Module 1 - Lesson 3

MODULE 1 – Lesson 3 (Introduction to) Philippine Literature
Literature under Spain

The Spaniards brought their language and culture, established a class system that was based on
race, and imposed Roman Catholicism on the Filipino people.
The natives, called indios, were not all taught the Spanish language.
Religious lyrics written by bilingual ladino poets versed in both Spanish and Tagalog were
included in catechism to teach the Filipino elite Spanish—like the dalit appended to novenas.
El Padre Nuestro (The Lord’s Prayer in

Spanish)
Padre nuestro And forgive
que estás en Father ours Y perdónanos us our debts,
los cielos, who art in nuestras deudas as also
santificado sea the heavens, como también we forgive
tu nombre blessed be nosotros our debtors
thy name perdonamos
Venga tu reino a nuestros deudores And do not put us
hágase tu voluntad Come thy k ingdom into temptations,
como en el cielo así be done thy will Y no nos metas but free us
también as it is in heaven en tentaciones from evil
en la tierra so also mas líbranos
on the earth del mal For thine
El pan nuestro is the k ingdom
de cada día The bread ours Porque tuyo and the power
dánoslo hoy of each day es el reino and the glory
give us it today y el poder for all the
y la gloria centuries Amen.
por todos los siglos
Amén.
Doctrina Christiana was the first book printed in the Philippines in 1593.
The Seven Sacraments (original Spanish / Tagalog excerpt)
Los sacramentos de la san Pito ang mahal natanda

cta madre ygtia son siete. ycauauala nang casalanan ang
ngalan sacramentos.
El primero baptismo. El segu do Ang naona ang baptismo. Ang

confirmacion. El tercero Pe ycalua ang confirmar. Ang y
nitencia. El quarto, comunio. El catlo ang confes ar. Ang yca
quinto extrema uncion. El pat ang comulgar. Ang ycali
septimo, orden de matrimonio. ma ang extrema uncion. Ang
ycanim ang orden nang sacerdo
te. Ang ycapito ang pagcasal.
Itong daluan holi pinatotooba
nang dios ang tauo piliin ang
balan ybig. Amen.
Poet-translator Gaspar Aquino de Belen wrote devotional poetry in the form of the Pasyon.
Aral (excerpt, final part)
Oh mga Kristianong tanan Talikdan na ngang totoo

na mapagbantog na aral ang mga banal sa mundo
mag-isp ka na‟t magnilay, tumulad kay Hesukristo,
loob nating salawahan nang tayo‟y huwag mabuyo
sa gawang di katuwiran. sa aral ng mga lilo.
History of Philippine Literature: Spanish Colonial Period

Student Handout Page 1 of 22
(Introduction to) Philippine Literature
Ang ating mga katawan At kung di ka gumanito

di sasala‟t mamamatay sa aba mo ngang aba mo
gayon din ang dilang bagay, walang pagsalang totoo,
ginto‟t pilak kayamanan sapilitang daratnin mo
ang lahat ay matutunaw. hirap sakit sa impierno.
Ano at di pa magbawa Samantalang may oras pa

mga gawa mong lahat na? ay maglaan kang maaga
bakit di ka mabalisa, kung gumabi‟t dumilim na,
loob na napalamara ay lalong maghihirap ka
sa gawang pagk akasala? gumawa‟y ngangapa-ngapa.
Ano at di pa malumbay Ang puso mo‟t iyong loob

tayo at di kilabutan iyong ialay sa Diyos
kung ang lalong mga banal magsisi ka na‟t matakot
nanginginig ang katawan ng marating mong tibobos
kung ito‟y magunam -gunam? ang bayan ng Santa‟t Santos.
Oh taong nak alilimot At kung marating na naman

sa sala‟y nakakatulog ang Langit na kapisanan
pukawin ang iyong loob, ay doon na makakamtan
at isipin mong tibobos ang yama‟t kaginhawahan
ang sa mundong pagkatapos. ng Diyos Poong Maykapal.
Wakas
The colonizers introduced the theater: the komedya (moro-moro), the sinakulo, and the sarswela.
The Moro-Moro in Perspective (essay)

by Rustica C. Carpio
WHEN WE THINK of folk forms, we cannot dissociate them from the customs, traditions, beliefs,
rituals, and even superstitions of a people. One folk form is the moro-moro which has flourished since
1650. It is believed that the moro-moro is an offshoot of a chivalric-heroic poem called the awit and a
legendary religious poem called the corrido that had swept the country as early as 1610 up to the
beginning of the 20th century. Very reminiscent of the Spanish metrical romances, the moro-moro tells of
the loves and brilliant deeds and adventures of kings and queens, of princes and princesses, of counts and
dukes. It also relates of giants, tigers, lions, bears, serpents, dragons, angels, saints, and devils. Often
tinged with supernatural and miraculous forces, it may present poisons, magic rings, birds that drop
messages, or people who get enchanted in the forest. The hero is expected to emerge victorious despite
all obstacles and to risk his life for the hand of his lady love. It is said that once, at a presentation in the
Visayas, spectacular devices like Roman candles, rockets, sparklers, and even bombs were employed to
show the supernatural powers of some giant. However, despite all these, the giant still lost in the fight.
The Mohammedan Filipino, now called Moro, had been named after the Moors, and since the play
usually deals with the struggle between the Christians (usually Catholics) and the non -Christians
(almost always the Muslims), the play got its name, moro-moro.
Played Outdoors
Moro-moro is performed not necessarily for the mere entertainment of the people, but specially to
celebrate the town or barrio fiesta in honor of the patron saint. The Spanish friars between the 16th century
and the early part of the 17th century contributed much in popularizing this form.
The moro-moro is usually performed on an outdoor stage. The actors ‟ entrances and exits are
stylized, the gestures and movements broad and exag gerated, and the poetic lines and verses recited in
declamatory, sing-song tone, with religious adherence to rhythm and intonation. Experienced actors not
infrequently use slurs and exceptionally high pitches even as, at times, they improvise or ad lib lines that
are not originally found in the play.
Specially in the Visayas, a stage may be permanently constructed for each new production. There,
one finds stages bigger than those in Luzon. One sees an assortment of materials in the making of the

makeshift stage—nipa palm shingles for roof and walls, coconut trunks for beams, wooden pieces for
floor, and bamboo running horizontally to serve as supporting structure at the back of the platform.
The regions vary in their ways of presenting moro-moro. In Luzon, specially in the Tagalog and Ilocano
regions, permanent background which contains doorways is used; each doorway has a name to identify
the place or kingdom it leads to. In the Visayas, on the other hand, the change of scenery is shown by a
change of talon (backdrop or curtain), often embellished with colorful paintings, and which is rolled up or
drawn to the side.
A moro-moro may start with an invoc ation to God or to the Virgin Mary, and may also sing praise to the patron
saint being honored. Then, as the play starts, it presents the characters to the audience in either of the following
methods. The characters sing in chorus and profess their dedic ation to the audience and to the performance. They
may be identified one by one in the opening poetry and their roles described. The characters may be made to march
around the stage to martial music supplied by a brass or string band.
Normally, the actors move in a stylized way. Their entrances and exits are characterized by a slow,
formal march around the stage. They may also make a formal bow to the audience until they reach their
assigned places, a cue for the band to stop playing the march whether it is finished or not.
Dueling, an ever-present factor, is very stylized, too. Hardly is there a moro-moro play that is ever
completed without any clash of arms. In fact, the word moro-moro itself connotes fighting. The two
opposing factions exchange heated words after which battle music , and thence mime-dance with
sweeping of weapons, ensue. Fencing, done in rhythmic strokes, characteristic of clock-and-dagger
performances, begins first with a warm -up and reaches its climax. The sound of steel swords then
vanishes; the fighting is over; the dialogue then resumes again.
Marathon Show
Moro-moro has remained unchanged, basically. A story may be finished in three nights ‟ presentation
running for five to six hours each night. In certain places, it is staged in the mornings, while elsewhere, it is
shown in the afternoons. Because of its marathon length (the longest presentation is known to have lasted
12 days), it is rather difficult for the players to memorize all their lines. Thus, the audience is apt to see the
prompter, who in many cases is also author -director of the play, on the stage dictating the sequenc es
almost line by line.
At times, an opening is bored down near the edge of the stage and the prompter sits there, hidden from the
audience by a colored covering that shields him/her from view. And, because of its length again, the moro-moro script
is very seldom printed. Very often, only a single script is made, and this does not always stand the tests and calamities
wrought by time and weather. Many times, authorship is anonymous.
The “dramatis personae” almost always come from the poor and middle-class families. It seems that
those from the well-to-do and educated groups, especially girls, do not participate. They frown upon the
art as perhaps their parents more than doubly so.
Some of the troupes performing are quite professional and experienced, and have been doing the job
from year to year. The most noted of these groups comes from the barrio of San Dionisio, in Parañaque,
Rizal. The legend goes that San Dionisio, the patron saint of the barrio, a martyr of the Catholic Church
who was beheaded in the Middle Ages while preaching the gospel, refus es to have anything aside from a
moro-moro to celebrate his feast. If this is not done so, there would be rain or inclement weather or
perhaps poor harvest in the coming season. On this group‟s staging of one moro-moro alone, some
P15,000 was spent on costumes, stage props, rehearsal expenses including food of participants, fees, and
other items. Rehearsals for a production on a grandiose scale last for at least six months.
Costumes
The costumes worn may be lavish or simple, depending upon the budget and the materials available.
But almost always, there is the display of flashy and loud -colored attire. In many cases, the male
Christians sport pants with blue stripes, and carry themselves in a manner whic h spells dignity. On the
other hand, the Moros wear red-striped pants. Obviously, the Christians are dressed more elegantly —with
sequins, beads, ribbons, buttons, and plumes. The king dons long trousers, displays the crown and all the
regalia befitting royalty. The Christian queen app ears in white or sky blue gown. Both male and female
royalties usually wear a cape that covers the back —the one worn by the female being longer than what
the male dons. If the princess is a Moro, she may wear pink or bright red. A fan is often carried by t he
female participants on stage while diadems and coronets adorn their hair for realistic effects.
History of Philippine Literature: Spanish Colonial Page 3 of 22

Period Student Handout
A jester supplies the laughter element and, as in Greek plays, throws asides that send the audience
to rollicking guffaws. Children await his appearance with enthusiasm and his presence on the stage
parries their drowsiness in the middle of the evening.
Essentially of religious character, the moro-moro does have social implications. It may also unfold
stories that revolve around some medieval, legendary, or historical figures. Its special inclination to
themes of love, religious devotion, and heroic/noble deeds is very evident. Affluent in aphorisms,
metaphors, and hyperboles, its use of archaic words and high-flown dialogues still pervades. The
language generally used is Tagalog, although many moro-moro plays are also written in the languages or
dialects of the different regions of their origin.
Not a few moro-moro is presented the whole year round in different parts of the country. It is
interesting to note that the lines of each player are done in different handwriting in the script to
help individual players to follow the drama.
While the zarzuela, a musical—almost operatic—melodramatic play is more popular in the towns and
in a few cities, and despite the threat of extinction which the movies, TV sets, amateur singing contests,
and combo/band ensembles so cunningly pres ent, the moro-moro shows promise that it might thrive for
some time yet. It has been gaining momentum and is being revived by cultural groups in the cities and in
the suburbs of the big cities as well.
(From Life is a Stage, UST Publishing House, 2001)
Literature under the Spaniards may be classified as religious or secular prose and poetry.
Notable secular poets were Jose Corazon de Jesus (Huseng Sisiw), Francisco Balagtas
(Baltazar), Leona Florentino, Jacinto Kawili, Isabelo de los Reyes, and Rafael Gandioco.
A popular type of secular poetry is the metrical romance, like the awit (Balagtas’s Florante at
Laura) and the korido (Jose de la Cruz’s Ibong Adarna) in Tagalog.
Florante at Laura (summary)

