"Mi último adiós"

Main article: Mi último adiós

The poem is more aptly titled, "Adiós, Patria Adorada" (literally "Farewell, Beloved Fatherland"), by virtue of logic and literary tradition, the words coming from the first line of the poem itself. It first appeared in print not in Manila but in Hong Kong in 1897, when a copy of the poem and an accompanying photograph came to J. P. Braga who decided to publish it in a monthly journal he edited. There was a delay when Braga, who greatly admired Rizal, wanted a good job of the photograph and sent it to be engraved in London, a process taking well over two months. It finally appeared under 'Mi último pensamiento,' a title he supplied and by which it was known for a few years. Thus, when the Jesuit Father Balaguer's anonymous account of the retraction and the marriage to Josephine was appearing in Barcelona, no word of the poem's existence reached him in time to revise what he had written. His account was too elaborate that Rizal would have had no time to write "Adiós."

Six years after his death, when the Philippine Organic Act of 1902 was being debated in the United States Congress, Representative Henry Cooper of Wisconsin rendered an English translation of Rizal's valedictory poem capped by the peroration, "Under what clime or what skies has tyranny claimed a nobler victim?"[46] The Americans, however, would not sign the bill into law until 1916 and did not grant full autonomy until 1946—fifty years after Rizal's death.

Last Poem of Rizal

His friend Mariano Ponce gave it the title of MI ULTIMO ADIOS, as it originally had none

To The Philippines

Rizal wrote the original sonnet in Spanish

Our Mother Tongue

A poem originally in Tagalog written by Rizal when he was only eight years old

Hymn To Labor

I'm not sure if this is a poem or a song. I guess it could be both

Song Of Maria Clara

A poem, found in Rizal's book Noli me tangere, sung by Maria Clara, which accounts for the title

To The Philippine Youth

Unfold, oh timid flower !

To Josephine

Rizal dedicated this poem to Josephine Bracken, an Irish woman who went to Dapitan accompanying a man seeking Rizal's services as an ophthamologist.

Sa aking mga Kababata

From Wikipedia, the free encyclopedia

Jump to:navigation, search

Sa aking mga Kababata

"Sa aking mga Kababata" (English: To my Fellow Youth) is believed to be the first poem written by Filipino polymath and national hero José Rizal (1861-1898). "Sa aking mga Kababata" was written by Rizal in 1869 at the age of eight, and is considered to be the first literature ever written by him.

The poem was inspired by the love of one's native language, in Rizal's case, Tagalog.

Why did Jose Rizal write his poem To the Philippines?

because he lived there

Our Mother Tongue

José P. Rizal

Rizal, José P. “Our Mother Tongue.” Translated by Encarnacion Alzona. In Rizal's Poems. Manila: National Historical Institute, 2002, Pp. 1.

EXECUTIVE SUMMARY: José Rizal's "Our Mother Tongue" talks of love and taking pride in one's own language. Seeing it as a means for Filipinos to acquire a sense of freedom and identity, he stresses that Tagalog is much like other foreign languages which are considered 'superior' to own.

Written by Christian G. Go; Edited by Jack Victor M. Nera

A poem in Tagalog written by Rizal when he was only eight years old. Its theme is the "significance of the mother tongue." In Diez Poesias de Rizal, a selection made by Vicente de Jesus and Jacinto R. de Leon and published by Manlapaz Publishing Company (1958), it appears with the title Sa Aking mga Kabata and A mis compañeros de ninez in the Spanish version in Poesias de Rizal compiled by Jaime C. de Veyra and published by the Philippine National Library in 1946. This title, " To my Fellow Children" seems to us a dedication.

What is the summary of Jose Rizal's poem in memory of my town?

this is as brief as it could get.

Rizal reminisces of his childhood days as he writes this poem. He somehow wishes he could rewind the time and spend more days doing what he used to do, being with the people he used to be with, and feeling the sensations he felt as a boy. he wants his innocence back, and the great feeling of praying to God Almighty with a little child's faith which is believed to be the purest of all hearts. :)

that's about it, i believe. go read the real thingand read it SLOWLY... just internalize it and savor each word. it's quite good...

