😸

A la juventud
filipina
Dela Cruz, Chelsea Joy C.
 HISTORICAL BACKGROUND

✣ This was a winning poem in 1879. Rizal submitted it as his

entry to the literary contest held by the ‘Liceo Artistico-
Literario’ (Artistic-Literary Lyceum) of Manila—a society of
literary men and artists. Written by Rizal at the age of
eighteen, this artwork which was said to be of flawless form
aimed to implore the Filipinos to rise from indolence. It is
deemed a classical piece of Philippine literature for reasons
that (1) Spanish literary authorities recognized it as an
impressive poem written in Spanish by a Filipino and (2) it was
the foremost literary piece to display the nationalistic belief
that Filipinos were the “fair hope of the Fatherland.”
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 SYNOPSIS

✣ The first line, "unfold, oh timid flower," implies that the youth is
silent, maybe daunted, and consequently has not yet gone into full
bloom for whatever reason there is that may have silenced them. In
the beginning stanza, Rizal encourages the youth, by telling them to
hold their heads high for they possess talents and skills and abilities
that would make their country proud.
✣ The second verse can be rearranged in contemporary English to say:
"Oh genius great, soar high; and fill their mind with noble thoughts.
May their virgin mind fly and find the honor's glorious seat more
rapidly than the wind." Here, Rizal calls to genius to fill young minds
with noble thoughts and hopes that as they release their thinking
from the chains that bind, they may be able

3
 SYNOPSIS
✣ Contrary to the second verse, which talked about ascending and
soaring to the heights, this third stanza now talks about descent, and
a downward motion of the great genius to fill the earthly strokes of
art and science with their magnificent ideas. Again, Rizal calls them
to break the chains that bind their intellect. "Poetic genius" here does
not necessarily pertain to the talent of writing poetry. Instead, the
term "poetic" is simply an adjective to describe genius, meaning that
it is deep and mystifying and heavy with meaning
✣ Rizal challenges the youth, that in their pursuit of knowledge and
wisdom they may humble the hand of Spain, whose proud chin did
not look kindly upon the people whom they labelled as “Indios" and
whom they treated with contempt. He dreams that in their journey
to intellectual greatness they may humble even the proudest nations
that look down on them and rightfully deserve "a crown that shines,
even where shadows stand
4
 SYNOPSIS
✣ Speaking to the youth, Rizal says that by the very impulse of their
mind, they are capable of bringing to life or animating even
something as lifeless and unmoving as a hard rock. He continues to
say that the youth is able, to immortalize their thoughts and their
words through the help of great genius (as he has done himself. This
stanza can be arranged in a more contemporary English structure as
follows: "You can animate the hard rock at the impulse of your mind;
and transform, with the great power of your mind, the pure memory
of great genius into immortality.
✣ The last stanza is a charge, urging the youth to run, for a glorious
crown awaits them. The "sphere" here pertains to the world, showing
that Rizal believed the Filipino youth is as brilliant as those in any
other nation, and is able to contend with even the strongest powers if
they only set their mind to making most of what they already have
5
 😸
content
Tagalog and Spanish version
 Tagalog version
SA KABATAANG PILIPINO
Itaas ang iyong noong aliwalas Masdan ang putong na lubhang makinang
ngayon, Kabataan ng aking pangarap! sa gitna ng dilim ay matitigan
ang aking talino na tanging liwanag maalam na kamay, may dakilang alay
ay pagitawin mo, Pag-asa ng Bukas! sa nagdurusa mong bayang minamahal.

Ikaw ay lumitaw, O Katalinuhan Ikaw na may bagwis ng pakpak na nais

magitang na diwang puno sa isipan kagyat na lumipad sa tuktok ng langit
mga puso nami’y sa iyo’y naghihintay paghanapin mo ang malambing na tinig
at dalhin mo roon sa kaitaasan. doon sa Olimpo’y pawang nagsisikap.

Bumaba kang taglay ang kagiliw-giliw Ikaw na ang himig ay lalong mairog
na mga silahis ng agham at sining Tulad ni Pilomel na sa luha’y gamot
mga Kabataan, hayo na’t lagutin at mabisang lunas sa dusa’t himuntok
ang gapos ng iyong diwa at damdamin. ng puso at diwang sakbibi ng lungkot

7
 Tagalog version

Ikaw, na ang diwa’y makapangyarihan Humayo ka ngayon, papagningasin mo

matigas na bato’y mabibigyang-buhay ang alab ng iyong isip at talino
mapagbabago mo alaalang taglay maganda mong ngala’y ikalat sa mundo
sa iyo’y nagiging walang kamatayan. at ipagsigawan ang dangal ng tao.

Ikaw, na may diwang inibig ni Apeles Araw na dakila ng ligaya’t galak

sa wika inamo ni Pebong kay rikit magsaya ka ngayon, mutyang Pilipinas
sa isang kaputol na lonang maliit purihin ang bayang sa iyo’y lumingap
ginuhit ang ganda at kulay ng langit. at siyang nag-akay sa mabuting palad.

8
 SPANISH VERSION
Alza su tersa frente,
Juventud Filipina, en este día!
Luce resplandeciente
Tu rica gallardía,
Bella esperanza de la Patria Mia!
Vuela, genio grandioso,
Y les infunde noble pensamiento,
Que lance vigoroso,
Mas rápido que el viento,
Su mente virgen al glorioso asiento.
Baja con la luz grata
De las artes y ciencias a la arena,
Juventud, y desata
La pesada cadena
Que tu genio poético encadena.
. 9
Ve que en la ardiente zona
Do moraron las sombras, el hispano
Esplendente corona,
Con pia sabia mano,
Ofrece al hijo de este suelo indiano.
Tu, que buscando subes,
En alas de tu rica fantasía,
Del Olimpo en las nubes
Tiernisima poesía
Más sabrosa que néctar y ambrosía.
Tu, de celeste acento,
Melodioso rival Filomena,
Que en variado concento
En la noche serena
Disipas del mortal la amarga pena.
 SPANISH VERSION

Tu que la pena dura Corred! que sacra llama

Animas al impulso de tu mente, Del genio el lauro coronar espera,
Y la memoria pura Esparciendo la fama
Del genio refulgente Con trompa pregonera
Eternizas con genio prepotente. El nombre del mortal por la ancha espera.

Y tu, que el vario encanto Dia, dia felice,

De Febo, amado del divino Apeles, Filipinas gentil, para tu suelo!
Y de natura el manto Al Potente bendice
Con mágicos pinceles Que con amante anhelo
Trasladar al sencillo lienzo sueles. La ventura te envia y el consuelo.

10
 😸
AnALYSIS
 ANALYSIS

“Filipino youth, the fair hope of the fatherland”, that was the
concept of the award-winning literary poem written on 1879 by Dr.
Jose Rizal entitled “To the Filipino Youth”. The piece made a great
impact to the Spaniards as it shows the real nationalism in the
Philippine country awakening the youth to rise from fear and face the
country’s present struggles..

12
 ANALYSIS

Dr. Jose Rizal is awakening every Filipino youth to join, unite, and move
together for the so-called “CHANGE” in the country. He encourages every
one of us to continue his works for he believes that the youth today and the
future generations will serve as a light to the countrymen. Our hero also
emphasizes that “the country is waiting for us to make a change” and the
youth will start it for they are gifted with the necessary knowledge, strength
and voice in the country. We must unfold our true feeling and express
directly to all men. We have the knowledge in Science and Arts, use it in
good manner to achieve our goals in the country.

13
 ANALYSIS

There is a ton of emotion on the third stanza because of the word “chains.”
It The country was covered by darkness and feels great sufferings to
different peoples holding it. There are some people who fought for the
“change” but what happened? They lose and lose. The youth of the country
have the gigantic courage to fought for their feelings, fought for it for we
are the bridge of all men.We have the powers to awaken and open the heart
of every Filipino, we are the heart and reality opener and educator. Some
people might consider us, as a very little people, a very low class citizen
that can be easily rejected. They don’t know that we are playing a very
important role in the society. We, the youth, must move now and use our
overall knowledge and abilities we have to prove that we are important in
the country’s situation today.

14
 ANALYSIS

Today is the day of the youth to move and change the country.
The youth which will be highly recognized in the country for they
use their abilities and knowledge in Science and Arts for directing
the lives of every Filipino man regardless of the race, status, and
personality. This is the day of the Philippine change, change that
will make the country lift up to the peak of success.