Florante at Laura by Francisco Balagtas (also known as Baltazar) is an abbreviation of the actual title which,
written in arc haic Tagalog, is: “Pinagdaanang Buhay ni Florante at ni Laura sa Kaharian ng Albania: Kinuha sa
madlang „cuadro histórico‟ o pinturang nags asabi sa mga nangyari nang unang panahón sa Imperio ng Grecia, at
tinula ng isang matouain sa versong Tagalog. ” (English: The Life of Florante and Laura in the Kingdom of Albania:
culled fro m historical accounts and paintings which describe what occurred in ancient times in the empire of Greece,
and penned by someone who enjoys Tagalog verse ). The book was written during Balagtas‟s imprisonment where he
dedicated the story to his sweetheart Celia (a.k.a. Maria Asuncion Rivera, whom he nicknamed “M.A.R.”) who was
later married to his arch rival, Mariano “Nanong” Capule. It was Capule who made false charges against Balagtas and
sent him to prison.
Florante at Laura is written in a literary form called awit (song, but in truth, is in a poetic form) and has
377 stanzas having the following characteristics: 4 lines per stanza (each stanza being a complete
grammatically-correct sentence), 12 syllables per line, and a slight pause on the 6th syllable —eac h
stanza filled with figures of speech.
Characters:
Florante—Duke of Albania and the main protagonist of the novel.
Laura—Daughter of King Linceo of Albania. She is the love interest of Florante and is later married to
him.
Count Adolfo—Rival of Florant e and the antagonist of the novel. His jealousy and envy on Florante sparked his
rebellion against the king. He was also responsible for the imprisonment of Florante. He was killed by Flerida as
he attempted to rape Laura in his escape agains t the forces loyal to the king.
Aladdin/Aladin—Son of Sultan Ali-Adab of Persia. He saved Florante from being eaten by lions in the
forest. Later, he got married to his love, Flerida.
Flerida—Aladin‟s fiance. She asked Sultan Ali-Adab to spare Aladin‟s life on the condition that she
will be Ali-Adab‟s wife. She later escaped and killed Count Adolfo as he attempted to rape Laura.

Duk e Briseo—Father of Florante and a nobleman of Albania. He was killed, along with King Linseo,
by Count Adolfo during his usurpation of power.
Princess Floresca—Mother of Florante and the Princess of Crotone. She died while Florante was
studying in Athens.
King Linceo—King of Albania and the father of Laura. He was killed by Count Adolfo during
his usurpation of power.
Sultan Ali-Adab—Sultan of Persia and the father of Aladin. He sentenced his son to be executed
because of his cowardice in the battlefield. In exchange for Aladin‟s life, Flerida promised her marriage
to the Sultan. After her escape, the Sultan committed suicide.
Count Sileno—Father of Adolfo.
Menalipo—Cousin of Florante. He saved Florante from vultures when they were younger.
Menandro—Friend and confidant of Florante. They first met in Athens where Menandro saved Florante
from Adolfo‟s attempt at murdering him. He and Florante both participated in a military expedition. He
also led the overthrow of Count Adolfo and restored peace in Albania.
Antenor—Professor of Florante, Menandro, and Adolfo in Athens.
General Osmalik —A general of Persia. He was killed by Florant e during a military expedition.
General Miramolin - General of the Ottoman Empire. He was responsible for the invasion of Albania
in order to bring the kingdom into Islamic control.
Emir—One of the commanding officers who sacked Albania together with Aladin during the ongoi ng
campaign of Florante and Menandro in Crotone. He nearly killed Laura for her refusal to love him
but was defeated.
Plot:
In the Albanian forest
The story begins deep within a dark, gloomy forest. Florante, a duke of the Kingdom of Albania is tied
to a tree, lamenting the loss of his father, Duke Briseo. He is driven mad by the thought that his beloved,
Princess Laura, has fallen into the arms of his enemy, Count Adolfo, son of Count Sileno. Nearby, two
starving lions keep watch and try to attack Florante. He is saved, just in time, by Aladin, a Muslim prince
who happens to be at the forest at the same time. Weak and bewildered, Florante faints.
The merciful soldier nurses Florante to health. Upon recovery, Florante is initially taken aback by
Aladin as he considers the stranger an enemy due to his Islamic faith. However, after a few explanations
are made, Florante is grateful and begins to tell his story.
Florante’s tale
The son of a princess and a royal advis er, Florante grew up in happiness, showered wit h love. He
liked to play games when he was six, and was almost killed by a vulture that entered in their mountain
cottage, which was also followed by the attack of a falc on, who snatched his cupido diamante. He was
saved by his cousin Menalipo, an archer from Epirus.
At the early age of 11, his parents, Duke Briseo and Princess Floresca, sent him to Athens, Greece
to study under Antenor, a renowned teacher. There, he met Adolfo, a fellow Albanian and the brightest
student in their school. After six years of study, Florante surpassed Adolfo‟s capabilities, talents, and
intelligence, gaining popularity and recognition. Adolfo took this very personally.
While acting during a school play, Adolfo attempted to kill Florante. Fortunately, Florante ‟s friend,
Menandro, was quick enough to intervene. Adolfo headed home to Albania after his failed attempt. One
year later, Florante received a letter from his father, announcing the death of his mother.
Though filled with grief, Florante waited two months before he returned home. Menandro, unwilling to
be separated from his friend, accompanied Florante on his journey. Upon his arrival at Albania, an
emissary of the kingdom of Crotone requested his assistance in the incoming war against the Persians.
Florante had not the will to refuse, for the King of Crotone was his grandfather.
During his stay in Albania, Florante was invited to the king‟s palace. There, he was stunned by
the sight of Laura, the daughter of King Linseo, ruler of Albania.

Coming to the aid of Crotone, Florante fought with the Persian general, Osmalik for five hours, slaying
him in the end. He stayed in Crotone for five months before returning to Albania to see Laura. Upon
returning to his native Albania, he was surprised by the sight of a Persian flag waving atop the kingdom.
He recaptured the palace from the Moros and saved his father, the king, and Adolfo who were all in prison.
He also saved Laura from being beheaded from the hands of an Emir. Florante was declared “Defender of
Albania” for his bravery, deepening Adolfo‟s envy and hatred.
Florante protected the kingdom once more, this time from Turkish forces under general Miramolin, an
acclaimed conqueror. The battle took place in Aetolia, where he later received a letter from his father. The
letter summoned him back to Albania so that he left his troops in the care of his friend, Menandro. Upon his
arrival, he was ambushed by 30,000 soldiers and, under Adolfo‟s orders, was imprisoned for 18 days.
There, he learned of the tragic fate of his father and the king. Under Adolfo‟s hands, they were all
beheaded. Florante was then exiled into the forest and tied to the tree.
Aladin’s tale
After months of wandering in the forest, the Muslim Aladin shares to his new Christian friend, Florante,
that he is also in a similar circumstance.
Aladin‟s own father, Sultan Ali-Adab, accused him of deserting his post and allowing their conquered
enemies to escape and his troops to be captured. He arranged for his own son to be beheaded but Flerida,
who very much in love with Aladin, begged the Sultan not to kill him, but merely have him exiled. In return,
she agreed to marry the lustful Sultan who was taken by her beauty and charm.
Reunion and peace
Aladin‟s speech is interrupted when they hear voices. A woman narrates her escape from a
kingdom and a marriage. She speaks of her search for her beloved, a search which has lasted six years.
She shares that while deep in the forest, she heard cries for help. Finding a lady about to be raped by a
man, she uses her bow and arrow to kill him. The woman introduc es herself as Flerida.
The lady saved by Flerida is later revealed to be Laura, who begins to tell her story. While her love
was away at war, Count Adolfo gained the popularity of the people, having lied to them , and turned them
against the king. Adolfo then rose to the throne, forcing Laura to be his queen. An army under Menandro,
Florante‟s childhood friend, was able to overthrow Adolfo from power. Adolfo, seeing all was lost, fled
into the woods, taking Laura as hostage.
After hearing all this, Florante and Aladin reunite with their loved ones. Florante and Laura returned to
Albania, and became king and queen. On the other hand, Aladin and Flerida returned to Persia, where he
became the new sultan as his father committed suicide. The two kingdoms lived in harmony and peac e
thereafter.
This poem, dedicated by Balagtas to his beloved Celia, introduces the book Florante at Laura:
A Celia / Cay Celia (original Spanish / Tagalog excerpt)
Cuando en el pensamiento torno a Cong pag saulang cong basahin sa isip

leer, de nuestros amores los idos días, ang nan gacaraang arao ng pag-ibig,
¿habría acaso imagen grabada en él, may mahahaguilap cayang natititic
que no fuera Celia, la que puso nido en mi pecho? liban na cay Celiang namugad sa dibdib?
Aquello, Celia, que solía infundirme pavor Yaong Celiang laguing pinanganganiban
que a amor pusieses en olvido, baca macalimot sa pag -iibigan;
abismó a este infortunado ang iquinalubog niyaring capalaran sa
en la honda breña del dolor. lubhang malalim na caralitaan.
¿Olvidaría, por ventura, de leer los Macaligtaang co cayang di basahin

tiempos idos de nuestro cariño, el nagdaáng panahón ng suyuan namin?
amor de que me hiciste objeto y mis caniyang pagsintáng guinugol sa
desvelos y des venturas? aquin at pinuhunan cong pagod at
hilahil?

