Module 3:Kamay ng Birhen
Reported by: Cielo Jane M. Miake
Source: http://snahhans.blogspot.com
KAMAY NG BIRHEN
Jose Corazon de Jesus
Jose Corazon de Jesus
Mapuputing kamay, malasutla’t lambot,
kung hinahawi mo itong aking buhok,
kung hinahawi mo itong aking buhok,
ang lahat ng aking dalita sa loob
ay nalilimot ko nang lubos na lubos
.At parang bulaklak na nangakabuka
ang iyong daliring talulot ng ganda,
kung nasasalat ko, O butihing sinta,
parang ang bulakiak kahalikan ko na.
Kamay na mabait, may bulak sa lambot,
may puyo sa gitna paglikom sa loob;
magagandang kamay na parang may gamot,
isang daang sugat nabura sa haplos.
Parang mga ibong maputi’t mabait
na nakakatulog sa tapat ng dibdib;
ito’y bumubuka sa isa kong halik
at sa aking pisngi ay napakatamis.
Ang sabi sa k’wento, ang kamay ng birhen
ay napababait ang kahit salarin;
ako ay masama, nang ikaw’y giliwin,
ay nagpakabait nang iyong haplusin.
Background Information:
Si Jose Cecilio Ramon Augusto Pangilinan de Jesus o mas kilala sa pangalan na Jose Corazon de Jesus (1894-1932), may palayaw na Pepito Matimtiman, Huseng Batute, Huseng Katuwa, Anastacio Salagubang, Sundalong Lasing, Viterbi, Paruparong Asul, at Bayaning May Sugat, ay isang mamamahayag, makata at manunulat, at tulad din ni Balagtas at Rizal ay nakapagsulat ng maraming tula.
Confirmation of Learning:
1. To whom do you think is the "Kamay ng Birhen" referred to? Discuss.
2. What is the central theme of the poem?
3. What is compared to the "Kamay ng Birhen" in every paragraph?
4. Discuss the following sayings and relate to these to the poems:
a. Behind the success of a man is always a man.
b. Woman can do wonders.
c. Woman is the noblest work of God.
Papasanin mo ang krus sa iyong balikat
Habang ngalalakad sa kung saan- saang lansangan
Di laging sementado o aspaltado ang daan
Madalas ay mabato, maputik o masukal
Mapalad kung walang magpupukol ng bato o
Mangangahas na bumulalas ng pangungutya
Kailangang tiisin ang matatalas na sulyap
O bulung- bulungan at matutunog na halakhak
Di kaialangang lumingon pa, di sila dapat kilalanin
Sapagkat sila'y iba't ibang mukha: bata, matanda
Lalaki, babae, ina, ama, anak o kapatid, mayaman o mahirap,
Confirmation of Learning:
1. What is the author's impression of homosexuality?
2. Describe the plight of homosexuality by citing lines from the poem to support your answer.
3. Are we supposed to judge homosexuals? Why or Why not?
Confirmation of Learning:
1. What is the subject in the poem?
2. What is the tone of the poem?
3. What is the first stanza all about?
4. What comparison is made in the second paragraph?
5. What is the message in the third paragraph?
Si Jose Cecilio Ramon Augusto Pangilinan de Jesus o mas kilala sa pangalan na Jose Corazon de Jesus (1894-1932), may palayaw na Pepito Matimtiman, Huseng Batute, Huseng Katuwa, Anastacio Salagubang, Sundalong Lasing, Viterbi, Paruparong Asul, at Bayaning May Sugat, ay isang mamamahayag, makata at manunulat, at tulad din ni Balagtas at Rizal ay nakapagsulat ng maraming tula.
Confirmation of Learning:
1. To whom do you think is the "Kamay ng Birhen" referred to? Discuss.
2. What is the central theme of the poem?
3. What is compared to the "Kamay ng Birhen" in every paragraph?
4. Discuss the following sayings and relate to these to the poems:
a. Behind the success of a man is always a man.
b. Woman can do wonders.
c. Woman is the noblest work of God.
