TABLE OF CONTENTS

I. Author’s life

1. Biography of the author ---------------------------------------------------------------

2

2. List of Works --------------------------------------------------------------- 3

3. Reason for the Chosen Author --------------------------------------------------------------- 5

II. Principles

4. Types of Principles in Translation --------------------------------------------------------------- 6

5. Used Principles --------------------------------------------------------------- 7

III. Kinds of Translation

6. Types of Translation --------------------------------------------------------------- 8

7. Used Types of Translation --------------------------------------------------------------- 8

IV. Translated Poems

8. Watawat --------------------------------------------------------------- 9

9. Sa Daigdig Ng Metapora --------------------------------------------------------------- 10

10. One Plus One --------------------------------------------------------------- 11

11. Laro --------------------------------------------------------------- 12

12. Ang Hayop Na Ito! --------------------------------------------------------------- 13

1
Biography of Virgilio S. Almario

Virgilio S. Almario was born on March 9, 1944 in Camias, San Miguel de Mayumo,

Bulacan. His parents are Ricardo Almario and Feliciana Senadren. He was known for his

pseudonym “Rio Alma,” and for being a Filipino artist, poet, critic, translator, editor, teacher and

cultural manager. Virgilio S. Almario took his education at University of the Philippines in the

year 1963 with a degree of A.B. Political Science. Upon finishing his degree, he taught at San

Miguel High School and in Department of Philippine Studies of Ateneo de Manila University in

1969. He was associated with Rogelio G. Mangahas and Lamberto E. Antonio when he took his

Master’s course in education in Unviersity of the East where he led the second successful

modernist movement in Filipino poetry. He took up Master of Arts in Filipino at UP in 1974. As

a literary critic, his ‘Ang Makata sa Panahon ng Makin (1972)’ was considered to be the first

book of literary criticism in Filipino. His works mainly focused on modernism and formalism but

shifted after martial law focused instead in nationalism, politics and activist movement. His

critical works dealt with the issue regarding the national language. As a translator and editor, he

has translated for theater production the plays of Nick Joaquin, Bertolt Brecht, Euripides and

Maxim Gorki. Other important translations include the famous works of the Philippines' national

hero, José Rizal, namely Noli Me Tangere and El filibusterismo. For these two, he was awarded

the 1999 award for translation by the Manila Critics Circle. Almario has been a recipient of

numerous awards such as several Palanca Awards, two grand prizes from the Cultural Center of

the Philippines, the Makata ng Taon of the Komisyon sa Wikang Filipino, the TOYM for

literature, and the Southeast Asia Write Award of Bangkok. Many Filipino writers have come

under his wing in the literary workshops he founded –the Galian sa Arte at Tula (GAT) and the

Linangan sa Imahen, Retorika at Anyo (LIRA). He has also long been involved with children’s

literature through the Aklat Adarna series, published by his Children’s Communication Center.
2
He has been a constant presence as well in national writing workshops and galvanizes member

writers as chairman emeritus of the Unyon ng mga Manunulat sa Pilipinas (UMPIL). Virgilio

Almario is a National Artist of the Philippines (2003) and currently serves as the chairman of the

Komisyon sa Wikang Filipino (KWF), the government agency mandated to promote and

standardize the use of the Filipino language. On January 5, 2017, Almario was also elected as the

chairman of the National Commission for Culture and the Arts. He is married to Emelina B.

Soriano with three children Asa Victoria, Ani Rosa, at Agno Virgilio.

List of works:

1. Palipad-Hangin. (1985)

2. Katon Para sa Limang Pandama. (1987)

3. Sentimental. (2004)

4. Estremelenggoles. (2004)

5. Memo Mulang Gimokudan. (2005)

6. Dust Devils. (2005)

7. Sonetos Postumos, Book Of Poems With Translation By Marne Kilates And Paintings By

National Artist Ang Kiukok. (2006)

8. Tatlong Pasyon Sa Ating Panahon, Poems For Children With Illustrations By Mark

Justiniani, Neil Doloricon, Ferdinand Doctolero. (2006)

9. Buwan, Buwang, Bulawan. (2009)

10. Up Diksiyonaryong Filipino

11. Doktrinang Anak Pawis

12. Taludtod at Talinghaga (1965; 1991)

13. Walong Dekada ng Makabagong Tulang Pilipino (1981),

3
14. Balagtasismo Versus Modernismo (1984),

15. Kung Sino Ang Kumatha Kina Bagongbanta, Ossorio, Herrera, Atbp. (1992),

16. Panitikan ng Rebolusyon (G 1896) (1993),

17. Pag-Unawa sa Ating Pagtula (2006),

18. Mahigit Sansiglo ng Makabagong Tula Sa Filipinas (2006).

19. Filipino ng mga Filipino (1993; 2009)

20. Tradisyon at Wikang Filipino (1998),

21. Patnubay sa Masinop na Pagsulat (1981),

22. Isang Manwal sa Estilo

4
Reason Behind My Author

I have chosen Rio Alma because first and foremost, of course the works that I translated

are quite interesting, it definitely caught my attention because at first glance, the poems do not

make sense at all but upon processing the words, the symbols and criticizing the poems, you will

notice the implicit intention of Rio Alma. In addition to this, when I researched the life of the

author, he mentioned that “Poets are made, not born,” it is a manifestation that it took him a lot

of effort to be in the position where he is right now, to be a well-known author takes a lot

practice and effort. Rio Alma started to expose himself in cultural events that made him expert in

the field of literature. He is one of the many authors in our country that believes in the

preservation of our own language since it is an important factor to know one's identity. However,

the support of others is not strong as Rio Alma's. He wanted to restart the engine of the

