Literature under Spain
The Spaniards brought their language and culture, established a class system that was based on
race, and imposed Roman Catholicism on the Filipino people.
The natives, called indios, were not all taught the Spanish language.
Religious lyrics written by bilingual ladino poets versed in both Spanish and Tagalog were
included in catechism to teach the Filipino elite Spanish—like the dalit appended to novenas.
El Padre Nuestro (The Lord’s Prayer in Spanish)
Padre nuestro
que estás en
los cielos,
santificado sea
tu nombre
Father ours
who art in
the heavens,
blessed be
thy name
Venga tu reino
hágase tu voluntad
como en el cielo
así también
en la tierra
Come thy k ingdom
be done thy will
as it is in heaven
so also
on the earth
El pan nuestro
de cada día
dánoslo hoy
The bread ours
of each day
give us it today
Y perdónanos
nuestras deudas
como también
nosotros
perdonamos
a nuestros deudores
Y no nos metas
en tentaciones
mas líbranos
del mal
Porque tuyo
es el reino
y el poder
y la gloria
por todos los siglos
Amén.
And forgive us
our debts,
as also
we forgive
our debtors
And do not put us
into temptations,
but free us
from evil
For thine
is the k ingdom
and the power
and the glory
for all the centuries
Amen.
Doctrina Christiana was the first book printed in the Philippines in 1593.
The Seven Sacraments (original Spanish / Tagalog excerpt)
Los sacramentos de la san
cta madre ygtia son siete.
Pito ang mahal natanda
ycauauala nang casalanan
ang ngalan sacramentos.
El primero baptismo. El segu do
confirmacion. El tercero Pe
nitencia. El quarto, comunio. El
quinto extrema uncion. El
septimo, orden de matrimonio.
Ang naona ang baptismo. Ang
ycalua ang confirmar. Ang y catlo
ang confes ar. Ang yca pat ang
comulgar. Ang ycali ma ang
extrema uncion. Ang
ycanim ang orden nang
sacerdo te. Ang ycapito ang
pagcasal. Itong daluan holi
pinatotooba nang dios ang tauo
piliin ang balan ybig. Amen.
Poet-translator Gaspar Aquino de Belen wrote devotional poetry in the form of the Pasyon.
Aral (excerpt, final part)
Oh mga Kristianong tanan
na mapagbantog na aral
mag-isp ka na‟t magnilay,
loob nating salawahan
sa gawang di katuwiran.
Talikdan na ngang totoo ang
mga banal sa mundo tumulad
kay Hesukristo, nang tayo‟y
huwag mabuyo sa aral ng
mga lilo.
Ang ating mga katawan di
sasala‟t mamamatay
gayon din ang dilang bagay,
ginto‟t pilak kayamanan
ang lahat ay matutunaw.
At kung di ka gumanito sa
aba mo ngang aba mo
walang pagsalang totoo,
sapilitang daratnin mo hirap
sakit sa impierno.
Ano at di pa magbawa
mga gawa mong lahat
na? bakit di ka mabalisa,
loob na napalamara
sa gawang pagk akasala?
Samantalang may oras pa ay
maglaan kang maaga kung
gumabi‟t dumilim na, ay lalong
maghihirap ka gumawa‟y
ngangapa-ngapa.
Ano at di pa malumbay
tayo at di kilabutan
kung ang lalong mga banal
nanginginig ang katawan kung
ito‟y magunam -gunam?
Ang puso mo‟t iyong loob
iyong ialay sa Diyos magsisi
ka na‟t matakot ng marating
mong tibobos
ang bayan ng Santa‟t Santos.
Oh taong nak alilimot
sa sala‟y nakakatulog
pukawin ang iyong loob,
at isipin mong tibobos
ang sa mundong pagkatapos.
At kung marating na naman
ang Langit na kapisanan ay
doon na makakamtan ang
yama‟t kaginhawahan ng
Diyos Poong Maykapal.
Wakas
The colonizers introduced the theater: the komedya (moro-moro), the sinakulo, and the sarswela.
The Moro-Moro in Perspective (essay)
by Rustica C. Carpio
WHEN WE THINK of folk forms, we cannot dissociate them from the customs, traditions, beliefs,
rituals, and even superstitions of a people. One folk form is the moro-moro which has flourished since
1650. It is believed that the moro-moro is an offshoot of a chivalric-heroic poem called the awit and a
legendary religious poem called the corrido that had swept the country as early as 1610 up to the
beginning of the 20th century. Very reminiscent of the Spanish metrical romances, the moro-moro tells of
the loves and brilliant deeds and adventures of kings and queens, of princes and princesses, of counts
and dukes. It also relates of giants, tigers, lions, bears, serpents, dragons, angels, saints, and devils. Often
tinged with supernatural and miraculous forces, it may present poisons, magic rings, birds that drop
messages, or people who get enchanted in the forest. The hero is expected to emerge victorious despite
all obstacles and to risk his life for the hand of his lady love. It is said that once, at a presentation in the
Visayas, spectacular devices like Roman candles, rockets, sparklers, and even bombs were employed to
show the supernatural powers of some giant. However, despite all these, the giant still lost in the fight.
The Mohammedan Filipino, now called Moro, had been named after the Moors, and since the play
usually deals with the struggle between the Christians (usually Catholics) and the non -Christians
(almost always the Muslims), the play got its name, moro-moro.
Played Outdoors
Moro-moro is performed not necessarily for the mere entertainment of the people, but specially to
celebrate the town or barrio fiesta in honor of the patron saint. The Spanish friars between the 16th century
and the early part of the 17th century contributed much in popularizing this form.
The moro-moro is usually performed on an outdoor stage. The actors ‟ entrances and exits are
stylized, the gestures and movements broad and exag gerated, and the poetic lines and verses recited in
declamatory, sing-song tone, with religious adherence to rhythm and intonation. Experienced actors not
infrequently use slurs and exceptionally high pitches even as, at times, they improvise or ad lib lines that
are not originally found in the play.
Specially in the Visayas, a stage may be permanently constructed for each new production. There,
one finds stages bigger than those in Luzon. One sees an assortment of materials in the making of the
makeshift stage—nipa palm shingles for roof and walls, coconut trunks for beams, wooden pieces for
floor, and bamboo running horizontally to serve as supporting structure at the back of the platform.
The regions vary in their ways of presenting moro-moro. In Luzon, specially in the Tagalog and
Ilocano regions, permanent background which contains doorways is used; each doorway has a name to
identify the place or kingdom it leads to. In the Visayas, on the other hand, the change of scenery is shown
by a change of talon (backdrop or curtain), often embellished with colorful paintings, and which is rolled up
or drawn to the side.
A moro-moro may start with an invoc ation to God or to the Virgin Mary, and may also sing praise to the patron
saint being honored. Then, as the play starts, it presents the characters to the audience in either of the following
methods. The characters sing in chorus and profess their dedic ation to the audience and to the performance. They
may be identified one by one in the opening poetry and their roles described. The characters may be made to march
around the stage to martial music supplied by a brass or string band.
Normally, the actors move in a stylized way. Their entrances and exits are characterized by a slow,
formal march around the stage. They may also make a formal bow to the audience until they reach
their assigned places, a cue for the band to stop playing the march whether it is finished or not.
Dueling, an ever-present factor, is very stylized, too. Hardly is there a moro-moro play that is ever
completed without any clash of arms. In fact, the word moro-moro itself connotes fighting. The two
opposing factions exchange heated words after which battle music , and thence mime-dance with
sweeping of weapons, ensue. Fencing, done in rhythmic strokes, characteristic of clock-and-dagger
performances, begins first with a warm -up and reaches its climax. The sound of steel swords then
vanishes; the fighting is over; the dialogue then resumes again.
Marathon Show
Moro-moro has remained unchanged, basically. A story may be finished in three nights ‟ presentation
running for five to six hours each night. In certain places, it is staged in the mornings, while elsewhere, it
is shown in the afternoons. Because of its marathon length (the longest presentation is known to have
lasted 12 days), it is rather difficult for the players to memorize all their lines. Thus, the audience is apt to
see the prompter, who in many cases is also author -director of the play, on the stage dictating the
sequenc es almost line by line.
At times, an opening is bored down near the edge of the stage and the prompter sits there, hidden from the
audience by a colored covering that shields him/her from view. And, because of its length again, the moro-moro script
is very seldom printed. Very often, only a single script is made, and this does not always stand the tests and calamities
wrought by time and weather. Many times, authorship is anonymous.
The “dramatis personae” almost always come from the poor and middle-class families. It seems that
those from the well-to-do and educated groups, especially girls, do not participate. They frown upon the
art as perhaps their parents more than doubly so.
Some of the troupes performing are quite professional and experienced, and have been doing the job
from year to year. The most noted of these groups comes from the barrio of San Dionisio, in Parañaque,
Rizal. The legend goes that San Dionisio, the patron saint of the barrio, a martyr of the Catholic Church
who was beheaded in the Middle Ages while preaching the gospel, refus es to have anything aside from a
moro-moro to celebrate his feast. If this is not done so, there would be rain or inclement weather or
perhaps poor harvest in the coming season. On this group‟s staging of one moro-moro alone, some
P15,000 was spent on costumes, stage props, rehearsal expenses including food of participants, fees,
and other items. Rehearsals for a production on a grandiose scale last for at least six months.
Costumes
The costumes worn may be lavish or simple, depending upon the budget and the materials available.
But almost always, there is the display of flashy and loud -colored attire. In many cases, the male
Christians sport pants with blue stripes, and carry themselves in a manner whic h spells dignity. On the
other hand, the Moros wear red-striped pants. Obviously, the Christians are dressed more elegantly —with
sequins, beads, ribbons, buttons, and plumes. The king dons long trousers, displays the crown and all the
regalia befitting royalty. The Christian queen app ears in white or sky blue gown. Both male and female
royalties usually wear a cape that covers the back —the one worn by the female being longer than what
the male dons. If the princess is a Moro, she may wear pink or bright red. A fan is often carried by t he
female participants on stage while diadems and coronets adorn their hair for realistic effects.
A jester supplies the laughter element and, as in Greek plays, throws asides that send the audience
to rollicking guffaws. Children await his appearance with enthusiasm and his presence on the stage
parries their drowsiness in the middle of the evening.
Essentially of religious character, the moro-moro does have social implications. It may also unfold
stories that revolve around some medieval, legendary, or historical figures. Its special inclination to
themes of love, religious devotion, and heroic/noble deeds is very evident. Affluent in aphorisms,
metaphors, and hyperboles, its use of archaic words and high-flown dialogues still pervades. The
language generally used is Tagalog, although many moro-moro plays are also written in the languages or
dialects of the different regions of their origin.
Not a few moro-moro is presented the whole year round in different parts of the country. It is
interesting to note that the lines of each player are done in different handwriting in the script to
help individual players to follow the drama.