Pasó el día asaz dulc ísimo; Lumipas ang arao na lubhang matamis at
tan sólo quedó amor; ualáng nátira condi ang pag -ibig, tapat na
anhelo supremo atenazará mi pecho hasta que pagsuyong lalagui sa dibdib hanggang sa
en la fosa mi cadáver descanse. libingan bangcay co,i, maidlip.
Hoy que la orfandad entristece mi Ngayong namamanglao sa pangongolila

alma, lo que hago para divertir la pena ang guinagaua cong pag-alio sa dus a
es recordar tiempos idos, nagdaang panaho,i, inaala -ala,
con tu imagen, y la entrevista felicidad. sa iyong laraua,i, ninitang guinhaua.
Imagen trazada por pincel amante, Sa larauang guhit ng sa sintang pincel

grabada en el corazón y en el entendimiento, cusang ilinimbag sa puso,t, panimdim,
prenda única confiada a mi custodia nag-íisang sanláng naiuan sa aquin
y que no será robada ni en la sepultura. at di mananacao magpahangang libing.
Mi alma, de suyo, vaga Ang caloloua co,i, cusang dumadalao sa

por las revueltas y barrios hollados por lansanga,t, náyong iyóng niyapacan sa
sus plantas, ilog Beata,t, Hilom na mababao yaring
y a los ríos, no profundos, de Beata e Hilom, mi aquing puso,i, laguing lumiligao.
corazón enamoradizo suele emigrar.
Mi fantas ía suele apoyarse Di mámacailang mupo ang panimdin

en el pie de la manga, donde pasábamos, sa puno ng mangang náraanan natin,
y con los colgantes frutos que deseabas coger sa nagbiting bungang ibig mong pitas
dar alivio a mi corazón huérfano. ín ang ulilang sinta,i, aquing ináaliu.
Mi ser todo se iba Ang catauhang co,i, cusang nagtatalic

en suspiros cuando tú enfermaste, sa buntong-hininga nang icao,i, may
las desesperaciones se me volvían cielo, saquit, himutoc co niyao,i, inaaring Langit
Paraíso también la llovediza habitacioncilla. Paraiso namán ang may tulong silíd.
Adoraba tu imagen Liniligauan co ang iyong larauan sa

en el Macati río donde se reflejaba; Macating ilog, na quinalaguian binabacás co
rastreaba también en el bullicioso rin sa masayáng doongan, yapac ng paá mo
embarcadero, sobre la piedra del piso, las sa batóng tuntungan.
impresiones de tus plantas.
Vuelven, y como si tuviese delante, Nagbabalíc mandi,t, parang hinahanap

aquí, los venturosos tiempos, dito ang panahóng masayáng lumipas na
cual madrugador bañista que se aprovecha cong maliligo,i, sa tubig áagap, nang hindi
del agua dulce abutin ng tabsing sa dagat.
antes de enturbiarla la salobre del mar.
Creo aún oir tu decir favorito: Parang naririn gigang laguî mong uica
por tres días no se ha dado en el tatlong arao na di nagtatanao tama at
blanco, a que contestaba jubiloso; sinasagot cong sabing may touâ sa isa
¡y para una pers ona hay tanto en mantenimiento! catauo,i, marami ang handa.
Cierto que nada hay que no recuerde mi Ano panga,t, ualang dî nasisiyasat,
pensamiento de la huida alegría ang pagiisip co sa touang cumupas sa
que sólo de imaginarla corren mis lágrimas al cagugunitâ, luha,i, lalagaslás
tiempo que gimo “¡Oh, qué infortunio!” sabay ang taghoy cong “¡ó, nasauing palad!”
¿Dónde estás, Celia, alegría del vivir? Nasaan si Celiang ligaya ng dibdib? ang
Y nuestro amor ¿por qué no echó raíces? suyuan nami,i, baquít dí lumauig? nahan
¿Dónde está el tiempo en que una mirada ang panahóng isá niyang titig ang siyang
tuya era mi vida, alma y cielo? búhay co, caloloua,t, Langit?

¿Por qué, cuando nos separamos, Baquit bagá niyaóng cami maghiualay ay
no se cortó el hilo de mi maldita existencia? dî pa naquitil yaring abáng búhay? con
Tu memoria es mi muerte, gunitain ca,i, aquing camatayan, sa puso
porque en mi corazón, Celia, eternamente vives. co Celia,i, di ca mapaparam.
Esta aflicción sin tasa, Itong dî matiis na pagdaralitâ nang dahil