What is the theme of the poem entitled Hymn to Labor by Jose Rizal?Jose Rizal's poem entitled "Hymn to Labor" exhorts men, wives, maidens and children to work for their country whether in war or in peace.

Ahm can i ask for the intepretation of rizal's poem hymn to labor?? tnx..?

Best Answer - Chosen by VotersIt's about nationalism without the force of ammos. Rizal was trying to influence people to "work" harder and show the "invaders" the filipinos could stand alone (so they could all pack up and go).. since he was not totally into "arms", he just wanted his people to make the invaders see what they're worth. Also talks about how one should totally fulfill his duties at home, because the family is the core and basic unit of society/country.

Mga Kundiman ni José Rizal

Bahay Pahina

Aralin 1

Aralin 2-A

Aralin 2-B

Aralin 3

Aralin 4 - 10

Kumusta kayo, mga kids! 

 

Mahilig kayong kumanta, di ba?  Pakikinggan natin ngayon ang isang kundiman na komposisyon ni José Rizal na pimagatang "Alin Mang Lahi".

Halos nabaon na sa limot ang ating mga kundiman.  Sabi ng marami, hindi raw nila "type" ang kundiman dahil masyadong malungkot, o kaya naman ay sobrang sentimental daw.  Ano nga ba ang kundiman?

 

Halos lahat ng kundiman ay mga kanta na nagsasaad ng pag-ibig sa tinubuang lupa.

Nauso ang Kundiman noong panahon ng mga Kastila kung kailan walang kalayaan ang mga Pilipinong magpahag ng pagmamahal sa kanilang inang bayan.Ang ginamit na simbolo sa kundiman ay ang paglalarawan ng pag-ibig ng mga binata at dalaga sa bawa't isa tulad ng matatagpuan sa mga awiting harana.  Ginamit din sa paglikha ng tugtuging Kundiman ang mga estilong musikal at tema na taglay ng sinaunang mga

Kumintang (warrior songs), mga Harana (courtship songs)  at mga Balitaw (folk songs).  Ngayon, lahat ng mga sina-unang mga kantang pag-ibig o "love songs" ng mga Pilipino ay tinatawag na ring  "kundiman".

Upang marinig ang isang kundiman mula sa bayan ng San Miguel, Bulacan noong 1858, i-click ang "play button" ng "sound player". Ang pamagat nito ay CONDIMAN. Masaya ang "melody" o himig ng kundimang ito katulad ng melody ng mga Balitaw (folk songs). Pero malalim ang lamang mensahe ng awitin at iyon ay ang pagbabalik sa sinaunang mabuting kaugalian ng mga dalagang Filipina na sila'y dapat maging maayos at mahinhin di lamang sa pagkilos kundi rin sa kanilang pananamit. Ang Balitaw ay mga kantang patungkol sa kapaligiran, sa mga kaugalian at sa simpleng buhay ng mga tao sa lalawigan.

Ang ginagamit na simbolo sa kundiman ay naglalarawan ng pag-ibig ng mga binata at dalaga sa bawa't isa. Dahil dito, marami sa tinatawag na kundiman ay hindi tunay na kundiman kundi harana (love songs) at at balitaw na mga kantang tungkol sa kalikasan at ang simpleng buhay ng mga tao sa lalawigan (probinsiya).  Ngayon, lahat ng mga sina-unang kanta ng Pilipino ay tinatawag nang "kundiman".

 

 

Sabi ni "Titser Wes"

Maliwanag na isinasaad sa kundimang "Alin Mang Lahi" na ang ipagtanggol ang Inang Bayan ay nasa puso at diwa ng bawa't isa. 

 

Para kay José Rizal at sa lahat ng mga bayaning tulad nina Andres Bonifacio, Antonio Luna, Gregorio del Pilar, atbp, matamis ang magbuwis ng buhay at dugo upang makalaya ang Inang Bayan.  Ito ang isinasaad ng mga salitang,

 

Ang kamatayan man, kung saka-sakaliIgiginhawa ng mga kalahiTatanggapin ng may ngitiKasaliw ang tuwang di mumunti

 

Nguni't ano ang mapait  na nangyayari? Higit na mapait at masaklap ang ipagkanulo ng kapuwa kababayan, tulad ng sinasabi sa istansang ito:

 

Nguni’t pagkasawing-plad yataNg katagalugang napapanganyayaIbukod pa sa ibang umaabaLalong nagbibigay hapis ang ibang kapwa.