While the zarzuela, a musical—almost operatic—melodramatic play is more popular in the towns
and in a few cities, and despite the threat of extinction which the movies, TV sets, amateur singing
contests, and combo/band ensembles so cunningly pres ent, the moro-moro shows promise that it might
thrive for some time yet. It has been gaining momentum and is being revived by cultural groups in the
cities and in the suburbs of the big cities as well.
(From Life is a Stage, UST Publishing House, 2001)
Literature under the Spaniards may be classified as religious or secular prose and poetry.
Notable secular poets were Jose Corazon de Jesus (Huseng Sisiw), Francisco Balagtas
(Baltazar), Leona Florentino, Jacinto Kawili, Isabelo de los Reyes, and Rafael Gandioco.
A popular type of secular poetry is the metrical romance, like the awit (Balagtas’s Florante at
Laura) and the korido (Jose de la Cruz’s Ibong Adarna) in Tagalog.
Florante at Laura (summary)
Florante at Laura by Francisco Balagtas (also known as Baltazar) is an abbreviation of the actual title which,
written in arc haic Tagalog, is: “Pinagdaanang Buhay ni Florante at ni Laura sa Kaharian ng Albania: Kinuha sa
madlang „cuadro histórico‟ o pinturang nags asabi sa mga nangyari nang unang panahón sa Imperio ng Grecia, at
tinula ng isang matouain sa versong Tagalog. ” (English: The Life of Florante and Laura in the Kingdom of Albania:
culled fro m historical accounts and paintings which describe what occurred in ancient times in the empire of Greece,
and penned by someone who enjoys Tagalog verse ). The book was written during Balagtas‟s imprisonment where he
dedicated the story to his sweetheart Celia (a.k.a. Maria Asuncion Rivera, whom he nicknamed “M.A.R.”) who was
later married to his arch rival, Mariano “Nanong” Capule. It was Capule who made false charges against Balagtas and
sent him to prison.
Florante at Laura is written in a literary form called awit (song, but in truth, is in a poetic form) and has
377 stanzas having the following characteristics: 4 lines per stanza (each stanza being a complete
grammatically-correct sentence), 12 syllables per line, and a slight pause on the 6th syllable —eac h
stanza filled with figures of speech.
Characters:
Florante—Duke of Albania and the main protagonist of the novel.
Laura—Daughter of King Linceo of Albania. She is the love interest of Florante and is later married to
him.
Count Adolfo—Rival of Florant e and the antagonist of the novel. His jealousy and envy on Florante sparked his
rebellion against the king. He was also responsible for the imprisonment of Florante. He was killed by Flerida as
he attempted to rape Laura in his escape agains t the forces loyal to the king.
Aladdin/Aladin—Son of Sultan Ali-Adab of Persia. He saved Florante from being eaten by lions in the
forest. Later, he got married to his love, Flerida.
Flerida—Aladin‟s fiance. She asked Sultan Ali-Adab to spare Aladin‟s life on the condition that she
will be Ali-Adab‟s wife. She later escaped and killed Count Adolfo as he attempted to rape Laura.
Duk e Briseo—Father of Florante and a nobleman of Albania. He was killed, along with King Linseo,
by Count Adolfo during his usurpation of power.
Princess Floresca—Mother of Florante and the Princess of Crotone. She died while Florante
was studying in Athens.
King Linceo—King of Albania and the father of Laura. He was killed by Count Adolfo during
his usurpation of power.
Sultan Ali-Adab—Sultan of Persia and the father of Aladin. He sentenced his son to be executed
because of his cowardice in the battlefield. In exchange for Aladin‟s life, Flerida promised her
marriage to the Sultan. After her escape, the Sultan committed suicide.
Count Sileno—Father of Adolfo.
Menalipo—Cousin of Florante. He saved Florante from vultures when they were younger.
Menandro—Friend and confidant of Florante. They first met in Athens where Menandro saved
Florante from Adolfo‟s attempt at murdering him. He and Florante both participated in a military
expedition. He also led the overthrow of Count Adolfo and restored peace in Albania.
Antenor—Professor of Florante, Menandro, and Adolfo in Athens.
General Osmalik —A general of Persia. He was killed by Florant e during a military expedition.
General Miramolin - General of the Ottoman Empire. He was responsible for the invasion of Albania
in order to bring the kingdom into Islamic control.
Emir—One of the commanding officers who sacked Albania together with Aladin during the ongoi ng
campaign of Florante and Menandro in Crotone. He nearly killed Laura for her refusal to love him
but was defeated.
Plot:
In the Albanian forest
The story begins deep within a dark, gloomy forest. Florante, a duke of the Kingdom of Albania is
tied to a tree, lamenting the loss of his father, Duke Briseo. He is driven mad by the thought that his
beloved, Princess Laura, has fallen into the arms of his enemy, Count Adolfo, son of Count Sileno.
Nearby, two starving lions keep watch and try to attack Florante. He is saved, just in time, by Aladin, a
Muslim prince who happens to be at the forest at the same time. Weak and bewildered, Florante faints.
The merciful soldier nurses Florante to health. Upon recovery, Florante is initially taken aback by
Aladin as he considers the stranger an enemy due to his Islamic faith. However, after a few
explanations are made, Florante is grateful and begins to tell his story.
Florante’s tale
The son of a princess and a royal advis er, Florante grew up in happiness, showered wit h love. He
liked to play games when he was six, and was almost killed by a vulture that entered in their mountain
cottage, which was also followed by the attack of a falc on, who snatched his cupido diamante. He was
saved by his cousin Menalipo, an archer from Epirus.
At the early age of 11, his parents, Duke Briseo and Princess Floresca, sent him to Athens, Greece
to study under Antenor, a renowned teacher. There, he met Adolfo, a fellow Albanian and the brightest
student in their school. After six years of study, Florante surpassed Adolfo‟s capabilities, talents, and
intelligence, gaining popularity and recognition. Adolfo took this very personally.
While acting during a school play, Adolfo attempted to kill Florante. Fortunately, Florante ‟s friend,
Menandro, was quick enough to intervene. Adolfo headed home to Albania after his failed attempt.
One year later, Florante received a letter from his father, announcing the death of his mother.
Though filled with grief, Florante waited two months before he returned home. Menandro, unwilling to
be separated from his friend, accompanied Florante on his journey. Upon his arrival at Albania, an
emissary of the kingdom of Crotone requested his assistance in the incoming war against the Persians.
Florante had not the will to refuse, for the King of Crotone was his grandfather.
During his stay in Albania, Florante was invited to the king‟s palace. There, he was stunned by
the sight of Laura, the daughter of King Linseo, ruler of Albania.
Coming to the aid of Crotone, Florante fought with the Persian general, Osmalik for five hours, slaying
him in the end. He stayed in Crotone for five months before returning to Albania to see Laura. Upon
returning to his native Albania, he was surprised by the sight of a Persian flag waving atop the kingdom.
He recaptured the palace from the Moros and saved his father, the king, and Adolfo who were all in prison.
He also saved Laura from being beheaded from the hands of an Emir. Florante was declared “Defender of
Albania” for his bravery, deepening Adolfo‟s envy and hatred.
Florante protected the kingdom once more, this time from Turkish forces under general Miramolin, an
acclaimed conqueror. The battle took place in Aetolia, where he later received a letter from his father. The
letter summoned him back to Albania so that he left his troops in the care of his friend, Menandro. Upon
his arrival, he was ambushed by 30,000 soldiers and, under Adolfo‟s orders, was imprisoned for 18 days.
There, he learned of the tragic fate of his father and the king. Under Adolfo‟s hands, they were all
beheaded. Florante was then exiled into the forest and tied to the tree.
Aladin’s tale
After months of wandering in the forest, the Muslim Aladin shares to his new Christian friend, Florante,
that he is also in a similar circumstance.
Aladin‟s own father, Sultan Ali-Adab, accused him of deserting his post and allowing their
conquered enemies to escape and his troops to be captured. He arranged for his own son to be beheaded
but Flerida, who very much in love with Aladin, begged the Sultan not to kill him, but merely have him
exiled. In return, she agreed to marry the lustful Sultan who was taken by her beauty and charm.
Reunion and peace
Aladin‟s speech is interrupted when they hear voices. A woman narrates her escape from a
kingdom and a marriage. She speaks of her search for her beloved, a search which has lasted six years.
She shares that while deep in the forest, she heard cries for help. Finding a lady about to be raped by a
man, she uses her bow and arrow to kill him. The woman introduc es herself as Flerida.
The lady saved by Flerida is later revealed to be Laura, who begins to tell her story. While her love
was away at war, Count Adolfo gained the popularity of the people, having lied to them , and turned them
against the king. Adolfo then rose to the throne, forcing Laura to be his queen. An army under Menandro,
Florante‟s childhood friend, was able to overthrow Adolfo from power. Adolfo, seeing all was lost, fled
into the woods, taking Laura as hostage.
After hearing all this, Florante and Aladin reunite with their loved ones. Florante and Laura returned
to Albania, and became king and queen. On the other hand, Aladin and Flerida returned to Persia, where
he became the new sultan as his father committed suicide. The two kingdoms lived in harmony and peac
e thereafter.
This poem, dedicated by Balagtas to his beloved Celia, introduces the book Florante at Laura:
A Celia / Cay Celia (original Spanish / Tagalog excerpt)
Cuando en el pensamiento torno a
leer, de nuestros amores los idos días,
¿habría acaso imagen grabada en él,
que no fuera Celia, la que puso nido en mi pecho?
Aquello, Celia, que solía infundirme
pavor que a amor pusieses en olvido,
abismó a este infortunado en
la honda breña del dolor.
¿Olvidaría, por ventura, de leer los
tiempos idos de nuestro cariño, el
amor de que me hiciste objeto
y mis desvelos y des venturas?
Cong pag saulang cong basahin sa isip
ang nan gacaraang arao ng pag-ibig, may
mahahaguilap cayang natititic
liban na cay Celiang namugad sa dibdib?
Yaong Celiang laguing pinanganganiban
baca macalimot sa pag -iibigan;
ang iquinalubog niyaring capalaran sa
lubhang malalim na caralitaan.
Macaligtaang co cayang di basahin
nagdaáng panahón ng suyuan namin?
caniyang pagsintáng guinugol sa aquin
at pinuhunan cong pagod at hilahil?
Pasó el día asaz dulc ísimo;
tan sólo quedó amor;
anhelo supremo atenazará mi pecho hasta que
en la fosa mi cadáver descanse.
Lumipas ang arao na lubhang matamis at
ualáng nátira condi ang pag -ibig, tapat na
pagsuyong lalagui sa dibdib
Hoy que la orfandad entristece mi
alma, lo que hago para divertir la pena
es recordar tiempos idos,
con tu imagen, y la entrevista felicidad.