Module 3:" ANG PAGIGING BAKLA AY PAGKABAYUBAY RIN SA KRUS NG KALBARYO
Reported by: Cielo Jane M. Miake
Source:http://ugayworld.multiply.com
" ANG PAGIGING BAKLA AY PAGKABAYUBAY RIN SA KRUS NG KALBARYO "
ni Rolando A. Bernales
ni Rolando A. Bernales
Ang pagiging bakla ay habambuhay
Na pagkabayubay sa krus ng kalbaryoPapasanin mo ang krus sa iyong balikat
Habang ngalalakad sa kung saan- saang lansangan
Di laging sementado o aspaltado ang daan
Madalas ay mabato, maputik o masukal
Mapalad kung walang magpupukol ng bato o
Mangangahas na bumulalas ng pangungutya
Kailangang tiisin ang matatalas na sulyap
O bulung- bulungan at matutunog na halakhak
Di kaialangang lumingon pa, di sila dapat kilalanin
Sapagkat sila'y iba't ibang mukha: bata, matanda
Lalaki, babae, ina, ama, anak o kapatid, mayaman o mahirap,
kilala o di kilala
Sinong pipigil sa kanila? hindi ikaw
Anong lakas meron ka upang tumutol?
Makapaghihimagsik ka pa ba kung ang iyong palad
At ang iyong paa'y ipinako na ng lipunan
Sa likong kultura't tradisyon at bulok na paniniwalang
Nagdidiktang ang pagiging bakla ay isang kasalanan
Na nararapat na pagdusahan sa krus ng kalbaryo
Kahit na ika'y magpumilit na magpakarangal. Sinong pipigil sa kanila? hindi ikaw
Anong lakas meron ka upang tumutol?
Makapaghihimagsik ka pa ba kung ang iyong palad
At ang iyong paa'y ipinako na ng lipunan
Sa likong kultura't tradisyon at bulok na paniniwalang
Nagdidiktang ang pagiging bakla ay isang kasalanan
Na nararapat na pagdusahan sa krus ng kalbaryo
1. What is the author's impression of homosexuality?
2. Describe the plight of homosexuality by citing lines from the poem to support your answer.
3. Are we supposed to judge homosexuals? Why or Why not?
Module 3:Kailong Pugad
Reported by: Cielo Jane M. Miake
Source:http://www.iloiloviews.com, http://iamchristyann.tumblr.com
Kailong Pugad
ni Flavio Zaragoza Cano
Ang pispis sang gugma sing pugad sumab-it
Sa sanga sang kagha nga lunsay salait;
Humuyup ang hangin nga labing mangitngit,
Kailo ng apugad sa duta nawigit.
Sang akong gugma amo’ng halimbawa
Ang kailong pugad sa sanga ang kagha;
Humuyup ang hangin sang imo pagdaya
Ang pugad nahulog, inanud sang luha.
Kong ikaw mangilin nga ang pugad malugdang,
Sagupa man anay sa higa sang pangpang,
Kay kon mapatakas sang imong pagtabang
Sa dughan mong puti masang-at na lamang.
ni Flavio Zaragoza Cano
Ang pispis sang gugma sing pugad sumab-it
Sa sanga sang kagha nga lunsay salait;
Humuyup ang hangin nga labing mangitngit,
Kailo ng apugad sa duta nawigit.
Sang akong gugma amo’ng halimbawa
Ang kailong pugad sa sanga ang kagha;
Humuyup ang hangin sang imo pagdaya
Ang pugad nahulog, inanud sang luha.
Kong ikaw mangilin nga ang pugad malugdang,
Sagupa man anay sa higa sang pangpang,
Kay kon mapatakas sang imong pagtabang
Sa dughan mong puti masang-at na lamang.
