ISADORA L.

DALAPO

SONNETS by: Jose Garcia Villa

First, a poem must be magical, Then musical as sea gull. It must be a brightness moving And hold secret a birds flowering. It must be slender as a bell, And it must hold fire as well. It must have the wisdom of bows And it must kneel like a rose. It must be able to hear The luminance of dove and deer. It must be able to hide What it seeks, like a bride. And over all I would like to hover God, smiling from the poems cover.

SONETO NG BUHAY Fernando Monleon Si Fernando Bautista Monleon ay isang laureadong makata na ipinanganak noong Octubre 28, 1912 sa Liliw, Laguna. Bukod sa daan-daang tula na sinulat niya at nalathala sa mga magasin ay nagsulat din siya ng mga nobela Isa dito ang "Tres Muskiteras" na isinapelikula ng SAmpaguita Pictures noong dekada '50. Naging konsehal siya ng Maynila noong dekada '50 at naging Pangalawang Patnugot ng Institute of National Language. Bukod sa pagiging manunulat at makata at kinilala rin siyang Prinsipe ng BAlagtasan. Awtor siya ng mga aklat na Akda para sa mababang paaralan at ng serye ng aklat na Hiyas para sa Mataas na Paaralan. Nagtamo rin siya ng karangalan mula sa Unesco dahil sa aklat niya tungkol kay Francisco Balagtas. Si G. Monleon ay yumao nuong Pebrero 2, 1972.

ELEGY Thomas Gray

Elegy Written in a Country Churchyard is a poem by Thomas Gray, completed in 1750 and first published in 1751. The poems origins are unknown, but it was partly inspired by Grays thoughts following the death of the poet Richard West in 1742. Originally titled Stanza's Wrote in a Country Church-Yard, the poem was completed when Gray was living near the Stoke Poges churchyard. It was sent to his friend Horace Walpole, who popularised the poem among London literary circles. Gray was eventually forced to publish the work on 15 February 1751, to pre-empt a magazine publisher from printing an unlicensed copy of the poem. The poem is an elegy in name but not in form; it employs a style similar to that of contemporary odes, but it embodies a meditation on death, and remembrance after death. The poem argues that the remembrance can be good and bad, and the narrator finds comfort in pondering the lives of the obscure rustics buried in the churchyard. The two versions of the poem, Stanzas and Elegy, approach death differently; the first contains a stoic response to death, but the final version contains an epitaph which serves to repress the narrator's fear of dying. With its discussion of, and focus on, the obscure and the known, the poem has possible political ramifications, but it does not make any definite claims on politics to be more universal in its approach to life and death. The poem quickly became popular. It was printed many times, translated into many languages, and praised by critics even after Gray's other poetry had fallen out of favour. Later critics tended to praise its language and universal aspects, but some felt the ending was unconvincing, failing to resolve the questions the poem raised; or that the poem did not do enough to present a political statement that would serve to help the obscure rustic poor who forms its central image. POEM The poem begins in a churchyard with a narrator who is describing his surroundings in vivid detail. The narrator emphasises both aural and visual sensations as he examines the area in relation to himself:[33] The curfew tolls the knell of parting day, The lowing herd wind slowly o'er the lea

The ploughman homeward plods his weary way, And leaves the world to darkness and to me. Now fades the glimm'ring landscape on the sight, And all the air a solemn stillness holds, Save where the beetle wheels his droning flight, And drowsy tinklings lull the distant folds; Save that from yonder ivy-mantled tow'r The moping owl does to the moon complain Of such, as wand'ring near her secret bow'r, Molest her ancient solitary reign. (lines 112) As the poem continues, the narrator begins to focus less on the countryside and more on his immediate surroundings. His descriptions begin to move from sensations to his own thoughts about the dead. As the poem changes, the narrator begins to emphasise what is not present in the scene, he contrasts an obscure country life with a life that is remembered. This contemplation provokes the narrator's thoughts on waste that comes in nature:[34] Full many a gem of purest ray serene, The dark unfathom'd caves of ocean bear: Full many a flow'r is born to blush unseen, And waste its sweetness on the desert air. Some village-Hampden, that with dauntless breast The little tyrant of his fields withstood; Some mute inglorious Milton here may rest, Some Cromwell guiltless of his country's blood. The applause of listening senates to command, The threats of pain and ruin to despise, To scatter plenty o'er a smiling land, And read their hist'ry in a nation's eyes, Their lot forbade: nor circumscrib'd alone Their growing virtues, but their crimes confin'd; Forbade to wade through slaughter to a throne, And shut the gates of mercy on mankind, The struggling pangs of conscious truth to hide, To quench the blushes of ingenuous shame, Or heap the shrine of Luxury and Pride With incense kindled at the Muse's flame. (lines 5372) The narrator focuses on the inequities that come from death, obscuring individuals, while he begins to resign himself to his own inevitable fate. As the poem ends, the narrator begins to deal with death in a direct manner as he discusses how humans desire to be remembered. As the narrator does so, the poem shifts and the first narrator is replaced by a second who describes the death of the first:[35]