Ngayong namamanglao sa pangongolila
ang guinagaua cong pag-alio sa dus a
nagdaang panaho,i, inaala -ala,
Imagen trazada por pincel amante,
grabada en el corazón y en el entendimiento,
prenda única confiada a mi custodia
Sa larauang guhit ng sa sintang pincel
cusang ilinimbag sa puso,t, panimdim,
nag-íisang sanláng naiuan sa aquin
y que no será robada ni en la sepultura.
at di mananacao magpahangang libing.
Mi alma, de suyo, vaga
por las revueltas y barrios hollados por
sus plantas,
Ang caloloua co,i, cusang dumadalao sa
lansanga,t, náyong iyóng niyapacan sa
ilog Beata,t, Hilom na mababao yaring
aquing puso,i, laguing lumiligao.
y a los ríos, no profundos, de Beata e Hilom, mi
corazón enamoradizo suele emigrar.
hanggang sa libingan bangcay co,i, maidlip.
sa iyong laraua,i, ninitang guinhaua.
Mi fantas ía suele apoyarse
en el pie de la manga, donde pasábamos,
y con los colgantes frutos que deseabas
coger dar alivio a mi corazón huérfano.
Di mámacailang mupo ang panimdin
sa puno ng mangang náraanan natin,
sa nagbiting bungang ibig mong pitas
ín ang ulilang sinta,i, aquing ináaliu.
Mi ser todo se iba
en suspiros cuando tú enfermaste,
Ang catauhang co,i, cusang nagtatalic
sa buntong-hininga nang icao,i, may
saquit, himutoc co niyao,i, inaaring Langit
Paraiso namán ang may tulong silíd.
las desesperaciones se me volvían cielo,
Paraíso también la llovediza habitacioncilla.
Adoraba tu imagen
en el Macati río donde se reflejaba;
rastreaba también en el bullicioso
embarcadero, sobre la piedra del piso, las
impresiones de tus plantas.
Liniligauan co ang iyong larauan sa
Macating ilog, na quinalaguian
binabacás co rin sa masayáng doongan,
yapac ng paá mo sa batóng tuntungan.
Vuelven, y como si tuviese delante,
aquí, los venturosos tiempos,
Nagbabalíc mandi,t, parang hinahanap
dito ang panahóng masayáng lumipas na
cong maliligo,i, sa tubig áagap, nang hindi
abutin ng tabsing sa dagat.
cual madrugador bañista que se aprovecha
del agua dulce
antes de enturbiarla la salobre del mar.
Creo aún oir tu decir favorito:
por tres días no se ha dado en el
blanco, a que contestaba jubiloso;
¡y para una pers ona hay tanto en mantenimiento!
Parang naririn gigang laguî mong uica
tatlong arao na di nagtatanao tama
at sinasagot cong sabing may touâ sa
isa catauo,i, marami ang handa.
Cierto que nada hay que no recuerde mi
pensamiento de la huida alegría
que sólo de imaginarla corren mis lágrimas al
tiempo que gimo “¡Oh, qué infortunio!”
Ano panga,t, ualang dî nasisiyasat,
ang pagiisip co sa touang cumupas sa
cagugunitâ, luha,i, lalagaslás
sabay ang taghoy cong “¡ó, nasauing palad!”
¿Dónde estás, Celia, alegría del vivir?
Y nuestro amor ¿por qué no echó raíces?
¿Dónde está el tiempo en que una mirada
tuya era mi vida, alma y cielo?
Nasaan si Celiang ligaya ng dibdib? ang
suyuan nami,i, baquít dí lumauig? nahan
ang panahóng isá niyang titig ang siyang
búhay co, caloloua,t, Langit?
¿Por qué, cuando nos separamos,
no se cortó el hilo de mi maldita
existencia? Tu memoria es mi muerte,
porque en mi corazón, Celia, eternamente vives.
Baquit bagá niyaóng cami maghiualay ay
dî pa naquitil yaring abáng búhay? con
gunitain ca,i, aquing camatayan, sa puso
co Celia,i, di ca mapaparam.
Esta aflicción sin tasa,
por caus a tuya, o por la dicha que
huyó, es la que me invita a cantar,
narrar la vida de un infortunado.
Itong dî matiis na pagdaralitâ nang
dahil sa iyo, ó nalayóng touâ,
ang siyang umacay na aco,i, tumulâ
auitin ang búhay nang isang na abâ.
Celia, harto comprendo cuán tímida
e ignorante mi musa, y cuán melancólico es su
canto,
sobre baladí, asperísimo;
Celia,i, talastás co,t, malabis na umid,
mangmáng ang Musa co,t, malumbay ang
tinig di quinabahagyâ cong hindí malait
palaring dinguin mo ng tainga,t, isíp.
mas, séanle propicios tus oídos y entendimiento.
Es el primer fruto de mis cortos alcances, que
ofrendo a tus nobles huellas; recíbelo,
aunque, de valer, ajeno,
porque viene de un corazón sincero y amante.
Ito,i, unang bucal nang bait cong cutad na
inihahandóg sa mahal mong yapac tangapin
mo nauâ cahit ualang lasáp nagbúhat sa
puso nang lingcód na tapát.
Aun cuando vaya e insultos hagan carne en
ella, mis des velos serán bien pagados,
si su lectura te arranca un sollozo
que recuerde al ofrendador.
Cong casadlacán man ng pula,t, pag-ayop
tubo co,i, daquila sa puhunang pagod,
cong binabasa mo,i, isá mang himutóc
ay alalahanin yaríng naghahandóg.
Alegres ninfas de la laguna Bay,
sirenas de canción inefable,
a vosotras hoy os invoca,
con harto dolor, mi pobre musa.
Masasayáng Ninfas sa laua nang
Bay, Sirenas, ang tinig ay cauili-uili
cayó ngayo,i, siyang pinipintacasi
ng lubháng mapanglao na Musa cong imbi.
Surgid a la ribera y márgenes circundantes,
y acompañad con vuestra lira mi pobre
canción, que, aunque la parlante vida se corte,
es su deseo que el fiel amor cunda.
Ahon sa dalata,t, pangpang na nagliguid
tunuhan nang lira yaring abáng auit
na nagsasalitáng búhay ma,i, mapatid,
tapát na pagsinta,i, hangad na lumauig.
Tú, flor de mis ensueños,
Celia, que llevas por divisa
M.A.R., a la Virgen Madre ora
por tu devoto servidor que es F.B.
Icao na bulaclac niyaring dili-dili,
Celiang saguisag mo,i, ang M.A.R. sa
Virgeng mag-Iná,i, ipamintacasi ang
tapát mong lingcód na si F.B.
Ibong Adarna is a korido (with 8 syllables per line, 4 lines per stanza) containing 1,722 stanzas
and has five parts:
Ibong Adarna (summary)
Part 1: stanzas 1—256
One day, an old doctor arrives in Berbania and
says that the illness of Don Fernando, which is
The kingdom of Berbania is ruled by a king,
brought about by a nightmare, may be cured only
Don Fernando. His wife is Doña Valeriana and
by the song of the Adarna bird. This bird can be
they have three sons (from eldest to youngest):
found on Mt. Tabor, where it perches on the
Don Pedro, Don Diego, and Don Juan.
Piedras Platas* tree at night. During day time, the
Don Fernando‟s favorite is his youngest son, bird goes off somewhere but it comes back at night
Don Juan. He falls ill after having a bad dream
to roost, and it sings before it sleeps.
about his favorite son being attacked by two
(*Piedras Platas is Spanish for “silver stones”.)
people before being thrown down a well. None of
the healers in the kingdom could cure him. His
The old doctor warns that the Adarna bird is
condition worsens.
actually an enchantress, and it must be brought
back to Berbania immediately to help heal the
ailing Don Fernando.
Don Pedro journeys to Mt. Tabor and reac
hes it after three months. He is mesmerized by
the Piedras Platas tree with its leaves shimmering
like diamonds. Unfortunately, the Adarna bird
comes late in the evening. Since Don Pedro is
tired from the journey, he is asleep by the time
the bird perches on the tree.
The Adarna bird sheds its feathers and sings
seven times, poops, and then falls asleep on the tree.
The poop lands on the head of the snoring Don
Pedro, and instantly turns him to stone.
Twelve months pass with no word from Don
Pedro, so Don Diego goes to Mt. Tabor. He
suffers the same fate as Don Pedro.
Three years pass, and Don Juan offers to look
for his missing brothers as well as the Adarna bird.
Don Fernando tries to stop his favorite son from
leaving, but is convinced by Don Juan.
Don Juan brings five pieces of bread and
decides to eat just one piece a month. After four
months, he reaches the top of Mt. Tabor where
he meets an old hermit. The hermit begs for alms,
and the compassionate Don Juan gives his last
piece of bread.
The old hermit asks Don Juan what he is
doing on Mt. Tabor, so Don Juan tells him. The
old hermit admonishes Don Juan to listen
carefully and follow his advice, lest he turn into
stone just like his two older brothers.
Here‟s
the hermit‟s advice:
Avoid the beautiful tree and just keep
walking until you see a hut.
Enter the hut and talk to the old hermit
there. He will show you where the bird is.
And here‟s
what
the old hermit
gave Don
Juan:
Seven pieces of dayap (some kind of lemon
fruit)
Straight razor blade (labaha)
A golden rope
Each time the Adarna bird sings, Don Juan
becomes sleepy. To stay awake, he uses the
razor to make a cut on his palm, and then
squeezes some dayap juice on the wound. The
pain keeps him awake so he easily avoided the
bird‟s poop when it finished its seven songs.
The Adarna bird then sleeps with its eyes
open and its wings spread apart. Don Juan
quickly climbs the tree and uses the golden cord
to bind the bird‟s legs so it could not escape.
Don Juan brings the bird to the old hermit who
promptly puts it in a cage. He also instructs Don Juan
to pour water on the stone figures under the
Adarna bird‟s tree. His two elder brothers are
thus saved, and they are fed by the old hermit.
After the three brothers rested and rec overed
from the ordeal, the old hermit sends them home and
advis es them not to betray one another.
However, the two older brothers attack
Don Juan on their way home.
Part 2: stanzas 257—492
The brothers Don Pedro and Don Diego grabs the
Adarna bird from Don Juan. They then bring it back to
Berbania hoping to get credit for the feat.
Unfortunately for them, the Adarna bird refuses
to sing for the king.
With a mute Adarna bird and no
favorite youngest son in sight, the
king‟s condition wors ens.
Meanwhile, the badly beaten up Don Juan
can hardly crawl. He prays to the Blessed Virgin
Mary for help. Fortunately, an old man comes to
his aid. Don Juan eventually rec overs and goes
back home to Berbania.
Upon his arrival, the Adarna bird sheds its
feathers and begins to sing. It sings seven times.
The king recovers immediately from his
illness. Since it is obvious that the two older
brothers harmed Don Juan, King Fernando (after
consulting with his council of advisers) orders Don
Pedro and Don Diego into exile.