Background Information:
Flavio Zaragoza Cano
A WELL-KNOWN professor and researcher, Filemon Poblador, listed the three greatest poets in Spanish produced by the Philippines. Of the three, one was Iloilo’s greatest poet — Flavio Zaragoza Cano. The other two were Fernando Maria Guerrero and Cecilio Apostol, both from Manila.
Decades ago, Claro M. Recto bestowed distinction on Zaragoza Cano as not only the greatest Ilonggo poet in Spanish but that he also holds the same honor in the field of Hiligaynon poetry.
The distinguished bard hailed from Cabatuan, Iloilo, born to Sinforoso Zaragoza y Casten and Agapita Cano y Montero. His birth took place on June 27, 1892, in barrio Janipaan of Cabatuan.
At the age of four Flavio was given to the care of his grandmother, Doña Petra Casten who three years later, sent him to the Centro Escolar de Molo under the Salas brothers. In this school his grades were sobresaliente (excellent).
His literary genius first showed itself in 1906, when he was only fourteen. He wrote a poem “Alma Joven”, which was accepted for publication in Nuevo Heraldo. Two years later he obtained the Bachiller en Artes degree from the Instituto de Molo, where he was president of the Sociedad Recreativa Literencia.
After graduation he taught in the Escuela Parochial de Molo, administered by the Rev. Father Nicolas Valencia. It was at this time that he wrote his first zarsuela entitled “Ang Binunga sang Bisyo”.
Helping in the campaign of Don Manuel Locsin, his teacher, for the governorship of Iloilo in the elections of 1906 made him desire to study law; so, in 1910, he sailed for Manila where he enrolled at the Escuela de Derecho and later at the Colegio de Derecho directed by Felipe Buencamino. In order to support himself and finance his studies, he worked as bookkeeper in the Farmacia Filipina in Binondo and at the same time taught school at the Colegio de Mercantil.
While in Manila, furor scribindi made him produce literary pieces which he contributed to La Vanguardia, Renacimiento, El Ideal and the Philippines Free Press (Spanish section) in Manila; El Tiempo, Makinaugalingon, and La Semana in Iloilo; The union in Mindanao; La Revolucion in Cebu; and the Philippine Republic in Hong Kong. He also had several articles published in Libertad, Renacimiento Filipino, Bayang Filipina, and Kahirup. He was also the director of the bilingual publication “Bugtot Pagui.” His much inspired La Roca Eterna was published in Mexico.
The poet Flavio Zaragoza Cano found his muse in the person of Josefa Francisco of Manila. To marry her in 1914, he gave up his studies and dreams of becoming a lawyer.
After his marriage he took his wife to Albay, where he became manager and part-owner of a printing press and a newspaper, Heraldo Bicolandia.. In 1916, he managed a bazaar in Legaspi and also the Imprinta Monserrat in that town. In the same year, the people of Albay, Albay, in recognition of his literary powers and journalistic achievements, elected him to their municipal council.
Don Flavio always had soft heart for the poor and the laboring class. In 1917, in order to help the working man, he organized the first labor union in the Bicol region. One of his feats as a labor leader was the settling of the labor trouble in the steamship Vapor Poizat.
Five years in Bicol made the poet homesick for his native province, so in 1919 he came back to Iloilo. Here he at once plunged into full-time writing. He edited four papers simultaneously: Nuevo Heraldo, El Adalid, Baganiban, and El Pueblo. An oratorical contest was held that year at the Casino Español, and Don Flavio won the first prize of five hundred pesos. The following year, 1920, he again received another five hundred pesos when his poem won the first prize in another contest. From then on he was much in demand as public speaker, especially in the proclamation of town fiesta queens and barrio indays.
His hometown of Cabatuan called him to act as municipal secretary in 1922; then he served in the capacity for the municipality of Dumangas, Iloilo, from 1923 to 1927.
