Scanned by CamScanner BERNARDO Carpio: Alir AND REVOLUTION ne problem inthe historiography of the Philippine revoli- jonsof 1896 and 1695s showing the lationship between we educated, articulate efit str!" wha have lt Be hind most of the documents, ans the inarbculte “asses” who fought and died in the various wars. Patonclent bes certainly help explain how the local ‘ot gents ws abe to mob lize large numbers of people. Yet the events of the revolution indi cate thatthe common folk sere fighting under the “lining” inluence not of indivicual personalities but oftheir conceptions of the meaning ofthe “times” and poset leaders were those who successfully articulated such consepeisns. Johr Sshumacher SI Jas shows how the Hstrades erated 2 Flipine hi tone that would ondermine 3nd supplant a Spanish historias Phy which mandated Filipino fovalte to Spain under moral 1Beaxanoo Cano: Awir AND RevouuTion 2 she 180s, took the form of religious tracts and met- tn awit” OF the former, the verious pasysin poetic death, and resurrection of Jesus Christ became have discussed elsewhere the role of the soci rye evolution. Using @ mode of textual analysis pen 98 yt showed how ae any with ce narative of Chiist gave meaning toa opi death struggle or independence—a struggle imaged asa arerrrskemptve event hat unfolded itself with man’s participa. ane Spwever, while it has become obvious that the language of rt chrntinity flowed into the language of nationalism and revo- luton a the turn ofthe century, there is a danger of overstressing theimpactof Chestianity in allthis. The story of Christ was mean ing! asofer as it was appropriated by the society itself and mir- edits ideals, Other aspects of Spanish colonial influence can be ‘amined in this light. In particular, we shall look into a Tagalog awit, ‘he Fitri Fars i Bernardo Carpio, based on legends of the Spanish eo Berardo Carpio, that reveals a popular perception of the past pon which Flipino nationalists hinged their separatist aspirations, “The Historia Famosa has not been regarded as a literary mile stone ofthe Tagalogs Its authorship remains unknown, and it has been overshadowed by the more polished and “urbane” awit, Florant at Laura Like most awit in its time, the Historia Famosa's samative line is derived from legends surrounding the Spanish royalty and their Moorish adversaries Dean Fansler comments that romantic stories of this type had been “ridiculed to death by Cervantes" long before they appeared in Tagalog awit versions." ving fillerd into the Philippines via Mexico, such stories drew pea rae from friars as subject matter for indigenous litera- tam eral ayy o« Eropsan king and Cstendoms t+ Sant feet the Moors were constant themes in these stories; they Tropa strengthening the indi’ loyalty and utang 2 lode tipinad Gahan peat cert sot wan ee indigenes meeabo®:Avit and other related forms replaced the the conquest Nena atthe Spanish priests destroyed soon after MEER Nate pens and yen were quik to ast © ch they could compase Tagalog poetry: by the ing fare P sea omances a ‘ersions ofthe ile 4 Vinual social epics" Bemnando Cannio: Axzr au Revourion 3 eighteenth century cheap editions of awit were “printed in the cit- ies and towns and then hawked, sold in sidewalk stalls, and brought to the most remote barrios by itinerant peddlers.”” Awit stories were often dramatized, or at least sung in public. So power- ful was the impact of awit on the popular imagination that the av- erage indio in the nineteenth century can be sed to have dreamt of ‘emulating chivalrous knights riding off to the Crusades or savirg beautiful damsels from distress. Fie knew more about Emperor Charlemagne, the Seven Peers of France, and the destruction of ‘Troy than of pre-Spanish Philippine rajahs and the destruction of Manila by the conquistadors. ‘And yet, given the fact that popular consciousness of the past was mediated by awit poetry, the revolution happened. Contrary to the insistence of some ilustrados that the masses’ utter igno- rance, exemplified by their belief in fairy tales, was a stumbling block to the revolution, it was the so-called pobres y ignorantes who formed the bulk of the revolutionary armies that fought against Spain and the United States” In order to arrive at some under- standing of this turn of events, let us examine, first, some features of the Historia Famosa ni Bernardo Carpio and, second, the awit’s connection with nationalist writings on the eve of the revolution. The author of the Historia Fomosa states