15
 😸
Mi Ultimo Adios
 HISTORICAL BACKGROUND

✣ Mi Ultimo Adios, written before Rizal died,

which was in December 30, 1896. Mi Ultimo
Adios was not entitled by Rizal but by Mariano
Ponce and his fellow reformist entitled “Mi
Ultimo Pensiamento” which means “my last
thought”

17
• Dr. Jose Rizal was visited by his mother, Teodora Alonzo, and his
sisters Lucia, Josefa, Maria, Trinidad and Narcissa, and two
nephews. When they took their leave, an alcohol stove was given
to Narcissa by the guard, Rizal told Trinidad that there was
something in the small alcohol stove.
• September 26, 1898, the poem was published in the first issue of
the La Independencia entitled “Ultimo Adios”. Father Mariano
Dacanay is the one who did that even though he is in jail as a
prisoner.

18
 SYNOPSIS

✣ Written just before his execution by the Spanish colonial

authorities in 1896, Mi ultimo adios (My Last Farewell) was
Jose Rizal's final testament of his love for a country he felt
was being trodden underfoot by intruders from abroad.
Smuggled out of prison by his family, the poem was first
published in Hong Kong the following year before being
translated into dozens of languages and becoming a stirring
manifesto for self-emancipation movements across the
world.

19
 😸
content
Tagalog and Spanish version
 Tagalog version
Pinipintuho kong Bayan ay paalam,
Lupang iniirog ng sikat ng araw,
mutyang mahalaga sa dagat Silangan,
kaluwalhatiang sa ami'y pumanaw.
Masayang sa iyo'y aking idudulot
ang lanta kong buhay na lubhang malungkot;
maging maringal man at labis alindog
sa kagalingan mo ay aking ding handog.
Sa pakikidigma at pamimiyapis
ang alay ng iba'y ang buhay na kipkip,
walang agam-agam, maluag sa dibdib,
matamis sa puso at di ikahapis.
.
21
Saan man mautas ay dikailangan,
cipres o laurel, lirio ma'y patungan
pakikipaghamok, at ang bibitayan,
yaon ay gayon din kung hiling ng Bayan.
Ako'y mamamatay, ngayong namamalas
na sa silinganan ay namamanaag
yaong maligayang araw na sisikat
sa likod ng luksang nagtabing na ulap.
Ang kulay na pula kung kinakailangan
na maitina sa iyong liway-way,
dugo ko'y isabong at siyang ikinang
ng kislap ng iyong maningning na ilaw
 Tagalog version
Ang aking adhika sapul magkaisip
ng kasalukuyang bata pang maliit,
ay ang tanghaling ka at minsan masilip
sa dagat Silangan hiyas na marikit.
Natuyo ang luhang sa mata'y nunukal,
taas na ang noo't walang kapootan,
walang bakas kunot ng kapighatian
gabahid man dungis niyong kahihiyan.
Sa kabuhayang ko ang laging gunita
maningas na aking ninanasa-nasa
ay guminhawa ka ang hiyas ng diwa
hingang papanaw ngayong biglang-bigla.
pag hingang papanaw ngayong biglang-bigla.
.
.
22
Ikaw'y guminhawa laking kagandahang
akoy malugmok, at ikaw ay matanghal,
hiniga'y malagot, mabuhay ka lamang
bangkay ko'y masilong sa iyong Kalangitan.
Kung sa libingan ko'y tumubong mamalas
sa malagong damo mahinhing bulaklak,
sa mga labi mo'y mangyayaring itapat,
sa kaluluwa ko hatik ay igawad.
At sa aking noo nawa'y iparamdam,
sa lamig ng lupa ng aking libingan,
ang init ng iyong paghingang dalisay
at simoy ng iyong paggiliw na tunay.
 Tagalog version
Bayaang ang buwan sa aki'y ititig Bayaang sino man sa katotang giliw
ang iwanag niyang lamlam at tahimik, tangisang maagang sa buhay pagkitil;
liwayway bayaang sa aki'y ihatid kung tungkol sa akin ay may manalangin
magalaw na sinag at hanging hagibis. idalangin, Bayan, yaring pagka himbing.

Kung sakasakaling bumabang humantong Idalanging lahat yaong nangamatay,

sa krus ko'y dumapo kahit isang ibon mangagatiis hirap na walang kapantay;
doon ay bayaan humuning hinahon mga ina naming walang kapalaran
at dalitin niya payapang panahon. na inihihibik ay kapighatian.

Bayaan ang ningas ng sikat ng araw Ang mga bao't pinapangulila,

ula'y pasingawin noong kainitan, ang mga bilanggong nagsisipagdusa;
magbalik sa langit ng boong dalisay dalanginin namang kanilang makita
kalakip ng aking pagdaing na hiyaw. ang kalayaan mong, ikagiginhawa.

23
 Tagalog version
At kung an madilim na gabing mapanglaw
ay lumaganap na doon sa libinga't
tanging mga patay ang nangaglalamay,
huwag bagabagin ang katahimikan.
Ang kanyang hiwagay huwag gambalain;
kaipala'y maringig doon ang taginting,
tunog ng gitara't salterio'y mag saliw,
ako, Bayan yao't kita'y aawitin.
Kung ang libingan ko'y limat na ng lahat
at wala ng kurus at batang mabakas,
bayaang linangin ng taong masipag,
lupa'y asarolin at kauyang ikalat.
.
24
At mga buto ko ay bago matunaw
maowi sa wala at kusang maparam,
alabok ng iyong latag ay bayaang
siya ang babalang doo'y makipisan.
Kung magka gayon na'y aalintanahin
na ako sa limot iyong ihabilin
pagka't himpapawid at ang panganorin
mga lansangan mo'y aking lilibutin.
Matining na tunog ako sa dingig mo,
ilaw, mga kulay, masamyong pabango,
ang ugong at awit, pag hibik sa iyo,
pag asang dalisay ng pananalig ko.
 Tagalog version

Bayang iniirog, sakit niyaring hirap, Paalam, magulang at mga kapatid

Katagalugang ko pinakaliliyag, kapilas ng aking kaluluwa't dibdib
dinggin mo ang aking pagpapahimakas; mga kaibigan bata pang maliit
diya'y iiwan ko sa iyo ang lahat. sa aking tahanan di na masisilip

Ako'y patutungo sa walang busabos, Pag pasasalamat at napahinga rin,

walang umiinis at berdugong hayop; paalam estranherang kasuyo ko't aliw,
pananalig doo'y di nakasasalot, paalam sa inyo, mga ginigiliw;
si Bathala lamang dooy haring lubos. mamatay ay siyang pagkakagupiling!

.
.
25
 Spanish version
Adios, Patria adorada, region del sol querida,
Perla del Mar de Oriente, nuestro perdido Eden!
A darte voy alegre la triste mustia vida,
Y fuera más brillante más fresca, más florida,
Tambien por tí 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 ó lirio,
Cadalso ó campo abierto, combate ó cruel martirio,
Lo mismo es si lo piden la patria y el hogar.
Yo muero cuando veo que el cielo se colora
Y al fin anuncia el día trás 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.
. 26
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 á 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 dia
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.
 spanish version
Deja á 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 cantico de paz.
Deja que el sol ardiendo las lluvias evapore
Y al cielo tornen puras con mi clamor en pos,
Deja que un sér amigo mi fin temprano llore
Y en las serenas tardes cuando por mi alguien ore
Ora tambien, Oh Patria, por mi descanso á 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 tí que veas tu redencion final.
. 27
Y cuando en noche 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 citara ó salterio,
Soy yo, querida Patria, yo que te canto á ti.
Y cuando ya mi tumba de todos olvidada
No tenga cruz ni piedra que marquen su lugar,
Deja que la are el hombre, la esparza con la azada,
Y mis cenizas antes que vuelvan á la nada,
El polvo de tu alfombra que vayan á formar.
Entonces nada importa me pongas en olvido,
Tu atmósfera, tu espacio, tus valles cruzaré,
Vibrante y limpia nota seré para tu oido,
Aroma, luz, colores, rumor, canto, gemido
Constante repitiendo la esencia de mi fé.
 spanish version

.
Mi Patria idolatrada, dolor de mis dolores,
Querida Filipinas, oye el postrer adios.
Ahi te dejo todo, mis padres, mis amores.
Voy donde no hay esclavos, verdugos ni opresores,
Donde la fé no mata, donde el que reyna es Dios.