For thee, who mindful of th' unhonour'd Dead Dost in these lines their artless tale relate; If chance, by lonely contemplation led, Some kindred spirit shall inquire thy fate, Haply some hoary-headed swain may say, Oft have we seen him at the peep of dawn Brushing with hasty steps the dews away To meet the sun upon the upland lawn. (lines 93100) The poem concludes with a description of the poet's grave that the narrator is meditating over, together with a description of the end of that poet's life: [36] There at the foot of yonder nodding beech That wreathes its old fantastic roots so high, His listless length at noontide would he stretch, And pore upon the brook that babbles by. Hard by yon wood, now smiling as in scorn, Mutt'ring his wayward fancies he would rove, Now drooping, woeful wan, like one forlorn, Or craz'd with care, or cross'd in hopeless love. One morn I miss'd him on the custom'd hill, Along the heath and near his fav'rite tree; Another came; nor yet beside the rill, Nor up the lawn, nor at the wood was he; The next with dirges due in sad array Slow thro' the church-way path we saw him borne. Approach and read (for thou canst read) the lay, Grav'd on the stone beneath yon aged thorn." (lines 101116) An epitaph is included after the conclusion of the poem. The epitaph reveals that the poet whose grave is the focus of the poem was unknown and obscure. The poet was separated from the other common people because he was unable to join with the common affairs of life, and circumstance kept him from becoming something greater: [37] Here rests his head upon the lap of Earth A youth to Fortune and to Fame unknown. Fair Science frown'd not on his humble birth, And Melancholy mark'd him for her own. Large was his bounty, and his soul sincere, Heav'n did a recompense as largely send: He gave to Mis'ry all he had, a tear, He gain'd from Heav'n ('twas all he wish'd) a friend. No farther seek his merits to disclose, Or draw his frailties from their dread abode,

(There they alike in trembling hope repose) The bosom of his Father and his God. (lines 117128) The original conclusion from the earlier version of the poem promotes the view that humans should be resigned to the fact that we will die, which differs from the indirect, third person description in the final version:[38] The thoughtless World to majesty may bow Exalt the brave, & idolize Success But more to Innocence their Safety owe Than Power & Genius e'er conspired to bless And thou, who mindful of the unhonour'd Dead Dost in these Notes thy artless Tale relate By Night & lonely contemplation led To linger in the gloomy Walks of Fate Hark how the sacred Calm, that broods around Bids ev'ry fierce tumultous Passion ease In still small Accents whisp'ring from the Ground A grateful Earnest of eternal Peace No more with Reason & thyself at strife; Give anxious Cares & endless Wishes room But thro' the cool sequester'd Vale of Life Pursue the silent Tenour of thy Doom.

"AWIT SA ISANG BANGKAY" (Bienvenido A. Ramos)

Ngayong hatinggabi'y nais kong awitin ang ayaw marinig ng aking Diwata; awit na kaiba may bagong pagtingin may dugo ng buhay may tamis ng luha awit na hinabi ng buwang may silim (isinumpang awit ng mga bathala) Anila, ang awit ay ang kagandahan na nakaayubo sa ating paligid mabituing langit, bagwis ng amihan maingay na lunsod, at payapang bukid; (di iyan ang awit na ngayon ay alay (iya'y dati na't mga lumang himig) Ang awit kong ito'y pipi't walang nota at dalit sa labi ng mga pulubi kelan ay nasagpang ng mga buwitre aninong madapa sa mga bangketa sa gabing ang buwa'y ni ayaw ngumisi Notang sa silabato'y nagbinhi ng takot at gintong makuyom sa bantay-salakay sa bawat lansanga'y uwak na magtanod laganap ang salot sa hulo't luwasan (Sino ang pipigil, kung ito ay agos, kung pati ang puno ay yagit na lamang?) Inihimig pang pangako ring wasak sa binging pandinig ng mga naburol agunyas man ito'y makaaagnas sa pusong nagmoog sa daya at lason (May bunyi ang awit ng palayong uwak Pagkat nagging uwak ang lahat ng ibon!) Di para sa iyo ang awit kong ito (Narinig mo ba ang paos kong tinig?) ang inaawit ko't para sa supling mo kung magsusupling ka sa baog mong hasik Ngayong hatinggabi ay aawitin ko ang kamatayan mong di magbagong-binhi