Don Juan, being the compassionate fellow that he
is, asks his father not to punish his two elder brothers.
The king accedes to Don Juan‟s request.
King Fernando orders his three sons to guard
the Adarna bird, but warns that anyone who
allows the bird to escape will be executed.
During Don Juan‟s watch, he falls
asleep at dawn and the treacherous Don
Pedro frees the bird.
When Don Juan wak es up, he is surprised
to see that the bird has escaped. Realizing that
he will be put to death, he heads for the hills.
King Fernando wakes up and discovers the
bird is gone. He asks the two brothers about it,
and they say it was Don Juan who kept guard on
the Adarna bird the previous night.
The king orders the two to look for Don Juan.
Don Pedro and Don Diego finds Don Juan in
the mountain of Armenia. They decide not to
return to Berbania because they are certain Don
Juan would tell the king what really happened. The
two agree to just stay on the mountain.
One day, the three brothers find a deep well. Don
Juan wants to explore what lay at the bottom
of the well, but Don Pedro (being the eldest)
says that he should go down first.
Juan finds the diamond ring of Princess Leonora,
climbs out of the well, and walks back to Berbania.
They get a rope and lower Don Pedro to the
well. After going down 30 feet, however, Don
Pedro grows frightened by the dark and tugs on
the rope signalling his wish to be pulled out of
the well.
Don Juan rests under a tree. The Adarna bird
happens to perch on the tree and then sings.
He wakes up and listens to the lyrics of the
Adarna bird‟s song.
Part 3: stanzas 493—858
Don Diego, being the second eldest,
attempts the same but also fails.
Finally, Don Juan gives it a try and reaches the
bottom of the well, (about 100 feet below).
He finds a golden door and quickly enters a place
filled with crystal-paved roads, sweet-smelling flowers,
and palac es made of gold and silver. He also meets
the beautiful Princess Juana.
Since she is held prisoner by a giant, Don
Juan has to kill the giant. However, before they
could leave, Princess Juana tells Don Juan
about her sister, Princess Leonora, who is being
held prisoner by a seven-headed serpent.
Don Juan battles the serpent but each time
he chops off a head, it simply reattaches itself to
its body. Fortunately, Princess Leonora throws
him some bottled liquid which he has to pour on
each cut part to prevent the heads from
reattaching themselves to the serpent‟s body.
Don Juan thus saves Princess Leonora and,
together with Princess Juana and her wolf, the
four are pulled out of the well by Don Juan‟s
two older brothers.
Don Pedro immediately falls in love with
Princess Leonora (who‟s in turn in love with
Don Juan).
Princess Leonora remembers that she left behind a
diamond ring, and Don Juan offers to go down the well
again in order to retrieve it. She tries to stop him but he
insists. Don Pedro lets go of the rope after lowering his
younger brother at 10 feet, as Don Juan badly falls
down the 100-foot well.
Princess Leonora throws her wolf down
the well and instructs it to look after Don Juan.
Don Pedro, Don Diego, Princess Juana, and
Princess Leonora return to Berbania. Don Diego
and Princess Juana get married, while Princess
Leonora asks the amorous Don Pedro to first
wait for seven years because she has a religious
pact to fulfill.
There is no such pact; Princess Leonora is just
stalling Don Pedro in the hopes that Don Juan
would return soon.
In the meantime, the wolf finds the injured
Don Juan and heals him with water taken from the
Jordan river. After recovering from his fall, Don
It‟s a long way back to Berbania and the tired
Don Juan discovers from the lyrics that
Princess Leonora is always thinking of him.
However, as the bird‟s song continues, it
reveals that there is a another woman prettier
than Princess Leonora.
She is Princess Maria Blanca, daughter of King
Salermo of the Crystal Kingdom (Delos Cristal). The
song also tells Don Juan that he can proudly present
her to his father, King Fernando.
Part 4: stanzas 859—1298
Don Juan has been journeying on foot
for three years now, but is still unable to find
the kingdom of Delos Cristal.
On the way, he meets an old man and Don
Juan asks him about the kingdom, but the man is
equally clueless. The old man, however, advis es
Don Juan to go to the seventh mountain where
he will find a 500-year old hermit. The old man
gives Don Juan a piece of cloth.
Don Juan goes to the seventh mountain
and visits the old hermit, showing him the piec e
of cloth. The hermit is amazed by the cloth and
exclaims: “Jesus Christ, my Lord, it is only now
that I‟ve seen Your clothes!”
Don Juan asks the old hermit about Delos
Cristal, but the hermit—just as the old man—
does not know where that kingdom is. The old
hermit even asked the animals in the forest, but
neither they know about Delos Cristal‟s
whereabouts.
As expected, the 500-year old hermit asks
Don Juan to travel to the seventh mountain
(from where they are now), so that he can
consult the 800-year old hermit who lives there.
When Don Juan got to the said mountain, the
even older hermit consults with the birds and one
eagle. Fortunately for Don Juan and his weary
feet, the eagle knows where the kindgom of Delos
Cristal is. At last, Don Juan will meet the beautiful
Princess Maria Blanca whom the Adarna bird sang
so much about.
Don Juan rides on the back of the eagle
and they fly towards the East for one month
before they reach the kingdom of Delos Cristal.
The eagle gives Don Juan some advic e before
flying away: “At 4:00 in the morning, three princesses
wearing dove‟s clothes will arrive, and will bathe.
Hide and do not show yourself. ”
As expected, the three princ esses arrive
on time. Don Juan has no trouble guessing
who Princess Maria Blanca is, because she is
the prettiest. Don Juan hides the princess‟
clothes which are hanging on a pear tree.
After bathing for a few minutes, Princess Maria
Blanca gets angry and hysterical because she
cannot find her clothes.
After an hour, Don Juan appears like a meek
lamb before the princess, gets down on his
knees, and tells her that he loves her. He also
explains how his love for her made him steal her
clothes, and that he is ready to accept whatever
punishment he deserves because of the deed.
Princess Maria Blanca, overcome with
compassion, is no longer angry. She asks Don
Juan to get up on his feet and gently speaks with
him.
She asks Don Juan to look at the stones
surrounding the palace. She says that the stones
used to be princes, horsemen, and counts who
tried to court her, but were turned to stone by her
father after they failed his tests.
Princess Maria Blanca continues: “My father
will wake up later at 5:00 this morning and he will
see you. If he asks why you are here, tell him
you‟ve come to ask for the hand of one of
the princesses in marriage. When he invites you
into the palac e, decline the invitation for you will
surely die. If you wish to continue, accept
whatever tasks he asks you to perform. I‟ll
take care of everything.”
The three princesses leave and King
Salermo awak es. As expected, he sees Don
Juan and invites him to the palace. Don Juan
declines, states his marital intentions, and says
that he is ready to serve the king.
King Salermo asks a servant to bring
some wheat for the first task.
The king orders Don Juan: “Flatten that
mountain, scatter the wheat, harvest it tonight,
and turn it into bread. I want that bread served on
my breakfast table tomorrow morning.”
Don Juan takes the wheat and waits in the
concierge‟s hous e. After everyone had gone
to sleep, Princess Maria Blanca goes to him
and he explains to her what the task is all about.
King Salermo knows the dark arts or black
magic, but the princess is well-versed in white
magic. She is more powerful than her father
though, so Don Juan is able to accomplish the
task easily.
The following morning, the king is amazed that Don
Juan was able to perform the task. He then gives
instructions for the second task. The king shows Don
Juan a wine bottle that contains 12
negritos. The king then frees the 12 into the
sea and instructs Don Juan to catch all the 12
and return them into the wine bottle.
As in the previous evening, Princess Maria
Blanca meets with Don Juan, gets
instructions, and performs the task for him.
The following day, King Salermo gives Don
Juan the third task: “Put that mountain in the
middle of the sea. Build a castle there. I want
to see it by tomorrow morning. Then build a
road from my palace to that castle.”
As usual, the task is performed. King Salermo
inspects the castle while wondering where Don
Juan is getting his powers. During his inspection,
the king‟s ring falls into the sea. This gives the
king an idea on how to ask for an even more
difficult task.
King Salermo asks Don Juan to remove the
castle from the sea. With the help of Princess
Maria Blanca, Don Juan obeys and performs
the task effortlessly.
The king then asks Don Juan to find his
missing ring beneath the sea. King Salermo
also required that the ring be found under his
pillow when he wakes up the following morning.
As expected, Don Juan relays the message
to the princ ess, and for the first time she says
that the task is quite difficult.
The two ride a raft to the middle of the sea.
The princess asks Don Juan to chop her up and
drop the piec es of her body into the sea. She
cautions him not to lose any of the pieces, and
that he should be alert and stay awake to be able
to get the ring once her hand emerges from the
water.
He does as instructed and the pieces of Princess
Maria Blanca‟s body turn into many fish.
Unfortunately, Don Juan falls asleep and fails
to get the ring from the surfacing hand of the
princess during the first time. They then go
through the whole thing again, but Don Juan rus
hes and ends up losing a finger of Princ es Maria
Blanca. Fortunately, on their third try, he no longer
falls asleep so he is able to get the ring when the
princess‟ hand resurfaced.
The princess shows Don Juan her fingers and tells
him to remember that she is missing one of her fingers.
She asks him to remember that, so he will be able to
recognize her when the time comes.
The following day, King Salermo finds the ring
under his pillow when he wakes up. He calls Don
Juan for the final task. The king asks him to attach
his horse in the royal stable to the royal carriage.
Princess Maria Blanca tells Don Juan to be extra
careful becaus e he might die. She explains
that the hors e is actually the king, the coach
are her two sisters, and she will be the brakes.
his father, King Fernando, to have a group
dispatched and fetch Princess Maria Blanc a.
She tells Don Juan not to be afraid of how
the horse will look. When the horse nears, Juan
should rain blows on the horse‟s body. Once
the horse weakens, he can then bring the hors e
back to the stable.
Before he leaves, Princess Maria Blanca
warns him that if any woman approaches him,
he will forget her. Don Juan promises her that he
will not allow any woman to come near him.
Juan overcomes the king. King Salermo
accepts defeat and accepts the fact that Don
Juan is more powerful.
Part 5: stanzas 1299—1722
Since King Salermo has no other tasks to
assign to Don Juan, he summons him so that
he may choose who among the three
princesses he will marry.
Since the fac es of the princesses are covered,
Don Juan may choose only by touching their fingers.
He remembers that Princess Maria Blanca is missing a
finger, so he easily chooses her.
King Salermo notices the unusual closeness
between Don Juan and Princess Maria Blanca, and
plans to have them banished to England. The couple
elope and are able to escape from the king.
King Salermo breathes a curse on her
escaped daughter: “You will be forgotten by Don
Juan. He will leave you and marry someone
else.” In the bewilderment of his grief, he sickens
and dies, and is unable to witness the fulfillment
of his curse.