Adios, padres y hermanos, trozos del alma mía,

Amigos de la infancia en el perdido hogar,
Dad gracias que descanso del fatigoso día;
Adios, dulce extrangera, mi amiga, mi alegria,
Adios, queridos séres morir es descansar.

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 😸
AnALYSIS
 ANALYSIS

Rizal’s wisdom and perspective upon writing his last poem

“Mi Ultimo Adios” reflects in many edges in present. His love for the
country and many advocates to fight for the country, to have
freedom of expression and criticism are still established nowadays.
Like as Rizal and many national heroes are fighting for our country,
we give significance to what they did. Knowing the past and be
updated to what is the issue now, is what Rizal wants to be in
ourselves as he did when he is living. His point of view can relate in
present by just opening our eyes, see what is going on, be aware to
happenings, that we should speak what’s in our mind and stood by
our own feet.
30
end
31
KUNDIMAN
by Jose Rizal

JOPIA, PAMELA EUNISE A.

 HISTORICAL BACKGROUND
• Jose Rizal wrote ‘Kundiman’ in Tagalog on September 12th, 1891.
• At the time, the country faced great threats while he was in Europe.
And, through this work, he voices his hopeful thoughts despite being
far away from the country.
SYNOPSIS
A kundiman is a traditional
Filipino love song sang by a
young man to serenade the
woman of his love. The theme
of Rizal’s “Kundiman” was his
intense love for his
Motherland. His words
reflected his optimism that the
Philippines would be freed
from injustice and bondage.
 KUNDIMAN
Tunay ngayong umid yaring diwa at puso
Ang bayan palibhasa'y api, lupig at sumuko.
Sa kapabayaan ng nagturong puno
Paglaya'y nawala, ligaya'y naglaho!
Datapuwa't muling sisikat ang maligayang araw
Ibubuhos namin ang dugo'y ibabaha
Ng matubos lamang ang sa Amang Lupa!
Hanggang 'di sumapit ang panahong tadhana
Sinta ay tatahimik, tutuloy ang nasa!Sinta ay
tatahimik at tutuloy ang nasa!

O Bayan kong mahal Sintang Filipinas!

Pilit na maliligtas ang inaping bayan
Magbabalik man din at laging sisikat
Ang ngalang Tagalog sa sandaigdigan!
 ANALYSIS
Tunay ngayong umid yaring diwa at
puso
Ang bayan palibhasa'y api, lupig at
sumuko.
Sa kapabayaan ng nagturong puno
The country at this time is in
great peril. Rizal had just
finished writing the El Fili in
March of that year, and he is in
Europe, watching this scene from
afar, noting that “the one who
led,” had failed in his duties to
protect the nation’s freedom.
 ANALYSIS
Paglaya'y nawala, ligaya'y naglaho!
Datapuwa't muling sisikat ang maligayang araw
Pilit na maliligtas ang inaping bayan
Magbabalik man din at laging sisikat
Ang ngalang Tagalog sa sandaigdigan!

Here he expresses optimism, that

all hope is not lost, and that he
remains in anticipation of the
day when the darkness shall lift
and the country will take its
place of honor in the world.
 ANALYSIS
Ibubuhos namin ang dugo'y ibabaha
Ng matubos lamang ang sa Amang Lupa!
Hanggang 'di sumapit ang panahong tadhana
Sinta ay tatahimik, tutuloy ang nasa!Sinta ay
tatahimik at tutuloy ang nasa!

O Bayan kong mahal Sintang Filipinas!

Rizal expresses his belief in

necessary sacrifice, even that of
one’s own life, for the freedom of
the Filipino.
ME PIDEN VERSOS
by Jose Rizal

JOPIA, PAMELA EUNISE A.