DALIT KAY MARIA 1. Kamikazee - Ung Tagalog Lyrics 2. Roan Ruanto - Ang Fairytale Ko Tong Hua Tagalog Version Lyrics 3. Paola Chiara - Beautiful Maria Of My Soul Bela Maria De Mi Alma Lyrics 4. Carlos Santana - Maria Maria Lyrics 5. Mercedes Sosa - Maria Maria Lyrics 6. Santana - Maria Maria Lyrics 7. Maria Callas - Ave Maria Lyrics 8. Mixes - Maria Maria Lyrics 9. Laurie Anderson - Maria Teresa Teresa Maria Lyrics 10. Ida Maria - See Me Through Lyrics 11. Maria - Always Lyrics 12. Ida Maria - Oh My God Lyrics 13. Tka - Maria Lyrics 14. Ely Joe - Maria Lyrics 15. Us5 - Maria Lyrics

Ode to a Nightingale My heart aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk, Or emptied some dull opiate to the drains One minute past, and Lethe-wards had sunk: 'Tis not through envy of thy happy lot, But being too happy in thine happiness, That thou, light-winged Dryad of the trees, In some melodious plot Of beechen green and shadows numberless, Singest of summer in full-throated ease. O, for a draught of vintage! that hath been Cool'd a long age in the deep-delved earth, Tasting of Flora and the country green, Dance, and Provenal song, and sunburnt mirth! O for a beaker full of the warm South, Full of the true, the blushful Hippocrene, With beaded bubbles winking at the brim, And purple-stained mouth; That I might drink, and leave the world unseen, And with thee fade away into the forest dim: Fade far away, dissolve, and quite forget What thou among the leaves hast never known, The weariness, the fever, and the fret Here, where men sit and hear each other groan; Where palsy shakes a few, sad, last gray hairs, Where youth grows pale, and spectre-thin, and dies; Where but to think is to be full of sorrow And leaden-eyed despairs, Where Beauty cannot keep her lustrous eyes, Or new Love pine at them beyond to-morrow. Away! away! for I will fly to thee, Not charioted by Bacchus and his pards, But on the viewless wings of Poesy, Though the dull brain perplexes and retards: Already with thee! tender is the night, And haply the Queen-Moon is on her throne, Cluster'd around by all her starry Fays; But here there is no light, Save what from heaven is with the breezes blown Through verdurous glooms and winding mossy ways.

I cannot see what flowers are at my feet, Nor what soft incense hangs upon the boughs, But, in embalmed darkness, guess each sweet Wherewith the seasonable month endows The grass, the thicket, and the fruit-tree wild; White hawthorn, and the pastoral eglantine; Fast fading violets cover'd up in leaves; And mid-May's eldest child, The coming musk-rose, full of dewy wine, The murmurous haunt of flies on summer eves. Darkling I listen; and, for many a time I have been half in love with easeful Death, Call'd him soft names in many a mused rhyme, To take into the air my quiet breath; Now more than ever seems it rich to die, To cease upon the midnight with no pain, While thou art pouring forth thy soul abroad In such an ecstasy! Still wouldst thou sing, and I have ears in vain To thy high requiem become a sod. Thou wast not born for death, immortal Bird! No hungry generations tread thee down; The voice I hear this passing night was heard In ancient days by emperor and clown: Perhaps the self-same song that found a path Through the sad heart of Ruth, when, sick for home, She stood in tears amid the alien corn; The same that oft-times hath Charm'd magic casements, opening on the foam Of perilous seas, in faery lands forlorn. Forlorn! the very word is like a bell To toll me back from thee to my sole self! Adieu! the fancy cannot cheat so well As she is fam'd to do, deceiving elf. Adieu! adieu! thy plaintive anthem fades Past the near meadows, over the still stream, Up the hill-side; and now 'tis buried deep In the next valley-glades: Was it a vision, or a waking dream? Fled is that music: - Do I wake or sleep?