Don Juan and Princ ess Maria Blanca reac h the
outskirts of the kingdom of Berbania. Don Juan
temporarily leaves the princ ess so that he can tell
Unfortunately, as soon as Don Juan enters
Berbania, Princess Leonora sees him after so
many years and rus hes toward him. The curse
is fulfilled and Don Juan forgets about Princess
Maria Blanca and makes plans to marry Princ
ess Leonora.
Princess Maria Blanca attends the celebration and
requests that a program be held before the wedding
ceremony begins. The program is a dramatic play
between negritos. The female negrito hits the male
negrito with a stick and asks him if he remembers how
Princess Maria Blanca helped him in the kingdom of
King Salermo.
Each blow does not hurt the male negrito, instead,
it is Don Juan who feels the pain each time the negrita
hits the negrito. Don Juan‟s memory sudddenly
returns, and he remembers all that he and Princess
Maria Blanca went through.
The wedding is called off as Don Juan
marries Princess Maria Blanca. To make things
even, Don Pedro takes his younger brother‟s
place and marries Princess Leonora.
Don Juan and Princ ess Maria Blanca return
to the kingdom of Delos Cristal, where they rule
with compassion and justice over a people who
love them.
Filipino intellectuals (ilustrados) educated in Europe began writing about their colonization.
Reformers like Jose Rizal (Dimasalang, Laong Laan), Marcelo H. del Pilar (Plaridel),
Mariano Ponce (Tikbalang, Kalipulo) wrote for La Solidaridad; while the revolutionaries
Andres Bonifacio (Maypagasa) and Emilio Jacinto (Dimasilaw) wrote for Kalayaan.
Ang Dapat Mabatid ng mga Tagalog (essay)
by Andres Bonifacio
Itong Katagalugan, na pinamamahalaan nang unang panahon ng ating tunay na mga kababayan niyaong hindi
pa tumutuntong sa mga lupaing ito ang mga Kastila, ay nabubuhay sa lubos na kasaganaan, at kaginhawaaan.
Kasundo niya ang mga kapit -bayan at lalung-lalo na ang mga taga-Japon, sila‟y kabilihan at kapalitan ng mga
kalakal, malabis ang pagyabong ng lahat ng pinagkakakitaan, kaya‟t dahil dito‟y mayaman ang kaasalan ng
lahat, bata‟t matanda at sampu ng mga babae ay marunong bumasa at sumulat ng talagang pagsulat nating mga
Tagalog. Dumating ang mga Kastila at dumulog na
makipagk aibigan. Sa mabuti nilang hikayat na diumano, tayo‟y aakayin sa lalong kagalingan at lalong
imumulat ang ating kaisipan, ang nasabing nagsisipamahala ay nangyaring nalamuyot sa tamis ng kanilang dila sa
paghibo. Gayon man sila‟y ipinailalim sa talagang kaugaliang pinagk ayarian sa pamamagitan ng isang
panunumpa na kumuha ng kaunting dugo sa kani -kanilang mga ugat, at yao‟y inihalo‟t ininom nila kapwa
tanda ng tunay at lubos na pagtatapat na di magtataksil sa pinagkayarian. Ito‟y siyang tinatawag na
“Pacto de Sangre” ng haring Sikatuna (Rajah ng Bohol) at ni Legaspi (Conquistador Miguel Lopez de Legazpi) na
pinakakatawanan ng hari sa España.
Buhat nang ito‟y mangyari ay bumibilang na ngayon sa tatlong daang taon mahigit na ang lahi ni
Legaspi ay ating binubuhay sa lubos na kasaganaan, ating pinagtatamasa at binubusog, kahit abutin
natin ang kasalatan at kadayukdukan; iginugugol natin ang yaman, dugo at sampu ng tunay na mga
kababay an na ayaw pumayag na sa kanila‟y pasak op, at gayon din naman nakipagbaka tayo sa mga
Insik at taga-Holandang nagbalang umagaw sa kanila nitong Katagalugan.
Ngay on sa lahat ng ito‟y ano ang sa mga ginawa nating paggugugol ang nakikitang kaginhawahang
ibinigay sa ating Bayan? Ano ang nakikita nating pagtupad sa kanilang kapangak uan na siyang naging dahilan ng
ating paggugugol? Wala kundi pawang kataksilan ang ganti sa ating mga pagpapala at mga pagtupad sa kanilang
ipinangakong tayo‟y lalong gigisingin sa kagalingan ay bagkus tayong binulag, inihawa tayo sa kanilang
hamak na asal, pinilit na sinira ang mahal at magandang ugali ng ating Bayan; iminulat tayo sa isang maling
pagsampalataya at isinadlak sa lubak ng kasamaan ang kapurihan ng ating
Bayan; at kung tayo‟y mangahas humingi ng kahit gabahi d na lingap, ang nagiging kasagutan ay
ang tayo‟y itapon at ilayo sa piling ng ating minamahal na anak, asawa at matandang magulang.
Ang bawa‟t isang himutok na pumulas sa ating dibdib ay itinuturing na isang malaking pagkakas ala at
kara -karakang nilalapatan ng sa hay op na kabangisan.
Ngay on wala nang maituturing na kapanatagan sa ating pamamayan; ngayon lagi nang ginagambala ang ating
katahimikan ng umaalingawngaw na daing at pananambitan, buntong-hininga at hinagpis ng makapal na ulila, balo‟t
mga magulang ng mga kababayang ipinanganyaya ng mga manlulupig na Kastila; ngayon tayo‟y nalulunod na sa
nagbabahang luha ng Ina sa nakitil na buhay ng anak, sa pananangis ng sanggol na pinangulila ng kalupitan
na ang bawa‟t patak ay katulad ng isang kumukulong tinga, na sumasalang sa mahapding sugat ng ating pusong
nagdaramdam; ngayon lalo‟t lalo tayong nabibiliran ng tanikalang nakalalait sa bawa‟t lalaking may iniingatang
kapurihan. Ano ang nararapat nating gawin? Ang araw ng katuwiran na sumisikat sa Silanganan, ay malinaw na
itinuturo sa ating mga matang malaong nabulagan, ang landas na dapat nating tunguhin, ang liwanag niya‟y
tanaw sa ting mga mata, ang kukong nag-akma ng kamatayang alay sa atin ng mga ganid na asal. Itinuturo ng
katuwiran na wala tayong iba pang maaantay kundi lalo‟t lalong kaalipustaan at lalo‟t lalong kaalipinan.
Itinuturo ng katuwiran na huwag nating sayangin ang panahon sa pag-asa sa ipinangakong kaginhawahan na
hindi darating at hindi mangyay ari. Itinuturo ng katuwiran ang tayo‟y umasa sa ating sarili at huwag antayin sa
iba ang ating kabuhayan. Itinuturo ng katuwiran ang tayo‟y magkais ang -loob, magkais ang-isip at akala, at nang
tayo‟y magkaisa na maihanap ng lunas ang naghaharing kasamaan sa ating Bayan.
Panahon na ngayong dapat na lumitaw ang liwanag ng katotohanan; panahon nang dapat nating ipakilala na
tayo‟y may sariling pagdaramdam, may puri, may hiya at pagdadamayan. Ngayon panahon nang dapat simulan
ang pagsisiwalat ng mga mahal at dakilang ani na magwawasak sa masinsing tabing na bumubulag sa ating
kaisipan; panahon na ngay ong dapat makilala ng mga Tagalog ang pinagbuhatan ng kanilang mga kahirapan. Araw
na itong dapat kilalanin na sa bawa‟t isang hakbang natin ay tumutuntong tayo at nabibingit sa malalim na hukay ng
kamatayan na s a ati‟y inuumang ng mga kaaway.
Kaya, O mga kababayan, ating idila ang bulag na kaisipan at kusang igugol sa kagalingan ang atin g lakas sa
tunay at lubos na pag -asa na magtagumpay sa nilalayong kaginhawahan ng bayan tinubuan.
(From Kalayaan, issue no. 18, 1896)
Pag-Ibig sa Tinubuang Lupa (poem)
by Andres Bonifacio
Aling pag-ibig pa ang hihigit kaya sa
pagkadalisay at pagk adakila
Gaya ng pag-ibig sa tinubuang lupa?
Aling pag-ibig pa? Wala na nga, wala.
Bakit? Alin ito na sakdal ng laki,
Pagpupuring lubos ang palaging hangad Sa
bayan ng taong may dangal na ingat,
Umawit, tumula, kumanta't sumulat,
Kalakhan din niya'y isinisiwalat.
Ay! Ito'y ang Inang Bayang tinubuan:
Siya'y ina't tangi sa kinamulatan
Ng kawili -wiling liwanag ng araw Na
nagbigay-init sa buong katawan.
Walang mahalagang hindi inihandog
Kalakip din nito'y pag-ibig sa Bayan,
Ang lahat ng lalong sa gunita'y mahal,
Mula sa masaya'y gasong kasanggulan
Hanggang sa katawa'y mapasa-libingan.
Ng may pusong mahal sa Bayang nagkupkop,
dugo, yaman, dunong, katiisa't pagod,
Buhay ma'y abuting magkalagut-lagot.
Na hinahandugan ng bus ong pagkasi,
Na sa lalong mahal nakapangyayari, At
ginugulan ng buhay na iwi?
Sa aba ng abang mawalay sa bayan!
Gunita ma'y laging sakbibi ng lumbay,
Walang alaala't inaasam-asam
Hayo na nga, hayo, kayong nangabuhay Sa
pag-asang lubos ng kaginhawahan At
walang tinamo kundi kapaitan,
Kundi ang makita'y lupang tinubuan.
Hayo na't ibangon ang naabang bayan!
Pati ng magdusa'y sampung kamatayan
Wari ay masarap kung dahil sa bayan At
lalong mahirap. Oh, himalang bagay! Lalong
pag-irog pa ang sa kanya'y alay.
Kayong nalagasan ng bunga't bulaklak Ng
kaho'y ng buhay na nilanta't sukat, Ng
bala-balaki't makapal na hirap, muling
manariwa't sa bay a'y lumiyag.
Kung ang bayang ito'y masasa-panganib At
siya ay dapat na ipagtangkilik,
Ang anak, asawa, magulang, kapatid;
Isang tawag niya'y tatalidang pilit.
Ipahandug-handog ang busong pag-ibig At
hanggang may dugo'y ubusing itigis; kung sa
pagtatanggol, buhay ay mapatid, Ito'y
kapalaran at tunay na langit!
Leading to the formation of the Propaganda Movement and the Katipunan, culminating in
the Philippine Revolution of 1896
Notable prose works include Rizal’s political novels, Noli Me Tangere and El Filibusterismo,
and Pedro Paterno’s Ninay—considered as the first Filipino novel.
