HAWLA
PILIPINO METAL BAND June 17, 2008, reunite (jamming) at RED DAMIEN STUDIO in Congressional Quezon City Lyrics HAWLA ( BY: PANIC CITY ) I-STANZA AKO AY SYANG BINHI NG AMA LUPA AT LANGIT TILA IISA PANAGHOY NG HAYOP ANG DINIG NILA PATAK NG LANGIT NGAYON AY BRIDGE: IKINULONG ANG SARILING PANINIWALA SA HARAP NG BERBO SIYA AY IKINATWA CHORUS : OHH, HOOH, HOOHO, MULA SA HAWLANG GINTO OHH, HOOH, HOOHO, SUMPA NG LUPA'T BATO OHH, HOOH, HOOHO, MULA SA HAWLANG GINTO OHH, HOOH, HOOHO, II- STANZA SAKOP NG UTAK GALIT AT AWA SARILING AMA BAKIT MO NAGAWANG BIHAGIN ANG BERBONG UTOS NIYA LANDAS NG LUHA SA KATAWAN NG IBA. III-STANZA KAPIRASONG DIWA BIGKAS NG AMA LIKHA NG HIWAGA LIGAW NA SALITA HALIK NG TAO KAMANDAG NG DILIM SA LAHAT NG ORAS HINDI NIYA MAATIM.
Linggo, Marso 20, 2011
Lunes, Marso 7, 2011
Though You Tell Me Not by: Evangeline Guerrero
Though You Tell Me Not by: Evangeline Guerrero
I know you love me, though you tell me not, I know you hold me captive for always In the strong nets of your life, Celestial thurible of a perennial dream.
Though you tell me not that without me You cannot live, My desire tells me tis all true: That many sad flowers girdle your forehead If when depressed, you think of an Awakening.
What shall I tell you? I look at you and I am silent. Well do you comprehend now my deep Silence. The star turned flower in the distant sky Contemplates its shadow on the waters Without fear.
Let my sorrow on your breast repose, Like a weary traveling dove. Beneath the tepid shade of the tranquil Orchard Let us the kind caress of peace enjoy.
May repose be a song, a serenade, While in the hour serene we baste The ripened dreams of past epochs That with effluvium fill our old souls.
Though you tell me not you think of me, That all of me in your heart you keep, Return to remembrance shall I and finding You, Though you tell me not I shall know that It is love!
I know you love me, though you tell me not, I know you hold me captive for always In the strong nets of your life, Celestial thurible of a perennial dream.
Though you tell me not that without me You cannot live, My desire tells me tis all true: That many sad flowers girdle your forehead If when depressed, you think of an Awakening.
What shall I tell you? I look at you and I am silent. Well do you comprehend now my deep Silence. The star turned flower in the distant sky Contemplates its shadow on the waters Without fear.
Let my sorrow on your breast repose, Like a weary traveling dove. Beneath the tepid shade of the tranquil Orchard Let us the kind caress of peace enjoy.
May repose be a song, a serenade, While in the hour serene we baste The ripened dreams of past epochs That with effluvium fill our old souls.
Though you tell me not you think of me, That all of me in your heart you keep, Return to remembrance shall I and finding You, Though you tell me not I shall know that It is love!
Linggo, Marso 6, 2011
Pepe Gallaga: another literary work
,,Longitude: The True Story of a Lone Genius Who Solved the Greatest Scientific Problem of His Time.
Writers have long been fascinated with the centuries of effort required to devise reliable clocks, and the attendant imposition of notions like "standard" time and the time-regulated workday. The recent intellectual fashion has been to depict the development of accurate timepieces not as a convenience, but as part of the plot to divest people of their mystic connection to the pretechnological rhythms of nature by substituting a regimented clock-consciousness that served the interests of the lords of commerce. Probably the best expression of this view is Ronald Wright's beguiling 1991 book Time Among the Maya, which implausibly, if captivatingly, depicts ancient Mayan culture as more human than Ours because the Mayans believed time was not linear (tick...tick...tick) but in some vague fashion "circular" (tick ... retick ... tick). In postmodern theory, the progression from timekeeping based on sundials to giant pendulums to water engines with thousands of pieces to cheap digital devices with no moving parts is one long horror story. [Not that any intellectual would want to be late to a symposium to enounce this view.]