 HISTORICAL BACKGROUND
• Jose Rizal’s poem was written while he was a member of Circulo
Hispano Filipino. They Ask Me for Verses (Me Piden Versos)
reflected how sad it was for him to have the ability to steer emotions
through his poems yet stifled and muted by the powerful and
oppressive Spaniards
• It was published October 7, 1882.
 SYNOPSIS
During the time he was writing the poem, he can’t find any inspiration
to write, he felt very sad that as if he was an outcast or separated from
everyone; he feels lonely as if his soul is being squeezed or torn into
pieces, that when he will write something it seems that it would turn
out a joke out of great sadness; In this great sadness, he can’t feel now
express himself well while writing.
 ME PIDEN VERSOS
Piden que pulse la lira Hubo un tiempo ... y es
Ha tiempo callada y rota: verdad!
Si ya no arranco una nota Pero ya aquel tiempo huyó,
Ni mi musa ya me inspira! En que vate me llamo
Balbuce fría y delira La indulgencia a la
Si la tortura mi mente; amistad.
Cuando ríe solo miente; Ahora de aquella edad
Como miente su lamento: El recuerdo apenas resta
Y es que en mi triste Como quedan de una fiesta
aislamiento Los misteriosos sonidos
Mi alma ni goza ni siente. Que retienen los oídos
Del bullicio de la orquesta.
 ME PIDEN VERSOS
Soy planta apenas crecida
Arrancada del Oriente,
Donde es perfume el ambiente,
Donde es un sueño la vida:
Patria que jamás se olvida!
Enseñáronme a cantar
Las aves, con su trinar;
Con su rumor, las cascadas;
Y en sus playas dilatadas,
Los murmullos de la mar.
Mientras en la infancia mía
Pude a su sol sonreír,
Dentro de mi pecho hervir
Volcán de fuego sentía;
Vate fuí, porque quería
Con mis versos, con mi aliento,
Decir al rápido viento:
Vuela; su fama pregona!
Cántala de zona en zona;
De la tierra al firmamento!
 ME PIDEN VERSOS
La dejé! ... mis patrios lares.
Arboldespojado y seco!
Ya no repiten el eco
De mis pasados cantares
Yo crucé los vastos mares
Ansiando cambiar de suerte,
Y mi locura no advierte
Que en vez del bien que
buscaba,
El mar conmigo surcaba
El espectro de la muerte.
Toda mis hermosa ilusión,
Amor, entusiasmo, anhelo,
Allá quedan bajo el cielo
De tan florida región:
No pidáis al corazón
Cantos de amor, que esta
yerto;
Porque en medio del desierto
Donde discurro sin calma,
Siento que agoniza el alma
Y mi númen está muerto.
 PINATUTULA AKO
Hinihinging aking tugtugin ang lira
na laong panahong pipi at sira na,
ni isa mang tinig ay walang makuha’t
nagtampo na mandin sa akin ang Musa;
magbadya pa’y hirap, utal, naiiba
kung napapaliho ang isip kong dala;
nagsisinungaling kapag tumatawa
paris ng bulaang hibik ng pag-asa,
at sa kalungkutang lagay kong mag-isa,
di na makaramdam pati ng kaluluwa!
Nagkapanahon nga at katotohanan,
ngunit yumao na ang panahong iyan
na ako ay isang Makata kung turan
ng pag-uumanhin at ng kaibigan;
sa panahong yaon, ngayo’y wala namang
labing alaala kahit bahagya man,
gaya kung malabi sa mga handaan
ang kagiliw-giliw na mga awitan,
tugtog ng orkestrang hindi napaparam
sa mga pakinig na naligayahan.
 PINATUTULA AKO
Ako ay halamang bagong umaangat,
bagong tumutubo’t sa Silangan buhat;
doon pati hangin ay may halimuyak,
may bango pati na buhay at pangarap!
Bayang di-malimot sandali mang oras!
Ako’y tinuruang kumantang matimyas
ng huni ng mga ibong lumilipad
at ng mga bukal na lumalagaslas,
gayon din ng ugong ng alon sa dagat
pagtalsik sa pampang ng mga talampas.
Samantalang ako’y nasa kamusmusan
nginingitian ko ang silay ng araw;
loob ng dibdib ko’y pinagngangalitan
ng sa bulkang init na nararamdaman.
Nagmakata ako pagka’t naibigang
ibulong sa hanging pumapailanlang
ang mga tula ko’t mga panambitan
nang upang iawit sa sandaigdigan
ang dangal ng aking minumutyang
bayan
magmula sa lupa hanggang kalangitan.
 PINATUTULA AKO
Akin ngang nilisan ang lupang sarili,
halamang natuyo’t walang dahong labi
pagka’t nangalagas, kulang sa kandili’t
ayaw nang umulit ang awit kong dati…
Tinawid ko’y dagat, lawak na malaki
sa hangad mabago ang palad kong imbi;
ang kabaliwan ko ay lubhang napipi
sapagkat ang aking hanap na pagbuti’y
naguhit sa tubig, naging guniguni:
anino ng isang kamatayang api!
Doon sa ilalim ng masayang langit
ng isa ngang lupang sagana sa dikit,
doon nangaiwan ang aking pag-ibig,
ang aking masayang mga panaginip,
gayon din ang lugod at sariling hilig…
Huwag na ngang hingan ng tulang may
tamis
yaring abang diwa sa pananahimik,
sapagkat sa gitna ng lumbay at sakit
na kinaguluhan niring pag-iisip,
ang aking kalulwa ngayo’y tumatangis
pagka’t nangalanta ang lahat kong nais…
 ANALYSIS
Hinihinging aking tugtugin ang lira
na laong panahong pipi at sira na,
ni isa mang tinig ay walang makuha’t
nagtampo na mandin sa akin ang Musa;
magbadya pa’y hirap, utal, naiiba
kung napapaliho ang isip kong dala;
nagsisinungaling kapag tumatawa
paris ng bulaang hibik ng pag-asa,
at sa kalungkutang lagay kong mag-isa,
di na makaramdam pati ng kaluluwa!
On the first stanza, Rizal used a
lyre to symbolize his writing.
The society requested for verses
even though he didn’t find it easy
to write poems anymore. He feels
lonely and upset that hi writing
could turn into a joke out of
misery.
 ANALYSIS
Nagkapanahon nga at katotohanan,
ngunit yumao na ang panahong iyan
na ako ay isang Makata kung turan
ng pag-uumanhin at ng kaibigan;
sa panahong yaon, ngayo’y wala namang
labing alaala kahit bahagya man,
gaya kung malabi sa mga handaan
ang kagiliw-giliw na mga awitan,
tugtog ng orkestrang hindi napaparam
sa mga pakinig na naligayahan.
The first three lines of the
second stanza speaks about his
memories in the past that he
cherish and misses the most.
While on the 4th and 5th line, he
talks about his childhood
memories. But all of these will
never be forgotten because it is
in his system no matter what
happens.
 ANALYSIS
Ako ay halamang bagong umaangat,
bagong tumutubo’t sa Silangan buhat;
doon pati hangin ay may halimuyak,
may bango pati na buhay at pangarap!
Bayang di-malimot sandali mang oras!
Ako’y tinuruang kumantang matimyas
ng huni ng mga ibong lumilipad
at ng mga bukal na lumalagaslas,
gayon din ng ugong ng alon sa dagat
pagtalsik sa pampang ng mga talampas.
The third stanza speaks about his
place of origin which is the
Philippines. He says here that only
few in the Philippines are like him.
Rizal, that time, feel that he is just an
outcast. However, on the last part of
the stanza, he said that he will never
forget the birds, and the sea which
are all part of the land where he
originated, meaning he will never
forget where he came from.
 ANALYSIS
Samantalang ako’y nasa kamusmusan
nginingitian ko ang silay ng araw; On the 4th stanza, Rizal described
loob ng dibdib ko’y pinagngangalitan
ng sa bulkang init na nararamdaman. himself back in his childhood
Nagmakata ako pagka’t naibigang days. Back then, he could sense
ibulong sa hanging pumapailanlang that he had an urge for an
ang mga tula ko’t mga panambitan adventure and eventually will
nang upang iawit sa sandaigdigan
ang dangal ng aking minumutyang bayan become famous or well-known.
magmula sa lupa hanggang kalangitan.
 ANALYSIS
Akin ngang nilisan ang lupang sarili,
halamang natuyo’t walang dahong labi
pagka’t nangalagas, kulang sa kandili’t
ayaw nang umulit ang awit kong dati…
Tinawid ko’y dagat, lawak na malaki
sa hangad mabago ang palad kong imbi;
ang kabaliwan ko ay lubhang napipi
sapagkat ang aking hanap na pagbuti’y
naguhit sa tubig, naging guniguni:
anino ng isang kamatayang api!
In this stanza, Rizal reflected on
his way to pursue his heart
knowing that it will change his
path and future. But at the end
of the stanza, he seems to regret
his decision leaving the
Philippines because he thought
of his dreams that never came
true.
 ANALYSIS
Lastly, Rizal was completely sad
Doon sa ilalim ng masayang langit for all the memories and
ng isa ngang lupang sagana sa dikit, experiences that will never
doon nangaiwan ang aking pag-ibig, happen again the same as before.
ang aking masayang mga panaginip,
gayon din ang lugod at sariling hilig…
Huwag na ngang hingan ng tulang may tamis
yaring abang diwa sa pananahimik,
sapagkat sa gitna ng lumbay at sakit
na kinaguluhan niring pag-iisip,
ang aking kalulwa ngayo’y tumatangis
pagka’t nangalanta ang lahat kong nais…
 MI PRIMERA
INSPIRACION
(My First Inspitation)

Martin, Lorraine
HISTORICAL BACKGROUND

During his third academic year in Ateneo de Municipal

Manila, Dr. Jose Rizal wrote a poem in tribute of his
mother’s birthday, Teodora Realonda. It was his gift to
her as she was released from prison. This joy had led
him to find the flames he lost on writing.

This poem is originally written in Spanish and is

eventually translated to various languages, including
English.
SYNOPSIS
MI PRIMERA INSPIRACION
(MY FIRST INSPIRATION)
The poetic verses of this
poem hints the hero’s
eternal love for his
mother, in return for her
sacrifices she had gone
through in order to raise
him as who he was at
that time.
 MI PRIMERA INSPIRACION

I. ¿Porqué exhalan a porfía IV. Y la fuente cristalina, VII. Y, de esa fuente al rumor,
del cáliz dulces olores formando dulce murmullo, oye la primera nota,
las embalsamadas flores del cefiro al suave arrullo que ahora de mi laud brota
en este festivo dia? entre las flores camina? al impulso de mi amor!

II. Y ¿porqué, en la selva amena, V. Es que hoy celebran tu día

se oye dulce melodía ¡oh, mi Madre cariñosa!
que asemeja la armonía con su perfume la rosa
de la arpada filomena? y el ave con su armonía.

III. ¿Porqué en la mullida grama VI. Y la fuente rumorosa,

las aves, al son del viento, en este día feliz,
exhalan meloso acento con su murmullo te dice
y saltan de rama en rama? ¡que vivas siempre gozosa!
 MY FIRST INSPIRATION
I. Why falls so rich a spray
of fragrance from the bowers
of the balmy flowers
upon this festive day?
II. Why from woods and vales
do we hear sweet measures
ringing
that seem to be the singing
of a choir of nightingales?
III. Why in the grass below
do birds start at the wind's noises,
unleashing their honeyed voices
as they hop from bough to bough?
IV. Why should the spring that
glows
its crystalline murmur be tuning
to the zephyr's mellow crooning
as among the flowers it flows?
V. Why seems to me more
endearing,
more fair than on other days,
the dawn's enchanting face
among red clouds appearing?
VI. The reason, dear mother, is
they feast your day of bloom:
the rose with its perfume,
the bird with its harmonies.
VII. And the spring that rings
with laughter
upon this joyful day
with its murmur seems to say:
"Live happily ever after!"
VIII. And from that spring in the
grove
now turn to hear the first note
that from my lute I emote
to the impulse of my love.
 ANALYSIS 11 01 21

• Rizal showed his emotions through the

• From every word that has been written recurring theme of the poem, nature
on the poem is a fair description of how and its wondrous gracefulness, and
he sees his mother, a beautiful, splendor.
soothing soul.
• Nature is beautiful, just liker her
• The joy he felt when his mother was mother, tranquil and enduring. Many
released from prison was reflected hardships may come, it may ruin the
from the poem, the excitement was physical beauty but the majestic self is
apparent from the romantic use of still intact.
metaphors.
• Pristine waters flowing endlessly, just
• The poem also means to say thank you like how a mother’s love works. Clear
for being his mother and unending.
 POR LA EDUCACIÓN
RECIBE LUSTRE LA PATRIA
(Karunungan at Bayan)

Martin, Lorraine
HISTORICAL BACKGROUND

During his fifth academic year in Ateneo de Municipal

Manila, Dr. Jose Rizal wrote a poem in tribute of his
mother’s birthday, Teodora Realonda. It was his gift to
her as she was released from prison. This joy had led
him to find the flames he lost on writing.