por caus a tuya, o por la dicha que sa iyo, ó nalayóng touâ, ang siyang
huyó, es la que me invita a cantar, umacay na aco,i, tumulâ auitin ang
narrar la vida de un infortunado. búhay nang isang na abâ.
Celia, harto comprendo cuán tímida Celia,i, talastás co,t, malabis na umid,
e ignorante mi musa, y cuán melancólico es su mangmáng ang Musa co,t, malumbay ang
canto, tinig di quinabahagyâ cong hindí malait
sobre baladí, asperísimo; palaring dinguin mo ng tainga,t, isíp.
mas, séanle propicios tus oídos y entendimiento.
Es el primer fruto de mis cortos alcances, que Ito,i, unang bucal nang bait cong cutad na
ofrendo a tus nobles huellas; recíbelo, inihahandóg sa mahal mong yapac tangapin
aunque, de valer, ajeno, mo nauâ cahit ualang lasáp nagbúhat sa
porque viene de un corazón sincero y amante. puso nang lingcód na tapát.
Aun cuando vaya e insultos hagan carne en Cong casadlacán man ng pula,t, pag-
ella, mis des velos serán bien pagados, ayop tubo co,i, daquila sa puhunang
si su lectura te arranca un sollozo pagod, cong binabasa mo,i, isá mang
que recuerde al ofrendador. himutóc
ay alalahanin yaríng naghahandóg.
Alegres ninfas de la laguna Bay,
sirenas de canción inefable, a Masasayáng Ninfas sa laua nang
vosotras hoy os invoca, Bay, Sirenas, ang tinig ay cauili-uili
con harto dolor, mi pobre musa. cayó ngayo,i, siyang pinipintacasi
ng lubháng mapanglao na Musa cong imbi.
Surgid a la ribera y márgenes circundantes,
y acompañad con vuestra lira mi pobre Ahon sa dalata,t, pangpang na nagliguid
canción, que, aunque la parlante vida se corte, tunuhan nang lira yaring abáng auit
es su deseo que el fiel amor cunda. na nagsasalitáng búhay ma,i, mapatid,
tapát na pagsinta,i, hangad na lumauig.
Tú, flor de mis ensueños,
Celia, que llevas por divisa M.A.R., Icao na bulaclac niyaring dili-dili,
a la Virgen Madre ora Celiang saguisag mo,i, ang M.A.R. sa
por tu devoto servidor que es F.B. Virgeng mag-Iná,i, ipamintacasi ang
tapát mong lingcód na si F.B.
Ibong Adarna is a korido (with 8 syllables per line, 4 lines per stanza) containing 1,722 stanzas
and has five parts:
Ibong Adarna (summary)
Part 1: stanzas 1—256 One day, an old doctor arrives in Berbania and
says that the illness of Don Fernando, which is
The kingdom of Berbania is ruled by a king,
brought about by a nightmare, may be cured only
Don Fernando. His wife is Doña Valeriana and
by the song of the Adarna bird. This bird can be
they have three sons (from eldest to youngest):
found on Mt. Tabor, where it perches on the
Don Pedro, Don Diego, and Don Juan.
Piedras Platas* tree at night. During day time, the
Don Fernando‟s favorite is his youngest son, bird goes off somewhere but it comes back at night
Don Juan. He falls ill after having a bad dream to roost, and it sings before it sleeps.
about his favorite son being attacked by two
(*Piedras Platas is Spanish for “silver stones”.)
people before being thrown down a well. None of
the healers in the kingdom could cure him. His The old doctor warns that the Adarna bird is
condition worsens. actually an enchantress, and it must be brought
back to Berbania immediately to help heal the
ailing Don Fernando.
Don Pedro journeys to Mt. Tabor and reac Adarna bird‟s tree. His two elder brothers are
hes it after three months. He is mesmerized by thus saved, and they are fed by the old hermit.
the Piedras Platas tree with its leaves shimmering
After the three brothers rested and rec overed
like diamonds. Unfortunately, the Adarna bird
from the ordeal, the old hermit sends them home and
comes late in the evening. Since Don Pedro is
advis es them not to betray one another.
tired from the journey, he is asleep by the time
the bird perches on the tree. However, the two older brothers attack Don
Juan on their way home.
The Adarna bird sheds its feathers and sings
seven times, poops, and then falls asleep on the tree. Part 2: stanzas 257—492
The poop lands on the head of the snoring Don
The brothers Don Pedro and Don Diego grabs the
Pedro, and instantly turns him to stone.
Adarna bird from Don Juan. They then bring it back to
Twelve months pass with no word from Don Berbania hoping to get credit for the feat.
Pedro, so Don Diego goes to Mt. Tabor. He suffers Unfortunately for them, the Adarna bird refuses
the same fate as Don Pedro. to sing for the king.
Three years pass, and Don Juan offers to look With a mute Adarna bird and no
for his missing brothers as well as the Adarna bird. favorite youngest son in sight, the king‟s
Don Fernando tries to stop his favorite son from condition wors ens.
leaving, but is convinced by Don Juan.
Meanwhile, the badly beaten up Don Juan
Don Juan brings five pieces of bread and can hardly crawl. He prays to the Blessed Virgin
decides to eat just one piece a month. After four Mary for help. Fortunately, an old man comes to
months, he reaches the top of Mt. Tabor where his aid. Don Juan eventually rec overs and goes
he meets an old hermit. The hermit begs for alms, back home to Berbania.
and the compassionate Don Juan gives his last Upon his arrival, the Adarna bird sheds its
piece of bread.
feathers and begins to sing. It sings seven times.
The old hermit asks Don Juan what he is
The king recovers immediately from his illness.
doing on Mt. Tabor, so Don Juan tells him. The
Since it is obvious that the two older brothers
old hermit admonishes Don Juan to listen
harmed Don Juan, King Fernando (after consulting
carefully and follow his advice, lest he turn into
with his council of advisers) orders Don Pedro and
stone just like his two older brothers.
Don Diego into exile.
Here‟s the hermit‟s advice: Don Juan, being the compassionate fellow that he
Avoid the beautiful tree and just is, asks his father not to punish his two elder brothers.
keep walking until you see a hut. The king accedes to Don Juan‟s request.
Enter the hut and talk to the old hermit there. King Fernando orders his three sons to guard
He will show you where the bird is. the Adarna bird, but warns that anyone who
allows the bird to escape will be executed.
And here‟s what the old hermit gave
Don Juan: During Don Juan‟s watch, he falls asleep
at dawn and the treacherous Don Pedro frees
Seven pieces of dayap (some kind of the bird.
lemon fruit)
When Don Juan wak es up, he is surprised
Straight razor blade (labaha) to see that the bird has escaped. Realizing that
he will be put to death, he heads for the hills.
A golden rope
King Fernando wakes up and discovers the
Each time the Adarna bird sings, Don Juan bird is gone. He asks the two brothers about it,
becomes sleepy. To stay awake, he uses the razor and they say it was Don Juan who kept guard on
to make a cut on his palm, and then squeezes the Adarna bird the previous night.
some dayap juice on the wound. The pain keeps
him awake so he easily avoided the bird‟s poop The king orders the two to look for Don Juan.
when it finished its seven songs. Don Pedro and Don Diego finds Don Juan in
The Adarna bird then sleeps with its eyes the mountain of Armenia. They decide not to
open and its wings spread apart. Don Juan return to Berbania because they are certain Don
quickly climbs the tree and uses the golden cord Juan would tell the king what really happened. The
to bind the bird‟s legs so it could not escape. two agree to just stay on the mountain.
Don Juan brings the bird to the old hermit who One day, the three brothers find a deep well. Don
promptly puts it in a cage. He also instructs Don Juan Juan wants to explore what lay at the bottom
to pour water on the stone figures under the
of the well, but Don Pedro (being the eldest) Juan finds the diamond ring of Princess Leonora,
says that he should go down first. climbs out of the well, and walks back to Berbania.
They get a rope and lower Don Pedro to the It‟s a long way back to Berbania and the
well. After going down 30 feet, however, Don tired Don Juan rests under a tree. The Adarna
Pedro grows frightened by the dark and tugs on bird happens to perch on the tree and then
the rope signalling his wish to be pulled out of sings. He wakes up and listens to the lyrics of
the well. the Adarna bird‟s song.
Part 3: stanzas 493—858 Don Juan discovers from the lyrics that
Princess Leonora is always thinking of him.
Don Diego, being the second eldest,
However, as the bird‟s song continues, it
attempts the same but also fails.
reveals that there is a another woman prettier
Finally, Don Juan gives it a try and reaches the than Princess Leonora.
bottom of the well, (about 100 feet below).
She is Princess Maria Blanca, daughter of King
He finds a golden door and quickly enters a place Salermo of the Crystal Kingdom (Delos Cristal). The
filled with crystal-paved roads, sweet-smelling flowers, song also tells Don Juan that he can proudly present
and palac es made of gold and silver. He also meets her to his father, King Fernando.
the beautiful Princess Juana.
Part 4: stanzas 859—1298
Since she is held prisoner by a giant, Don
Don Juan has been journeying on foot
Juan has to kill the giant. However, before they
for three years now, but is still unable to find
could leave, Princess Juana tells Don Juan the kingdom of Delos Cristal.
about her sister, Princess Leonora, who is being
held prisoner by a seven-headed serpent. On the way, he meets an old man and Don
Juan asks him about the kingdom, but the man is
Don Juan battles the serpent but each time
equally clueless. The old man, however, advis es
he chops off a head, it simply reattaches itself to
Don Juan to go to the seventh mountain where
its body. Fortunately, Princess Leonora throws
he will find a 500-year old hermit. The old man
him some bottled liquid which he has to pour on
gives Don Juan a piece of cloth.
each cut part to prevent the heads from
reattaching themselves to the serpent‟s body. Don Juan goes to the seventh mountain and
visits the old hermit, showing him the piec e of
Don Juan thus saves Princess Leonora and,
cloth. The hermit is amazed by the cloth and
together with Princess Juana and her wolf, the four
exclaims: “Jesus Christ, my Lord, it is only now
are pulled out of the well by Don Juan‟s two older
that I‟ve seen Your clothes!”
brothers.
Don Juan asks the old hermit about Delos
Don Pedro immediately falls in love with
Cristal, but the hermit—just as the old man—does not
Princess Leonora (who‟s in turn in love with
know where that kingdom is. The old hermit even
Don Juan).
asked the animals in the forest, but neither they know
Princess Leonora remembers that she left behind a about Delos Cristal‟s whereabouts.
diamond ring, and Don Juan offers to go down the well
As expected, the 500-year old hermit asks
again in order to retrieve it. She tries to stop him but he
Don Juan to travel to the seventh mountain
insists. Don Pedro lets go of the rope after lowering his
(from where they are now), so that he can
younger brother at 10 feet, as Don Juan badly falls
consult the 800-year old hermit who lives there.
down the 100-foot well.
When Don Juan got to the said mountain, the
Princess Leonora throws her wolf down the
even older hermit consults with the birds and one
well and instructs it to look after Don Juan.
eagle. Fortunately for Don Juan and his weary
Don Pedro, Don Diego, Princess Juana, and feet, the eagle knows where the kindgom of Delos
Princess Leonora return to Berbania. Don Diego Cristal is. At last, Don Juan will meet the beautiful
and Princess Juana get married, while Princess Princess Maria Blanca whom the Adarna bird sang
Leonora asks the amorous Don Pedro to first so much about.
wait for seven years because she has a religious
Don Juan rides on the back of the eagle and
pact to fulfill.
they fly towards the East for one month before
There is no such pact; Princess Leonora is just they reach the kingdom of Delos Cristal.
stalling Don Pedro in the hopes that Don Juan
The eagle gives Don Juan some advic e
would return soon.
before flying away: “At 4:00 in the morning, three
In the meantime, the wolf finds the injured Don princesses wearing dove‟s clothes will arrive, and
Juan and heals him with water taken from the will bathe. Hide and do not show yourself. ”
Jordan river. After recovering from his fall, Don
As expected, the three princ esses arrive negritos. The king then frees the 12 into the
on time. Don Juan has no trouble guessing sea and instructs Don Juan to catch all the 12
who Princess Maria Blanca is, because she is and return them into the wine bottle.
the prettiest. Don Juan hides the princess‟
As in the previous evening, Princess Maria
clothes which are hanging on a pear tree.
Blanca meets with Don Juan, gets instructions,
After bathing for a few minutes, Princess Maria and performs the task for him.
Blanca gets angry and hysterical because she
The following day, King Salermo gives Don
cannot find her clothes.
Juan the third task: “Put that mountain in the
After an hour, Don Juan appears like a meek middle of the sea. Build a castle there. I want to
lamb before the princess, gets down on his see it by tomorrow morning. Then build a road
knees, and tells her that he loves her. He also from my palace to that castle.”
explains how his love for her made him steal her
As usual, the task is performed. King Salermo
clothes, and that he is ready to accept whatever
inspects the castle while wondering where Don
punishment he deserves because of the deed.
Juan is getting his powers. During his inspection,
Princess Maria Blanca, overcome with
the king‟s ring falls into the sea. This gives the
compassion, is no longer angry. She asks Don
king an idea on how to ask for an even more
Juan to get up on his feet and gently speaks with
difficult task.
him.
King Salermo asks Don Juan to remove the
She asks Don Juan to look at the stones
castle from the sea. With the help of Princess
surrounding the palace. She says that the stones
Maria Blanca, Don Juan obeys and performs
used to be princes, horsemen, and counts who
the task effortlessly.
tried to court her, but were turned to stone by her
father after they failed his tests. The king then asks Don Juan to find his
missing ring beneath the sea. King Salermo
Princess Maria Blanca continues: “My father
also required that the ring be found under his
will wake up later at 5:00 this morning and he will pillow when he wakes up the following morning.
see you. If he asks why you are here, tell him
you‟ve come to ask for the hand of one of the As expected, Don Juan relays the message
princesses in marriage. When he invites you into to the princ ess, and for the first time she says
the palac e, decline the invitation for you will that the task is quite difficult.
surely die. If you wish to continue, accept
whatever tasks he asks you to perform. I‟ll take The two ride a raft to the middle of the sea.
care of everything.” The princess asks Don Juan to chop her up and
drop the piec es of her body into the sea. She
The three princesses leave and King cautions him not to lose any of the pieces, and that
Salermo awak es. As expected, he sees Don he should be alert and stay awake to be able to
Juan and invites him to the palace. Don Juan get the ring once her hand emerges from the
declines, states his marital intentions, and says water.
that he is ready to serve the king.
He does as instructed and the pieces of Princess
King Salermo asks a servant to bring Maria Blanca‟s body turn into many fish.
some wheat for the first task.
Unfortunately, Don Juan falls asleep and fails
The king orders Don Juan: “Flatten that to get the ring from the surfacing hand of the
mountain, scatter the wheat, harvest it tonight, princess during the first time. They then go
and turn it into bread. I want that bread served on through the whole thing again, but Don Juan rus
my breakfast table tomorrow morning.” hes and ends up losing a finger of Princ es Maria
Blanca. Fortunately, on their third try, he no longer
Don Juan takes the wheat and waits in the
falls asleep so he is able to get the ring when the
concierge‟s hous e. After everyone had gone to
princess‟ hand resurfaced.
sleep, Princess Maria Blanca goes to him and
he explains to her what the task is all about. The princess shows Don Juan her fingers and tells
him to remember that she is missing one of her fingers.
King Salermo knows the dark arts or black She asks him to remember that, so he will be able to
magic, but the princess is well-versed in white
recognize her when the time comes.
magic. She is more powerful than her father
though, so Don Juan is able to accomplish the The following day, King Salermo finds the ring
task easily. under his pillow when he wakes up. He calls Don
Juan for the final task. The king asks him to attach
The following morning, the king is amazed that Don
his horse in the royal stable to the royal carriage.
Juan was able to perform the task. He then gives
instructions for the second task. The king shows Don Princess Maria Blanca tells Don Juan to be extra
Juan a wine bottle that contains 12 careful becaus e he might die. She explains

that the hors e is actually the king, the coach his father, King Fernando, to have a group
are her two sisters, and she will be the brakes. dispatched and fetch Princess Maria Blanc a.
She tells Don Juan not to be afraid of how Before he leaves, Princess Maria Blanca
the horse will look. When the horse nears, Juan warns him that if any woman approaches him, he
should rain blows on the horse‟s body. Once the will forget her. Don Juan promises her that he
horse weakens, he can then bring the hors e will not allow any woman to come near him.
back to the stable.
Unfortunately, as soon as Don Juan enters
Juan overcomes the king. King Salermo Berbania, Princess Leonora sees him after so
accepts defeat and accepts the fact that Don many years and rus hes toward him. The curse
Juan is more powerful. is fulfilled and Don Juan forgets about Princess
Maria Blanca and makes plans to marry Princ
Part 5: stanzas 1299—1722
ess Leonora.
Since King Salermo has no other tasks to Princess Maria Blanca attends the celebration and
assign to Don Juan, he summons him so that he requests that a program be held before the wedding
may choose who among the three princesses
ceremony begins. The program is a dramatic play
he will marry.
between negritos. The female negrito hits the male
Since the fac es of the princesses are covered, negrito with a stick and asks him if he remembers how
Don Juan may choose only by touching their fingers. He Princess Maria Blanca helped him in the kingdom of
remembers that Princess Maria Blanca is missing a King Salermo.
finger, so he easily chooses her.
Each blow does not hurt the male negrito, instead,
King Salermo notices the unusual closeness it is Don Juan who feels the pain each time the negrita
between Don Juan and Princess Maria Blanca, and hits the negrito. Don Juan‟s memory sudddenly
plans to have them banished to England. The couple returns, and he remembers all that he and Princess
elope and are able to escape from the king. Maria Blanca went through.
King Salermo breathes a curse on her The wedding is called off as Don Juan
escaped daughter: “You will be forgotten by Don marries Princess Maria Blanca. To make things
Juan. He will leave you and marry someone else.” even, Don Pedro takes his younger brother‟s
In the bewilderment of his grief, he sickens and place and marries Princess Leonora.
dies, and is unable to witness the fulfillment of his
Don Juan and Princ ess Maria Blanca return
curse.
to the kingdom of Delos Cristal, where they rule
Don Juan and Princ ess Maria Blanca reac h the with compassion and justice over a people who
outskirts of the kingdom of Berbania. Don Juan love them.
temporarily leaves the princ ess so that he can tell
Filipino intellectuals (ilustrados) educated in Europe began writing about their colonization.
Reformers like Jose Rizal (Dimasalang, Laong Laan), Marcelo H. del Pilar (Plaridel),
Mariano Ponce (Tikbalang, Kalipulo) wrote for La Solidaridad; while the revolutionaries
Andres Bonifacio (Maypagasa) and Emilio Jacinto (Dimasilaw) wrote for Kalayaan.
Ang Dapat Mabatid ng mga Tagalog (essay)

by Andres Bonifacio
Itong Katagalugan, na pinamamahalaan nang unang panahon ng ating tunay na mga kababayan
niyaong hindi pa tumutuntong sa mga lupaing ito ang mga Kastila, ay nabubuhay sa lubos na
kasaganaan, at kaginhawaaan. Kasundo niya ang mga kapit -bayan at lalung-lalo na ang mga taga-Japon,
sila‟y kabilihan at kapalitan ng mga kalakal, malabis ang pagyabong ng lahat ng pinagkakakitaan, kaya‟t
dahil dito‟y mayaman ang kaasalan ng lahat, bata‟t matanda at sampu ng mga babae ay marunong
bumasa at sumulat ng talagang pagsulat nating mga Tagalog. Dumating ang mga Kastila at dumulog na
makipagk aibigan. Sa mabuti nilang hikayat na diumano, tayo‟y aakayin sa lalong kagalingan at lalong
imumulat ang ating kaisipan, ang nasabing nagsisipamahala ay nangyaring nalamuyot sa tamis ng
kanilang dila sa paghibo. Gayon man sila‟y ipinailalim sa talagang kaugaliang pinagk ayarian sa
pamamagitan ng isang panunumpa na kumuha ng kaunting dugo sa kani -kanilang mga ugat, at yao‟y
inihalo‟t ininom nila kapwa tanda ng tunay at lubos na pagtatapat na di magtataksil sa pinagkayarian.
Ito‟y siyang tinatawag na “Pacto de Sangre” ng haring Sikatuna (Rajah ng Bohol) at ni Legaspi
(Conquistador Miguel Lopez de Legazpi) na pinakakatawanan ng hari sa España.