 

Ito ang katumbas ng pagmamalupit tayo sa ating sariling kababayan na walang kakayahang ipagtanggol ang kanilang sarili dahil sa kanilang kakulangan ng dunong at yaman. 

I-click ang larawan ni Rizal upang pakinggan

at mabasa ang titik ng "Alin Mang Lahi"

Ang "Kundiman" ay isang tula na isinulat ni José Rizal sa tagalog, nguni't ito ay hindi isinalin sa musika.  Gayunpaman ang tema ay tulad rin ng lahat ng kundiman, ang matinding pag-ibig sa Inang Bayan. 

Kundiman

Tunay ngayong umid yaring dila't pusoSinta'y umiilag, tuwa'y lumalayo,Bayan palibhasa'y lupig at sumukoSa kapabayaan ng nagturong puno.

Datapuwa't muling sisikat ang araw,Pilit maliligtas ang inaping bayan,Magbabalik mandin at muling iiralAng ngalang Tagalog sa sandaigdigan.

Ibubuhos namin ang dugo't babahaMatubos nga lamang ang sa amang lupaHabang di ninilang panahong tadhana,Sinta'y tatahimik, iidlip ang nasa.

Ayon kay Prof. Evelyn Cabanban, may isa pang kundimang isinulat ni Rizal na ginamit raw ng mga Kastila sa paglilitis kay Rizal bilang katibayan na ang nasabing kundiman ay ginamit ni Rizal upang susugan ang paghihimagsik laban sa España sa mga salitang, "Ibubuhos namin

ang dugo'y ibabaha ng matubos lamang ang sa Amang lupa!" Dahil sa hindi pa ito lubos na napapatunayan, hindi isinama sa pahinang ito ang nasabing kundiman.

"Alin Mang Lahi" ay isa sa dalawang kundiman na katha ni José Rizal.  Ang "Awit ni Maria Clara" ay unang isinulat sa kabanata 23 ng Noli Me Tangere, nguni't nakaraan ang ilang taon bago ito isinalin sa musika.  Noong 1893, isina-musika ni Julio Nakpil ang kanyang tulang "Amor Patrio" na ang mga titik ay kinuha sa kantang inawit ni Maria Clara.

Ang pabalat sa librong Noli me Tangere

Kundiman

From Wikipedia, the free encyclopedia

Jump to:navigation, search

Kundiman

Stylistic origins Filipino folk music

Cultural originsTagalog, also other ethnic groups in the

Philippines

Typical instruments Vocals • acoustic guitar

Mainstream Widespread before the 1960's, in

popularity decline since then.

Derivative forms Manila Sound

Kundiman (originally spelled Cundiman) is a genre of traditional Filipino love songs. The lyrics of the Kundiman are written in Tagalog. The melody is characterized by a smooth, flowing and gentle rhythm with dramatic intervals. Kundiman was the traditional means of serenade in the Philippines.

The Kundiman came to the fore as an art song at the end of the nineteenth century and the early part of the twentieth, when Filipino composers such as Francisco Santiago and Nicanor Abelardo (born February 7, 1893, death March 21, 1934 ), formalized the musical structure and sought poetry for their lyrics, blending verse and music in equal parts.

Scholars and historians believed that the Kundiman originated from the Tagalog town of Balayan, Batangas. [1] Dr. Francisco Santiago(1889-1947), the "Father of the Kundiman Art Song", briefly explains in his scholarly work "The Development of Music in the Philippines" the reason why this Tagalog song is called Kundiman is because the first stanza of this song begun thus:

"Cundiman, cundiman

Cundiman si jele"

"Hele ng Cundiman

Hele ng Cundangan"

In 1872, the illustrious Franciscan Tagalist and poet, Father Joaquin de Coria wrote the "Nueva Gramatica Tagalog Teorica-Practica" which, besides treating grammar, also enumerates the characteristics of Tagalog language, and discusses Tagalog poetry.[2] In this book, Father Coria also gave us a list of the names of the most important songs of the Tagalogs. They are:

