Literature under SpainThe 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)

And forgive usPadre nuestro Father ours Y perdónanosque estás en who art in nuestras deudas our debts,los cielos, the heavens, como también as alsosantificado sea blessed be nosotros we forgivetu nombre thy name perdonamos our debtors

a nuestros deudoresVenga tu reino Come thy k ingdom And do not put ushágase tu voluntad be done thy will Y no nos metas into temptations,como en el cielo as it is in heaven en tentaciones but free usasí también so also mas líbranos from evilen la tierra on the earth del mal

For thineEl pan nuestro The bread ours Porque tuyo is the k ingdomde cada día of each day es el reino and the powerdánoslo hoy give us it today y el poder and the glory

y la gloria for all the centuriespor todos los siglos Amen.Amén.

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.

El primero baptismo. El segu do confirmacion. El tercero Pe nitencia. El quarto, comunio. El quinto extrema uncion. El septimo, orden de matrimonio.

Pito ang mahal natanda ycauauala nang casalanan ang ngalan sacramentos.

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. Angycanim 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.

Oh mga Kristianong tanan na mapagbantog na aral mag-isp ka na‟t magnilay, loob nating salawahansa gawang di katuwiran.

Aral (excerpt, final part)

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 mamamataygayon din ang dilang bagay, ginto‟t pilak kayamananang lahat ay matutunaw.

Ano at di pa magbawa mga gawa mong lahat na? bakit di ka mabalisa,loob na napalamarasa gawang pagk akasala?

Ano at di pa malumbay tayo at di kilabutankung ang lalong mga banal nanginginig ang katawan kung ito‟y magunam -gunam?

Oh taong nak alilimot sa sala‟y nakakatulogpukawin ang iyong loob, at isipin mong tibobosang sa mundong pagkatapos.

At kung di ka gumanito sa aba mo ngang aba mo walang pagsalang totoo, sapilitang daratnin mo hirap sakit sa impierno.

Samantalang may oras pa ay maglaan kang maaga kung gumabi‟t dumilim na, ay lalong maghihirap ka gumawa‟y ngangapa-ngapa.

Ang puso mo‟t iyong loob iyong ialay sa Diyos magsisi ka na‟t matakot ng marating mong tibobosang bayan ng Santa‟t Santos.

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 objetoy mis desvelos y des venturas?

Cong pag saulang cong basahin sa isip ang nan gacaraang arao ng pag-ibig, may mahahaguilap cayang natititicliban 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.

Hoy que la orfandad entristece mi alma, lo que hago para divertir la penaes recordar tiempos idos,con tu imagen, y la entrevista felicidad.

Imagen trazada por pincel amante,grabada en el corazón y en el entendimiento, prenda única confiada a mi custodiay que no será robada ni en la sepultura.

Mi alma, de suyo, vagapor las revueltas y barrios hollados por sus plantas,y a los ríos, no profundos, de Beata e Hilom, mi corazón enamoradizo suele emigrar.

Mi fantas ía suele apoyarseen el pie de la manga, donde pasábamos,y con los colgantes frutos que deseabas coger dar alivio a mi corazón huérfano.

Mi ser todo se ibaen suspiros cuando tú enfermaste,las desesperaciones se me volvían cielo, Paraíso también la llovediza habitacioncilla.

Adoraba tu imagenen el Macati río donde se reflejaba;rastreaba también en el bullicioso embarcadero, sobre la piedra del piso, las impresiones de tus plantas.

Vuelven, y como si tuviese delante, aquí, los venturosos tiempos,cual madrugador bañista que se aprovecha del agua dulceantes 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!

Cierto que nada hay que no recuerde mi pensamiento de la huida alegríaque sólo de imaginarla corren mis lágrimas al tiempo que gimo “¡Oh, qué infortunio!”

¿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?

Lumipas ang arao na lubhang matamis at ualáng nátira condi ang pag -ibig, tapat na pagsuyong lalagui sa dibdibhanggang sa libingan bangcay co,i, maidlip.

Ngayong namamanglao sa pangongolila ang guinagaua cong pag-alio sa dus a nagdaang panaho,i, inaala -ala,sa iyong laraua,i, ninitang guinhaua.

Sa larauang guhit ng sa sintang pincel cusang ilinimbag sa puso,t, panimdim, nag-íisang sanláng naiuan sa aquinat di mananacao magpahangang libing.

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.

Di mámacailang mupo ang panimdin sa puno ng mangang náraanan natin, sa nagbiting bungang ibig mong pitas ín ang ulilang sinta,i, aquing ináaliu.

Ang catauhang co,i, cusang nagtatalicsa buntong-hininga nang icao,i, may saquit, himutoc co niyao,i, inaaring LangitParaiso namán ang may tulong silíd.

Liniligauan co ang iyong larauan sa Macating ilog, na quinalaguianbinabacás co rin sa masayáng doongan, yapac ng paá mo sa batóng tuntungan.

Nagbabalíc mandi,t, parang hinahanap dito ang panahóng masayáng lumipas na cong maliligo,i, sa tubig áagap, nang hindi abutin ng tabsing sa dagat.

Parang naririn gigang laguî mong uica tatlong arao na di nagtatanao tamaat sinasagot cong sabing may touâ sa isa catauo,i, marami ang handa.