Although he was not able to finish his study of law, he was given a license as notary public, which professor he practiced from 1923-1931. After his stint as municipal secretary of Dumangas, he became the private secretary of Senator Jose M. Arroyo.
His first major honor as a poet came in 1926, the same year that he was appointed secretary of the Provincial Board of Iloilo. He was crowned as “Rey de Balagtas en Poesia en Dialecta Bisaya.” The second honor came in May, 1938, when he was proclaimed “Poet Laureate” and awarded a silver medal during a velada in Bacolod City. As further recognition of his talents, he was admitted member of the Academia Española de la Lengua Castellana and the Sociedad de Literatos y Artistas Filipinos. In 1929 he gained national recognition when he won the Zobel Prize for Spanish poetry.
His government service was unbroken from 1923 to 1934 when, after passing the Civil Service Examination, he was appointed as interpreter in the Iloilo Court of First Instance. He served in this capacity up to 1935.
In 1935, his first book Cantos A España, an anthology of selected verses was in fact a glorious tribute to mother Spain, at the same time a triumph of the Spanish language.
The work that brought him national fame was his magnum opus, the book-length De Mactan a Tirad. This book was entered in the memorable Commonwealth Literary Contest in 1940. Impartial critics as well as the author him-self expected it to win the coveted first prize. To the author’s mortification and the critics’ surprise, however, the work won only second prize. Next to Jesus Balmori’s entry in the category of Spanish poetry.
Zaragoza refused the second prize of P2,000 and, at the presentation of
A WELL-KNOWN professor and researcher, Filemon Poblador, listed the three greatest poets in Spanish produced by the Philippines. Of the three, one was Iloilo’s greatest poet — Flavio Zaragoza Cano. The other two were Fernando Maria Guerrero and Cecilio Apostol, both from Manila.
Decades ago, Claro M. Recto bestowed distinction on Zaragoza Cano as not only the greatest Ilonggo poet in Spanish but that he also holds the same honor in the field of Hiligaynon poetry.
The distinguished bard hailed from Cabatuan, Iloilo, born to Sinforoso Zaragoza y Casten and Agapita Cano y Montero. His birth took place on June 27, 1892, in barrio Janipaan of Cabatuan.
At the age of four Flavio was given to the care of his grandmother, Doña Petra Casten who three years later, sent him to the Centro Escolar de Molo under the Salas brothers. In this school his grades were sobresaliente (excellent).
His literary genius first showed itself in 1906, when he was only fourteen. He wrote a poem “Alma Joven”, which was accepted for publication in Nuevo Heraldo. Two years later he obtained the Bachiller en Artes degree from the Instituto de Molo, where he was president of the Sociedad Recreativa Literencia.
After graduation he taught in the Escuela Parochial de Molo, administered by the Rev. Father Nicolas Valencia. It was at this time that he wrote his first zarsuela entitled “Ang Binunga sang Bisyo”.
Helping in the campaign of Don Manuel Locsin, his teacher, for the governorship of Iloilo in the elections of 1906 made him desire to study law; so, in 1910, he sailed for Manila where he enrolled at the Escuela de Derecho and later at the Colegio de Derecho directed by Felipe Buencamino. In order to support himself and finance his studies, he worked as bookkeeper in the Farmacia Filipina in Binondo and at the same time taught school at the Colegio de Mercantil.
While in Manila, furor scribindi made him produce literary pieces which he contributed to La Vanguardia, Renacimiento, El Ideal and the Philippines Free Press (Spanish section) in Manila; El Tiempo, Makinaugalingon, and La Semana in Iloilo; The union in Mindanao; La Revolucion in Cebu; and the Philippine Republic in Hong Kong. He also had several articles published in Libertad, Renacimiento Filipino, Bayang Filipina, and Kahirup. He was also the director of the bilingual publication “Bugtot Pagui.” His much inspired La Roca Eterna was published in Mexico.