Yet as science writer Dava Sobel points out in her engaging and delightful new book Longitude, the big breakthroughs in clock construction came in pursuit of seafaring, not social regulation. In the 15th century, when nations began to sail the world's oceans seriously, the greatest obstacle to navigation was the inability to determine longitude (position east-west) at sea. Latitude (position north-south) could be read by observing the apparent motion of the sun. But this technique did not apply to longitude, and as a result the fleets of Europe spent inordinate time and incurred constant loss of life essentially wandering the high seas, trying to figure out where they were.
Minds as famed as Galileo, Newton, and Halley applied themselves to the problem and believed its solution lay in observation of the moon or the satellites of Jupiter. Sobel's tale concerns John Harrison, an obscure English watchmaker from a merchant-class background who believed clocks held the answer. Harrison had to battle the budding English science establishment, which wanted the solution to be based on the glamorous, aristocratic pursuit of astronomy, not the tinkerings of a mere craftsman. Sobel's story is rich with fascinating details both of scientific investigation and the bureaucratic politics of 18th-century England. Longitude is well-timed too, as the new Umberto Eco novel The Island of the Day Before features a protagonist marooned on an 18th-century vessel stocked with bizarre longitude instruments.
Writers have long been fascinated with the centuries of effort required to devise reliable clocks, and the attendant imposition of notions like "standard" time and the time-regulated workday. The recent intellectual fashion has been to depict the development of accurate timepieces not as a convenience, but as part of the plot to divest people of their mystic connection to the pretechnological rhythms of nature by substituting a regimented clock-consciousness that served the interests of the lords of commerce. Probably the best expression of this view is Ronald Wright's beguiling 1991 book Time Among the Maya, which implausibly, if captivatingly, depicts ancient Mayan culture as more human than Ours because the Mayans believed time was not linear (tick...tick...tick) but in some vague fashion "circular" (tick ... retick ... tick). In postmodern theory, the progression from timekeeping based on sundials to giant pendulums to water engines with thousands of pieces to cheap digital devices with no moving parts is one long horror story. [Not that any intellectual would want to be late to a symposium to enounce this view.]
Yet as science writer Dava Sobel points out in her engaging and delightful new book Longitude, the big breakthroughs in clock construction came in pursuit of seafaring, not social regulation. In the 15th century, when nations began to sail the world's oceans seriously, the greatest obstacle to navigation was the inability to determine longitude (position east-west) at sea. Latitude (position north-south) could be read by observing the apparent motion of the sun. But this technique did not apply to longitude, and as a result the fleets of Europe spent inordinate time and incurred constant loss of life essentially wandering the high seas, trying to figure out where they were.
Minds as famed as Galileo, Newton, and Halley applied themselves to the problem and believed its solution lay in observation of the moon or the satellites of Jupiter. Sobel's tale concerns John Harrison, an obscure English watchmaker from a merchant-class background who believed clocks held the answer. Harrison had to battle the budding English science establishment, which wanted the solution to be based on the glamorous, aristocratic pursuit of astronomy, not the tinkerings of a mere craftsman. Sobel's story is rich with fascinating details both of scientific investigation and the bureaucratic politics of 18th-century England. Longitude is well-timed too, as the new Umberto Eco novel The Island of the Day Before features a protagonist marooned on an 18th-century vessel stocked with bizarre longitude instruments.