This poem is originally written in Spanish and is

eventually translated to various languages, including
English.
SYNOPSIS

POR LA EDUCACIÓN
RECIBE LUSTRE LA PATRIA

This poem signifies

Rizal’s stand regarding
the importance of
education for our country.
 POR LA EDUCACIÓN RECIBE LUSTRE LA PATRIA
I. La sabia educación, vital aliento
Infunde una virtud encantadora;
Ella eleva la Patria al alto asiento
De la Gloria inmortal,
deslumbradora,
Y cual de fresco brisa al soplo
odora:
Así la educación, con sabia mano,
Bienhechora engrandece al ser
humano.
II. Por ella sacrifice su existencia
El mortal y el plácido reposo;
Por ella nacer vense el arte y
ciencia
Que ciñen al humano lauro
hermoso;
Y cual del alto monte en la
eminencia
Brota el puro raudal de arroyo
undoso;
Así la educación da sin mesura
A la patria do mora paz segura.
 POR LA EDUCACIÓN RECIBE LUSTRE LA PATRIA
III. Do sabia educación trono
levanta
Lozana juventud robusta crece
Que subyuga el error con firme
planta
Y con nobles ideas se engrandece:
Del vicio la cerviz ella quebranta;
Negro crimen ante ella palidece:
Ella domeña bárbaras naciones,
Y de salvajes hace compeones.
IV. Y cual el manantial que
alimentado
Las plantas, los arbustos de la
vega,
Su placid caudal va derramando,
Y con bondoso afán constante
riega
Las riberas do vase deslizando,
Y a la bella natura nada niega:
Tal al que sabia educación procura
Del honor se levanta hasta la
altura.
 POR LA EDUCACIÓN RECIBE LUSTRE LA PATRIA
V. De sus labios las aguas
cristalinas
De célica virtud sin cesar brotàn,
Y de su fe las próvidas doctrinas
Del mal las furzas débiles agotan,
Que se estrellan cual olas
blanquecinas
Que las playas inmóviles azotan:
Y aprenden con su ejemplo los
mortales
A trepar por las sendas
celestiales.
VI. En el pecho de míseros
humanos
Ella enciende del bien la viva llama;
Al fiero criminal ata las manos,
Y el Consuelo en los pechos fiel
derrama,
Que buscan sus benéficos arcanos,
Y en el amor del bien su pecho
inflama:
Y es la educación, noble y cumplida,
El bálsamo seguro de la vida.
 POR LA EDUCACIÓN RECIBE LUSTRE LA PATRIA
VIII. En zafiros entállense los
hechos;
VII. Y cual peñon que elévase
Tribútele la patria mil honores;
altanero
Pues sus hijos en los nobles pechos
En medio de las ondas borrascosas
Trasplantó la virtud lozanas flores;
Al bramar del huracán y Noto fiero
Y en el amor del bien siempre
Desprecia su furor y olas furiosas,
deshechos
Que fatigadas del horror primero
Verán los gobernantes y señores
Se retiran en calma temerosas;
Al noble pueblo que con fiel
Tal es el que sabia educación dirige
ventura
Las riendas de la patria invicto rige.
Cristiana educación siempre
procura.
POR LA EDUCACIÓN RECIBE LUSTRE LA PATRIA

IX. Y cual de rubio sol de la mañana

Vierten oro los rayos esplendentes,
Y cual la bella aurora de oro y grana
Esparce sus colored refulgentes;
Tal noble instrucción ofrece ufana
De virtud el placer a los vivientes,
Y ella a nuestra cará patria ilustre
Inmortal esplendor ofrece y lustre.
KARUNUNGAN AT BAYAN
II. Sa hangad matuto ng
I. Ang dunong ay isang mabisang
Sangkatauhan
biyaya,
Buhay man at palad ay
Buhay ng pag-asa na kahanga-
napupuhunan;
hanga;
Sari-saring ganda at kababalaghang
Siyang nagtatampok sa sariling Lupa
Pambunyi sa tao’y
Nang kasilaw-silaw
Sa dunong na lahat ay ibinibigay;
Sa tuktok ng walang hanggang
Katulad ng daloy
pagdakila;
Ng salaming tubig kung sa bundok
Sa halik-amihan
mukal,
Ang mga bulaklak ay nananariwa;
Ang dunong ay siyang batis na
Sa halik ng dunong nama’y nagdiriwa
dalisay
Ang patay mang loob at isip mulala.
Ng pagkatahimik ng alin mang bayan.
KARUNUNGAN AT BAYAN

IV. Tulad sa biyaya ng saganang

III. Sa bayang ang dunong ay
batis
iniuunlak
Na sa halamana’t pananim sa bukid
Ang kabinataa’y malusog, mabulas;
Mabining nanalong at nakadidilig
Sa tulong ng mga marangal na balak
Saka walang sawa
Yaong wastong matwid
Sa kinaaagos sa pampang at gilid,
Ang sa kamalia’y haring yumuyurak;
Anupa’t sa lupa
Ang masamang hilig
Ay wala muntik mang ipinagkakait:
At ang kabuhungan sa kanya ay
Ganyan din ang dunong at ningning
sindak;
ng isip,
Mga bansang ganid ay nangaaamak
Kalat ng liwayway hanggang
At napagigiting kahit lahing hamak.
himpapawid.
KARUNUNGAN AT BAYAN

VI. Sa dibdib ng ating imbing

V. Nunukal sa labi’y tubig na busilak,
katauhan
Bulalakaw mandin na sa langit buhat,
Ang dunong ay alab ng kadakilaan;
Ang matatalinong aral at panulat
Ang kamay ng pusong ay tinatalian
Na dulot ng dunong
At tapat na aliw
Sa buhay ng sama’y siyang umuutas,
Ang sa mga puso ay inilululan,
Kagaya ng along
Lahat na ng lihim
Sa mga pampangi’y nawawala’t
Na asal-dakila ay iniaalay;
sukat,
Kaya nga’t ang dunong na ganap sa
At ang taong diya’y nakapagmamalas
dangal
May natututuhang matuwid na
Ay masamyong dagta ng dakilang
landas.
buhay.
KARUNUNGAN AT BAYAN
VII. Katulad ng isang burol na mataas
Na kahit iluwa ng along malakas,
At kung salakayin ng bagyong
habagat
Pinapalibhasa
Pati ng daluyong at poot ng dagat
Hanggang sa magsawang
Ito ang umurong, sumuko’t
maglubag:
Ganyan din ang dunong, sa wastong
maghawak,
Timbulan ng bayang
napapawakawak.
VIII. Sa kinang at ningning ng mga
nangyari
Dapat na sa dunong ang baya’y
magpuri,
Sa dibdib ng kanyang anak na marami
Dunong ang may hasik
Ng magandang asal, at siyang may-
iwi
Ng manang pag-ibig,
Sa gawang magaling sukdang
maruhagi:
Diyan makikita ng nangag-aapi
Ang binyagang bayan at liping bayani.
KARUNUNGAN AT BAYAN

IX. Tulad sa umaga na gintong liwayway

Ang isinasabog ng masayang araw,
Mula sa bundukin ng Kasilangana’y
Masanghayang ngiti
Ang sa Sansinukob ay kanyang patanaw;
Ganyan din ang laging
Biyaya ng dunong sa Sangkatauhan,
Biyayang maaanong maging puri’t buhay
Sa habang panahon nitong aking Bayan.
 ANALYSIS
• Without education, there is no
way we could reach our goals in
life.
• Education is a treasure that could
never be stolen from us, as the
wisdom we get are not physical.
• It is a powerful medium that our
country has to offer its citizens, as
it would be beneficial for it when
the time provides the need to
display the intelligence awarded
by education.
• All are encouraged to
educate themselves,
especially the young ones
who shall carry the torch of
our generation towards the
future. They must learn
everything they have to and
contribute to the country as
its citizen.
POEMS OF
DR. JOSE
RIZAL
Matic, Rayven B.
“To Josephine”