at the beginning that he has selected details from the Spanish story of Bernardo Carpio. ‘This is how the narrative proceeds. The king and queen of Spain have died, leaving behind two little children named Alfonso and Jimena. Don Sancho, count of Cerdena, rules over Spain until ‘Alfonso comes of age and assumes the throne. The poet remarks that King Alfonso remains unmarried and has no fondness for women. Meanwhile Don Sancho has been appointed royal counselor and commanding general of the army. Another major character, Don Rubio, is introduced as Don Sancho's friend and captain ofthe army. "Alter fourteen stanzas of the awit, a major transition takes place. The event is “triggered hy the radiant beauty of the king's Sister, Jimena. Her radiance, described in so many imagery filled 1 lodb (inner being) of notables, the stanzas, causes confusion in thy ad. OF graver import isthe conflict king included, in Spain and abro that it causes between the comrades Don Sancho and Don Rubio.Barwanoo Casto: AWrr AND Revousrion ste both are attracted to Jimena’s beauty, their responses are aides areas With anger and shame (hiv.” His lo6b, initially displaced by Jimena’s radiance, shows signs of “hardening” into selfishness ral treacltery. On the other hand, Sancho's lodb is described by the poet as capable of love, Jimena’s beauty has the effect of making excho's confused lob attain a fullness signified by his willing: ress to suffer and die for his beloved. Sancho's lengthy exposition Or his love resembles a typical Tagalog kundiman (love song), which is heard at several key points of the awit. Tina scene typical of most nineteenth-century awit, a Moro en- voy appeats with an insolent challenge to the Spanish king, who thereupon orders his trusted General Sancho to lead his army against the villains.” As the army assembles in the field, Don Sancho, in defiance of the king's orders, sneaks into Jimena’s room in the tower. Hs farewell speech again gives the poet an oppoitu- nity to drench the reader in the imagery of love and separation characteristic of folk poetry. Overpowered by such language Jimena becomes confused, then bursts into tears, and surrenders self to her lover, ea of a garden by a cyclone. The general, however, is not fated to profit by it, His rival Don Rubio, aware of the lovers’ meeting, vents hill feeling upon Sancho by recomunending tothe king tat the latter accept the count of Barcelona's proposal to cement 2 Po litical alliance by marrying fimena. Hearing this draws an outhor ‘of anger from Sancho. Rubio, whose loob is filled with shame “conflicting elements,” backs down in fear, Another OPPO for revenge presents itself, howeves, when Rubio hears the HE scream of Jimena's child, who is named Bernardo, Pretend 0 justice done, Rubio rushes to inform the king, who is omer ee apart by the news of Sancho and fimena’s “crime.” The Kings from his seat; suddenly he forgets his past relationship," Sancho and can think of nothing, but schemes to destroy Pith ‘As Sancho is about to take the infant Bernardo to O° TT, Beets given another opportunity to eveke in the aero ce of anguish and loss, for the separation of the Benanoo Carmo: Awrr ann REVOLUTION parents is perhaps the most significant event in the awit. As the ‘poet himself remarks, after a description of Jimena’s sadness: What losb however hard ‘what heart would not be overcome by this and be saddened and strack with pain for the two lovers with a pure loob? Alin cayang lodb na saedal nang tigas} alin namang puso ang hindi mabagbag,/ na di malunusan at magdalang sindac} sa dalavang sintang ang lo6b ay tapat? ‘As Sancho leaves the tower with the child, he is ambushed by the king’s soldiers. Fighting with only one hand he can slaughter all of them, but the child screams and is heard by the king who leaps from the sidelines, accusing Sancho of treachery. Sancho kneels and begs for mercy. Al he asks is to be wed to Jimena before he is executed. The king hastily agrees to the marriage but treach- crously sends Sancho to the castle of Luna with a sealed letter out- lining certain punishments to be meted out to the bearer. Sancho, to his chagrin, is bound in chains; his eyes are gouged out and he is thrown inside a dark cell. Hias the king forgotten the past? laments Sancho. s the pain of blindness his reward for the hardships he has borne in defending the kingdom? Again the poct gives free rein to images of pain and separation: Sancho from Jimena, the parents from their child Bernardo. Sancho's lament