Kris
KRIS (Mindanao Sword)
Kris, Ang Sandata Ng Mga Lutao
“Historia de las Islas de Mindanao, Jolo y sus Adjacentes”
ni Francisco Combes, SJ
Si Socsocan ng Basilan ay isa sa pinaka-sikat sa mga pinuno niCorralat. Nakaibigan niya ang mga Español na tinulungan niya bilang pinuno ng mga Lutao sa hukbong Español. Sinabing ang pangalan niya ay katumbas ng “ang sumasaksak sa kuta o pangkat ng mga kalaban”... Sicapitan Gaspar de Morales ay nahirang na admiral ng hukbong dagat ng Español sa Jolo, matapos siyang sumikat sa digmaan sa La Sabanilla at sa Jolo, kung saan siya nasugatan nang malubha. Ginawa siyangcommandante, tapos governador ng kuta sa Jolo. Sikat sa giting bilang sundalo, sira siya at sukdulang makasalanan bilang governador. Sa kanyang pangahas at libog, dinukot niya ang anak na babae ni Dato Salibansa. Naghimagsik ang mga tagapulo at ito ang simula ng 200 taon ng pagka-hiwalay ng Jolo mula sa ibang kapuluan ng Pilipinas ... --Wenceslao E. Retana, 1897
Ang karaniwang sandata ng mga katutubo ay ang pilipit na patalim na tinawag nilang “kris.” Ang talim nito ay may mga palamuti at maganda. Anghawakan (puño, hilt) ay karaniwang inukit na buto (marfil, ivory) subalit para sa mga mayaman at mga pinuno, ito ay gawa sa ginto, nilalagyan pa minsan ng mga alahas at mgamamahaling bato (piedra, gems). Lubhang hinahangaan ang mga ito. May nakita ako minsan, sukbit-sukbit ni Socsocan na panginuon (lord) ng Samboangan (ang Zamboangangayon) nuong salakayin at sakupin ng ating hukbong Español. Sinabing ang halaga ng kris na iyon ay katumbas ng 10 alipin (esclavos, slaves)
Kris, Ang Sandata Ng Mga Lutao
“Historia de las Islas de Mindanao, Jolo y sus Adjacentes”
ni Francisco Combes, SJ
Si Socsocan ng Basilan ay isa sa pinaka-sikat sa mga pinuno niCorralat. Nakaibigan niya ang mga Español na tinulungan niya bilang pinuno ng mga Lutao sa hukbong Español. Sinabing ang pangalan niya ay katumbas ng “ang sumasaksak sa kuta o pangkat ng mga kalaban”... Sicapitan Gaspar de Morales ay nahirang na admiral ng hukbong dagat ng Español sa Jolo, matapos siyang sumikat sa digmaan sa La Sabanilla at sa Jolo, kung saan siya nasugatan nang malubha. Ginawa siyangcommandante, tapos governador ng kuta sa Jolo. Sikat sa giting bilang sundalo, sira siya at sukdulang makasalanan bilang governador. Sa kanyang pangahas at libog, dinukot niya ang anak na babae ni Dato Salibansa. Naghimagsik ang mga tagapulo at ito ang simula ng 200 taon ng pagka-hiwalay ng Jolo mula sa ibang kapuluan ng Pilipinas ... --Wenceslao E. Retana, 1897
Ang karaniwang sandata ng mga katutubo ay ang pilipit na patalim na tinawag nilang “kris.” Ang talim nito ay may mga palamuti at maganda. Anghawakan (puño, hilt) ay karaniwang inukit na buto (marfil, ivory) subalit para sa mga mayaman at mga pinuno, ito ay gawa sa ginto, nilalagyan pa minsan ng mga alahas at mgamamahaling bato (piedra, gems). Lubhang hinahangaan ang mga ito. May nakita ako minsan, sukbit-sukbit ni Socsocan na panginuon (lord) ng Samboangan (ang Zamboangangayon) nuong salakayin at sakupin ng ating hukbong Español. Sinabing ang halaga ng kris na iyon ay katumbas ng 10 alipin (esclavos, slaves)
Linggo, Pebrero 27, 2011
"Si AnabeLLa " By: M. Jalandoni
"Si AnabeLLa " By: M. Jalandoni
“SI ANABELLA” ni Magdalena
Jalandoni
Rosario Lucero
Unang inilathala ang maikling kuwentong “Si Anabella” ni
Magdalena Jalandoni sa libro ni Corazon Villareal,
Translating the Sugilanon (1994, 135-141). Kalakip ang
orihinal nito sa isang lupon ng mga makiniladyong maikling kuwento
ni Jalandoni, na pinamagatang Hinugpong nga mga Sugilanon 1936-
1938. Nailathala din ang saling Filipino ni Villareal sa nirebisang
edisyon ng antolohiyang Philippine Literature: A History and
Anthology (1997, 151-154) ni Bienvenido Lumbera.