Teorya: Teoryang Arkitaypal v Ang layunin ng panitikan ay ipakita ang mga mahahalagang bahagi ng akda sa pamamagitan ng mga simbolo. Ngunit hindi basta-basta masusuri ang mga simbolismo sa akda. Pinakamainam na alamin muna ang kabuuang konsepto at tema ng panitikan sapagkat ang mga simbolismong napapaloob sa akda ay magkaugnay sa isat isa. Ang lahat ng simbolismo ay naaayon sa tema at konseptong ipinapakilala ng may-akda sa mga mambabasa. Teoryang Istrukturalismo ang teoryang ito ay nagbibigay-diin sa kung anumang klase ng pagkabuo o sistema ng pagkakabuhat ng isang akda,na siya namang ginagamitan ng teoryang ito. Teoryang Queer v Ang layunin ng panitikan ay iangat at pagpantayin sa paningin ng lipunan sa mga homosexual. Kung ang mga babae ay may feminismo ang mga homosexual naman ay queer. Teoryang Historikal v Ang layunin ng panitikan ay ipakita ang karanasan ng isang lipi ng tao na siyang masasalamin sa kasaysayan au bahagi ng kanyang pagkahubog. Nais din nitong ipakita na ang kasaysayan ay bahagi ng buhay ng tao at ng mundo.

Teoryang Kultural Ang layunin ng panitikan ay ipakilala ang kultura ng may-akda sa mga hindi nakakaalam. Ibinabahagi ng may-akda ang mga kaugalian, paniniwala at tradisyon minana at ipasa sa mga sunod na salinlahi. Ipinakikita rin dito na bawat lipi ay natatangi. Teoryang idealismo Idealism (Idealismo, pinakamaganda o pinakamagaling, pagtupad sa mga ideals o simulain, mataas na pagtingin o pagsasaalang-alang sa mga paksa ng sining o panitikan). Consider also: spiritualism (paniniwalang puwedeng makipagtalastasan ang kaluluwa ng mga patay sa mga taong buhay, espiritismo, doktrinang nagbibigay diin sa mga bagay na ispirituwal sa halip na materyal), ideality (pagiging ideal, kaganapang nasa isipan lamang). Additional references: Tagalog, Philippines. (volunteer & more translations).

Teoryang feminismo Ang teoryang feminismo ay tumutukoy sa prinsipiyo o paniniwalang dapat maging pantay ang mga babae at mga lalaki sa pagtamasa ng mga karapatang sosyal, ekonomiko, at politikal. Bilang isang teoryang pampanitikan, layunin nito ang maunawaan ang di pagpakapantay-pantay ng mga lalaki at mga babae. Teoryang Moralistiko v Ang layunin ng panitikan ay ilahad ang ibat ibang pamantayang sumusukat sa moralidad ng isang tao ang pamantayan ng tama at mali. Inilalahad din nito ang mga pilosopiya o proposisyong nagsasaad sa pagkatama o kamalian ng isang kilos o ugali ayon sa pamantayang itinakda ng lipunan. Sa madaling sabi, ang moralidad ay napagkakasunduan ayon na rin sa kaantasan nito.

Teoryang Bayograpikal v Ang layunin ng panitikan ay ipamalas ang karanasan o kasagsagan sa buhay ng may-akda. Ipinahihiwatig sa mga akdang bayograpikal ang mga bahagi sa buhay ng may-akda na siya niyang pinakamasaya, pinakamahirap, pinakamalungkot at lahat ng mga pinaka na inaasahang magsilbing katuwang ng mambabasa sa kanyang karanasan sa mundo. Teoryang Markismo/Marxismo v Ang layunin ng teoryang ito ay ipakita na ang tao o sumasagisag sa tao ay may sariling kakayahan na umangat buhat sa pagdurusang dulot ng pangekononiyang kahirapan at suliraning panlipunan at pampulitika. Ang mga paraan ng pag-ahon mula sa kalugmukan sa adka ay nagsisilbing modelo para sa mga mambabasa. Teoryang Saykolohikal/Sikolohikal v Ang layunin ng panitikan ay ipaliwanag sa pamamagitan ng pagpapakita ng mga salig (factor) sa pagbuo ng naturang behavior (pag-uugali, paniniwala, pananaw, pagkatao) sa isang tauhan sa kanyang akda. Ipinakikita sa akda na ang tao ay nagbabago o nagkakaroon ng panibagong behavior dahil may nag-udyok na mabago o mabuo ito. Teoryang Simbolismo Teoryang Simbolismo: itoy naglalahad ng mga bagay, damdamin, at kaisipan sa pamamagitan ng sagisag at mga bagay na mahiwaga at metapisikal. Ang ilan sa mga sagisag ay simbolo ng patnubay sa buhay.