Josephine, Josephine
Who to these shores have come
Looking for a nest, a home,
Like a wandering swallow;
If your fate is taking you
To Japan, China or Shanghai,
Don’t forget that on these shores
A heart for you beats high.
HISTORICAL BACKGROUND
Rizal wrote this poem for Josephine Bracken, an Irish woman who went
to Dapitan to have her father George Taufer (Bracken was his adopted
daughter) treated for an eye problem. Rizal married her although without
the Church’s blessing because Rizal did not agree to the priest’s
precondition of retraction. Bracken conceived but had a stillbirth.
ANALYSIS
The interpretation of these short lines of verse
depend greatly on the historical background
between Rizal and the lovely Josephine. However,
from these verses alone, at least 3 things are
apparent: first, that Rizal here is the unmovable of
the two, having been exiled and unable to leave the
island; second, that as Josephine arrived in Dapitan
in a sort of volatile, fleeting fashion although
building a home there with him, he sees her as one
that might also leave as freely as she had come, as
she had none of the ties that bound her to that
place; third, that any reader of these verses would
sense that posture of loving, humbled submission
that sets the tone of this entire piece.
 SYNOPSIS
This poem is written about Josefina
Bracken whom Rizal had affection
for. The poem reads like a reminder
that no matter where she travels to
remember that he is waiting for her.
Memories of My Town
When I remember the days
Ah, yes, my awkward foot But O goodbye! May the Spirit
that saw my early childhood
explored your sombre woodlands, of Good, a loving gift-giver,
spent on the green shores
and on the banks of your rivers keep watch eternally over
of a murmurous lagoon;
in frolic I took part. your peace, your joy, your sleep!
when I remember the coolness,
I prayed in your rustic temple, For you, my fervent pryers;
delicious and refreshing,
a child, with a child’s devotion; for you, my constant desire
that on my face I felt
and your unsullied breeze to learn; and I pray heaven
as I heard Favonius croon;
exhilarated my heart . your innocence to keep!
when I behold the white lily
Tender childhood, beautiful town,
swell to the wind’s impulsion,
rich fountain of rejoicing
and that tempestuous element The Creator I saw in the grandeur and of harmonious music
meekly asleep on the sand; of your age-old forests; that drove away all pain:
when I inhale the dear upon your bosom, sorrows return to this heart of mine,
intoxicating essence were ever unknown to me; return my gracious hours,
the flowers exude when dawn while at your azure skies return as the birds return
is smiling on the land; I gazed, neither love nor tenderness when flowers spring again!
failed me, for in nature
sadly, sadly I recall lay my felicity.
your visage, precious childhood,
which an affectionate mother
made beautiful and bright;
I recall a simple town,
my comfort, joy and cradle,
beside a balmy lake,
the seat of my delight.
 HISTORICAL
BACKGROUND
In this nostalgic poem, Jose Rizal remembers his childhood days in
Calamba, Laguna. Rizal had the happiest and most beautiful
memories of the place, the hospitality and friendliness as well
as the industry of the people of Calamba. Those memories were
influential in molding his character and his values.
 ANALYSIS
In these first two stanzas, Rizal uses a literary device intended to prolong suspense. Every fifth line begins
with the word “When,” which indicates that there is a resulting effect following the clause that tails it.
These series of “when” lines look back to his childhood and the colorful encounter with nature which was
associated with those years.

Whose face does he recall? It is the face of infancy, his infancy, his innocence. He remembers it with
sadness because he misses it and longs for it – the simple life in a simple town – misses his mother, who
lavished him with love and untainted joy.

Here we see a more candid side of the young Rizal, unstudied as he walks through forest lands and
river banks, praying with a pure, untainted faith in the old churches of his hometown. That he does
not leave out prayer indicates his strong Catholic upbringing.

He remembers nothing but pure joy during those moments of his childhood; during those days he knew
nothing of grief and pain, as evidenced in the lines, “Never did I understand in your bosom what
sorrows were.” The last three lines can be translated in plainer English as, “Neither love nor
tenderness failed me, because my happiness rests there in the heart of nature.”

In this conclusion, Rizal bids his town and his childhood memories farewell, and prays that his town
remains as vibrant and full of hope and happiness as he remembers it.
 SYNOPSIS
It talks about what he used to do as a child and the
people he spent time with. It also describes the
sensations he felt as a child. Rizal reminisce about
his childhood days as he wrote this poem. He
somehow wishes that he could rewind the time and
spend more time and days on what he is used to do,
being with the people he used to be with, and
feeling the sensations he felt as a boy. He wants his
innocence back, and the great feeling of praying to
Almighty God with a little Child’s faith which is
believe to be purest of all hearts.
END
 HIMNO AL TRABAJO
(HYMN TO LABOR)

REGIO, SHARMAINE JOYCE D.

HISTORICAL
BACKGROUND
• The poem “Himno al
Trabajo” or “Hymn to
Labor” was written by Jose
Rizal at the request of his
friends from Lipa, Batangas
who wanted a hymn during
the elevation of the then,
town of Lipa to a "Villa" in
January 1888 through the
Becerra Law. The hymn is
praise to the zeal and
industry of the Lipeños.
SYNOPSIS
 The first four lines of verses
comprise the chorus. It signifies that
every Filipino, in his patriotism, will keep
a watchful yet loving eye on his country
with equal passion at wartime and in
times of peace. There will be no
desertion especially during the more
difficult times in the country’s history,
even if it means he pays for his loyalty
with his life.
The first stanza is sung by
the men. This is the first of four societal
groups identified in this hymn, which
signifies that all members of society
without regard for gender or age,
should uphold and honor their country.
 For the men, family and
country are inspiration and
motivation enough amidst
exhausting labor. Farming has long
been the main occupation of men in
the country especially during its early
years, and this verse gives a nod of
approval to farmers who wake
before the sunrise to tend their land.
They do it not for the money, but for
what the income can do to benefit
the greater good: family, home, and
Motherland.
 The role of a wife during
the time of Rizal was plain and
simple: she was the steward of the
home, the mother of the children.
Modern thinking might dispense
premature reaction to this notion,
however it only takes a few lines to
see that Rizal was, in fact, also a
feminist, ahead of his time.
 This verse pays tribute to
mothers who dedicate their lives to
the rearing and upbringing of their
children, teaching them the right
values and morals to become upright
citizens. Education and formation,
after all, begin and end in the home.
In the last two lines, it is evident that,
given the precarious nature of life in
a time when war is imminent, wives
may lose their husbands and so it is
in their capable hands to carry out
the business of men in the context of
home and family, should the men
find themselves no longer able to do
their duty.
 The third verse is sung by
maidens, who salute to labor and
encourage the young men to give
their lives to hard work and industry
for the good of the nation. This is
supposed to be sung with joy and
pride, signifying that no fair maiden
wants a lazy young man who sits and
waits for nothing all the day long but
instead cheers for that youth full of
valor and expresses her willingness
to be that youth’s wife on account of
his spirit, not merely his looks.
CONTENT
SPANISH AND TAGALOG VERSION
SPANISH VERSION
HIMNO AL TRABAJO
Por: Jose Rizal y Alonso, 1888

[Coro]
¡Por la patria en la Guerra,
por la patria en la paz,
velará el Filipino,
vivirá y morirá
HOMBRES:
Ya el Oriente de luz se colora,
¡Sus! Al campo, la tierra á labrar,
que el trabajo del hombre sostiene
á la patria, familia y hogar.
Dura puede mostrarse la tierra;
implacables, los rayos del sol. . .
¡Por la patria, la esposa y los hijos
todo fácil será á nuestro amor!
[Coro]
ESPOSAS:
Animosos partid al trabajo
que la esposa el hogar vela fiel,
inculcando el amor á los hijos
por la patria, virtud y saber.
Cuando traiga la noche el descanso,
la ventura os aguarda al entrar;
y si el hado es adverso, la esposa
la tarea sabrá continuar.
[Coro]
SPANISH VERSION
DONCELLAS:
¡Salve! ¡Salve! ¡Loor la Trabajo,
de la partia riqueza y vigor!
Por él yergue la frente serena,
es su sangre, su vida y su ardor.
Si algún joven pregona su afecto,
el trabajo su fé probará;
¡solo el hombre que lucha y se fana,
sostener á su prole sabrá!
[Coro]

NIÑOS:

Enseñadnos las dunas;

vuestra huellas queremos seguir,
que mañana, al llamarnos la patria,
vuestra empresa podamos concluir.
Y dirá los ancianos al vernos:
--¡De sus padres, mirad, dignos son!
Á los muertos no honra incienso
como un hijo de Gloria y honor....
 TAGALOG VERSION
IMNO SA PAGGAWA
Ni: Jose Rizal, 1888
KORO
Dahilan sa Bayan sa pagdirigmaan,
Dahil sa Bayan din sa kapayapaan,
Itong Pilipino ay maasahang
Marunong mabuhay o kaya’y mamatay.
(Mga Lalaki)
Nakukulayan na ang dakong Silangan,
Tayo na sa bukid, paggawa’y simulan,
Pagka’t ang paggawa’y siyang sumusuhay
Sa bayan, sa angkan, sa ating tahanan.
Lupa’y maaring magmamatigas naman,
At magwalang-awa ang sikat ng araw
Kung dahil sa anak, asawa at Bayan,
Ang lahat sa ating pagsinta’y gagaan.
KORO
(Mga babaing may Asawa)
Magmasigla kayong yao sa gawain,
Pagka’t ang baba’y nasa-bahay natin,
At itinuturo sa batang mahalin
Ang Bayan, ang dunong at gawang magaling
Pagdatal ng gabi ng pagpapahinga,
Kayo’y inaantay ng tuwa’t ligaya
At kung magkataong saama ang manguna,
Ang magpapatuloy ang gawa’y ang sinta.
KORO
(Mga Dalaga)
Mabuhay! Mabuhay! Paggawa’y purihin
Na siyang sa Baya’y nagbibigay-ningning!
At dahil sa kanya’y taas ng paningin,
Yamang siya’y dugo at buhay na angkin.
TAGALOG VERSION

At kung may binatang nais na lumigaw,

Ang paggawa’y siyang ipaninindigan;
Sapagka’t ang taong may sipag na taglay,
Sa iaanak nya’y magbibigay-buhay.

KORO
(Mga Bata)
Kami ay turuan ninyo ng gawain;
At ang bukas ninyo’y aming tutuntunin
Bukas, kung tumawag ang bayan sa amin,
Ang inyong ginawa’y aming tatapusin.

Kasabihan niyong mga matatanda:

“Kung ano ang ama’y gayon din ang bata,”
sapagka’t sa patay ang papuri’y wala.
Maliban sa isang anak na dakila.
ANALYSIS
 Himno al Trabajo states that the Lipeños will
always be willing to work hard for the country. The
poem is composed of lyrical conversations of men,
wives, maidens and children. The men encourage
others to farm; they believe that agriculture is the
hope towards progress. The wives, who are always
situated at home, are credited for taking care of
the household chores and educating their children.
 The children, on the other hand, yearn
for the adults to teach them on how to work
productively. It is also a poem that shows
patriotism, wherein Rizal posted another
educative challenge: to take place in the
attainment of progress by means of hard work
and diligence.
 It is apparent in Filipino culture then and now, that
children have high regard for the approval of their elders.
This verse underlines the importance of keeping the
culture and tradition that is handed down to them from
the previous generation, and that they, in future, will hand
down to their own sons and daughters. It also expresses
the children’s wish to pursue the footsteps of those that
have gone before them, in preparation for when the time
comes for them to take charge, however premature and
unexpected that time may be.
 ADIOS A LEONOR
(GOODBYE TO LEONOR)

REGIO, SHARMAINE JOYCE D.

HISTORICAL
BACKGROUND
“Goodbye to Leonor” was
written by Rizal for his
childhood sweetheart, Leonor
Rivera — who was only 13 years
old when they met in Dagupan.
Despite the distance between
them, they tried to stay in touch
by sending letters and
photographs to one another.
But their love affair was
strongly disapproved by
Leonor’s parents.
HISTORICAL
BACKGROUND
Later on, Leonor (who was
Rizal’s sweetheart for 11
years) married Henry
Kipping, a British railway
engineer, who helped build
the Manila-Dagupan Railway
system in 1890. This deeply
saddened Rizal, thus this
melancholic poem for
Leonor.
SYNOPSIS
 This literary piece gives
an insight into the romantic
relationship of Rizal and his
beloved, Leonor Rivera. The two
met when in the province of
Dagupan when Rivera was only 13-
years-old. Rivera’s parents were
not in favor of their relationship
and though distance separated
them, the two kept in touch by
sending letters and photographs
to each other. Rizal later found out
that her lady love would soon tie
the knot with Henry Kipping, and
the news definitely disheartened
him. The lonely, heartbreaking
feelings he felt, resulted in this
melancholic poem.
CONTENT
SPANISH AND TAGALOG VERSION
SPANISH VERSION

ADIÓS A LEONOR
Por: Jose Rizal

Ya llegó, pues, aquel fatal instante,

triste destino de mi suerte impía;
llegó ya, en fin, aquel momento y día,
en que me voy a separar de ti.

Adiós, Leonor, adiós, que me despido,

mi corazón amante te lo dejo;
adiós, Leonor, que ya de aquí me alejo,
¡oh, ausencia triste! ¡ay, qué dolor!
TAGALOG VERSION

PAALAM KAY LEONOR

Ni: Jose Rizal

Dumating na rin nga yaong malinggatong na sandal,

ng malungkot na daratnin ng palad kong sawing-sawi,
sa hulí nga’y dumating din ang sandali ng pighati
na ako ay aalis na’t mawawalay sa minithi.

Paalam na, Leonor ko, ako ngayon ay paalam,

ang puso kong umiibig ay sa iyo ko iiwan;
paalam na, Leonor ko, ditto ako’y mawawalay
oh, malungkot na paglayong ang sákit ko’y walang
hanggan.
ANALYSIS
 It is a known fact that Jose Rizal was a renowned writer; he was
known to express his thoughts, ideas and feelings in writing. Rizal was
also a romantic; we could even say he was a playboy if we choose to set
aside subtlety. He had plenty of women in his life, some he even met in
international waters. For some his love was fleeting while others he loved
strongly. Though his life was short-lived he had broken a lot of hearts,
even though this may be the case he too got his heart broken. He got his
heart torn to pieces by none other than the real life Maria Clara: Leonor
Rivera. He was Jose Rizal's TOTGA: The One That Got Away. In a poem
titled Goodbye to Leonor, his deep and intense love and affection for
Rivera showed, he loved her for 11 years and when she got married to
another man he wrote her this poem.
 In reading the poem without putting it into context first
and putting aside that it was written by Jose Rizal, you would still
be able to tell that it is love poetry for a certain Leonor from her
lover (it is a her because conventionally, Leonor is a girl's name).
Rather than the usual love poetries that are about the happy
memories and beautiful love scenarios of the paramours, this
particular one was a farewell poem. Parting words were the main
theme of the literature. The writer conveyed his strong feelings
of love with the pain he felt having to be torn apart from his lover
which he expressed through words like: cruel fate, fatal instant
and what pain.
 It is a poem filled with sorrow and pain, the persona
talking is dejected because his cruel fate of being separated from
his beloved Leonor has taken its toll. The fact that the persona
knew that the moment of separation would come inevitably is
even more painful because the torment of knowing when they
are going to be separated is enough to put a person deep in love
into the wallows of sadness. The use of the word “melancholy”
connotes that the person talking is experiencing a stronger
degree of sadness, he wasn't just sad he was melancholic. In
terms of the “sadness meter” melancholy is in the gloomier side,
it is usually known as sadness for a long period of time. The
poem was beautifully written because, even though it was really
short and didn't have a lot of words you can still feel the motions
that the writer was trying to convey.
END
To the Virgin Mary
 Historical Background

Jose Rizal, regardless of certain views later

on in his life that were controversial and somewhat
contrary to the Roman Catholic faith, was brought
up Catholic. He composed this sonnet during his
stay at the Ateneo Municipal de Manila, when he
was about 15 years old.
 Synopsis
When spoken in modern English, this first stanza
reads, “Mary, sweet peace and dear solace, You are the fount
of pained mortal. It is from you that the stream of succor
emanates, which, without ceasing, gives life to your soil.” It
is clearly in praise of the Virgin Mary, whom Rizal says in
this verse is the reason for a prosperous yield, and without
the help of whom no hard working man can prosper. His
high regard for the Virgin Mary is evident in these four lines.
 Synopsis

He prays to Mary who sits in what he

imagines is her glorious throne above, and begs
her to hear his plea. This indicates a sense of
eagerness and desperation. “My voice that rises
with rapid flight,” signifies a sense of urgency
to the words in his sorrowful cry.
 Synopsis