Sa unang pagsipat ng kuwentong “Si Anabella,” ating iisiping
taglay nito ang pormula ng mga romantikong kuwentong laganap
noong panahong ito’y nasulat, sa pagitan ng mga taong 1936-1938.
Magsisimula ang melodramatikong banghay sa pag-iibigan ng
dalawang magkaiba ng estado sa buhay, hahadlangan ito ng palalong
ina ng mayaman, susubukin ang katapatan ng magkasintahan, aangat
ang estado ng mahirap sa di inaasahang paraan upang sa wakas ay
magsasama uli sila, at magtatagumpay ang kanilang wagas na pag-
ibig.
Sa pagbubuod ni Villareal sa banghay ng kuwento, may
naidagdag siyang ilang detalyeng hindi binabanggit sa kuwento.
Halimbawa, na sumayaw ang magkasintahan sa tahanan ng binata,
at kinainggitan sila ng lahat; na nagsanib ang liwanag ng buwan at
ningning ng bituin sa loob ng isang gabi (1994, 13; aking salin mula
sa Ingles):
4748
“Si Anabella”
Isang pagunitang paglalakbay sa panahon ng dekada
treinta ang kuwentong “Si Anabella.” Isang gabing
maliwanag ang buwan at mga bituin, hinarana ng
binata ang dilag ng kaniyang biyolin. Sa himig ng
isang buong orkestra, sumayaw sila sa malawak na
sala ng malapalasyong tahanan ng binata. Nguni’t
ang binata’y mayaman, at inilayo siya ng kaniyang
ina sa kaniyang pinupusuan. Subalit buong tiyagang
naghintay si Anabella sa pagbabalik nito, at sa wakas
sila ay muling nagsama. (“Anabella” is a nostalgic
trip to the ‘30s. The beau serenades his love with a
violin on a moonlit and starry night, they dance in
the spacious sala of his palatial home to the strains
of a full orchestra, they are the envy of everyone
on the dancefloor. But he is rich and his mother
takes him away from his lover. Anabella, however,
waits patiently for his return and eventually they
are reunited.)
Kung magpatianod ang isang mambabasa sa romantikong
tradisyon, maaari ngang aakalin niyang may taglay itong mga
romantikong sangkap na sa katunayan ay hindi naman makikita sa
kuwento mismo. Hindi naman lubhang mali ang ganitong paraan
ng pagbasa kung ipinapalagay na ang kuwentong “Si Anabella” ay
akmang halimbawa ng isang makaluma’t romantikong kuwento.