Buhat nang ito‟y mangyari ay bumibilang na ngayon sa tatlong daang taon mahigit na ang lahi ni
Legaspi ay ating binubuhay sa lubos na kasaganaan, ating pinagtatamasa at binubusog, kahit abutin
natin ang kasalatan at kadayukdukan; iginugugol natin ang yaman, dugo at sampu ng tunay na mga
kababay an na ayaw pumayag na sa kanila‟y pasak op, at gayon din naman nakipagbaka tayo sa mga
Insik at taga-Holandang nagbalang umagaw sa kanila nitong Katagalugan.
Ngay on sa lahat ng ito‟y ano ang sa mga ginawa nating paggugugol ang nakikitang kaginhawahang
ibinigay sa ating Bayan? Ano ang nakikita nating pagtupad sa kanilang kapangak uan na siyang naging
dahilan ng ating paggugugol? Wala kundi pawang kataksilan ang ganti sa ating mga pagpapala at mga
pagtupad sa kanilang ipinangakong tayo‟y lalong gigisingin sa kagalingan ay bagkus tayong binulag,
inihawa tayo sa kanilang hamak na asal, pinilit na sinira ang mahal at magandang ugali ng ating Bayan;
iminulat tayo sa isang maling pagsampalataya at isinadlak sa lubak ng kasamaan ang kapurihan ng
ating Bayan; at kung tayo‟y mangahas humingi ng kahit gabahi d na lingap, ang nagiging kasagutan ay
ang tayo‟y itapon at ilayo sa piling ng ating minamahal na anak, asawa at matandang magulang. Ang
bawa‟t isang himutok na pumulas sa ating dibdib ay itinuturing na isang malaking pagkakas ala at kara -
karakang nilalapatan ng sa hay op na kabangisan.
Ngay on wala nang maituturing na kapanatagan sa ating pamamayan; ngayon lagi nang ginagambala
ang ating katahimikan ng umaalingawngaw na daing at pananambitan, buntong-hininga at hinagpis ng
makapal na ulila, balo‟t mga magulang ng mga kababayang ipinanganyaya ng mga manlulupig na
Kastila; ngayon tayo‟y nalulunod na sa nagbabahang luha ng Ina sa nakitil na buhay ng anak, sa
pananangis ng sanggol na pinangulila ng kalupitan na ang bawa‟t patak ay katulad ng isang kumukulong
tinga, na sumasalang sa mahapding sugat ng ating pusong nagdaramdam; ngayon lalo‟t lalo tayong
nabibiliran ng tanikalang nakalalait sa bawa‟t lalaking may iniingatang kapurihan. Ano ang nararapat
nating gawin? Ang araw ng katuwiran na sumisikat sa Silanganan, ay malinaw na itinuturo sa ating mga
matang malaong nabulagan, ang landas na dapat nating tunguhin, ang liwanag niya‟y tanaw sa ting mga
mata, ang kukong nag-akma ng kamatayang alay sa atin ng mga ganid na asal. Itinuturo ng katuwiran na
wala tayong iba pang maaantay kundi lalo‟t lalong kaalipustaan at lalo‟t lalong kaalipinan. Itinuturo ng
katuwiran na huwag nating sayangin ang panahon sa pag-asa sa ipinangakong kaginhawahan na hindi
darating at hindi mangyay ari. Itinuturo ng katuwiran ang tayo‟y umasa sa ating sarili at huwag antayin sa
iba ang ating kabuhayan. Itinuturo ng katuwiran ang tayo‟y magkais ang -loob, magkais ang-isip at akala,
at nang tayo‟y magkaisa na maihanap ng lunas ang naghaharing kasamaan sa ating Bayan.
Panahon na ngayong dapat na lumitaw ang liwanag ng katotohanan; panahon nang dapat nating ipakilala na
tayo‟y may sariling pagdaramdam, may puri, may hiya at pagdadamayan. Ngayon panahon nang dapat simulan ang
pagsisiwalat ng mga mahal at dakilang ani na magwawasak sa masinsing tabing na bumubulag sa ating kaisipan;
panahon na ngay ong dapat makilala ng mga Tagalog ang pinagbuhatan ng kanilang mga kahirapan. Araw na itong
dapat kilalanin na sa bawa‟t isang hakbang natin ay tumutuntong tayo at nabibingit sa malalim na hukay ng
kamatayan na s a ati‟y inuumang ng mga kaaway.
Kaya, O mga kababayan, ating idila ang bulag na kaisipan at kusang igugol sa kagalingan ang atin g lakas sa
tunay at lubos na pag -asa na magtagumpay sa nilalayong kaginhawahan ng bayan tinubuan.
(From Kalayaan, issue no. 18, 1896)
Pag-Ibig sa Tinubuang Lupa (poem)

by Andres Bonifacio
Aling pag-ibig pa ang hihigit kaya sa Bakit? Alin ito na sakdal ng laki,
pagkadalisay at pagk adakila Gaya Na hinahandugan ng bus ong pagkasi,
ng pag-ibig sa tinubuang lupa? Aling Na sa lalong mahal nakapangyayari,
pag-ibig pa? Wala na nga, wala. At ginugulan ng buhay na iwi?
Pagpupuring lubos ang palaging hangad Ay! Ito'y ang Inang Bayang tinubuan:
Sa bayan ng taong may dangal na ingat, Siya'y ina't tangi sa kinamulatan
Umawit, tumula, kumanta't sumulat, Ng kawili -wiling liwanag ng araw
Kalakhan din niya'y isinisiwalat. Na nagbigay-init sa buong katawan.
Walang mahalagang hindi inihandog Kalakip din nito'y pag-ibig sa Bayan,

Ng may pusong mahal sa Bayang Ang lahat ng lalong sa gunita'y mahal,
nagkupkop, dugo, yaman, dunong, katiisa't Mula sa masaya'y gasong kasanggulan
pagod, Buhay ma'y abuting magkalagut-lagot. Hanggang sa katawa'y mapasa-libingan.

Sa aba ng abang mawalay sa bayan! Hayo na nga, hayo, kayong nangabuhay

Gunita ma'y laging sakbibi ng lumbay, Sa pag-asang lubos ng kaginhawahan
Walang alaala't inaasam-asam At walang tinamo kundi kapaitan,
Kundi ang makita'y lupang tinubuan. Hayo na't ibangon ang naabang bayan!
Pati ng magdusa'y sampung kamatayan Kayong nalagasan ng bunga't bulaklak Ng

Wari ay masarap kung dahil sa bayan kaho'y ng buhay na nilanta't sukat, Ng
At lalong mahirap. Oh, himalang bagay! bala-balaki't makapal na hirap, muling
Lalong pag-irog pa ang sa kanya'y alay. manariwa't sa bay a'y lumiyag.
Kung ang bayang ito'y masasa-panganib At Ipahandug-handog ang busong pag-ibig At

siya ay dapat na ipagtangkilik, hanggang may dugo'y ubusing itigis; kung sa
Ang anak, asawa, magulang, kapatid; pagtatanggol, buhay ay mapatid, Ito'y
Isang tawag niya'y tatalidang pilit. kapalaran at tunay na langit!
Leading to the formation of the Propaganda Movement and the Katipunan, culminating in
the Philippine Revolution of 1896
Notable prose works include Rizal’s political novels, Noli Me Tangere and El Filibusterismo,
and Pedro Paterno’s Ninay—considered as the first Filipino novel.
Ninay (summary)
Written as a response to the accusation that Filipinos possessed no distinct culture, Ninay was written
by Pedro Paterno in the tradition of costumbrismo, a movement in Spanish literature in the 19th century
that celebrated specific features—like flora, fauna, rituals, and rites—of Spain's various regions. The
novel's series of overlapping narratives were thus juxtapos ed against the country's bucolic scenes and
social and religious rites. This is a major criticism against Paterno's novel —its use of a non-realistic
perspective. But Leon Ma. Guerrero, an influential translator of Rizal's novels, has pointed out the
numerous similarities between Ninay and Rizal's novels in terms of characters and plot structure.
The first Philippine novel Ninay—written in Tagalog and published in Manila in 1908—gathers together
a large number of themes and motifs which shaped the works of a large number of literary texts. Using the
nine-day novena for the dead (pasiam) as the frame, the novel unfolds a series of narratives that constitute
variations of unrequited love. The first doomed love affair is between Ninay, for whom the prayers for the
dead are being said, and Carlos Mabagsic falsely accused by the villainous Portuguese businessman,
Federico Silveyro, of leading an insurrection. After a colorful sojourn abroad, Carlos returns only to find out
that Ninay has entered a convent. He dies of cholera and Ninay also succumbs to the disease and dies.
Unrequited love becaus e of the machinations of another evil character, Don Juan Silveyro, is also the fate
of ill-starred Loleng and Berto, who bec omes an outlaw to avenge the death of his sweetheart. It is Berto
who finally puts an end to the wicked ways of Federico.
Noli Me Tangere (summary)

Noli Me Tangere (commonly referred to by its shortened name “Noli”) is a novel written in Spanish by
Philippine national hero Jos e Rizal and was first published in Germany in 1887. Its English translation was
originally titled “The Social Cancer”, although more recent translations have been published using the
original Latin name—the literal translation of which is “Touch Me Not”. Rizal is said to have derived this
phrase from the Bible, specifically the Gos pel of St. John, where it is spoken by Jesus to Mary Magdalene
after He has risen from the dead, because He has not accomplished His mission (and has not yet
“ascended to the Father”) and henc e, cannot be touched. When Rizal read the American novel, Uncle
Tom's Cabin, written by Harriet Beecher Stowe on the oppression of black/negro slaves in the United
States, he thought that a similar novel should be written about the abuses Filipinos were suffering at the
hands of their Spanish colonizers.
In Riz al‟s dedication at the beginning of Noli, he wrote: “To My Country: Recorded in the history of
human sufferings is a cancer of so malignant a character that the least touch irritates it and awakens in it
the sharpest pains. Thus, how many times, when in the midst of modern civilizations I have wished to call
thee before me, now to accompany me in memories, now to compare thee with other countries, hath thy
dear image presented itself showing a social cancer like to that other!”