Diona and Talingdao (songs in the homes and in ordinary work) Indolanin and Dolayin (songs in the streets) Soliranin (boat songs) Haloharin, Oyayi and Hele-hele (songs to make the baby sleep) Sambotani (song for festivals and social reunions) Tagumpay (song to commemorate victory in war) Hiliraw, Balicungcung (sweet songs) Dopayinin (almost same as Tagumpay, but more serious and more sincere) Kumintang (love song; also a pantominic "dance song" -Dr. F. Santiago) Cundiman (love song, used especially in serenading)

The Spanish scholar V.M. Avella described the Kundiman in his 1874 work "Manual de la Conversación Familiar Español-Tagalog" as the "cancion indigena" (native song) of the

Tagalogs and characterized its melody as "something pathetic but not without some pleasant feeling." [3]

In his 1883 book "Cuentos Filipinos", Don José Montero y Vidal recorded in Spanish the sad lyrics of a "popular" Kundiman of the "Tagalas" or Tagalogs :[4]

Cundiman, cundiman

Cundiman si jele

Mas que esta dormido

Ta sona con ele.

Desde que vos cara

Yo ta mira

Aquel morisqueta

No puede traga.

Cundiman, cundiman

Cundiman, cundaman

Mamatay, me muero

Sacamay mo lamang.

The Spanish writer and historian Wenceslao E. Retana recorded in 1888 the lyrics of a popular Kundiman in Batangas. The melancholic lyrics in the Tagalog original as recorded in Retana's book "El Indio Batangueño" reads: [5]

Aco man ay imbi, hamac isang ducha

Nasinta sa iyo, naghahasic nga

Di ba guin si David ng una ay aba

Pastor ay nag harin ng datnan ng awa?

Estrebillo:

Hele ng Cundiman

Hele ng Cundangan

Mundo palibhasai, talinghaga lamang

Ang mababa ngayon bucas ay marangal.

Sa lahat ng hirap sintang dala-dala

Salang cumilos isip coi icao na

Acoi mananaog na hahanapin quita

Estrebillo:

Hele ng Cundiman

Hele ng Cundangan

Cundangan nga icao ang may casalanan

Tataghoy-taghoy ni 'di mo pa paquingan.

In 1916, Dr. Juan V. Pagaspas, a doctor of philosophy from Indiana University and a much beloved educator in Tanauan, Batangas described the Kundiman as "a pure Tagalog song which is usually very sentimental, so sentimental that if one should listen to it carefully watching the tenor of words and the way the voice is conducted to express the real meaning of the verses, he cannot but be conquered by a feeling of pity even so far as to shed tears." [J.Pagaspas, "Native Amusements in the Province of Batangas"]

Dr. Francisco Santiago, the "Father of Filipino Musical Nationalism" declared in 1931 that the Kundiman "is the love song par excellence of the Filipinos, the plaintive song which goes deepest into their hearts, song which brings them untold emotions." [F. Santiago, "The Development of Music in the Philippines"]

The melody and sentiment of the Kundiman tends not only toward the melancholy but also the cheerful[6], and the commitment of the heart to passion is celebrated in every piece. The singer of the kundiman expresses the pain and beauty of love felt by every listener, for the kundiman is not merely entertainment but an embodiment of collective emotion.

Endowed with such power, the Kundiman naturally came to serve as a vehicle for veiled patriotism in times of colonial oppression, in which the undying love for a woman symbolized the love of country and desire for freedom.

Dr. Jose P. Rizal (1861-1896), the Philippine national hero, has consecrated the Kundiman in his social novel “Noli Me Tangere”. Not only this but he himself wrote a Kundiman which is not of the elegiac type because its rhythm sounds the threat, the reproach and the revindication of the rights of the race.

KUNDIMAN NI RIZAL[7]

Tunay ngayong umid yaring diwa at puso

Ang bayan palibhasa'y api, lupig at sumuko.

Sa kapabayaan ng nagturong puno

Paglaya'y nawala, ligaya'y naglaho!