The poet Flavio Zaragoza Cano found his muse in the person of Josefa Francisco of Manila. To marry her in 1914, he gave up his studies and dreams of becoming a lawyer.
After his marriage he took his wife to Albay, where he became manager and part-owner of a printing press and a newspaper, Heraldo Bicolandia.. In 1916, he managed a bazaar in Legaspi and also the Imprinta Monserrat in that town. In the same year, the people of Albay, Albay, in recognition of his literary powers and journalistic achievements, elected him to their municipal council.
Don Flavio always had soft heart for the poor and the laboring class. In 1917, in order to help the working man, he organized the first labor union in the Bicol region. One of his feats as a labor leader was the settling of the labor trouble in the steamship Vapor Poizat.
Five years in Bicol made the poet homesick for his native province, so in 1919 he came back to Iloilo. Here he at once plunged into full-time writing. He edited four papers simultaneously: Nuevo Heraldo, El Adalid, Baganiban, and El Pueblo. An oratorical contest was held that year at the Casino Español, and Don Flavio won the first prize of five hundred pesos. The following year, 1920, he again received another five hundred pesos when his poem won the first prize in another contest. From then on he was much in demand as public speaker, especially in the proclamation of town fiesta queens and barrio indays.
His hometown of Cabatuan called him to act as municipal secretary in 1922; then he served in the capacity for the municipality of Dumangas, Iloilo, from 1923 to 1927.
Although he was not able to finish his study of law, he was given a license as notary public, which professor he practiced from 1923-1931. After his stint as municipal secretary of Dumangas, he became the private secretary of Senator Jose M. Arroyo.
His first major honor as a poet came in 1926, the same year that he was appointed secretary of the Provincial Board of Iloilo. He was crowned as “Rey de Balagtas en Poesia en Dialecta Bisaya.” The second honor came in May, 1938, when he was proclaimed “Poet Laureate” and awarded a silver medal during a velada in Bacolod City. As further recognition of his talents, he was admitted member of the Academia Española de la Lengua Castellana and the Sociedad de Literatos y Artistas Filipinos. In 1929 he gained national recognition when he won the Zobel Prize for Spanish poetry.
His government service was unbroken from 1923 to 1934 when, after passing the Civil Service Examination, he was appointed as interpreter in the Iloilo Court of First Instance. He served in this capacity up to 1935.
In 1935, his first book Cantos A España, an anthology of selected verses was in fact a glorious tribute to mother Spain, at the same time a triumph of the Spanish language.
The work that brought him national fame was his magnum opus, the book-length De Mactan a Tirad. This book was entered in the memorable Commonwealth Literary Contest in 1940. Impartial critics as well as the author him-self expected it to win the coveted first prize. To the author’s mortification and the critics’ surprise, however, the work won only second prize. Next to Jesus Balmori’s entry in the category of Spanish poetry.
Zaragoza refused the second prize of P2,000 and, at the presentation of
Prizes by President Quezon, he tore up the check in front of the President, then stalked out of august hall amidst the stunned hush of the audience. The poet contended that his work was superior to that of Balmori in historical facts, in style, in beauty of expression and in eloquence.
As far as is known, the irrepressible Ilonggo poet was the only person who had defied the explosive temper of the fiery Quezon by such an impulsive act in the president’s presence. The late Dr. Severo Hervas, Zaragoza’s close associate, could hardly believe Don Flavio’s action. “Muy terrible!” Dr. Hervas used to say when reminded of the incident.
As far as is known, the irrepressible Ilonggo poet was the only person who had defied the explosive temper of the fiery Quezon by such an impulsive act in the president’s presence. The late Dr. Severo Hervas, Zaragoza’s close associate, could hardly believe Don Flavio’s action. “Muy terrible!” Dr. Hervas used to say when reminded of the incident.
1. What is the subject in the poem?
2. What is the tone of the poem?
3. What is the first stanza all about?
4. What comparison is made in the second paragraph?
5. What is the message in the third paragraph?
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