Ninay (summary)
Written as a response to the accusation that Filipinos possessed no distinct culture, Ninay was written
by Pedro Paterno in the tradition of costumbrismo, a movement in Spanish literature in the 19th century
that celebrated specific features—like flora, fauna, rituals, and rites—of Spain's various regions. The
novel's series of overlapping narratives were thus juxtapos ed against the country's bucolic scenes and
social and religious rites. This is a major criticism against Paterno's novel —its use of a non-realistic
perspective. But Leon Ma. Guerrero, an influential translator of Rizal's novels, has pointed out the
numerous similarities between Ninay and Rizal's novels in terms of characters and plot structure.
The first Philippine novel Ninay—written in Tagalog and published in Manila in 1908—gathers together
a large number of themes and motifs which shaped the works of a large number of literary texts. Using the
nine-day novena for the dead (pasiam) as the frame, the novel unfolds a series of narratives that constitute
variations of unrequited love. The first doomed love affair is between Ninay, for whom the prayers for the
dead are being said, and Carlos Mabagsic falsely accused by the villainous Portuguese businessman,
Federico Silveyro, of leading an insurrection. After a colorful sojourn abroad, Carlos returns only to find out
that Ninay has entered a convent. He dies of cholera and Ninay also succumbs to the disease and dies.
Unrequited love becaus e of the machinations of another evil character, Don Juan Silveyro, is also the fate
of ill-starred Loleng and Berto, who bec omes an outlaw to avenge the death of his sweetheart. It is Berto
who finally puts an end to the wicked ways of Federico.
Noli Me Tangere (summary)
Noli Me Tangere (commonly referred to by its shortened name “Noli”) is a novel written in Spanish by
Philippine national hero Jos e Rizal and was first published in Germany in 1887. Its English translation
was originally titled “The Social Cancer”, although more recent translations have been published using
the original Latin name—the literal translation of which is “Touch Me Not”. Rizal is said to
have derived this phrase from the Bible, specifically the Gos pel of St. John, where it is spoken by
Jesus to Mary Magdalene after He has risen from the dead, because He has not accomplished His
mission (and has not yet “ascended to the Father”) and henc e, cannot be touched. When Rizal read the
American novel, Uncle Tom's Cabin, written by Harriet Beecher Stowe on the oppression of black/negro
slaves in the United States, he thought that a similar novel should be written about the abuses Filipinos
were suffering at the hands of their Spanish colonizers.
In Riz al‟s dedication at the beginning of Noli, he wrote: “To My Country: Recorded in the
history of human sufferings is a cancer of so malignant a character that the least touch irritates it and
awakens in it the sharpest pains. Thus, how many times, when in the midst of modern civilizations I have
wished to call thee before me, now to accompany me in memories, now to compare thee with other
countries, hath thy dear image presented itself showing a social cancer like to that other!”
Characters:
Although Rizal included around 30 characters in the novel, the major characters of the story are:
Crisostomo Ibarra—also known by his full name Juan Crisostomo Ibarra y Magsalin; a Filipino who studied in
Europe for seven years, the love interest of Maria Clara. Son of the deceased Don Rafael Ibarra, Crisostomo
changed his surname from Eibarramendia to Ibarra, from his ancestor‟s surname.
Elías—Ibarra's mysterious friend, a master boater, a revolutionary, and a fugitive. He was referred to at
one point as “the pilot”. Ibarra's great-grandfather, Don Saturnino, killed his grandfather for burning a
warehouse.
María Clara—full name: María Clara de los Santos, Ibarra's sweetheart; the illegitimate daughter
of Padre Damaso and Doña Pía Alba.
Padre/Father Damaso—also known in his full name as Damaso Verdolagas; a Franciscan friar and
María Clara's biological father.
Don Filipo—a close relati ve of
Ibarra,
and
a “filibustero”.
Linares—a distant nephew of Don Tiburcio de Espadana, the would-be fianc ee of Maria Clara.
Kapitan-Heneral/ Captain-General (no specific name)—the most powerful official in the Philippines,
a hater of secular priests and corrupt officials, and a friend of Ibarra.
Captain Pablo—the leader of the rebels, whos e family was destroyed because of the Spaniards.
Tarcilo and Bruno—brothers, whos e father was killed by the Spaniards.
Sisa—the mother of Basilio and Crispín, who we nt insane after losing her sons.
Basilio—the elder son of Sisa.
Crispin—the younger son of Sisa who died from the punishment of Spanish soldiers after being
falsely accused of stealing money.
Padre/Father Sibyla—Hernando de la Sibyla, a Filipino friar. He is described as short and has fair skin.
Kapitan/Captain Tiago—full name: Don Santiago de los Santos, the known father of María Clara
but not the real one; he lives in Binondo.
Padre/Father Salvi—also known as Bernardo Salvi, a secret admirer of María Clara.
Pilosopo/Philosopher Tasyo—also known as Don Anastasio, portrayed in the novel as a pessimist, a
cynic, and a mad man by his neighbors, but in actuality he is quite wise; Ibarra seeks advice from him.
The Alferez—chief of the Guardia Civil; mortal enemy of the priests for the power in San Diego.
Don Tiburcio de Espadaña—Spanis h husband of Doña Victorina; he is limp and submissive to his
wife; also pretends to be a doctor.
Doña Victorina—full name: Victorina de los Reyes de De Espadaña, a woman who passes herself off
as a “peninsulares”* (creoles).
Doña Consolacion—wife of the “alferez”, another woman who passes herself off as a “peninsulares”*;
best remembered for her abusive treatment of Sisa.
Pedro—abusive hus band of Sisa who loves cockfighting.
Albino, Kapitana Maria, Lieutenant/Tinyente Guevara, Kapitan Basilio, Mang Pablo, Iday, Sinang,
Victoria, Andeng, Doña Pia, Tia Isabel, Lucas, Señor Nol Juan—other characters
*During the Spanish colonial period, four social class distinctions were observed in the Philippines.
These were the peninsulares—Spaniards who were born in Spain, insulares or creoles—Spaniards born in
the colonies of Spain (like the Philippines), Spanis h mestizos of mixed ancestry dwelling within or nearby
an urban town/city, and the rural natives/Filipinos called indios.
Plot:
Having completed his studies in Europe, the young Crisostomo Ibarra returns to the Philippines after a
seven-year absence. In his honor, the affluent Kapitan Tiago throws a dinner party in his Binondo home,
which is attended by friars and other prominent Spanish figures, such as Doña Victorina, Padre Sibyla,
and Padre Damaso—the former curate of San Diego and godfather to his daughter Maria Clara.
In an unfortunate incident, Padre Damaso belittles and slanders Ibarra for reasons the young man
cannot understand. But Ibarra brus hes off the insults and takes no offens e, graciously excusing
himself and leaving the party because of an allegedly important task. He is followed by another guest,
Tinyente Guevara (of the Guardia Civil).
Although Tinyente Guevara is unable to explain Padre Damaso‟s change of attitude toward
Ibarra‟s father, he illuminates Ibarra regarding the events preceding Don Rafael‟s death.
According to him, Ibarra‟s father—a wealthy hacendero of San Diego—was unjustly accused of
being a heretic: an allegation brought forth by Padre Damaso because of Don Rafael‟s non participation in the sacraments, such as his refusal to go to confession and to Mass. Later, Don Rafael
was also accused by the friar of being a filibuster when a Spanis h tax collector died accidentally when
he defended a boy the collector was assaulting.
Suddenly, all those who thought ill of Don Rafael surfaced with additional complaints and joined forces
with Padre Damaso, making false accusations against the old man. Thus, he was thrown into prison, but
the noble Tinyente Guevara prepared the case for his defense and found a good lawyer to represent him.
And just when it seemed the matter would be settled and Don Rafael would be acquitted, he got sick and
died in jail.
The day after the humbling party, Ibarra goes to see María Clara, his love interest and the beautiful
daughter of Kapitan Tiago. Their long-standing love is clearly manifested in this meeting as María Clara
reveals that she always carries the letter Ibarra had written her before he went to Europe. She rereads
it, beginning with the detail on Don Rafael's nationalistic reasons for sending his son Ibarra to Europe to
be educated.
Ibarra then goes to his hometown, San Diego, where Maria Clara‟s family also has a house.
He goes to see his father's grave at the Catholic cemetery and finds that it has been disturbed. Still not
content with what he had done, Padre Damaso supposedly arranged for Don Rafael's corpse to be dug
up and transferred from the Catholic cemetery to the Chinese cemetery, reasoning that a heretic/filibuster
was undeserving of a Catholic burial ground. Unfortunately it was raining, and because of the bothersome
weight of the cadaver, the gravediggers decided not to take the trouble of burying the corpse again;
instead, they threw the corpse of Don Rafael into the river.
Others in San Diego also suffer at the hands of the Spanish clergy. Two young sacristans—the
brothers Basilio and Crispin—are accused of stealing money from the church. When they disappear
their mother, Sisa, goes mad and wanders the town. The town schoolmaster also tells Ibarra he was
discouraged by the curate from using the new teaching methods that he found effective.
Ibarra invites Maria Clara and other young people to go fishing then have a picnic on his property. Out
of courtesy, he also invites the new curate, Padre Salvi, even though Maria Clara complains he has been
gazing at her lustfully. Padre Salvi can only make it to the picnic, so the young people and their chaperones
go fishing without the friar on Ibarra‟s pond. They find that a large caiman (crocodile) has
eaten all the fish in one of the corrals. A mysterious boatman named Elias captures it but is attacked by the
creature. Ibarra goes to his aid, saving his life. Ibarra learns that the mysterious boatman is wanted by the
Guardia Civil for assaulting a Spanish priest.
Revenge was not in Ibarra's plans; instead he decides to put up a school as a tribute to his father's
belief that the education of the people would lead to their country's liberation. He discusses this with the
learned town eccentric, Pilosopo Tasio, and the old man supports his noble objectives but warns him
that he must win over the Spanish authorities to have a chanc e of success .
During the inauguration of the school after the authorities have approved of his plan, Ibarra would
have been killed in a sabotage had Elias—who had warned Ibarra earlier of a plot to assassinate him—not
saved his life where the hired killer met an unfortunate incident and died. The sequence of events proved
to be too traumatic for María Clara who becomes ill with a fever. Ibarra gives her a medicine which cures
her, but she remains weak for some time afterward.
After the inauguration, Ibarra hosts a dinner luncheon during which Padre Damaso, uninvited and gate-c
rashing the gathering, again insults him. Ibarra ignores the priest's insolence, but when the friar
slanders the memory of his dead father, he is no longer able to restrain hims elf and lunges at the friar,
holding a knife at his throat for his impudence. But Maria Clara stops him from doing any violence to
Padre Damaso.
As a consequence, Ibarra is excommunicated by the Archbishop of the Roman Catholic Church for
assaulting one of their own. Because of this disgrace, Padre Damaso is able to persuade Kapitan Tiago
to forbid his daughter Maria Clara from marrying Ibarra. The friar presents a new suitor, a creole named
Linares who has just arrived from Spain. Linares is introduced by his “peninsulares ” relatives, the foolish
Spanish quack doctor Don Tiburcio and his absurd pretentious wife, Do ña Victorina.