Datapuwa't muling sisikat ang maligayang araw

Pilit na maliligtas ang inaping bayan

Magbabalik man din at laging sisikat

Ang ngalang Tagalog sa sandaigdigan!

Ibubuhos namin ang dugo'y ibabaha

Ng matubos lamang ang sa Amang Lupa!

Hanggang 'di sumapit ang panahong tadhana

Sinta ay tatahimik, tutuloy ang nasa!

Sinta ay tatahimik at tutuloy ang nasa!

O Bayan kong mahal

Sintang Filipinas!

From 1896 to 1898 the most famous Kundiman, which fired the patriotic sentiments of the Tagalog revolutionaries in the struggle for liberation from Spanish colonial rule, was Jocelynang Baliuag. Officially known as Musica del Legitimo Kundiman Procedente del Campo Insurecto (Music of the Legitimate Kundiman that Proceeds from the Insurgents), Jocelynang Baliwag was the favorite Kundiman among the revolutionaries of Bulacan during the Philippine Revolution of 1896 - earning it the title "Kundiman of the Revolution."

In the guise of a love and courtship song, it features lyrics dedicated to a young and beautiful Filipina idolized in the Bulacan town of Baliuag named Josefa 'Pepita' Tiongson y Lara who symbolizes the image of the beloved Motherland, the Inang Bayang Katagalugan or Filipinas.

JOCELYNANG BALIWAG

P- Pinopoong sinta, niring calolowa

Nacacawangis mo'y mabangong sampaga

Dalisay sa linis, dakila sa ganda

Matimyas na bucal ng madlang ligaya.

E- Edeng maligayang kinaloclocan

Ng galak at tuwang catamis-tamisan

Hada cang maningning na ang matunghaya'y

Masamyong bulaclac agad sumisical.

P- Pinananaligan niring aking dibdib

Na sa paglalayag sa dagat ng sakit

'Di mo babayaang malunod sa hapis

Sa pagcabagabag co'y icaw ang sasagip.

I- Icaw na nga ang lunas sa aking dalita

Tanging magliligtas sa niluha-luha

Bunying binibining sinucuang cusa

Niring catawohang nangayupapa.

T- Tanggapin ang aking wagas na pag-ibig

Marubdob na ningas na taglay sa dibdib

Sa buhay na ito'y walang nilalangit

Cung hindi ikaw lamang, ilaw niring isip.

A- At sa cawacasa'y ang kapamanhikan

Tumbasan mo yaring pagsintang dalisay

Alalahanin mong cung 'di cahabagan

Iyong lalasunin ang aba cong buhay.

The Filipino composer, conductor and scholar Felipe M. De Leon Jr., wrote that the Kundiman is a "unique musical form expressing intense longing, caring, devotion and oneness with a beloved. Or with a child, spiritual figure, motherland, ideal or cause. According to its text, a kundiman can be romantic, patriotic, religious, mournful. Or a consolation, a lullaby. Or a protest and other types. But of whatever type, its music is soulful and lofty, conveying deep feelings of devotional love." [F.M. De Leon Jr., "But What Really Is The Kundiman?"]

Why did Jose Rizal write the poem Maria Clara's Song?

The poem "Song of Maria Clara" is in the novel "Noli Me Tangere." It was sung by the character named Maria Clara.

Several lines in the poem give readers an idea why Rizal wrote it. In English, the first line says, "Sweet are the hours in one's own native land." The fourth line: "Even death is gratifying and more tender is love."

The last stanza says it all: "It is sweet to die in one's own native land... "

In short, the poem reveals Rizal's desire to die in his beloved Philippines.

María Clara

From Wikipedia, the free encyclopedia

Jump to:navigation, search

A crayon sketch of Leonor Rivera, the basis of the Maria Clara character in José Rizal's Noli Me Tangere.