Characters:
Although Rizal included around 30 characters in the novel, the major characters of the story are:
Crisostomo Ibarra—also known by his full name Juan Crisostomo Ibarra y Magsalin; a Filipino who studied in
Europe for seven years, the love interest of Maria Clara. Son of the deceased Don Rafael Ibarra, Crisostomo
changed his surname from Eibarramendia to Ibarra, from his ancestor‟s surname.
Elías—Ibarra's mysterious friend, a master boater, a revolutionary, and a fugitive. He was referred to at
one point as “the pilot”. Ibarra's great-grandfather, Don Saturnino, killed his grandfather for burning a
warehouse.
María Clara—full name: María Clara de los Santos, Ibarra's sweetheart; the illegitimate daughter of
Padre Damaso and Doña Pía Alba.
Padre/Father Damaso—also known in his full name as Damaso Verdolagas; a Franciscan friar and
María Clara's biological father.
Don Filipo—a close relati ve of Ibarra, and a “filibustero”.
Linares—a distant nephew of Don Tiburcio de Espadana, the would-be fianc ee of Maria Clara.
Kapitan-Heneral/ Captain-General (no specific name)—the most powerful official in the Philippines,
a hater of secular priests and corrupt officials, and a friend of Ibarra.
Captain Pablo—the leader of the rebels, whos e family was destroyed because of the Spaniards.
Tarcilo and Bruno—brothers, whos e father was killed by the Spaniards.
Sisa—the mother of Basilio and Crispín, who we nt insane after losing her sons.
Basilio—the elder son of Sisa.
Crispin—the younger son of Sisa who died from the punishment of Spanish soldiers after being falsely
accused of stealing money.
Padre/Father Sibyla—Hernando de la Sibyla, a Filipino friar. He is described as short and has fair skin.
Kapitan/Captain Tiago—full name: Don Santiago de los Santos, the known father of María Clara but
not the real one; he lives in Binondo.
Padre/Father Salvi—also known as Bernardo Salvi, a secret admirer of María Clara.
Pilosopo/Philosopher Tasyo—also known as Don Anastasio, portrayed in the novel as a pessimist, a
cynic, and a mad man by his neighbors, but in actuality he is quite wise; Ibarra seeks advice from him.
The Alferez—chief of the Guardia Civil; mortal enemy of the priests for the power in San Diego.
Don Tiburcio de Espadaña—Spanis h husband of Doña Victorina; he is limp and submissive to his
wife; also pretends to be a doctor.
Doña Victorina—full name: Victorina de los Reyes de De Espadaña, a woman who passes herself off
as a “peninsulares”* (creoles).
Doña Consolacion—wife of the “alferez”, another woman who passes herself off as a “peninsulares”*;
best remembered for her abusive treatment of Sisa.
Pedro—abusive hus band of Sisa who loves cockfighting.
Albino, Kapitana Maria, Lieutenant/Tinyente Guevara, Kapitan Basilio, Mang Pablo, Iday, Sinang,
Victoria, Andeng, Doña Pia, Tia Isabel, Lucas, Señor Nol Juan—other characters
*During the Spanish colonial period, four social class distinctions were observed in the Philippines.
These were the peninsulares—Spaniards who were born in Spain, insulares or creoles—Spaniards born in
the colonies of Spain (like the Philippines), Spanis h mestizos of mixed ancestry dwelling within or nearby
an urban town/city, and the rural natives/Filipinos called indios.
History of Philippine Literature: Spanish Colonial

Period Student Handout Page 15 of 22
Plot:
Having completed his studies in Europe, the young Crisostomo Ibarra returns to the Philippines after a
seven-year absence. In his honor, the affluent Kapitan Tiago throws a dinner party in his Binondo home,
which is attended by friars and other prominent Spanish figures, such as Doña Victorina, Padre Sibyla, and
Padre Damaso—the former curate of San Diego and godfather to his daughter Maria Clara.
In an unfortunate incident, Padre Damaso belittles and slanders Ibarra for reasons the young man
cannot understand. But Ibarra brus hes off the insults and takes no offens e, graciously excusing
himself and leaving the party because of an allegedly important task. He is followed by another guest,
Tinyente Guevara (of the Guardia Civil).
Although Tinyente Guevara is unable to explain Padre Damaso‟s change of attitude toward
Ibarra‟s father, he illuminates Ibarra regarding the events preceding Don Rafael‟s death.
According to him, Ibarra‟s father—a wealthy hacendero of San Diego—was unjustly accused of
being a heretic: an allegation brought forth by Padre Damaso because of Don Rafael‟s non -participation
in the sacraments, such as his refusal to go to confession and to Mass. Later, Don Rafael was also
accused by the friar of being a filibuster when a Spanis h tax collector died accidentally when he
defended a boy the collector was assaulting.
Suddenly, all those who thought ill of Don Rafael surfaced with additional complaints and joined forces
with Padre Damaso, making false accusations against the old man. Thus, he was thrown into prison, but
the noble Tinyente Guevara prepared the case for his defense and found a good lawyer to represent him.
And just when it seemed the matter would be settled and Don Rafael would be acquitted, he got sick and
died in jail.
The day after the humbling party, Ibarra goes to see María Clara, his love interest and the beautiful
daughter of Kapitan Tiago. Their long-standing love is clearly manifested in this meeting as María Clara
reveals that she always carries the letter Ibarra had written her before he went to Europe. She rereads
it, beginning with the detail on Don Rafael's nationalistic reasons for sending his son Ibarra to Europe to
be educated.
Ibarra then goes to his hometown, San Diego, where Maria Clara‟s family also has a house. He goes
to see his father's grave at the Catholic cemetery and finds that it has been disturbed. Still not content with
what he had done, Padre Damaso supposedly arranged for Don Rafael's corpse to be dug up and
transferred from the Catholic cemetery to the Chinese cemetery, reasoning that a heretic/filibuster was
undeserving of a Catholic burial ground. Unfortunately it was raining, and because of the bothersome
weight of the cadaver, the gravediggers decided not to take the trouble of burying the corpse again;
instead, they threw the corpse of Don Rafael into the river.
Others in San Diego also suffer at the hands of the Spanish clergy. Two young sacristans—the
brothers Basilio and Crispin—are accused of stealing money from the church. When they disappear their
mother, Sisa, goes mad and wanders the town. The town schoolmaster also tells Ibarra he was
discouraged by the curate from using the new teaching methods that he found effective.
Ibarra invites Maria Clara and other young people to go fishing then have a picnic on his property. Out
of courtesy, he also invites the new curate, Padre Salvi, even though Maria Clara complains he has been
gazing at her lustfully. Padre Salvi can only make it to the picnic, so the young people and their
chaperones go fishing without the friar on Ibarra‟s pond. They find that a large caiman (crocodile) has
eaten all the fish in one of the corrals. A mysterious boatman named Elias captures it but is attacked by the
creature. Ibarra goes to his aid, saving his life. Ibarra learns that the mysterious boatman is wanted by the
Guardia Civil for assaulting a Spanish priest.
Revenge was not in Ibarra's plans; instead he decides to put up a school as a tribute to his father's
belief that the education of the people would lead to their country's liberation. He discusses this with the
learned town eccentric, Pilosopo Tasio, and the old man supports his noble objectives but warns him that
he must win over the Spanish authorities to have a chanc e of success .
During the inauguration of the school after the authorities have approved of his plan, Ibarra would have
been killed in a sabotage had Elias—who had warned Ibarra earlier of a plot to assassinate him—not
saved his life where the hired killer met an unfortunate incident and died. The sequence of events proved
to be too traumatic for María Clara who becomes ill with a fever. Ibarra gives her a medicine which cures
her, but she remains weak for some time afterward.
After the inauguration, Ibarra hosts a dinner luncheon during which Padre Damaso, uninvited and gate-c
rashing the gathering, again insults him. Ibarra ignores the priest's insolence, but when the friar

slanders the memory of his dead father, he is no longer able to restrain hims elf and lunges at the friar,
holding a knife at his throat for his impudence. But Maria Clara stops him from doing any violence to
Padre Damaso.
As a consequence, Ibarra is excommunicated by the Archbishop of the Roman Catholic Church for
assaulting one of their own. Because of this disgrace, Padre Damaso is able to persuade Kapitan Tiago to
forbid his daughter Maria Clara from marrying Ibarra. The friar presents a new suitor, a creole named
Linares who has just arrived from Spain. Linares is introduced by his “peninsulares ” relatives, the foolish
Spanish quack doctor Don Tiburcio and his absurd pretentious wife, Do ña Victorina.
Elias tries to convince Ibarra at this point to lead a revolt, but Ibarra insis ts that reform, never revolt,
is the answer to the country‟s ills. Elias tries to move him with the story of how his family suffered at the
hands of a Spanish merchant and other wealthy and influential members of society, to no avail.
Ibarra meets with the Kapitan-Heneral and wins his support. The excommunication is thus lifted and
the Archbishop decides to accept Ibarra as a member of the Church once again. But, as fate would have
it, some incident of which Ibarra had known nothing about is blamed on him and is accused by Padre Salvi
of being a subversive.
Hearing of this, Elias goes to warn him and together they go over the Ibarra family papers so they can
discard anything that appears incriminating. While doing this, Elias discovers that Ibarra ‟s great-
grandfather was the very Spanish merchant who set off the chain of his family ‟s misfortunes. His feelings
in turmoil, Elias leaves Ibarra. Soon afterward, Ibarra is arrested and imprisoned.
At first there appears to be no actual evidence against him, thanks to Elias who had a change of heart and
returned to burn Ibarra‟s family papers. The accusation against him is overruled because nobody during the litigation
could testify that he was indeed involved. Then suddenly, Ibarra's letter to Maria Clara is produc ed and his words are
manipulated so that the love letter then becomes evidenc e against him .
Meanwhile, in Kapitan Tiago's residence, a party is being held to announce the upcoming wedding of
María Clara and Linares. Ibarra, with the help of Elias, takes this opportunity and escapes from prison. He
goes to see Maria Clara one last time before leaving the country. He wishes to say goodbye to her
although he believes that she betrayed him by giving the letter he wrote her to the jury. Maria Clara
explains to Ibarra that she only handed over the letter he wrote her in exchange for a couple of scandalous
letters written by her mother, Doña Pia Alba, before her birth. These letters, alluding to an unborn child,
were found by Padre Salvi in the house passed onto him by Padre Damaso. They revealed that her mother
was raped by Padre Damaso and that she is therefore not the daughter of Kapitan Tiago, but of Padre
Damaso!
Afterwards, Ibarra and Elias continue their flight by boat. Elias tells Ibarra to lie down, then covers him
with grass. As luck would have it, some guardia civil spot them as Elias tries to outsmart them by serving
as a decoy and jumping into the water. The soldiers shoot at him, unaware that Ibarra is still in the boat,
waiting for a chance to make his getaway.
Maria Clara hears that Ibarra was killed in the water and is so overc ome with grief that she begs
Padre Damaso to confine her in a nunnery or she will take her own life, saying: “The nunnery or death!”
Padre Damaso explains reluctantly that he only wanted Maria Clara to have a life of freedom and
happiness, which she could never achieve in marriage to a Filipino native. But she holds firm, refusing to
marry Linares or anyone else, and he bows to her wishes.
In his last moments as he bleeds to death, Elias meets the runaway sacristan Basilio, who had just
come back to the town to find his mother. Sadly, Sisa died soon after she recognized her son. Elias asks
Basilio to burn his body upon his death. He then dies lamenting not having seen the liberation of his
country.
El Filibusterismo (summary)
El Filibusterismo (commonly referred to as “Fili”, from the Spanish word for “filibuster” or a subversive who
foments or supports a revolution) is also known by its English alternate title “The Reign of Greed”. Fili is the second
novel written by Rizal and the sequel to the Noli. Like his first book, it was written in Spanish and was first published in
Belgium in 1891. Fili is dedicated to the memory of the “Gomburza”—the Filipino priests Gomez, Burgos, and Zamora
—who were accused of being seditious and ex ecuted by beheading.
In his dedication, Riz al audaciously expresses his conviction that their treatment at the hands of
the Spanish authorities was unjust and barbaric.