Elias tries to convince Ibarra at this point to lead a revolt, but Ibarra insis ts that reform, never revolt,
is the answer to the country‟s ills. Elias tries to move him with the story of how his family suffered at the
hands of a Spanish merchant and other wealthy and influential members of society, to no avail.
Ibarra meets with the Kapitan-Heneral and wins his support. The excommunication is thus lifted and
the Archbishop decides to accept Ibarra as a member of the Church once again. But, as fate would have
it, some incident of which Ibarra had known nothing about is blamed on him and is accused by Padre Salvi
of being a subversive.
Hearing of this, Elias goes to warn him and together they go over the Ibarra family papers so they can
discard anything that appears incriminating. While doing this, Elias discovers that Ibarra ‟s greatgrandfather was the very Spanish merchant who set off the chain of his family ‟s misfortunes. His feelings
in turmoil, Elias leaves Ibarra. Soon afterward, Ibarra is arrested and imprisoned.
At first there appears to be no actual evidence against him, thanks to Elias who had a change of heart and
returned to burn Ibarra‟s family papers. The accusation against him is overruled because nobody during the litigation
could testify that he was indeed involved. Then suddenly, Ibarra's letter to Maria Clara is produc ed and his words are
manipulated so that the love letter then becomes evidenc e against him .
Meanwhile, in Kapitan Tiago's residence, a party is being held to announce the upcoming wedding of
María Clara and Linares. Ibarra, with the help of Elias, takes this opportunity and escapes from prison. He
goes to see Maria Clara one last time before leaving the country. He wishes to say goodbye to her
although he believes that she betrayed him by giving the letter he wrote her to the jury. Maria Clara
explains to Ibarra that she only handed over the letter he wrote her in exchange for a couple of scandalous
letters written by her mother, Doña Pia Alba, before her birth. These letters, alluding to an unborn child,
were found by Padre Salvi in the house passed onto him by Padre Damaso. They revealed that her
mother was raped by Padre Damaso and that she is therefore not the daughter of Kapitan Tiago, but of
Padre Damaso!
Afterwards, Ibarra and Elias continue their flight by boat. Elias tells Ibarra to lie down, then covers
him with grass. As luck would have it, some guardia civil spot them as Elias tries to outsmart them by
serving as a decoy and jumping into the water. The soldiers shoot at him, unaware that Ibarra is still in
the boat, waiting for a chance to make his getaway.
Maria Clara hears that Ibarra was killed in the water and is so overc ome with grief that she begs Padre
Damaso to confine her in a nunnery or she will take her own life, saying:
“The nunnery or death!” Padre
Damaso explains reluctantly that he only wanted Maria Clara to have a life of freedom and happiness,
which she could never achieve in marriage to a Filipino native. But she holds firm, refusing to marry
Linares or anyone else, and he bows to her wishes.
In his last moments as he bleeds to death, Elias meets the runaway sacristan Basilio, who had just
come back to the town to find his mother. Sadly, Sisa died soon after she recognized her son. Elias asks
Basilio to burn his body upon his death. He then dies lamenting not having seen the liberation of his
country.
El Filibusterismo (summary)
El Filibusterismo (commonly referred to as “Fili”, from the Spanish word for “filibuster” or a subversive who
foments or supports a revolution) is also known by its English alternate title “The Reign of Greed”. Fili is the second
novel written by Rizal and the sequel to the Noli. Like his first book, it was written in Spanish and was first published in
Belgium in 1891. Fili is dedicated to the memory of the “Gomburza”—the Filipino priests Gomez, Burgos, and
Zamora—who were accused of being seditious and ex ecuted by beheading.
In his dedication, Riz al audaciously expresses his conviction that their treatment at the hands of
the Spanish authorities was unjust and barbaric.
Characters:
Below are the major characters in the novel:
Simoun—Crisostomo Ibarra reincarnated as a wealthy jeweler, bent on starting a revolution.
Basilio—Sisa‟s
son,
now an aspiring doctor.
Isagani—poet and Basilio‟s best friend; portrayed as emotional and reactive; Paulita
Gomez‟s boyfriend before being dumped for fellow student Juanito Pelaez.
Kabesang Tales—full name: Teles foro Juan de Dios, a former cabeza de barangay (barangay head/
captain) who resurfaced as the feared Luz on bandit Matanglawin (Tagalog for “Hawkeye”); his
father, Old Man/Tandang Selo, dies eventually after his own son Tano, who became a guardia civil,
unknowingly shoots his grandfather in an encounter.
Don Custodio—also known as Custodio de Salazar y Sanchez de Monteredondo; a famous journalist
who was asked by students about his decision for the Academia de Castellano. In reality, he is quite
an ordinary fellow who married a rich woman in order to be a member of Manila‟s high society.
Paulita Gómez—the girlfriend of Is agani and the niece of Doña Victorina. In the end, she and
Juanito Pelaez are wed after dumping Isagani, believing that she will have no future if she marries
him.
Padre/Father Florentino—Isagani's godfather and a secular priest; was engaged to be married,
but chose priesthood instead. The story hints at the ambivalence of his decision as he chooses an
assignment to a remote place, living in solitude near the sea.
Macaraig—the rich student who offered his own house as the dormitory of the students studying
in Ateneo Municipal de Manila. He led the students with Isagani to set up a Spanish school, but
their movement was defeated.
Juli—also Juliana,
daughter of Kabesang Tales and Basilio‟s
sweetheart.
Captain of the ship Tabo—a soft-spoken yet sarcastic fellow.
Padre/Father Camorra—the friar-gunner.
Padre/Father Irene—the friar with a “ruddy,
well-s haved
face”.
Kapitan-Heneral —from Noli.
Maria Clara—from Noli.
Don Tiburcio—from Noli.
Doña Victorina—from Noli.
Padre Salvi —from Noli.
Padre Sibyla—from Noli.
Tandang Selo, Tano, Quiroga, Juanito Pelaez—other characters
Plot:
After 13 years of being away from the Philippines, Crisostomo Ibarra returns under the guise of
Simoun, a rich jeweler sporting a beard and blue -tinted glasses. His wealth and connections as a
confidant of the Kapitan-Heneral make him influential and sought-after in Manila‟s high society.
Abandoning his idealism, Ibarra bec omes a cynical saboteur, the titular filibustero, seeking revenge
by overthrowing the corrupt colonial system responsible for his misfortunes. As Simoun, he uses his clout
to encourage Spanish officials to become more corrupt and mismanage the country‟s affairs so that
the Filipino masses will revolt against the government.
He cynically sides with the upper classes, encouraging them to commit further abuses against the
people, thus instigating a revolution. Simoun also plans to rescue his beloved Maria Clara from the
convent.
Only Basilio—now a graduating student of medicine at the Ateneo Municipal de Manila —recognizes
Simoun‟s true identity. Their paths crossed when the now grown-up Basilio visited the grave of his mother as
Simoun was digging near her grave for his buried treasures. Simoun spares Basilio‟s life and tries to
convince him to join his planned uprising. He owes Simoun a debt of gratitude for helping him bury his
mother in the forest more than a decade ago. Knowing what Basilio‟s family suffered at the hands of
the Spanish authorities, Simoun eggs him on by bringing up the tragic misfortunes of his younger
brother Crispin and his mother Sisa. However, Basilio declines the offer as he still hopes that the
country‟s condition will improve.
A decade ago, Basilio heeded the advice of the dying boatman Elias and traveled to Manila to study.
He was then adopted by Kapitan Tiago after María Clara entered the convent. And with Kapitan Tiago‟s
help, Basilio was able to go to Colegio de San Juan de Letr an where, at first, he was frowned upon by
his Spanish peers and teac hers—not only because of the color of his skin, but also because of his
shabby appearance, which he experienced the same at the Ateneo.
Meanwhile, Kapitan Tiago‟s confessor, Padre Irene, is making his health worse by giving him
opium even as Basilio tries hard to prevent him from smoking it.
Basilio and other students want to establish a Spanish-language academy so that they can learn to
speak and write Spanish despite the opposition from the friars of the Universidad de Santo Tom as. With
the help of a reluctant Padre Irene as their mediator and Don Custodio‟s decision, the academy is
established. However, it is decided that they will only serve as caretakers of the school and not as its
teachers. Dejected and defeated, the students hold a mock celebration at a pancitería while a spy for the
Spanish friars witnesses the proceedings.
Simoun, for his part, keeps in close contact with the bandit group of Kabesang Tales, a former
barangay captain who suffered mis fortunes at the hands of the k uras. Once a farmer owning a
prosperous sugarcane plantation, he was forced to surrender everything to the greedy and unscrupulous
Spa nish friars. His son, Tano, who became a guardia civil, was captured by bandits; his daughter, Juli,
had to work as a maid to get enough ransom money for his freedom; and his father, Tandang Selo,
suffered a stroke and became mute.
Before joining the bandits, Kabesang Tales took Simoun‟s revolver while the latter was staying at
the former‟s house for the night. In exchange and to serve as payment, Kabesang Tales leaves a locket
that once belonged to Maria Clara.
To further strengthen the revolution, Simoun has Quiroga—a Chinese man hoping to be appointed
as consul to the Philippines—smuggle weapons into the country using the businessman‟s bazaar as a
front.
Simoun wishes to attack during a stage play with all of his enemies in attendance. As fate would
have it, his first attempt at revolution fails when Simoun learns from Basilio of Maria Clara's death at the
convent. He breaks down and his plan was aborted.
A few days after the mock celebration by the students, the people are agitated when disturbing
posters are found dis played around the city. The authorities accuse the students present at the pancitería
of agitation and disturbing the peace, and have them arrested. Basilio, although not present at the mock
celebration, is also arrested.
Kapitan Tiago dies after learning of the incident and as stated in his will—forged by Padre Irene, all
his possessions will be given to the Churc h, leaving nothing for Basilio. Basilio is left in prison as the
other students are released. A high official tries to intervene fo r the release of Basilio but the KapitanHeneral, bearing grudges against the high official, coerces the official to tender his resignation.
With Basilio incarcerated and upon the advice of an old woman, his girlfriend Juli—which is also the
daughter of Kabesang Tales—tries to seek help from the influential Padre Camorra for his release. Instead
of helping Juli, Padre Camorra tries to rape her as he has long-hidden desires for her. Juli, rather than
submit to the will of the lustful Spanish friar, jumps over the balcony to her death.
Bitter and vengeful, Basilio is soon released from prison through Simoun‟s clout. Basilio, now a
changed man and after hearing about her beloved Juli‟s suicide, finally offers his full support to
Simoun's second attempt at sparking a revolution.