María Clara, whose full name is María Clara de los Santos, is the mestiza heroine in Noli Me Tangere, a novel by José Rizal, the national hero of the Republic of the Philippines. Maria Clara is the childhood sweetheart and fiancée of Noli Me Tangere 's hero, Juan Crisóstomo Ibarra y Magsalin, the son of Don Rafael Ibarra. Although raised as Santiago "Kapitan Tiyago" de los Santos’s daughter, Maria Clara is the illegitimate offspring of Father Dámaso, a Spanish friar, and Doña Pía Alba. Doña Alba is the wife of Kapitan Tiyago, who are both native Filipinos. Father Damaso (also known as Padre Damaso) is known to Maria Clara as a godfather. Maria

Clara never met her mother because Doña Alba died during the delivery of her daughter. She grew under the guidance and supervision of Tía Isabél, Kapitan Tiyago's cousin. While her boyfriend Crisostomo Ibarra was travelling in Europe, Kapitan Tiyago sent her to the Beaterio de Santa Clara, a convent where she developed femininity under religion. Later in the novel, Maria Clara discovers the truth that Father Damaso is her biological father.

Contents[hide]

1 Description 2 Basis and adaptation 3 Song of Maria Clara 4 References 5 External links

[edit] Description

In the novel, Maria Clara is regarded as the most beautiful and widely celebrated lady in the town of San Diego. Maria Clara, being religious, the epitome of virtue, “demure and self-effacing” and endowed with beauty, grace, and charm, was promoted by Rizal as the “ideal image”[1] of a Filipino woman who deserves to be placed on the “pedestal of male honor”. In Chapter 5 of Noli Me Tangere, Maria Clara and her traits were further described by Rizal as an “Oriental decoration” with “downcast” eyes and a “pure soul”.[2]

[edit] Basis and adaptation

Rizal based the fictional character of Maria Clara from his real life girlfriend and cousin Leonor Rivera. Although praised and idolized, Maria Clara's chaste, "masochistic", and "easily fainting" character had also been criticized as the "greatest misfortune that has befallen the Filipina in the last one hundred years".[1][3] In fashion in the Philippines, Maria Clara's name has become the eponym for a Filipino national dress for females known as the Maria Clara gown, an attire connected to Maria Clara’s character as a maiden who is delicate, feminine, self-assured, and with a sense of identity.[4]

[edit] Song of Maria Clara

In Noli Me Tangere, Rizal wrote a poem about Maria Clara entitled the “Song Of Maria Clara”. The following verses were sung by Maria Clara in the novel, thus the title of the poem:[5]

Sweet the hours in the native country,

where friendly shines the sun above!

Life is the breeze that sweeps the meadows;

tranquil is death; most tender, love.

Warm kisses on the lips are playing

as we awake to mother's face:

the arms are seeking to embrace her,

the eyes are smiling as they gaze.

How sweet to die for the native country,

where friendly shines the sun above!

Death is the breeze for him who has

no country, no mother, and no love![6][5]

A La Juventud Filipina / To The Filipino Youth by Jose Rizal

I got several search queries on my site looking for Dr. Jose Rizal’s poem “A La Juventud Filipina” also known as “To The Philippine Youth / To the Filipino Youth” or “Sa Kabataang Pilipino” in Filipino. Here it is. In 1879, Artistic Literary Lyceum of Manila, a society of literary men and artists held a literary contest. Jose Rizal at that time only eighteen years old, submitted the poem, A La Juventud Filipina (To the Filipino Youth) where he earned first prize. This was the first poem ever written by a native Filipino and it aroused the nationalistic concept among the Filipinos.

This poem titled “A la Juventud Filipina,” which he wrote in 1879 at the age of 18, Rizal approved the idea of a Philippine identity different from that of Spain, but there he also acknowledges the the benefits that mother country had bestowed on the Philippines.

(The image on the left is his picture when he was 18 while studying at University of Santo Tomas. As you can see Uso din noon ang hair style ng kabataan ngayon)

A La Juventud Filipina Spanish version

Alza su tersa frente,Juventud Filipina, en este dÃa!Luce resplandeciente

To The Philippine YouthEnglish version

Unfold, oh timid flower !Lift up your radiant brow,This day, Youth of my native strand !

Sa Kabataang Pilipino Filipino version

Itaas ang iyongMalinis na nooSa araw na ito,Kabataang Pilipino!