Dagdag pa ni Villareal bilang komentaryo sa kuwento (1994, 13):
Maaaring sabihing pinapatibay ng “Si Anabella” ang
puna ng mga manunuri hinggil sa kahinaan ng
panitikang bernakular sa Pilipinas: na ito’y dulot
ng “malagkit na romantisismo,” “walang kaingatan
sa teknik,” pagkabuhaghag ng estruktura,
“didaktisismo,” at “sentimentalismo.” (In a way,
“Anabella” confirms what critics have listed as the
weaknesses of vernacular literature in the
Philippines: “a cloying romanticism,” “
“SI ANABELLA” ni Magdalena
Jalandoni
Rosario Lucero
Unang inilathala ang maikling kuwentong “Si Anabella” ni
Magdalena Jalandoni sa libro ni Corazon Villareal,
Translating the Sugilanon (1994, 135-141). Kalakip ang
orihinal nito sa isang lupon ng mga makiniladyong maikling kuwento
ni Jalandoni, na pinamagatang Hinugpong nga mga Sugilanon 1936-
1938. Nailathala din ang saling Filipino ni Villareal sa nirebisang
edisyon ng antolohiyang Philippine Literature: A History and
Anthology (1997, 151-154) ni Bienvenido Lumbera.
Sa unang pagsipat ng kuwentong “Si Anabella,” ating iisiping
taglay nito ang pormula ng mga romantikong kuwentong laganap
noong panahong ito’y nasulat, sa pagitan ng mga taong 1936-1938.
Magsisimula ang melodramatikong banghay sa pag-iibigan ng
dalawang magkaiba ng estado sa buhay, hahadlangan ito ng palalong
ina ng mayaman, susubukin ang katapatan ng magkasintahan, aangat
ang estado ng mahirap sa di inaasahang paraan upang sa wakas ay
magsasama uli sila, at magtatagumpay ang kanilang wagas na pag-
ibig.
Sa pagbubuod ni Villareal sa banghay ng kuwento, may
naidagdag siyang ilang detalyeng hindi binabanggit sa kuwento.
Halimbawa, na sumayaw ang magkasintahan sa tahanan ng binata,
at kinainggitan sila ng lahat; na nagsanib ang liwanag ng buwan at
ningning ng bituin sa loob ng isang gabi (1994, 13; aking salin mula
sa Ingles):
4748
“Si Anabella”
Isang pagunitang paglalakbay sa panahon ng dekada
treinta ang kuwentong “Si Anabella.” Isang gabing
maliwanag ang buwan at mga bituin, hinarana ng
binata ang dilag ng kaniyang biyolin. Sa himig ng
isang buong orkestra, sumayaw sila sa malawak na
sala ng malapalasyong tahanan ng binata. Nguni’t
ang binata’y mayaman, at inilayo siya ng kaniyang
ina sa kaniyang pinupusuan. Subalit buong tiyagang
naghintay si Anabella sa pagbabalik nito, at sa wakas
sila ay muling nagsama. (“Anabella” is a nostalgic
trip to the ‘30s. The beau serenades his love with a
violin on a moonlit and starry night, they dance in
the spacious sala of his palatial home to the strains
of a full orchestra, they are the envy of everyone
on the dancefloor. But he is rich and his mother
takes him away from his lover. Anabella, however,
waits patiently for his return and eventually they
are reunited.)
Kung magpatianod ang isang mambabasa sa romantikong
tradisyon, maaari ngang aakalin niyang may taglay itong mga
romantikong sangkap na sa katunayan ay hindi naman makikita sa
kuwento mismo. Hindi naman lubhang mali ang ganitong paraan
ng pagbasa kung ipinapalagay na ang kuwentong “Si Anabella” ay
akmang halimbawa ng isang makaluma’t romantikong kuwento.