Simoun tells Basilio his plan at the wedding of Paulita G omez and Juanito Pelaez—Basilio‟s
hunchbacked classmate. His plan was to conceal an explosive inside a pomegranate-styled lamp that he
will give to the newlyweds as a gift during the wedding reception. The reception will take place at the
former home of Kapitan Tiago, which is now filled with explosives planted by Simoun. According to
Simoun, the lamp will stay lighted for only 20 minutes before it flickers; if someone attempts to turn the
wick, it will explode and kill everyone inside the house—all his enemies, important members of high society
and the Church hierarchy.
There are many illustrious guests at the mansion during the wedding day, including the Kapitan Heneral. Seeing all the people, most of them innocent guests who are about to be harmed, Basilio has
a change of heart as Simoun leaves the reception early as planned, leaving behind a note that says:
“Mene Thecel Phares.—Juan Crisostomo Ibarra” (“You are weighed in the balance and found
wanting,” the handwriting found on the wall during a feast foretelling the destruction of Babylon)
Initially thinking that it was simply a bad joke by those left behind, Padre Salví recognizes the handwriting and
confirms that it was indeed Ibarra‟s. As Basilio starts to run away, following Simoun‟s escape, he sees his
best friend Isagani standing disconsolately near the house. Basilio is compelled to tell
Isagani of Simoun‟s
plot.
Isagani had been working toward reform and with his idealism, intelligence, and eloquence had
become something of a leader among the students. Until recently he had been the beautiful Paulita's
sweetheart. She had been charmed by his poetic nature but Paulita was bored by his patriotic ideals. The
arrest of the students convinced her that it would be more practical to marry Juanito, a rich
businessman's son who did not involve himself in such dangerous political matters.
As people inside the mansion begin to panic, the lamp flickers. Padre Irene tries to turn the wick up
when Isagani, due to his undying love for Paulita, bursts in the room, grabs the lamp, and throws the
bomb into the river, averting Simoun‟s plans.
Isagani escapes by diving into the river as guardia civils chase after him. He later regrets his impulsive
action because he had contradicted his own belief that he loved his nation more than Paulita, and that the
explosion and the revolution that could have followed it will have fulfilled his ideals for the Filipino people.
Now unmasked as the perpetrator of the attempted arson and failed revolution, Simoun bec ame
a fugitive. Wounded and exhausted, he seeks shelter at the home of a kind Filipino priest, Padre
Florentino—Isagani‟s
uncle—and came under the care of Don Tiburcio who was also hiding at the house.
Having abandoned all hope and knowing that it is only a matter of time before he is arrested,
Simoun takes a fatal pois on in order not to be captured alive by the Spanish authorities. Before he dies,
Padre Florentino hears his last confession as Simoun reveals his real identity being Crisostomo Ibarra.
Padre Florentino expresses his conviction that Simoun's plans failed because he chose to do them by unjust
means. He opines that God would not have fors aken him had Simoun‟s plans been for the greater good instead
of for pers onal gain. However, he assures Simoun that there is still hope for the liberation of the country. Upon
Simoun's death, the priest takes his remaining jewels and throws them all into the sea, praying that the wealth that
was once used for b ribery and corruption would one day be found by one who would use it for a just purpose —that
when the time came that it would be us ed for the greater good, when the Filipino people would be finally deserving
liberty for themselves, the sea would reveal the treasures.
Fili’s plot is similar to that of Alexandre Dumas‟s French classic The Count of Monte Cristo, for both
novels revolve around a man's determination to avenge himself and reclaim his beloved fiancee; with the
protagonist disguising his identity and coming up with an intricate plot of revenge and retribution.
This poem was written by Rizal on the eve of his execution on December 30, 1896:
Mi Último Adiós / My Last Farewell (original Spanish excerpt)
¡Adiós, Patria adorada, región del sol querid a,
Perla del mar de oriente, nuestro perdido
Edén! A darte voy alegre la triste mustia vida,
Y fuera más brillante, más fresca, más florida,
También por ti la diera, la diera por tu bien.
En campos de batalla, luchando con delirio,
Otros te dan sus vidas sin dudas, sin pesar; El
sitio nada importa, ciprés, laurel o lirio,
Cadalso o campo abierto, combate o cruel martirio, Lo
mismo es si lo piden la patria y el hogar.
Farewell, beloved Country, treasured region of
the sun,
Pearl of the sea of the Orient, our lost Eden!
To you eagerly I surrender this sad and gloomy
life; And were it brighter, fresher, more florid,
Even then I’d give it to you, for your sak e alone.
In fields of battle, deliriously fighting,
Others give you their lives, without doubt,
without regret;
The plac e matters not: where there’s cypress,
laurel or lily,
On a plank or open field, in combat or
cruel martyrdom,
It’s all the same if the home or country ask s.
Yo muero cuando veo que el cielo se colora Y al
fin anuncia el día tras lóbrego capuz; si grana
necesitas para teñir tu aurora,
Vierte la sangre mía, derrámala en buen
hora Y dórela un reflejo de su naciente luz.
Mis sueños cuando apenas muchacho adolescente, Mis
sueños cuando joven ya lleno de vigor,
Fueron el verte un día, joya del mar de oriente,
Secos los negros ojos, alta la tersa frente,
Sin ceño, sin arrugas, sin manchas de rubor
I die when I see the sk y has unfurled its colors
And at last after a cloak of dark ness announces
the day;
If you need scarlet to tint your dawn,
Shed my blood, pour it as the moment comes,
And may it be gilded by a reflection of the
heaven’s newly-born light.
My dreams, when scarcely an adolescent,
My dreams, when a young man already full of life,
Were to see you one day, jewel of the sea of the
Orient,
Dry those eyes of black, that forehead high, Without
frown, without wrink les, without stains of
shame.
Ensueño de mi vida, mi ardiente vivo anhelo,
¡Salud te grita el alma que pronto va a partir!
¡Salud! Ah, que es hermoso caer por darte
vuelo, Morir por darte vida, morir bajo tu cielo,
Y en tu encantada tierra la eternidad dormir.
My lifelong dream, my deep burning desire, This
soul that will soon depart cries out: Salud!
Si sobre mi sepulcro vieres brotar un día Entre
la espesa yerba sencilla, humilde flor, Acércala
a tus labios y besa al alma mía,
Y sienta yo en mi frente bajo la tumba fría, De
tu ternura el soplo, de tu hálito el calor.
If upon my grave one day you see appear, Amidst the
dense grass, a simple humble flower, Place it near
your lips and my soul you’ll k iss,
And on my brow may I feel, under the cold tomb, The
gentle blow of your tenderness, the warmth of
To your health! Oh how beautiful to fall to give you
flight,
To die to give you life, to die under your sk y,
And in your enchanted land eternally sleep.
your breath.
Deja a la luna verme con luz tranquila y suave,
Deja que el alba envíe su resplandor fugaz, Deja
gemir al viento con su murmullo grave,
Y si desciende y posa sobre mi cruz un ave,
Deja que el ave entone su cántico de paz.
Let the moon see me in a soft and tranquil light,
Let the dawn send its fleeting radiance,
Let the wind moan with its low murmur,
And should a bird descend and rest on my cross,
Let it sing its canticle of peace.
Deja que el sol, ardiendo, las lluvias evapore Y al
cielo tornen puras, con mi clamor en pos; Deja
que un ser amigo mi fin temprano llore
Y en las serenas tardes cuando por mí alguien ore, ¡Ora
también, oh Patria, por mi descanso a Dios!
Let the burning sun evaporate the rains,
And with my clamor behind, towards the sk y
may they turn pure;
Let a friend mourn my early demise,
And in the serene afternoons, when someone
prays for me,
O Country, pray to God also for my rest!
Ora por todos cuantos murieron sin ventura, Por
cuantos padecieron tormentos sin igual, Por
nuestras pobres madres que gimen su
Pray for all the unfortunate ones who died,
For all who suffered torments unequaled,
For our poor mothers who in their grief and
bitterness cry,
amargura;
Por huérfanos y viudas, por presos en tortura Y
ora por ti que veas tu redención final.
For orphans and widows, for prisoners in torture, And
for yourself pray that your final redemption
you’ll see.
Y cuando en noc he oscura se envuelva
el cementerio
And when the cemetery is enveloped in dark night, And
there, alone, only those who have gone remain
Y solos sólo muertos queden velando allí, No
turbes su reposo, no turbes el misterio, Tal vez
acordes oigas de cítara o salterio, Soy yo,
querida Patria, yo que te canto a ti.
in vigil,
Disturb not their rest, nor the mystery,
And should you hear chords from a zither or
psaltery,
It is I, beloved Country, singing to you.
Y cuando ya mi tumba de todos olvidada
No tenga cruz ni piedra que marquen su lugar,
Deja que la are el hombre, la es parza con la
azada, Y mis cenizas, antes que vuelvan a la nada,
El polvo de tu alfombra que vayan a formar.
And when my grave, then by all forgotten,
has not a cross nor stone to mark its place,
Let men plow and with a spade scatter it,
And before my ashes return to nothing,
May they be the dust that carpets your fields.
Entonces nada importa me pongas en olvido. Tu
atmósfera, tu espacio, tus valles cruzaré. Vibrante
y limpia nota seré para tu oído, Aroma, luz,
colores, rumor, canto, gemido, Constante
repitiendo la esencia de mi fe.
Then nothing matters, cast me in oblivion.
Mi patria idolatrada, dolor de mis dolores,
Querida Filipinas, oye el postrer adiós. Ahí te
dejo todo, mis padres, mis amores.
Voy donde no hay esclavos, verdugos ni opresores,
Donde la fe no mata, donde el que reina es Dios.
My idolized country, sorrow of my sorrows,
Beloved Filipinas, hear my last good-bye.
There I leave you all, my parents, my loves.
I’ll go where there are no slaves, hangmen
nor oppressors,
Your atmosphere, your space and valleys I’ll cross.
I will be a vibrant and clear note to your ears,
Aroma, light, colors, murmur, moan, and song,
Constantly repeating the essence of my faith.
Where faith doesn’t k ill, where the one who reigns is
God.
Adiós, padres y hermanos, trozos del alma
mía, Amigos de la infancia en el perdido hogar,
Dad gracias que descanso del fatigoso día;
Adiós, dulce extranjera, mi amiga, mi alegría,
Adiós, queridos seres, morir es descansar.
Goodbye, dear parents, brother and
sisters, fragments of my soul,
Childhood friends in the home now lost,
Give thank s that I rest from this wearisome
day; Goodbye, s weet foreigner, my friend, my
joy; Farewell, loved ones, to die is to rest.
References:
Del Castillo, T. & Medina, B. (1968). Philippine Literature from Ancient Times to the Present. Quezon City:
Del Castillo and Sons.
Eugenia, D. (1987). Awit and Corrido: Philippine Metrical Romances. Quezon City: University of
the Philippines Press.
The Premier Digital Library of the Philippines . http://www.filipiniana.net/, retrieved March 2009.