Tu rica gallardÃa,Bella esperanza de la Patria Mia!Vuela, genio grandioso,Y les infunde noble pensamiento,Que lance vigoroso,Mas rápido que el viento,Su mente virgen al glorioso asiento.Baja con la luz grataDe las artes y ciencias a la arena,Juventud, y desataLa pesada cadenaQue tu genio poético encadena.

Ve que en la ardiente zonaDo moraron las sombras, el hispanoEsplendente corona,Con pia sabia mano,Ofrece al hijo de este suelo indiano.

Tu, que buscando subes,En alas de tu rica fantasÃa,Del Olimpo en las nubesTiernisima poesÃaMás sabrosa que néctar y ambrosÃa.

Tu, de celeste acento,Melodioso rival Filomena,Que en variado concentoEn la noche serenaDisipas del mortal la amarga pena.

Your abounding talents showResplendently and grand,Fair hope of my Motherland !Soar high, oh genius great,And with noble thoughts fill their mind;The honor’s glorious seat,May their virgin mind fly and findMore rapidly than the wind.

Descend with the pleasing lightOf the arts and sciences to the plain,Oh Youth, and break forthrightThe links of the heavy chainThat your poetic genius enchain.

See that in the ardent zone,The Spaniard, where shadows stand,Doth offer a shining crown,With wise and merciful handTo the son of this Indian land.

You, who heavenward riseOn wings of your rich fantasy,Seek in the Olympian skiesThe tenderest poesy,

Igilas mo na rin ang kumikinang mongMayamang sanghayaMagandang pag-asa ng Bayan kong Mutya!Makapangyarihang wani’y lumilipad,At binibigyang ka ng muning mataas,Na maitutulad ng ganap na lakas,Mabilis na hangin, sa kanyang paglipad,Malinis na diwa, sa likmuang hangad.Ikaw ay bumabaNa taglay ang ilawNg sining at aghamSa paglalabanan,Bunying kabataan,At iyong kalagiun ang gapos mong iyangTanikalang bakal na kinatalianNg matulain mong waning kinagisnan.

Ikaw na lagi nang pataas nag lipad,Sa pakpak ng iyong Mayamang pangarap,Na iyong Makita sa Ilimpong ulapAng lalong matamisNa mag tulaing pinakananais,Ng higit ang sarapKaysa “ambrosia†at “nectar†� �na awagasNg mga bulaklak.

Ikaw na may tinigNa buhat sa langit,Kaagaw sa tamisNa kay Filomenang Malinis na hiomig,Sa gabing tahimikAy pinaparam mo ang sa taong sakit,Ikaw, na ang batong sukdulan ng tigasSa lakas ng iyong diwa’y nagagawadNg buhay at gilas,At ang alaalang makislapAy nabibigayan ng kamay mong masikap

Tu que la pena duraAnimas al impulso de tu mente,Y la memoria puraDel genio refulgenteEternizas con genio prepotente.

Y tu, que el vario encantoDe Febo, amado del divino Apeles,Y de natura el mantoCon mágicos pincelesTrasladar al sencillo lienzo sueles.

Corred! que sacra llamaDel genio el lauro coronar espera,Esparciendo la famaCon trompa pregoneraEl nombre del mortal por la ancha espera.

Dia, dia felice,Filipinas gentil, para tu suelo!Al Potente bendiceQue con amante anheloLa ventura te envia y el consuelo.

More sweet than divine honey;

You of heavenly harmony,On a calm unperturbed night,Philomel’s match in melody,That in varied symphonyDissipate man’s sorrow’s blight;

You at th’ impulse of your mindThe hard rock animateAnd your mind with great pow’r consignedTransformed into immortal stateThe pure mem’ry of genius great;

And you, who with magic brushOn canvas plain captureThe varied charm of Phoebus,Loved by the divine Apelles,And the mantle of Nature;

Run ! For genius’ sacred flameAwaits the artist’s crowningSpreading far and wide the fameThroughout the sphere proclaimingWith trumpet the

Ng buhay na walang masasabing wakes.

At ikaw, na siyangSa may iba’t ibangBalani ni Febong kay Apelas mahal,Gayundin sa lambong ng katalagahan,Na siayng sa guhit ng pinsel mong tanga’yNakapaglilipat sa kayong alinman;

Hayo na’y tumakbo! Sapagka’t ang banalNa ningas ng wani’y nais maputunganKayong naglalama’y,At maipamansag ng tambuling tangan,Saan man humanggan,Ang ngalan ng tao, sa di matulusangLawak ng palibot na nakasasaklaw.