Philippines and put Filipino language as a piece to our puzzle, meaning, Filipinos won't be

completed without it. Also, he believes that using the language is another way for us to work

together for the betterment of our country. In addition to this, he is fond of Oral literature

because it is a medium to know what kind of living we really had since the beginning of time.

The mark of Rio Alma's belief that writers are made can be seen when he built the Bulacan

Leader Association to enhance one's capability in terms of writing. He also joined the

Underground Writers Guild in the time of Marcos. I also believe that he does not solely accept

any position that was offered to him, he was asked to be the manager of the Children's book but

instead, he researched about children before accepting it. Rio Alma put his heart and soul for the

country, the love for the Philippines. His works may seem nonsense but it has the importance of

our language. Rio said in one of his interview that, "I never thought of writing; I just feel like I

have a purpose," and I think that is beautiful.

5
There are four different kinds of principle to translate. The following are:

1. Benjamin Walter's Principle

“No poem is intended for the reader, no picture for the beholder, no symphony for the audience."

The translator MUST not be mindful about the readers because if it will, the draft they

will be producing will be considered as poor quality, lower and second rate translation.

2. Gregory Rabassa's Principle

"No Two Snowflakes Are Alike: Translation as Metaphor"

No two language is ever equal. A word is nothing but a metaphor for an object or, in

some cases, for another word. The theory of Rabassa defies the meaning of “equal,” “similar,”

and “synonym.”

3. Vladimir Nabokov's Principle

“Faithful than beautiful.”

Being faithful to the original is better—the best way to translate one’s work. If it is

readable, it is translated by a dishonest translator, who focused on the aesthetic meaning of the

original committing the great crime of “free translation.” His idea of “the clumsiest literal

translation is a thousand times more useful than the prettiest paraphrase” is revealing, as it

suggests that “utility” is to be given priority over aesthetic exquisite considerations in literary

translation.

4. William Weaver Principle

“There are no perfect solutions, you simply do your best.”

Weaver’s way of translating original works is by creating choices for a particular word,

depending on its meaning and weighing what is more appropriate to use.

6
 In translation and editing texts, 2 principles were used. The principle of Benjamin Walter

with the touch of William Weaver's. The drafts were not constructed as approximate to the literal

meaning of the original but it was translated in a way of getting closer to the original meaning of

the literary works. The existence of the inner language between the source and the target

language was used to fully express the thought of the translator, these are own words used to

render the meaning of the text that was understood by the translator. Also, in this approach,

Walter mentioned the, ‘kinship of languages’ meaning that languages are interrelated to each

other, therefore producing a translation that is, close to the original. Thus, creating a language

that is a reflection of what the original text wants to be delivered. It is said by Benjamin's not to

be mindful about the reader or else, the created draft will be rated as poor or second rate. If

authors wrote their published works for the readers, then these can’t be considered as ‘authentic’

since it was written for the sake of others, but not for the sake of expressing one’s feelings—

expression, perhaps. In connection to this, in translation, one of the major rule that a translator

must know is “don’t be subjective to what your readers want to see.” rather, “be objective to

what you understood in the passage.” In terms of William Weaver's approach, the words used do

not focus on the equivalence of the original; it has two or more choices depending on the depth

of the meaning of the words to carefully select a word that is parallel to the original. Hence, the

thought or the understanding of the author will be somehow similar based on the translator's

understanding. Also, the quotation of Weaver’s “There are no perfect solutions, you simply do

your best,” made an impact upon creating this translation. Translators should not just settle for

what they think is “okay,” without giving much effort, hence, giving your 99.99% will help you

to create a better draft.

7
There are three (3) types of translation

A) Free/ Paraphrase Translation

This type of translation is based on the understanding of the translator. The words used

are based on interpretation or comprehension.

B) Closed/ Literal Translation

This type focuses on the surface level or meaning of the texts.

C) Highly Concordant Translation

This type is the translating the original through its approximation or equivalence.

The used translation in this works are: 1) Free/Paraphrase Translation and 2) Highly

Concordant Translation. It is in the free from for the reason that that translator (I) wanted to

reflect how it was understood by herself. Keep in mind that in the process of translating, it was

only I who was included, my thoughts, feelings, understanding and words. It was all based on

how I viewed the text and the way I wanted it to be presented. Some parts of the poems were

written in the form of literary because it is how I felt like it should be. However, other lines were

translated in a Highly Concordant form because changing it into rewording or paraphrasing will

lose its significance in the poems. The original words used by the author were transmuted from

the source language to target language while retaining its value or importance in the text to

evince how it affect the translator. Therefore, the drafts that I made used two types of translation

to be able depict the impact of the poems and to be able to show how I understood the literary

works. Hence, the results of this translation were from the mind of the translator alone, with the

guidance of the original texts.

