long Have done my Credit in Men’s Eye much wrong: Have drown’d my Honour in a shallow Cup, And sold my Reputation for a Song. 70 Indeed, indeed, Repentance oft before I swore—but was I sober when I swore? And then and then came Spring, and Rose-in-hand My thread-bare Penitence apieces tore. 71 And much as Wine has play’d the Infidel And robb’d me of my Robe of Honour—well, I often wonder what the Vintners buy One half so precious as the Goods they sell. 72 Alas, that Spring should vanish with the Rose! That Youth’s sweet-scented Manuscript should close! The Nightingale that in the Branches sang, Ah, whence, and whither flown again, who knows! ***** 73 Ah Love! could thou and I with Fate conspire To grasp this sorry Scheme of Things entire, Would not we shatter it to bits—and then Re-mould it nearer to the Heart’s Desire! 74 Ah, Moon of my Delight who Know’st no wane The Moon of Heav’n is rising once again: How oft hereafter rising shall she look Through this same Garden after me—in vain! 75 And when Thyself with shining Foot shall pass Among the Guests Star-scatter’d on the Grass, And in thy joyous Errand reach the Spot Where I made one—turn down an empty Glass! TAMAM SHUD (It is completed. ) How to cite Rubaiyat of Omar Khayyam, Essay examples

Philippine Lit free essay sample

Literature is a diverse and rich group of works that has evolved side-by-side with the country’s history. Literature had started with fables and legends made by the ancient Filipinos long before the arrival of Spanish influence. The main themes of Philippine literature focus on the country’s pre-colonial cultural traditions and the socio-political histories of its colonial and contemporary traditions. It is not a secret that many Filipinos are unfamiliar with much of the countrys literary heritage, especially those that were written long before the Spaniards arrived in our country. This is due to the fact that the stories of ancient time were not written, but rather passed on from generation to generation through word of mouth. Only during 1521 did the early Filipinos became acquainted with literature due to the influence of the Spaniards on us. But the literature that the Filipinos became acquainted with are not Philippine-made, rather, they were works of Spanish authors. So successful were the efforts of colonists to blot out the memory of the countrys largely oral past that present-day Filipino writers, artists and journalists are trying to correct this inequity by recognizing the countrys wealth of ethnic traditions and disseminating them in schools through mass media. The rise of nationalistic pride in the 1960s and 1970s also helped bring about this change of attitude among a new breed of Filipinos concerned about the Filipino identity. Archaic Writing System Compared to other Southeast Asian countries, the Philippines has very few artifacts that show evidence of writing, like the Laguna Copperplate Inscription. It is known that the Filipinos transferred information by word of mouth so it is not a surprise to know that literacy only became widespread in 1571 when the Spaniards came to the Philippines. But the early script used by the Filipinos called Baybayin (often mistaken by most Filipinos as Alibata, although this was deprived from Arabic, which had no influence on the Philippine language whatsoever. ) became widespread in Luzon. The Spaniards recorded that people in Manila and other places wrote on bamboo or on specially prepared palm leaves, using knives and styli. They used the ancient Tagalog script which had 17 basic symbols, three of which were the vowels a/e, i, and o/u. Each basic consonantal symbol had the inherent a sound: ka, ga, nga, ta, da, na, pa, ba, ma, ya, la, wa, sa, and ha. A diacritical mark, called kudlit, modified the sound of the symbol into different vowel sounds. The kudlit could be a dot, a short line, or even an arrowhead. When placed above the symbol, it changed the inherent sound of the symbol from a/e to i; placed below, the sound became o/u. Thus a ba/be with a kudlit placed above became a bi; if the kudlit was placed below, the symbol became a bo/bu. Pre-Colonial Times Owing to the works of our own archaeologists, ethnologists and anthropologists, we are able to know more and better judge information about Philippine pre-colonial times set against a bulk of material about early Filipinos as recorded by Spanish, Chinese, Arabic and other chroniclers of the past. Pre-colonial