ends with an appeal to God to have pity for his son: re ‘And may he eventually recognize his true mother and true father and when, Lord, he comes of age may he, Lord God, recognize me Al maquilala rin ang tunay wa inal at aco.i, gayon din na caniyang ama,f na cun siya Poon ama,i, lumaqui nal aco po, Dias co, nama,i, maquilala nena neBeananoo Cannio: AWwir ant ‘ -RNARD Awir ax Revourion, teanwhile Don Rubio becomes the closest confidante of the Ling He tsentrusted with bringing up the child Bernardo, whose NE fnrents ave ordered never to be revealed to him. Jimena, rere treachery brought great shame to her brother King Alfo Tei to a cloister Alfonso scolds her for fongetting all the love wee caring he had showered upon her and for failing to show sea tosb for things past. For her, as for Sancho, there is resig- nation to “fate,” to God's will. “Ke the child Bernardo grows up, it becomes obvious to all that he has extraordinary strength and energy. He is in constant move. trent, running back and forth, up and down stairs: He walks and walks, but goes nowhere his lob and heart always perturbed . [Na lalacad-lacad walang pinupunta/ ang lo6b at puso. parating tulsa. His energy is released in a wasteful and antisocial manner: hitting, ‘aiming, and killing horses, carabaos, and other animals he meets on the road, Irate townsfolk complain to Don Rubio. Bernardo e* plains that he cannot control his own body and strength. ‘One day Bernardo asks his “father” Don Rubio to persuade the ing to knight him so that he may travel around the world ating idolatry and subduing wild beasts. Rubio, however, rebukes Bit how can he be knighted i his own origins are unknown? Bernalo then realizes that Rubio is not his true father. He breaks into fe “this was the start of his disorientation/ in behaviot, thought an even his heart.” Fortunately, the king happens to come along Showing pity he makes Bernardo a knight and adopted son. 7 tothe dismay of Don Rubio. Later, having slain the arrogant RUT ina fencing match, Bernardo is made general of the army. The? avenge the father be As the adopted son of King Alfonso, Bernardo’s enerBies Come a bit more “formed” and directed toward Fighting the Mom ‘The most formidable enemy is the Emperor Carpio, Wh “ ‘Benxanbo Canpio: Awrr AND REVOLUTION 7 territories cannot be penetrated even by armies of the Twelve Peers of France. One day, Carpio’s envoy, Veromilla, arrives at the Span- ish court demanding vassalage from the king or else face invasion. Bernardo, in his usual energetic, rather uncontrolled manner, re- acts violently toward the envoy: He struck the chair upon which the envoy sat causing him to fall over everything was crushed, broken to pieces the king tried to calm Bernardo: My son, he said, just take it easy to attack an envoy as you did is against all the rules so straighten out your 1060, At tuloy tinampal ang upuang silla] ay aged natapon sampons, embajada nagendurog-durog nabating lahat na} nangusap ang Jari Rernardo i suent naj! Anac co ania icao ay maglibang! at iya,, di utos sa leing alin man,] na ang embajada ay ‘malalebanany eaya ang lodb mo ay magpaenhusay. ‘As Veromilla returns to his camp, Bernardo tells the king that, with his fatherly blessing, he will fight the enemy single-handed. In- deed, he approaches the Moro lines alone and is ridiculed by ‘Veromilla. But this youth who “has just been weaned by his mother” ‘completely devastates the enemy. Veromilla fees in great panic. When Bernardo returns to the court he humbly dedicates his victory to the king, He attributes his victory to God's mercy (awa) and to fate. And he asks to be granted only one request that he be told the identities of his true parents. He is growing up yet has mo roots, no relatives to pay respects to, The king then tries to deceive Bernarco by agreeing to his request provided that, once and for all, he defeats Emperor Carpio. Knowing Carpio's reputation, the king, ‘expects his youthful general to be slain in battle. Bernardo’s power, however, has no equal in the world. Fighting like a “lion, tiger, and viper” he systematically conquers Carpio's nineteen castles untilP Brrxanvo Cannio: AWr AND Revoumoy the emperor gives up, hands overall his territory to Bernardo ant sees to pay tribute to Spain {ipon his return once more to Spain, Bernardo Carpio, ashe is now falled, is shocked to find a French prince, also named Hemardo, riling the kingdom. King Alfonso, who had temporarily retnquished the tone while on a hunting tip, justifies his