Malwalhating araw,Ito, Pilipinas, sa lupang tuntungan!Ang Lumikha’y dapat na pasalamatan,Dahilan sa kanyang mapagmahal,Na ikaw’y pahatdan.

mortal’s name

Oh, joyful, joyful day,The Almighty blessed beWho, with loving eagernessSends you luck and happiness

Josephine Bracken

Did Jose Rizal love Josephine Bracken enough to retract from Catholicism?According to some Philippine Historians, Dr. Jose Rizal was a Mason and Josephine Bracken was a catholic. In as much as they wanted to be married in the Catholic Church, they were never granted the dispensation from the Catholic Bishop of Cebu. Religious intermarriages is not acceptable in the strict practises of the Catholic Church in the Philippines up to present, let alone living together outside marriage.

Dr. Rizal's alleged retraction, according to some, was the result of the persuasion of Reverend Superior Balaguer so that Dr. Rizal will not be "eternally condemned" after his execution. Due to Dr. Rizal's brilliance in words and great knowledge of legal documents, he manage to write his retraction in a way that both the Diocesan Prelate and Masonry accepted.

He declared himself a Catholic "in which I was born and educated" and that " I abominate Masonry as the enemy that it is of the Church and reprobate by the same." Thus, it may mean that Masonry is an enemy of the church and not his.

Therefore, I must conclude, that Josephine Bracken has nothing to do with Dr. Jose P. Rizal's retraction from Catholicism. Although there are some contradicting voices of his viewpoints and strong beliefs which are evident in his writing and the accounts of those who are dedicated and persistent enough to get close to our National Hero, only Dr. Jose P. Rizal knows the truth.

Josephine Bracken

From Wikipedia, the free encyclopedia

Jump to:navigation, search

Josephine Bracken

Photo of Josephine Bracken

Born9 August 1876

Hong Kong

Died15 March 1902 (aged 25)

Hong Kong

Marie Josephine Leopoldine Bracken (August 9, 1876 – March 15, 1902) was the fiancee of Philippine national hero, José Rizal. Some believed that she was married to Rizal, although no proof of a civil or church wedding has ever been found.

Contents[hide]

1 Early life 2 Relationship with Rizal 3 Notes 4 External links

[edit] Early life

Bracken was born in Hong Kong on August 9, 1876 to Irish parents, James Bracken, a corporal in the British Army, Elizabeth Jane McBride who married on May 3, 1868 in Belfast, Ireland. When her mother died shortly after childbirth, she was adopted by an American named George Taufer.

[edit] Relationship with Rizal

Bracken met Rizal when the latter spent several months in Hong Kong in 1891-92. She later recommended that her blind adopted father see Rizal, who was a respected ophthalmologist. By this time, he was a political exile in Dapitan, on the Zamboanga Peninsula. Although Taufer's condition was beyond Rizal's help, Bracken fell in love with the physician. They were allegedly wed in a civil union,[1] unable to obtain Catholic Church sanction for the marriage. This created a series of minor crises for Rizal as the domestic help, as well as his sisters, who were there to make life more comfortable for him, suspected Bracken, a white woman, of being a Spanish spy.

Some say they lived together in Dapitan. The day before his execution on charges of treason, rebellion and sedition by the Spanish colonial government, the Catholic Church claimed that Rizal had returned to his Catholic faith and was married in articulo mortis to Bracken in a religious ceremony, although there has never been proof that this event happened.

After Rizal's death, Bracken joined the revolutionaries for a time. When called before the Spanish Governor-General, she was requested to leave the Philippines, which she did, then leaving for Hong Kong.

Josephine remarried in Hong Kong to another Filipino named Vicente Abad on December 15, 1898. They had a daughter named Dolores. While in Hong Kong, Josephine contracted tuberculosis. She died on March 15, 1902 and was buried at the Happy Valley Cemetery. Her grave remains unknown today since the cemetery has been converted into a racetrack.[2]