inhabitants of our islands showcase the Philippines rich past through their folk sayings, folk songs, folk narratives and indigenous rituals and mimetic dances. The most seminal of these folk sayings is the riddle which is tigmo in Cebuano, bugtong in Tagalog, paktakon in Ilonggo and patototdon in Bicol. There are also proverbs or aphorisms that express norms or codes of behavior, community beliefs or values by offering nuggets of wisdom in short, rhyming verse. The folk song, is a form of folk lyric which expresses the hopes and aspirations, the peoples lifestyles as well as their loves. These are often repetitive and sonorous, didactic and naive as in the childrens songs or Ida-ida (Maguindanao), tulang pambata (Tagalog) or cansiones para abbing (Ibanag). A few examples are the lullabyes or Ili-ili (Ilonggo); love songs like the panawagon and balitao (Ilonggo); harana or serenade (Cebuano); the bayok (Maranao); the seven-syllable per line poem, ambahan of the Mangyans that are about human relationships, social entertainment and also serve as tools for teaching the young; work songs that depict the livelihood of the people often sung to go with the movement of workers such as the kalusan (Ivatan), soliranin (Tagalog rowing song), the mambayu, a Kalinga rice-pounding song, and the verbal jousts/games like the duplo popular during wakes. The folk narratives, such as epics and folk tales are varied, exotic and magical. They were created to explain the phenomena of the world long before science came to be known. They explain how the world was created, how certain animals possess certain characteristics, why some places have waterfalls, volcanoes, mountains, flora or fauna and, in the case of legends, the origins of things. Fables are about animals and these teach moral lessons. The epics come in various names: Guman (Subanon); Darangen (Maranao); Hudhud (Ifugao); and Ulahingan (Manobo). These epics revolve around supernatural events or heroic deeds and they embody or validate the beliefs and customs and ideals of a community. They are performed during feasts and special occasions such as harvests, weddings or funerals by chanters. Examples of these epics are the Lam-ang (Ilocano); Hinilawod (Sulod); Kudaman (Palawan); Darangen (Maranao); Ulahingan (Livunganen-Arumanen Manobo); Mangovayt Buhong na Langit (The Maiden of the Buhong Sky from TuwaangManobo); Ag Tobig neg Keboklagan (Subanon); and Tudbulol (Tboli). Colonial Literature (16th-18th Century) The arrival of the Spaniards in 1565 brought Spanish culture and language. The Spanish conquerors, governing from Mexico for the crown of Spain, established a strict class system that was based on race and soon imposed Roman Catholicism on the native population. While it is true that Spain subjugated the Philippines for more mundane reasons, this former European power contributed much in the shaping and recording of our literature. Religion and institutions that represented European civilization enriched the languages in the lowlands, introduced theater which we would come to know as komedya, the sinakulo, the sarswela, the playlets and the drama. The natives, called indio, generally were not taught Spanish, but the bilingual individuals, notably poet-translator Gaspar Aquino de Belen, produced devotional poetry written in the Roman script in the Tagalog language. Literature from this period may be classified as religious prose and poetry and secular prose and poetry. Religious lyrics written by ladino poets or those versed in both Spanish and Tagalog were included in early catechism and were used to teach Filipinos the Spanish language. Another type of religious lyrics is the meditative verse like the dalit appended to novenas and catechisms. It has no fixed meter nor rhyme scheme although a number are written in octo-syllabic quatrains and have a solemn tone and spiritual subject matter. Secular works appeared alongside historical and economic changes, the emergence of an opulent class and the middle class who could avail of a European education. This Filipino elite could now read printed works that used to be the exclusive domain of the missionaries. The most notable of the secular lyrics followed the conventions of a romantic tradition: the languishing but loyal lover, the elusive, often heartless beloved, the rival. The leading poets were Jose Corazon de Jesus (Huseng Sisiw) and Francisco Balagtas. Some secular poets who wrote in this same tradition