de. om terms of “traditional ties” between the Spanish and French ruling families. Bernardo scornfully rejects this argument. More aver he is disgusted by the king’s refusal to reveal the identities of tie parents. In an angry confrontation Bernardo declares that he will find his parents by force. "At this point Bernardo Carpio's energies seem to become moze focused than ever. Having rejected another stepfather, his fist act isto destroy all the king’s horses to prevent pursuit. This explcity contrasts with his earlier meaningless destruction of neighbor’ livestock and work animals. While he stops by the wayside to pray to God and the Virgin Mother, a leter floats down from heaven with the truth about his parents. Before he can go in search of them, however, he is instructed to first terminate Spain's ties of vassalage to France. So he proceeds to the French court, where Emperor Ludovico explains to him that his relations with Spain re all based on age-old covenants handed down from generation '0 generation. Bernardo, however, has nothing but contempt for tr ditional ios. Neither has he respect for Ludovico, whom he seizes by the collar and physically intimidates, The French court, in fear of Bornardo’s power, capitulates. The ties are broken. Bernardo then proceeds to the castle of Luna to seek out his father The scene shifts to Sancho lamenting, in prison: the King I4s shown no pity, keeping him for years in the darkness of a celk: ‘And you my beloved son who, I hear, is now called Don Bernardo Carpio have passed through a multitude of towns and kingdoms and yet have not found your father, Sancho. Why, my beloved child hhave you not searched for your lord, your father? exsanoo Canto: Arar ash RenUTIOS Haven't your heart and fovb been moved by my sufferings and laments? Teao nanan caya na sintang anac co] na nababelitang D. Bernardo Carpio,|tanang vila reino ay nasasapit mo) di mo na arating ama mong, si Sarcho,|/ Ano baga bunso na uilio co, vinta) diva siniyasat and pon mo.!,ama,] ang puso Todb moi. di na nahalisal sa nagdaralita., dito, nagdwrusa «Asif he heard this lament,” Bernardo arrives kills the guards and fees father, Unfortunately, Sancho dies soon after the reunion. ‘This however, does not prevent Bernardo from legitimizing his tie to igs parents, He brings his father, covered sith a cloth on the pretext that he mast nat be expose to cod air, tothe king's palace, Prhere the wedding with Jimena takes place. Only after father, wither and son are formally reunited does Bernardo pretend t0 {Tiscover that hs father is dead. “The awit doesnot end here, ast does inthe Spanish originals. Bernardo, having declined the Spanish throne, continues his trav- tien cearch of iolaters to destroy. He arrives before a churchlike Structure with two lion statues by the entrance. Because the doors dre shut he keels ouside and prays, A bolt of lightning strikes nd destzoys one of the lions. Angered by the lightning’s chal- Tenge, Bernerdo hurls the other lion away and vows to search for the lightning and destroy it. Not faraway, he sees two mountains hhtting eachother at regolar intervals. Then a handsome youth— tn angel_-appear in dazzling brightness and tells Bernardo that the lightning has entered the mountain. God commands that Bernardo stall not see, much less capture it, When the angel him- self takes the path of the lightning, Bernardo stubbornly follows, the twin peaks closing in on him. The awit ends with the remark that since Bernardo was sucha great and powerful hero, God east a spell on him and thus kept him alive though hidden “The avit just summarized is important for the study of the revolution in two respects. First, the appropriation by the Tagelogs ofa Spanish hero enabled a people without a history of themselves asa people toimaginea lost pastas well as their hopes of liberationBerranno Cannio: 0 HTT AND Revoumoy som Spanish rule, Second, the awit reveals a form of meaning LS cre ms scpamunicate their political ideas to the people. “The first point is borne out by evidence from local histories of ‘central and southern Tagalog towns." The Historia Famosa’s ac. seuat of Bemardo’s last journey is derived from pre-Spanish be- iets in pilgrimages to the underworld to wrestle with spits asa test of one’s innerstrength. The poet merely affirms that the world of Bernardo Carpio is the Philippines. By the second half of the hineteenth century, Tagalog peasants, at least those within the vi- disturbances Swat and political allows the data on popu cams