8
Watawat Flag

Mas mabuti pang It is best if

Panti
Ang isanasampay sa tagdan
O tseke
ang itinataas tuwing Lunes
sa saliw ng plakang awit.
siguradong kahit saglit
hihinto ang trapik,
Titingala ultimong paslit,
At baka tunay na magpugay.
Nanginginig pa ang kamay
sa dibdib
na tumatahip sa pananabik.
Lingerie
will be seen in the pole,
or check
will be reaise every Monday morning.
in accompaniment with plaque song
Doubtless,
there will be cessation of traffic,
a tot will even look
surely, to genuinely salute.
Hands quivering
in chest,
palpitates with excitement

Sino ba ang papansin who will notice?

sa telang parihaba`t kulay pula`t bughaw?
Kahit may borlas pa`t
Palamuting araw at bituin,
Maghapon itong kakaway sa hangin.
higit na malikhain,
higit na kaakit-akit,
Sa pana-panaho`y papalit-palit,
At ginastusan ang mga bilbord
at banderitas
Sa araw-araw na pista ng lungsod,
the red, blue and rectangle fabric?
Even if it is tasseled
and with an ornament of sun and moon
wafting in air, everyday.
It is more prolific,
more significant
but from time to time it changed,
Filipino’s gaze at billboards
flaglets,
in every party in town

9
Sa Daigdig Ng Metapora In the World of Metaphors

Puwede nating itanim ang kamote

We can plant sweet potatoes,
Sa hangin at pitasan ng kakawate
in air or in gliricidia
O kaya’y isalang sa pugon
or put into furnace
At hanguan ng malutong na litson.
and remove with crispy lechon
Puwde ring buhusan ito ng asido
it can be poured with an acid
Pagkatapos palamnan ng kutsilyo
and packed with knives
At saka ihain sa misa
then serve
Dili kaya’y ihagis sa plasa.
or toss it

Puwede namang kamote’y gawing pain or it can be used as a bait,

Sa pakikipaglaro sa buwaya’t pating in catching crocodile and shark.
At lalong maganda kung magagamit It will be more useful if it can be used
Na pasahe paakyat sa langit. As a fare going to heaven

Nagiging kamote lang ang kamote Sweet potatoes will only be sweet potato
Kapag kinain mo at saka magtae. When you ate it and defecated.

10
Wan plas wan One Plus One

Wan plas wan One plus one

Si Juan Tamban Juam Tamban
Malaki ang tiyan With pot belly
Hangin ang laman Distended with air.
Tu plas tu Two plus two
Sumunod sa uso. Followed trends

Tri plas tri Three plus three

Isangla ang puri. Sell an honor

Por plas por Four plus four

Sumakay sa bapor Sail,

Payb plas payb Five plus plus

Pagdating sa gitna, In the middle,
saka ka dumayb. Dive.

11
Laro Play

Ina, walang nangyayari sa mundo Mother, nothing is happening in this world

Anak, talasan mo pa ang mata’t tenga mo Child, honed your eyes and ears

Ina, me bagong balita kanina Mother, there is a new news

Anak takpan mo ang mata’t tenga mo Child, cover your eyes and ears

12
Ang Hayop na Ito! Ill-Mannered (This Animal)

Ang hayop na ito This animal

Ang nagnakaw sa almusal mo stole your breakfast ,
At sumira sa itinago mong damit distressed your clothes
Ngunit tinawag mong si Mabait. but called them, “kind.”

Ang hayop na ito: This animal

Napakatakaw ngunit napakamasekreto voracious but discreet,
Kaya ni hindi mo napansing and you did not notice,
Ang bahay mo ang kinakain-kain. they are eating your house

Ang hayop na itong This animal

Magha-maghapon mong kinakarinyo; You fondle them,
Minsang sa landas mo'y tumawid once they crossed your path,
At hintakot kang tumakbo pabalik. and scared to return.

Ang hayop na ito This animal

Ang mga anak ng iyong pag-abuso Children of deception,
Sa kinakain, hinihitit, iniinom, in what you gobble, inhale and drink
At kahit sa sobrang pakikipaglampong. even in the manner of flirting

Ang hayop na ito'y This animal

Hinubog mo sa sariling anino; shaped on your own,
Nang tuklawin ka sa palad, stricken your palm,
Saka mo nakilalang Ahas. then you identified it as a snake.

13
References:
http://www.globalpinoy.com/gp.topics.v1/viewtopic.php?
postid=4d91578807149&channelName=4d91578807149

https://en.wikipedia.org/wiki/Virgilio_S._Almario

http://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-
philippines/virgilio-s-almario/

https://www.flickr.com/photos/nccaofficial/17998134090

http://arewelostintranslation.blogspot.com/2010/01/review-of-walter-benjamin-task-of.html

http://courses.logos.it/EN/2_34.html

http://dialogos.ca/2013/06/two-opposing-views-of-literary-translation-nabakov-vs-borges/

14