Teoryang Pormalistiko "Ayon sa teoryang formalistiko, nasa porma o kaanyuan ng isang akda ang kasiningan nito. Ang porma ay binubuo ng imahe, diksyon, sukat, tugma at iba pa. Kailangang magkakaama ang porma at nilalaman upang magkaroon ng buong kahulugan ang isang akda." Teoryang Ekspresyonismo Ipinahahayag ng manunulat ang kanyang kaisipan lalo na ang kanyang nadarama. Teoryang Impresyonismo Ipinahahayag ng manunulat ang kanyang kaisipan lalo na ang kanyang nadarama. Teoryang Surrealismo Sinisikap na matamo sa pamamagitan ng paggamit ng mga salita sa paraang salungat sa karaniwan at di karaniwan at di makatwiran. Teoryang Siko-analitiko Ang Siko Analitiko ay isa sa mga teoryang pampanitikan. Ang ibigsabihin nito ay ang paggawa ng isang Tao sa isang bagay kahit na labag sa kanyang kalooban dahil kailangan. Teoryang Modernismo Tumutukoy sa paghihimagsik sa isang tradisyon, relihiyon, kaugalian, o paniniwala upang magkaroon ng puwang ang mga pagbabago.

La India Elegante y El Negrito Amante Ni: Francisco Baltazar Sirko? Hindi bale ang sirko; ang papatay sa ating kompanya ay ang mga sarswelang Tagalog."

Mali si Colas nang sabihin niya ang linyang ito. Naniniwala akong hindi pa sila patay. Umaasa akong ipinaglalaban pa rin nila ang sining, kahit mahirap, kahit kumokonti ang taga-suporta at kahit nawawalan sila ng pag-asa paminsan-minsan. Sa panonood ng dulang R.I.P. at La India Elegante Y El Negrito Amante, nalahad ang transpormasyon at kamatayan ng Pilipinong sining mula sa komedya, naging sarswela at kalaunay naging pelikula. Pagpasok namin sa teatro, napansin ko agad ang puti at walang kalaman-lamang entablado. Akoy nagtaka kung bakit walang disenyong nakalagay at kung bakit pahilis ang plataporma. May kakaibang balak pala sila. Ang pinakahuling senaryo ang lubos na nakaagaw ng aking pansin. Nang biglang lumabas ang kabaong, nabatid ko na ang rason sa likod ng simpleng disenyo ng entablado. Magaling ang kanilang pagkakagawa at nagamit nang husto ang espasyo. Itoy malikhaing ideya na tumatak sa isip ng mga manonood. Makahulugan ang pagpasok ng mga aktor sa kabaong. Sinasagisag nito ang tuluyang pagbagsak ng industriya.

Natutong mag-agwanta at i-angkop ng kompanya ni Colas ang kanilang mga sarili para pumatok sa masa. Itoy isang malungkot na katotohanan. Nawawala na ang diwa ng kanilang gawain at pag-arte para matugunan ang kagustuhan ng madla. Ngunit hindi pa rin ito sapat para mapagpatuloy ang anumang anyo ng sining. Kahit sa kasalukuyang panahon, nararanasan pa rin natin ang isyung ito. Oo, may mga dula pa namang naitatanghal, lalo na rito sa Ateneo. Pero marami pa bang sumusuporta sa mga ito? Kung hindi kailangang panoorin ang R.I.P. para sa klase, sa totoo lamang, siguroy magdadalawang-isip muna ko bago bumili ng tiket. Humihina na ang ating pagpapahalaga sa Pilipinong sining. Sana makilala at maitaguyod natin ito. Sana, tulad ng mga tauhan sa dula,matuto tayong makiisa. Nang matanggap ni Colas ang sulat mula kay Senorita San Miguel, nawalan na siya ng pag-asa. Siyay napagod nat sumuko. Gayunman, nakuha niya ang suporta mula sa kanyang mga kasamahan. Sama-sama sila, saan man mapunta. Nakahahanga ang kanilang pagkakaisa. Sana ganoon din ang ating bayan. Sana hindi natin hahayaang dumating ang dramatikong wakas ng R.I.P.