Ano panga,t, ualang dî nasisiyasat, ang pagiisip co sa touang cumupas sa cagugunitâ, luha,i, lalagaslássabay ang taghoy cong “¡ó, nasauing palad!”

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.

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.

Celia, harto comprendo cuán tímidae ignorante mi musa, y cuán melancólico es su canto,sobre baladí, asperísimo;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.

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.

Alegres ninfas de la laguna Bay, sirenas de canción inefable,a vosotras hoy os invoca,con harto dolor, mi pobre musa.

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.

Tú, flor de mis ensueños,Celia, que llevas por divisa M.A.R., a la Virgen Madre orapor tu devoto servidor que es F.B.

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.

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,i, talastás co,t, malabis na umid, mangmáng ang Musa co,t, malumbay ang tinig di quinabahagyâ cong hindí malaitpalaring dinguin mo ng tainga,t, isíp.

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.

Cong casadlacán man ng pula,t, pag-ayop tubo co,i, daquila sa puhunang pagod, cong binabasa mo,i, isá mang himutócay alalahanin yaríng naghahandóg.

Masasayáng Ninfas sa laua nang Bay, Sirenas, ang tinig ay cauili-uilicayó ngayo,i, siyang pinipintacasing lubháng mapanglao na Musa cong imbi.

Ahon sa dalata,t, pangpang na nagliguid tunuhan nang lira yaring abáng auitna nagsasalitáng búhay ma,i, mapatid, tapát na pagsinta,i, hangad na lumauig.

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

The kingdom of Berbania is ruled by a king, says that the illness of Don Fernando, which isbrought about by a nightmare, may be cured onlyDon Fernando. His wife is Doña Valeriana and by the song of the Adarna bird. This bird can bethey have three sons (from eldest to youngest): found on Mt. Tabor, where it perches on theDon 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 nightDon 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 ofthe healers in the kingdom could cure him. His The old doctor warns that the Adarna bird iscondition worsens. actually an enchantress, and it must be brought

back to Berbania immediately to help heal theailing 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 DonJuan:

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.

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.

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 withPrincess 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

Juan finds the diamond ring of Princess Leonora, climbs out of the well, and walks back to Berbania.

It‟s a long way back to Berbania and the tiredDon 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.

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.

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.

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

his father, King Fernando, to have a group dispatched and fetch Princess Maria Blanc a.

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.

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 namakipagk 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 atingBayan; 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 adakilaGaya ng pag-ibig sa tinubuang lupa? Aling pag-ibig pa? Wala na nga, wala.

Pagpupuring lubos ang palaging hangad Sa bayan ng taong may dangal na ingat, Umawit, tumula, kumanta't sumulat, Kalakhan din niya'y isinisiwalat.

Walang mahalagang hindi inihandogNg may pusong mahal sa Bayang nagkupkop, dugo, yaman, dunong, katiisa't pagod,Buhay ma'y abuting magkalagut-lagot.

Bakit? Alin ito na sakdal ng laki,Na hinahandugan ng bus ong pagkasi, Na sa lalong mahal nakapangyayari, At ginugulan ng buhay na iwi?

Ay! Ito'y ang Inang Bayang tinubuan: Siya'y ina't tangi sa kinamulatanNg kawili -wiling liwanag ng araw Na nagbigay-init sa buong katawan.

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.

Sa aba ng abang mawalay sa bayan! Gunita ma'y laging sakbibi ng lumbay, Walang alaala't inaasam-asamKundi ang makita'y lupang tinubuan.

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.

Kung ang bayang ito'y masasa-panganib At siya ay dapat na ipagtangkilik,Ang anak, asawa, magulang, kapatid; Isang tawag niya'y tatalidang pilit.

Hayo na nga, hayo, kayong nangabuhay Sa pag-asang lubos ng kaginhawahan At walang tinamo kundi kapaitan,Hayo na't ibangon ang naabang bayan!

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.

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 byPhilippine 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 great-grandfather 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 PadreDamaso to confine her in a nunnery or she will take her own life, saying: “The nunnery or death!” PadreDamaso 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 —recognizesSimoun‟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 Kapitan-Heneral, 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 tellIsagani 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, PadreFlorentino—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

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.

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.

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.

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 lloreY en las serenas tardes cuando por mí alguien ore, ¡Ora también, oh Patria, por mi descanso a Dios!

Ora por todos cuantos murieron sin ventura, Por cuantos padecieron tormentos sin igual, Por nuestras pobres madres que gimen su

amargura;Por huérfanos y viudas, por presos en tortura Y ora por ti que veas tu redención final.

Y cuando en noc he oscura se envuelva el cementerio

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.

I die when I see the sk y has unfurled its colorsAnd 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.

My lifelong dream, my deep burning desire, This soul that will soon depart cries out: Salud!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.

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

your breath.

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.

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!

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,For orphans and widows, for prisoners in torture, And for yourself pray that your final redemption

you’ll see.

And when the cemetery is enveloped in dark night, And there, alone, only those who have gone remain

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 olvidadaNo 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.

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.

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.

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.

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.

Then nothing matters, cast me in oblivion.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.

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,Where faith doesn’t k ill, where the one who reigns is

God.

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.