a uprsings, and the ise of the nationalist 274 rately tone Mens to be constructed on a “secular” scale th 1% upon the ideas of the “unenlightened” because Rizal AN0 THE UNDERSIDE OF PatuPnNE Histon 33 sing ipiees arae oe cates ge me i wit rican er ne ta ate cen peck in bp trib dengan ig of eo scone aren he rn alae ceca ns mung ri ape sn hei ety eerie ah eee come eg corpse rere Prot Agana vy manent ee reer eee a eee eos St emote can nated Ste ee eee rey a ae ee eee ta scat pra nd en ve end See ee been applied to nineteenth-century Philippine history, and that oe aera cr rs es ae Se a aieawoni mare Soa Sane Sedge rem ae pomuaa. ano THE UNDERSIDE OF PHILIPPINE Hoy x so might well ask what the conditions are hy a Tagalog NES Tg the mode of historical awareness this {fasion nthe StS es leas the intellectual achievement of Fa ae ens figure who offered diferent, some. the con I of his ifeand work, And since the pes. tunes conicting OP Malolos republic suggest that the Ia at canes (0 eco a faire, we might well examine the trivmph was ina Senet ments of success or failure. When Tne tat dears radia de Sn Jost was tay i ce cata supped Tamer pace that we cannot but regard rash ach amph. What sort of “death” was iin the fist nasa med to instruct asin vamaome thirty yeas Tater, he ret sin ae se pe eorganization ofthe cofradia? Some of the more- Ein icf athe Santa lgiesia—were jus like the “eiled”coradia cregh Wasi among oer reasons, an impatience with this par sc retumof “primitive,” “irrational” forms that led the repab- Uetesappos ter movers? inf goes neg “Tae rappearance, the persistence over time, of figures bear there arly could be interpreted as ign ofthe tea Fiipino subjugation by Spain. It could signify the break, the 1s and the enslavement resting from the conquest. Rizal lamented thefact hat Phlippine traditions were no longer authentic beste their origins were ether forgotten or patently foreign. To him the forging of origins marked the onset of darkness. “These tie tons fof inks with Sumatra,” he laments, “were completely bet juste the mythology and genealogies of which the old historias speak, thanks tothe sal of the religious in extirpating every ™ embrace of our nationality, of paganism, or of idolatry.” Philippine literary histories speak of the lost literature of the lowlands being replaced by religious poetry written at firs bY Stanish msionares and then by selec ndios who had served ‘at othe Spaniards, Te themes of such poetry se” seo Philippine experience: “love for the Holy Fao inten HEM ofthe world” “Mary, star of the sea” guiding Me 'oyage through the stormy darkness of sin and 18° |uzaL ano THe UNDERSIDE OF PHOUFPINE Histon 3 rance.!""There are traces of a predominantly seaaring Malay soci ‘hy inthe last theme, but i is located in Sea of daknes, imi fated only by the light of «foreign ideology: inthe eighteenth century, metrical romances from Spain and Mexico were allowed to be translated or to serve as models for a poptlar form of indigenous literature called wut. This trans- Printed to Philippine soil the traditions of European medieval r- Fiance. Tagalog poetry became dominated by themes ranging from the passion of Christ to the crusades against the Moors.” Iestrados from Rizal to this day have lamented this apparent dis- tontion ofthe Filipino mind. “Born and brought up... in ignorance of our yesterday. lacking an authoritative voice to speak of what Wwe neither saw nor studied”—Rizal could not have better &x- pressed the anxiety of being let to one's own wits, unanchored in 2 stable past.” “The lack ofa continuous, uninterrupted history of Filipino con- sciousness lay behind the slustrado nostalgia for lost origins, Rizal's efforts to reconstruct the history ofa flourishing, preSpan- ish civilization that entered upon a decline can be viewed a5 an attempt to reconstitute the nity of Philippine history, to bring un- der the sway ofthe ilustrado mind the discontinuities and differ ‘ences that characterized colonial society. The ilustrados were very ‘much in tune with nineteenth-century conceptions of history. Pre- dictably, though, they were not attracted to the Marxian analysis of, the relations of production, economic determinations, and the class struggle that would have raised questions about their own status as the voice of the Filipino race. Rather, their activity was {geared to the late nineteenth century European “search fora total Iistory in which all the diferences of a society might be reduced toa Single form, tothe organization ofa world view, tothe esiablshament ofa eystem of values, toa coherent type of evlzation:” ironically the demand for order and coheronce led to a critique not only ofthe ‘Spaniards but also of the ikustrados’ ancestors who, admitted Rial, hhad lost their heritage because they had “hastened to abandon what was thers to take up what was nev." Tgnorance and naiveté are the familiar explanations for what appears to have been the absence of fixed bouncaries inthe conceptual world of the erly ips.