Characters:
Below are the major characters in the novel:
Simoun—Crisostomo Ibarra reincarnated as a wealthy jeweler, bent on starting a revolution.
Basilio—Sisa‟s son, now an aspiring doctor.
Isagani—poet and Basilio‟s best friend; portrayed as emotional and reactive; Paulita
Gomez‟s boyfriend before being dumped for fellow student Juanito Pelaez.
Kabesang Tales—full name: Teles foro Juan de Dios, a former cabeza de barangay (barangay head/
captain) who resurfaced as the feared Luz on bandit Matanglawin (Tagalog for “Hawkeye”); his
father, Old Man/Tandang Selo, dies eventually after his own son Tano, who became a guardia civil,
unknowingly shoots his grandfather in an encounter.
Don Custodio—also known as Custodio de Salazar y Sanchez de Monteredondo; a famous journalist
who was asked by students about his decision for the Academia de Castellano. In reality, he is quite
an ordinary fellow who married a rich woman in order to be a member of Manila‟s high society.
Paulita Gómez—the girlfriend of Is agani and the niece of Doña Victorina. In the end, she and Juanito Pelaez
are wed after dumping Isagani, believing that she will have no future if she marries him.
Padre/Father Florentino—Isagani's godfather and a secular priest; was engaged to be married,

but chose priesthood instead. The story hints at the ambivalence of his decision as he chooses an
assignment to a remote place, living in solitude near the sea.
Macaraig—the rich student who offered his own house as the dormitory of the students studying
in Ateneo Municipal de Manila. He led the students with Isagani to set up a Spanish school, but
their movement was defeated.
Juli—also Juliana, daughter of Kabesang Tales and Basilio‟s sweetheart.
Captain of the ship Tabo—a soft-spoken yet sarcastic fellow.
Padre/Father Camorra—the friar-gunner.
Padre/Father Irene—the friar with a “ruddy, well-s haved face”.
Kapitan-Heneral —from Noli.
Maria Clara—from Noli.
Don Tiburcio—from Noli.
Doña Victorina—from Noli.
Padre Salvi —from Noli.
Padre Sibyla—from Noli.
Tandang Selo, Tano, Quiroga, Juanito Pelaez—other characters
Plot:
After 13 years of being away from the Philippines, Crisostomo Ibarra returns under the guise of
Simoun, a rich jeweler sporting a beard and blue -tinted glasses. His wealth and connections as a
confidant of the Kapitan-Heneral make him influential and sought-after in Manila‟s high society.
Abandoning his idealism, Ibarra bec omes a cynical saboteur, the titular filibustero, seeking revenge
by overthrowing the corrupt colonial system responsible for his misfortunes. As Simoun, he uses his clout
to encourage Spanish officials to become more corrupt and mismanage the country‟s affairs so that the
Filipino masses will revolt against the government.
He cynically sides with the upper classes, encouraging them to commit further abuses against the
people, thus instigating a revolution. Simoun also plans to rescue his beloved Maria Clara from the
convent.
Only Basilio—now a graduating student of medicine at the Ateneo Municipal de Manila —recognizes Simoun‟s
true identity. Their paths crossed when the now grown-up Basilio visited the grave of his mother as Simoun was
digging near her grave for his buried treasures. Simoun spares Basilio‟s life and tries to
convince him to join his planned uprising. He owes Simoun a debt of gratitude for helping him bury his
mother in the forest more than a decade ago. Knowing what Basilio‟s family suffered at the hands of
the Spanish authorities, Simoun eggs him on by bringing up the tragic misfortunes of his younger
brother Crispin and his mother Sisa. However, Basilio declines the offer as he still hopes that the
country‟s condition will improve.
A decade ago, Basilio heeded the advice of the dying boatman Elias and traveled to Manila to study.
He was then adopted by Kapitan Tiago after María Clara entered the convent. And with Kapitan Tiago‟s
help, Basilio was able to go to Colegio de San Juan de Letr an where, at first, he was frowned upon by
his Spanish peers and teac hers—not only because of the color of his skin, but also because of his
shabby appearance, which he experienced the same at the Ateneo.
Meanwhile, Kapitan Tiago‟s confessor, Padre Irene, is making his health worse by giving him
opium even as Basilio tries hard to prevent him from smoking it.
Basilio and other students want to establish a Spanish-language academy so that they can learn to
speak and write Spanish despite the opposition from the friars of the Universidad de Santo Tom as. With
the help of a reluctant Padre Irene as their mediator and Don Custodio‟s decision, the academy is
established. However, it is decided that they will only serve as caretakers of the school and not as its
teachers. Dejected and defeated, the students hold a mock celebration at a pancitería while a spy for the
Spanish friars witnesses the proceedings.
Simoun, for his part, keeps in close contact with the bandit group of Kabesang Tales, a former
barangay captain who suffered mis fortunes at the hands of the k uras. Once a farmer owning a
prosperous sugarcane plantation, he was forced to surrender everything to the greedy and unscrupulous
Spa nish friars. His son, Tano, who became a guardia civil, was captured by bandits; his daughter, Juli,
had to work as a maid to get enough ransom money for his freedom; and his father, Tandang Selo,
suffered a stroke and became mute.
Before joining the bandits, Kabesang Tales took Simoun‟s revolver while the latter was staying at
the former‟s house for the night. In exchange and to serve as payment, Kabesang Tales leaves a locket
that once belonged to Maria Clara.
To further strengthen the revolution, Simoun has Quiroga—a Chinese man hoping to be appointed as consul to
the Philippines—smuggle weapons into the country using the businessman‟s bazaar as a front.
Simoun wishes to attack during a stage play with all of his enemies in attendance. As fate would have
it, his first attempt at revolution fails when Simoun learns from Basilio of Maria Clara's death at the
convent. He breaks down and his plan was aborted.
A few days after the mock celebration by the students, the people are agitated when disturbing
posters are found dis played around the city. The authorities accuse the students present at the pancitería
of agitation and disturbing the peace, and have them arrested. Basilio, although not present at the mock
celebration, is also arrested.
Kapitan Tiago dies after learning of the incident and as stated in his will—forged by Padre Irene, all his
possessions will be given to the Churc h, leaving nothing for Basilio. Basilio is left in prison as the other
students are released. A high official tries to intervene fo r the release of Basilio but the Kapitan-Heneral,
bearing grudges against the high official, coerces the official to tender his resignation.
With Basilio incarcerated and upon the advice of an old woman, his girlfriend Juli—which is also the
daughter of Kabesang Tales—tries to seek help from the influential Padre Camorra for his release. Instead
of helping Juli, Padre Camorra tries to rape her as he has long-hidden desires for her. Juli, rather than
submit to the will of the lustful Spanish friar, jumps over the balcony to her death.
Bitter and vengeful, Basilio is soon released from prison through Simoun‟s clout. Basilio, now a
changed man and after hearing about her beloved Juli‟s suicide, finally offers his full support to
Simoun's second attempt at sparking a revolution.
Simoun tells Basilio his plan at the wedding of Paulita G omez and Juanito Pelaez—Basilio‟s
hunchbacked classmate. His plan was to conceal an explosive inside a pomegranate-styled lamp that he
will give to the newlyweds as a gift during the wedding reception. The reception will take place at the
former home of Kapitan Tiago, which is now filled with explosives planted by Simoun. According to
Simoun, the lamp will stay lighted for only 20 minutes before it flickers; if someone attempts to turn the
wick, it will explode and kill everyone inside the house—all his enemies, important members of high society
and the Church hierarchy.

There are many illustrious guests at the mansion during the wedding day, including the Kapitan -
Heneral. Seeing all the people, most of them innocent guests who are about to be harmed, Basilio has a
change of heart as Simoun leaves the reception early as planned, leaving behind a note that says:
“Mene Thecel Phares.—Juan Crisostomo Ibarra” (“You are weighed in the balance and found wanting,”
the handwriting found on the wall during a feast foretelling the destruction of Babylon)
Initially thinking that it was simply a bad joke by those left behind, Padre Salví recognizes the
handwriting and confirms that it was indeed Ibarra‟s. As Basilio starts to run away, following Simoun‟s
escape, he sees his best friend Isagani standing disconsolately near the house. Basilio is compelled to tell
Isagani of Simoun‟s plot.
Isagani had been working toward reform and with his idealism, intelligence, and eloquence had
become something of a leader among the students. Until recently he had been the beautiful Paulita's
sweetheart. She had been charmed by his poetic nature but Paulita was bored by his patriotic ideals. The
arrest of the students convinced her that it would be more practical to marry Juanito, a rich
businessman's son who did not involve himself in such dangerous political matters.
As people inside the mansion begin to panic, the lamp flickers. Padre Irene tries to turn the wick up
when Isagani, due to his undying love for Paulita, bursts in the room, grabs the lamp, and throws the
bomb into the river, averting Simoun‟s plans.
Isagani escapes by diving into the river as guardia civils chase after him. He later regrets his impulsive
action because he had contradicted his own belief that he loved his nation more than Paulita, and that the
explosion and the revolution that could have followed it will have fulfilled his ideals for the Filipino people.
Now unmasked as the perpetrator of the attempted arson and failed revolution, Simoun bec ame a
fugitive. Wounded and exhausted, he seeks shelter at the home of a kind Filipino priest, Padre
Florentino—Isagani‟s uncle—and came under the care of Don Tiburcio who was also hiding at the house.
Having abandoned all hope and knowing that it is only a matter of time before he is arrested, Simoun
takes a fatal pois on in order not to be captured alive by the Spanish authorities. Before he dies, Padre
Florentino hears his last confession as Simoun reveals his real identity being Crisostomo Ibarra.
Padre Florentino expresses his conviction that Simoun's plans failed because he chose to do them by unjust
means. He opines that God would not have fors aken him had Simoun‟s plans been for the greater good instead of
for pers onal gain. However, he assures Simoun that there is still hope for the liberation of the country. Upon
Simoun's death, the priest takes his remaining jewels and throws them all into the sea, praying that the wealth that
was once used for b ribery and corruption would one day be found by one who would use it for a just purpose —that
when the time came that it would be us ed for the greater good, when the Filipino people would be finally deserving
liberty for themselves, the sea would reveal the treasures.
Fili’s plot is similar to that of Alexandre Dumas‟s French classic The Count of Monte Cristo, for both
novels revolve around a man's determination to avenge himself and reclaim his beloved fiancee; with the
protagonist disguising his identity and coming up with an intricate plot of revenge and retribution.
This poem was written by Rizal on the eve of his execution on December 30, 1896:
Mi Último Adiós / My Last Farewell (original Spanish excerpt)
¡Adiós, Patria adorada, región del sol querid a, Farewell, beloved Country, treasured region of
Perla del mar de oriente, nuestro perdido the sun,
Edén! A darte voy alegre la triste mustia vida, Pearl of the sea of the Orient, our lost Eden!
Y fuera más brillante, más fresca, más florida, To you eagerly I surrender this sad and gloomy
También por ti la diera, la diera por tu bien. life; And were it brighter, fresher, more florid,
Even then I’d give it to you, for your sak e alone.
En campos de batalla, luchando con delirio, In fields of battle, deliriously fighting,

Otros te dan sus vidas sin dudas, sin pesar; Others give you their lives, without doubt,
El sitio nada importa, ciprés, laurel o lirio, without regret;
Cadalso o campo abierto, combate o cruel martirio, The plac e matters not: where there’s cypress,
Lo mismo es si lo piden la patria y el hogar. laurel or lily,
On a plank or open field, in combat or
cruel martyrdom,
It’s all the same if the home or country ask s.