The last stanza sounds more like a

prayer. It is evident in these verses that
even though Rizal was still at such a
young age, he had felt and foreseen that
life to him would be difficult.
 Content
Spanish Filipino English
 Analysis
The meaning of the poem "To the Virgin Mary"
by Jose Rizal is love. Its meaning is that love can
conquer fear, even when it comes to death and that the
tough times can lead to the ultimate freedom. It tells
the gratitude for whatever we have is powerful prayer
or calling.
To the Child Jesus
 Historical Background

This was written in Spanish by Dr. Jose

Rizal in 1875 at the age of 14. This poem is an
octave real or a short poem with eight verses
only which was actually according to the
Spanish standards of writing poems.
 Synopsis
The poem begins with Rizal addressing the child
Jesus and asking him why he had chosen a lowly manger as
the place through which he would enter the world of
humanity. He further enriches this question by asking
whether Fortune - in this case it could mean wealth or power
or prestige or all of the above - had decided to stay far away
from the Lord the moment he decided to become a man.
 Synopsis
"Alas" is a word expressing concern, grief, sorrow or
pity and is commonly used in traditional poetry. When Rizal
adds this expression to the second half of his poem, he signifies
that he, Rizal, as a man and having the perspective of a mere
human being, finds a part of himself that grieves over how
much the divine has given up in the process of his incarnation.
He then ends the poem with a rather rhetorical question:
Wouldn't you rather be Lord above the earth than be a mere
shepherd of simple sheep like the rest of us?
 Content
Spanish Filipino English
 Analysis
It is highly probable that as a child, Rizal had
already felt deeply for his country and hand great
dreams for his motherland. It was easy for his young
mind to connect the life and suffering of Jesus, God
incarnate, to the present struggles of the nation against
oppression, as Rizal believed in non-violence and
clearly found a firm ally in the person of Christ.
Millenarianism
What is millenarianism?
• the doctrine of or belief in a future (and typically imminent)
thousand-year age of blessedness, beginning with or
culminating in the Second Coming of Christ. It is central to the
teaching of groups such as Plymouth Brethren, Adventists,
Mormons, and Jehovah's Witnesses.
• belief in a future golden age of peace, justice, and prosperity.
Plymouth Brethren
• The Plymouth Brethren or Assemblies of Brethren are a low
church, non-conformist, evangelical Christian movement whose
history can be traced back to Dublin, Ireland, in the late 1820s,
where they originated from Anglicanism
History
• The Brethren movement began in Dublin, Ireland, where
several groups of Christians met informally to celebrate
the Lord's Supper together in 1827–28. The central figures
were Anthony Norris Groves, a dentist studying theology at
Trinity College; Edward Cronin, studying medicine, John Nelson
Darby, a curate in County Wicklow; and John Gifford Bellett, a
lawyer who brought them together. They did not require
ministers or even an order of service, as their guide was
the Bible alone.
Beliefs
• The group emphasizes sola scriptura, the belief that the Bible is
the supreme authority for church doctrine and practice, over
and above any other source of authority. Plymouth Brethren
generally see themselves as a network of like-minded free
churches, not as a Christian denomination.
Activities
• Brethren assemblies (as their gatherings are most often called) are
divided into the Open Brethren and the Exclusive Brethren, following a
schism that took place in 1848. Both of these main branches are
themselves divided into several smaller branches, with varying
degrees of communication and overlap among them. (The general
category "Exclusive Brethren" has been confused in the media with a
much smaller group known as the Plymouth Brethren Christian
Church (PBCC) or the Raven-Taylor-Hales Brethren, numbering only
around 40,000 worldwide.)
• The best-known and oldest distinction between Open and
Exclusive assemblies is in the nature of relationships among their
local churches. Open Brethren assemblies function as networks of
like-minded independent local churches. Exclusive Brethren
generally feel an obligation to recognize and adhere to the
disciplinary actions of other associated assemblies.
• Conversely, Open assemblies aware of that disciplining would not
automatically feel a binding obligation to support it, treating each
case on its own merit. Reasons for being put under discipline by
both the Open and Exclusive Brethren include disseminating gross
Scriptural or doctrinal error or being involved in unscriptural
behavior. Being accused of illegal financial dealings may also
result in being put under discipline.
Seventh-day Adventist
• The Seventh-day Adventist Church is a Protestant Christian
denomination which is distinguished by its observance of
Saturday, the seventh day of the week in Christian and Jewish
calendars, as the Sabbath, and its emphasis on the imminent
Second Coming of Jesus Christ.
History
• The Seventh-day Adventist Church had its roots in the Millerite
movement of the 1830s to the 1840s, during the period of the
Second Great Awakening, and was officially founded in 1863.
Prominent figures in the early church included Hiram Edson,
Ellen G. White, her husband James Springer White, Joseph
Bates, and J. N.
Beliefs
• Seventh-day Adventists share many of the basic beliefs of
Protestant Christianity, including acceptance of the authority of
the Bible, recognition of the existence of human sin and the
need for salvation, and belief in the atoning work of Christ.
• They are officially Trinitarian, believing in the three coeternal
persons of the Godhead, but on several occasions they have
seriously debated this doctrine, and some Adventist groups
have rejected it.
Activities
1. Ask for Prayer Requests
2. Try 77 Questions
3. Go Geocaching
4. Color a Detailed Coloring Book
5. List Your Top 10
6. Re-look at Your Family Pictures/Videos
7. Create a Bible Scene
8. Study a Bible Text (SOAP)
9. Visit Your Neighbors
10. Connect With the Homeless
Mormons
• Mormons are a religious and cultural group related to
Mormonism, the principal branch of the Latter Day Saint
movement started by Joseph Smith in upstate New York during
the 1820s.
History
• The Mormon movement began with the publishing of the Book
of Mormon in March 1830, which Smith claimed was a
translation of golden plates containing the religious history of an
ancient American civilization which had been compiled by the
ancient prophet-historian Mormon.
Beliefs
• Mormons believe that Christ's church was restored through
Joseph Smith and is guided by living prophets and
apostles. Mormons believe in the Bible, as well as other books
of scripture, such as the Book of Mormon. They have a unique
view of cosmology and believe that all people are spirit-children
of God.
Activities
• Participating in service projects that bless others and build community relationships.
• Developing talents and appreciation for cultural arts.
• Improving fitness and learning sportsmanship.
• Gaining education and vocational training.
• Celebrating special occasions and commemorating Church or local historical events.
• Developing leadership skills.
• Developing self-reliance.
• Participating in missionary work, retention, activation, temple work, and family history
work.
Jehovah’s Witnesses
• Jehovah's Witnesses is a millenarian restorationist Christian
denomination with nontrinitarian beliefs distinct from
mainstream Christianity. The group reports a worldwide
membership of approximately 8.7 million adherents involved in
evangelism and an annual Memorial attendance of over 17
million.
History
• Jehovah's Witnesses originated as a branch of the Bible
Student movement, which developed in the United States in the
1870s among followers of Christian Restorationist minister
Charles Taze Russell. Bible Student missionaries were sent to
England in 1881 and the first overseas branch was opened in
London in 1900.
Beliefs
• Witnesses hold a number of traditional Christian views but also
many that are unique to them. They affirm that God—
Jehovah—is the most high. Jesus Christ is God's agent,
through whom sinful humans can be reconciled to God. The
Holy Spirit is the name of God's active force in the world
• Witnesses believe that they are living in the last days, and they
look forward to the imminent establishment of God’s kingdom
on earth, which will be headed by Christ and jointly
administered by 144,000 human corulers (Revelation 7:4).
Activities
• Jehovah's Witnesses fund their activities, such as publishing, constructing and
operating facilities, evangelism, and disaster relief via donations. There is
no tithing or collection, but on exceptional occasions, members are reminded to
donate to the organization; Witnesses typically provide an opportunity for members
of the public to make donations as they encounter them in their preaching work.
Donation boxes labeled for several purposes are located in Kingdom Halls and
other meeting facilities. Generally there are contribution boxes for local operating
expenses, a Kingdom Hall fund for helping Witnesses around the world to build
Kingdom Halls, and a general fund for the "Worldwide Work", which includes the
printing of literature, organization of conventions, supporting missionaries and
disaster relief, and other operating expenses of the organization