were Leona Florentino, Jacinto Kawili, Isabelo de los Reyes and Rafael Gandioco. Another popular type of secular poetry is the metrical romance, the awit and korido in Tagalog. The awit is set in dodecasyllabic quatrains while the korido is in octosyllabic quatrains. An example of this is the Ibong Adarna (Adarna Bird). There are numerous metrical romances in Tagalog, Bicol, Ilonggo, Pampango, Ilocano and in Pangasinan. The awit as a popular poetic genre reached new heights in Balagtass Florante at Laura (ca. 1838-1861), the most famous of the countrys metrical romances. Classical Literature (XIX Century) Again, the winds of change began to blow in 19th century Philippines. Filipino intellectuals educated in Europe called ilustrados began to write about the downside of colonization. This, coupled with the simmering calls for reforms by the masses inspired a formidable force of writers like Jose Rizal, Marcelo H. del Pilar, Mariano Ponce, Emilio Jacinto and Andres Bonifacio. This led to the formation of the Propaganda Movement where prose works such as the political essays and Rizals two political novels, Noli Me Tangere and the El filibusterismo helped usher in the Philippine revolution resulting in the downfall of the Spanish regime, and, at the same time planted the seeds of a national consciousness among Filipinos. But before Rizals political novels came, the novel Ninay (1885) by Pedro Paterno, which was largely cultural and is considered the first Filipino novel. Although Paternos Ninay gave impetus to other novelists like Jesus Balmori and Antonio M. Abad to continue writing in Spanish, their efforts did not flourish. Other Filipino writers published the essay and short fiction in Spanish in La Vanguardia, El Debate, Renacimiento Filipino, and Nueva Era. The more notable essayists and fictionists were Claro M. Recto, Teodoro M. Kalaw, Epifanio de los Reyes, Vicente Sotto, Trinidad Pardo de Tavera, Rafael Palma, Enrique Laygo (Caretas or Masks, 1925) and Balmori who mastered the prosa romantica or romantic prose. Modern Literature (XX Century) A new set of colonizers brought about new changes in Philippine literature. New literary forms such as free verse [in poetry], the modern short story and the critical essay were introduced. American influence was deeply entrenched with the firm establishment of English as the medium of instruction in all schools and with literary modernism that highlighted the writers individuality and cultivated consciousness of craft, sometimes at the expense of social consciousness. Ironically, the greatest portion of Spanish literature by native Filipinos was written during the American Commonwealth period, because the Spanish language was still predominant among the Filipino intellectuals. Among the newspapers published in Spanish were El Renacimiento, La Democracia, La Vanguardia, El Pueblo de Iloilo, El Tiempo and others. Three magazines, The Independent, Philippine Free Press and Philippine Review were published in English and Spanish. The poet, and later, National Artist for Literature, Jose Garcia Villa used free verse and espoused the dictum, Art for arts sake to the chagrin of other writers more concerned with the utilitarian aspect of literature. Another maverick in poetry who used free verse and talked about illicit love in her poetry was Angela Manalang-Gloria, a woman poet described as ahead of her time. The Balagtas tradition persisted until the poet Alejandro G. Abadilla advocated modernism in poetry. Abadilla later influenced young poets to write modern verse in the 1960s such as Virgilio S. Almario, Pedro I. Ricarte and Rolando S. Tinio. While the early Filipino poets grappled with the verities of the new language, Filipinos seemed to have taken easily to the modern short story like those published in the Philippines Free Press, the College Folio and Philippines Herald. Paz Marquez Benitezs Dead Stars, published in 1925, was the first successful short story in English written by a Filipino. Later on, Arturo B. Rotor and Manuel E. Arguilla showed exceptional skill in the short story. Alongside this development, writers in the vernaculars continued to write in the provinces. Others like Lope K. Santos, Valeriano Hernandez Pena and Patricio Mariano were writing minimal narratives similar to the early Tagalog short fiction called dali or pasingaw (sketch). Chapter II: Related Literature and Studies Two Major Parts of Related Literature and studies.