Yo muero cuando veo que el cielo se colora I die when I see the sk y has unfurled its colors
Y al fin anuncia el día tras lóbrego capuz; And at last after a cloak of dark ness announces
si grana necesitas para teñir tu aurora, the day;
Vierte la sangre mía, derrámala en buen hora If you need scarlet to tint your dawn,
Y dórela un reflejo de su naciente luz. Shed my blood, pour it as the moment comes,
And may it be gilded by a reflection of the
heaven’s
newly-born light.
Mis sueños cuando apenas muchacho adolescente,
Mis sueños cuando joven ya lleno de vigor, My dreams, when scarcely an adolescent,
Fueron el verte un día, joya del mar de oriente, My dreams, when a young man already full of life,
Secos los negros ojos, alta la tersa frente, Were to see you one day, jewel of the sea of the
Sin ceño, sin arrugas, sin manchas de rubor Orient,
Dry those eyes of black, that forehead high, Without
frown, without wrink les, without stains of
shame.
Ensueño de mi vida, mi ardiente vivo anhelo,
¡Salud te grita el alma que pronto va a partir! My lifelong dream, my deep burning desire, This
¡Salud! Ah, que es hermoso caer por darte soul that will soon depart cries out: Salud!
vuelo, Morir por darte vida, morir bajo tu cielo, To your health! Oh how beautiful to fall to give you
Y en tu encantada tierra la eternidad dormir. flight,
To die to give you life, to die under your sk y,
And in your enchanted land eternally sleep.
Si sobre mi sepulcro vieres brotar un día
Entre la espesa yerba sencilla, humilde flor, If upon my grave one day you see appear, Amidst
Acércala a tus labios y besa al alma mía, the dense grass, a simple humble flower, Place it
Y sienta yo en mi frente bajo la tumba fría, near your lips and my soul you’ll k iss, And on my
De tu ternura el soplo, de tu hálito el calor. brow may I feel, under the cold tomb, The gentle
blow of your tenderness, the warmth of
your breath.
Deja a la luna verme con luz tranquila y suave,
Deja que el alba envíe su resplandor fugaz, Let the moon see me in a soft and tranquil
Deja gemir al viento con su murmullo grave, light, Let the dawn send its fleeting radiance,
Y si desciende y posa sobre mi cruz un ave, Let the wind moan with its low murmur,
Deja que el ave entone su cántico de paz. And should a bird descend and rest on my
cross, Let it sing its canticle of peace.
Deja que el sol, ardiendo, las lluvias evapore
Y al cielo tornen puras, con mi clamor en pos; Let the burning sun evaporate the rains,
Deja que un ser amigo mi fin temprano llore And with my clamor behind, towards the sk y
Y en las serenas tardes cuando por mí alguien ore, ¡Ora may they turn pure;
también, oh Patria, por mi descanso a Dios! Let a friend mourn my early demise,
And in the serene afternoons, when someone
prays for me,
O Country, pray to God also for my rest!
Ora por todos cuantos murieron sin ventura,
Por cuantos padecieron tormentos sin igual, Pray for all the unfortunate ones who died,
Por nuestras pobres madres que gimen su For all who suffered torments unequaled,
amargura; For our poor mothers who in their grief
Por huérfanos y viudas, por presos en tortura Y and
ora por ti que veas tu redención final. bitterness cry,
For orphans and widows, for prisoners in torture, And
for yourself pray that your final redemption
Y cuando en noc he oscura se envuelva you’ll see.
el cementerio
Y solos sólo muertos queden velando allí, And when the cemetery is enveloped in dark night, And
No turbes su reposo, no turbes el misterio, there, alone, only those who have gone remain
Tal vez acordes oigas de cítara o salterio, in vigil,
Soy yo, querida Patria, yo que te canto a ti. Disturb not their rest, nor the mystery,
And should you hear chords from a zither
or psaltery,
It is I, beloved Country, singing to you.

Y cuando ya mi tumba de todos olvidada And when my grave, then by all forgotten,
No tenga cruz ni piedra que marquen su lugar, has not a cross nor stone to mark its place,
Deja que la are el hombre, la es parza con la azada, Let men plow and with a spade scatter it,
Y mis cenizas, antes que vuelvan a la nada, And before my ashes return to nothing,
El polvo de tu alfombra que vayan a formar. May they be the dust that carpets your fields.
Entonces nada importa me pongas en olvido. Then nothing matters, cast me in oblivion.
Tu atmósfera, tu espacio, tus valles cruzaré. Your atmosphere, your space and valleys I’ll cross.
Vibrante y limpia nota seré para tu oído, I will be a vibrant and clear note to your ears,
Aroma, luz, colores, rumor, canto, gemido, Aroma, light, colors, murmur, moan, and song,
Constante repitiendo la esencia de mi fe. Constantly repeating the essence of my faith.
Mi patria idolatrada, dolor de mis dolores, My idolized country, sorrow of my sorrows,

Querida Filipinas, oye el postrer adiós. Beloved Filipinas, hear my last good-bye.
Ahí te dejo todo, mis padres, mis amores. There I leave you all, my parents, my loves.
Voy donde no hay esclavos, verdugos ni opresores, I’ll go where there are no slaves, hangmen nor
Donde la fe no mata, donde el que reina es Dios. oppressors,
Where faith doesn’t k ill, where the one who reigns
is God.
Adiós, padres y hermanos, trozos del alma mía, Goodbye, dear parents, brother and
Amigos de la infancia en el perdido hogar, sisters, fragments of my soul,
Dad gracias que descanso del fatigoso día; Childhood friends in the home now lost,
Adiós, dulce extranjera, mi amiga, mi alegría, Give thank s that I rest from this wearisome day;
Adiós, queridos seres, morir es descansar. Goodbye, s weet foreigner, my friend, my joy;
Farewell, loved ones, to die is to rest.
References:
Del Castillo, T. & Medina, B. (1968). Philippine Literature from Ancient Times to the Present. Quezon City:
Del Castillo and Sons.
Eugenia, D. (1987). Awit and Corrido: Philippine Metrical Romances. Quezon City: University of the
Philippines Press.
The Premier Digital Library of the Philippines . http://www.filipiniana.net/, retrieved March 2009.


Module 1 - Lesson 3

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Module 1 - Lesson 3

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MODULE 1 – Lesson 3 (Introduction to) Philippine Literature

Literature under Spain

El Padre Nuestro (The Lord’s Prayer in

The Seven Sacraments (original Spanish / Tagalog excerpt)

Los sacramentos de la san Pito ang mahal natanda

El primero baptismo. El segu do Ang naona ang baptismo. Ang

Aral (excerpt, final part)

Oh mga Kristianong tanan Talikdan na ngang totoo

History of Philippine Literature: Spanish Colonial Period

Ang ating mga katawan At kung di ka gumanito

Ano at di pa magbawa Samantalang may oras pa

Ano at di pa malumbay Ang puso mo‟t iyong loob

Oh taong nak alilimot At kung marating na naman

The Moro-Moro in Perspective (essay)

History of Philippine Literature: Spanish Colonial Period

History of Philippine Literature: Spanish Colonial Page 3 of 22

(From Life is a Stage, UST Publishing House, 2001)

Florante at Laura (summary)

History of Philippine Literature: Spanish Colonial Page 4 of 22

History of Philippine Literature: Spanish Colonial Page 5 of 22

A Celia / Cay Celia (original Spanish / Tagalog excerpt)

Cuando en el pensamiento torno a Cong pag saulang cong basahin sa isip

¿Olvidaría, por ventura, de leer los Macaligtaang co cayang di basahin

History of Philippine Literature: Spanish Colonial Period

Hoy que la orfandad entristece mi Ngayong namamanglao sa pangongolila

Imagen trazada por pincel amante, Sa larauang guhit ng sa sintang pincel

Mi alma, de suyo, vaga Ang caloloua co,i, cusang dumadalao sa

Mi fantas ía suele apoyarse Di mámacailang mupo ang panimdin

Mi ser todo se iba Ang catauhang co,i, cusang nagtatalic

Adoraba tu imagen Liniligauan co ang iyong larauan sa

Vuelven, y como si tuviese delante, Nagbabalíc mandi,t, parang hinahanap

History of Philippine Literature: Spanish Colonial Period

Esta aflicción sin tasa, Itong dî matiis na pagdaralitâ nang dahil

History of Philippine Literature: Spanish Colonial Period

Ang Dapat Mabatid ng mga Tagalog (essay)

History of Philippine Literature: Spanish Colonial Period

Pag-Ibig sa Tinubuang Lupa (poem)

Walang mahalagang hindi inihandog Kalakip din nito'y pag-ibig sa Bayan,

History of Philippine Literature: Spanish Colonial Period

Sa aba ng abang mawalay sa bayan! Hayo na nga, hayo, kayong nangabuhay

Pati ng magdusa'y sampung kamatayan Kayong nalagasan ng bunga't bulaklak Ng

Kung ang bayang ito'y masasa-panganib At Ipahandug-handog ang busong pag-ibig At

Noli Me Tangere (summary)

History of Philippine Literature: Spanish Colonial Period

History of Philippine Literature: Spanish Colonial

History of Philippine Literature: Spanish Colonial

History of Philippine Literature: Spanish Colonial

Padre/Father Florentino—Isagani's godfather and a secular priest; was engaged to be married,

History of Philippine Literature: Spanish Colonial Page 19 of 22

En campos de batalla, luchando con delirio, In fields of battle, deliriously fighting,

History of Philippine Literature: Spanish Colonial Period

History of Philippine Literature: Spanish Colonial Period

Mi patria idolatrada, dolor de mis dolores, My idolized country, sorrow of my sorrows,

History of Philippine Literature: Spanish Colonial Period

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