— ean. to Tt UNDERSIDE OF PHILEPNE Hiro, x vader he notion ol” Problema ho ce at a te indgeous anguages For exam, cst 0 oy inesin Tagalog iterate, which on Serpe OE oes of autienticity, upon closer ex. thoone ad BBE asks tat conceal age-old preoceupa an 8 etre Suh em ay" Sonoma erect and “2 er Chris (pasyin from the contol ot sense the Tagalog passion storylines and concepts into Taga chute. Te ste 10 various plays of meaning ‘Tae Power of Kinc BERNARDO alien’ stories that we con use to confront ilustado ene Me pata fhe Spnish egedy Sond del Carpio’ Inthe Tagalog awit version that appeal then intent century the card anc trogodios of Spas tral the cssades against the Moors, and the personal nrstve 1 Bemardo are obviously of foreign origin. But afer successive reprinting and oral recitations of the awit which ranks with He pesyin asthe best-known story in the Inte nineteenth contin) the he Berar Carpio became the king ofthe Tagalogs M4 or imprisoned within a sacred mountain fom which he wok someday emerge to liberate his people. He became kno%t ating (King) Bernardo or San Bernardo, or simply Bermarit. hhaps if he had remained an isolated creature of “folk belief ie ‘would not be of much interest to us now. But sometime ducing ‘um of the century, Rizal appeared at Bernard's side. Wh#"" this meeting signify? What does it suggest about the con! Popular thinking? ‘As we sau in the previous essay, reduced to its baz? ie ee co ‘who grows up unable to contol or focus these powers: TS i, tpetdtothe fact that hes separated from his patents Pr oe 'P8Y samogates who deprive him of the layau and st coutines Rizal aND THE UNDERSIDE oF Paste ce Hieron ” isciplinng that only true parents can give. He serves the king of Spain (his stepfather) well but somehow remains the brash and uncontrolled youth who subdues his Moorish adversaries through, brute force (kis). Nevertheless, the events which bring him closer to reunification with his parents are marked by correspondingly greater control and efficacy of his powers. Soon afte a leter from heaven reveals to him the identity of his parents, he accomplishes single-handedly the task of liberating Spain from French domina- tion One can readily discern in the awit a refraction ofthe theme of lost origins, Bernardo, being like the Filipinos who fell from an original state of wholeness, came under the domination of surro- gates (eg. Spain, the friars) and therefore remained in a state of darkness and immaturity until they recognized their true mother again. It easy to see Why ilustrados, as well, took an interest in this awit Rizal was familiar withthe Bernardo Carpio story and its more evident folk meaning as the imaging of the aspirations for freedom of the pobres y ignorantes.* The revolutionist Andres Bonifacio, as ‘we saw, may even have tacked nationalist meanings on to the awit’s form.» Still, however, King Bernardo was a “folk belie?” oF “an expression of “popular culture,” tobe noted and even used, but from whose underlying presuppositions about power and the cos- mos the ilastrados had been released. Educated Filipinos tend to dismiss the complex articulations of the Bernardo Carpio myth as plain falschood and superstition. And yet { would argue that the ‘main features of a powerful narrative of the past are contained in the myth. This kind of history is alive even today particularly among these who live on the fringes of urban society tis not difficult to imagine what historical consciousness was like in the nineteenth century before mass education was imple- mented. How does Rizal get implicated in it? It docs seem far- fetched to ink the intellectual who shunned violent uprising with the youth who subdued the Moors through brute strength. But lakis (force) is only one of Bernardo Carpio's attributes, associated ‘with a certain lack of inner control, which isthe father’s duty to teach his son. As we shall see, the tale becomes the locus of thinking about the nature of true power inthe context of which Rizal then appears,