Dagdag pa ni Villareal bilang komentaryo sa kuwento (1994, 13):
Maaaring sabihing pinapatibay ng “Si Anabella” ang
puna ng mga manunuri hinggil sa kahinaan ng
panitikang bernakular sa Pilipinas: na ito’y dulot
ng “malagkit na romantisismo,” “walang kaingatan
sa teknik,” pagkabuhaghag ng estruktura,
“didaktisismo,” at “sentimentalismo.” (In a way,
“Anabella” confirms what critics have listed as the
weaknesses of vernacular literature in the
Philippines: “a cloying romanticism,” “
The Happy Hoi PoLLoi By: kerima Polotan Tuvera
The Happy Hoi PoLLoi By: kerima Polotan Tuvera
The Happy Hoi Polloi:
“In the Luneta, all colors blend ‚ the brown and the white and yellow of people; the green and blue and red of shrubs. Towards the sea, the great sward stretches, and the globes of light hang like huge pearls, are caught in the waters of the lake. People flow by, stop and eddy, break and whirl again. Across the pond, a band plays; a balloon breaks loose from some child’s grasp and floats towards an early star. Here, the land lies flat and green, broken only by stone; there, it rises in a series of small hills that hide the curving tips of a pagoda. The doves come, cooing and beating their wings around a man, dressed in a tiger’s suit, and giving away candy. The lovers try not to be conspicuous. A family spreads the contents of a bag — kropeck, juice, biscuits. One mother lies on a mat, unashamedly nursing her baby. On other mats, men and their wives, kicking their heels at the sky. The park guards watch when they can but soon grow weary and give up. The sky is like a canvas washed clean, gray along the edges, and you think, looking over the heads around you, how distant the heat of living is — tonight’s dishes, tomorrow’s bundy clock. Joy is a fitful moment, but better that than nothing.”
The Happy Hoi Polloi:
“In the Luneta, all colors blend ‚ the brown and the white and yellow of people; the green and blue and red of shrubs. Towards the sea, the great sward stretches, and the globes of light hang like huge pearls, are caught in the waters of the lake. People flow by, stop and eddy, break and whirl again. Across the pond, a band plays; a balloon breaks loose from some child’s grasp and floats towards an early star. Here, the land lies flat and green, broken only by stone; there, it rises in a series of small hills that hide the curving tips of a pagoda. The doves come, cooing and beating their wings around a man, dressed in a tiger’s suit, and giving away candy. The lovers try not to be conspicuous. A family spreads the contents of a bag — kropeck, juice, biscuits. One mother lies on a mat, unashamedly nursing her baby. On other mats, men and their wives, kicking their heels at the sky. The park guards watch when they can but soon grow weary and give up. The sky is like a canvas washed clean, gray along the edges, and you think, looking over the heads around you, how distant the heat of living is — tonight’s dishes, tomorrow’s bundy clock. Joy is a fitful moment, but better that than nothing.”
Ako ang Daigdig ni Alejandro Abadilla
Ako ang Daigdig ni Alejandro Abadilla
I
ako
ang daigdig
ako
ang tula
ako
ang daigdig
ng tula
ang tula
ng daigdig
ako
ang walang maliw na ako
ang walang kamatayang ako
ang tula ng daigdig
II
ako
ang daigdig ng tula
ako
ang tula ng daigdig
ako ang malayang ako
matapat sa sarili
sa aking daigdig
ng tula
ako
ang tula
sa daidig
ako
ang daigdig
ng tula
ako
III
ako
ang damdaming
malaya
ako
ang larawang
buhay
ako
ang buhay
na walang hanggan
ako
ang damdamin
ang larawan
ang buhay
damdamin
larawan
buhay
tula
ako
IV
ako
ang daigdig
sa tula
ako
ang tula
sa daigdig
ako
ang daigdig
ako
ang tula
daigdig
tula
ako....
I
ako
ang daigdig
ako
ang tula
ako
ang daigdig
ng tula
ang tula
ng daigdig
ako
ang walang maliw na ako
ang walang kamatayang ako
ang tula ng daigdig
II
ako
ang daigdig ng tula
ako
ang tula ng daigdig
ako ang malayang ako
matapat sa sarili
sa aking daigdig
ng tula
ako
ang tula
sa daidig
ako
ang daigdig
ng tula
ako
III
ako
ang damdaming
malaya
ako
ang larawang
buhay
ako
ang buhay
na walang hanggan
ako
ang damdamin
ang larawan
ang buhay
damdamin
larawan
buhay
tula
ako
IV
ako
ang daigdig
sa tula
ako
ang tula
sa daigdig
ako
ang daigdig
ako
ang tula
daigdig
tula
ako....
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