An Introduction to the

the Poetry of José Rizal

by

Rosalinda N. Olsen

 

A Brief Review of Poetry

Many poems tell a story; these are what is called narrative poetry. Most poems express the range of the emotions and sentiments in the human experience; these are what is known as lyric poetry. A third kind, which combines both the elements of narrative and lyric poetry, is known as dramatic poetry.

Remember the favorite piece for declamation that begins with "Friends, Romans, and countrymen! Lend me your ears"? Perhaps, you are more familiar with another popular declamation piece that starts with "To be, or not to be, that is the question." These are not separate poems but are excerpts from two dramatic tragedies written by William. Shakespeare. The first is the speech of Marc Antony before a Roman crowd in the the play, Julius Ceasar; the second is one of the soliloquys of Hamlet in a play of the same title.

Ancient Greek drama--tragedy and comedy--is one of the earliest forms of dramatic poetry. Writers of classical drama used the basic principles of Greek drama, like Shakespeare and Goethe, for example. Modern dramatists are more free in their use of the dramatic form and, gradually, the element of poetry disappeared altogether.

Poetry is a literary composition in which sound and sense are essentially bound, most especially in lyric poetry. One of the most frequently used definition of lyric poetry is "a poem that is sung to the accompaniment of a lyre." Short and pretty, but this definition poses more questions than it answers. First question that comes to mind would be, "why call it a poem instead of a song?" And, indeed, this is a valid question. At the same time, this definition reveals an aspect of poetry, which is the melody created by the choice of words in a phrase of a sequence, as well as the syntax. The problem lies with the use of the word "sung" because it suggests the idea of a melody. Let's try substituting another word for it. Read the following aloud:

a poem that is read to the accompaniment of a lyre

a poem that is recited to the accompaniment of a lyre

a poem that is chanted to the accompaniment of a lyre

a poem that is sung to the accompaniment of a lyre


How did each sound? Was there a change in the meaning?

"To read" suggests the ordinary tone of daily speech; "to recite" suggests a kind of formal reading in a tone that is appropriate to the occasion; and, to chant means to use one prescribed tone for all the stanzas. As you might have experienced, chanting has a kind of hypnotic effect that could be soothing at best, boring at its worst. The fourth one sounds good to the ears, but it does not help much as a definition. The closest in meaning to the nature of lyric poetry is the use of the word "recited", but of the four, that is the phrase that rather grates in the ears, which gives you an idea of meter as an element of poetry.

If we should formulate a working definition of lyric poetry, we could say that lyric poetry is a poem that should be read aloud so that the meaning would be made clearer through the combination of sound and the images formed by the words. In short, a lyric poem is a composition that perfectly blends sound and sense. We don't really need a lyre, even assuming that we could get one without too much bother or expense. The "lyre" in the definition simply refers to the use of music that shall add to the texture of the poem in terms of tone and mood. Modern poetry reading uses different kinds of musical accompaniment and a lot of taped poetry reading has a muted orchestral background.

 


A Lyric Poem of Rizal and Bonifacio

For obvious reasons of language capabilities, we would use Bonifacio's translation of Rizal's "Mi Ultimo Adios" to which he gave the title "Huling Paalam". To a large extent, the Pilipino language is based mainly on Tagalog, the language that Bonifacio used. At this point, let us have a brief review of Tagalog ortography and pronunciation.

Tagalog is a beautiful and melodious language. It has four main divisions of words according to sound, 1) malumay; 2) mabilis; 3) malumí ; and, 4)maragsâ. To a certain extent, Tagalog is a tonal language that closely relates sound and sense, so that Tagalog lends itself quite easily to writing poetry. The placement of the acute accent on the last syllable of words that are either malumí and maragsâ gives the word a faint onomatopeic quality. (A simple definition of onomatopeia is "the formation of words by imitating sounds"). Since words in the malumay and mabilis categories do not have accent marks, the meaning changes if mispronounced. For example, the word "sakit" has two meanings according to how it is pronounced, as malumay or as mabilis. "Sakit", pronounced with the accent on the first syllable means an emotional hurt or suffering; pronounced with the accent on the last syllable, it simply means pain, physical or psychological. To hear the balance between sound and sense in "Huling Paalam", , listen closely to how the reader pronounced words and phrases in the audio component of this lesson

Let us now try our working definition of lyric poetry on the first stanza of Rizal's "Mi Ultimo Adios" and its tranlation in Tagalog by Andres Bonifacio. First, read the original in Spanish silently, then read it aloud. Next, do the same for the Tagalog translation.

¡Adiós, Patria adorada, región del sol querida,
Perla del mar de Oriente, nuestro perdido edén!
A darte voy alegre, la triste, mustia vida:
Si fuera más brillante, más fresca, más florida,
También por ti la diera, la diera por tu bien.


Pinipintuho kong Bayan ay paalam,
Lupang iniirog ng sikat ng araw,
mutyang mahalaga sa dagat Silangan,
kaluwalhatiang sa ami'y pumanaw


Was there a difference in meaning when the stanza was read silently from the meaning when it was read aloud? Of course, there was. The difference lies in the texture added to the meaning, because sound gives an additional dimension to the images that the words have crreated in the mind.

Now read each of the stanzas again, but in a style (intonation or speed of reading) different from the first reading. You couldn't? I didn't think you could. This clearly illustrates the skill with which Rizal chose the words and combined them in such a way that there is an embedded melody in each line, or what is known as "meter". The same skill is shown in Bonifacio's translation but, let us pause for awhile, to point out one basic diffrence in form. Rizal's original poem of 14 stanzas has five lines to a stanza, whereas Bonifacio's has 28 stanzas of four lines each. Clearly, Bonifacio did not want to sacrifice sound and sense by strictly following the original form of the poem, and his first stanza was a translation only of the first two lines of the original.

Keeping in mind our working definition of a lyric poem, test yourself in terms of the emotion(s) evoked by the words. Were you touched by what you hear yourself reading? It would not be surprising it reading first stanza in the original Spanish did not touch any emotional chord, particularly if you do not understand the language. Certainly, the Tagalog translation would evoke some feeling of sadness and even regret, even for those whose cradle tongue is something other than Tagalog. The reason lies behind what we would call "experiences within a similar event horizon." Filipinos have experienced Rizal one way or the other, whether in a formal classroom or some other occasion.

Now, listen to the same stanzas that were read with a kundiman background. The original in Spanish was read with the kundiman “Pahimakas” as background music; “Ang Aking Bayan” for the Tagalog translation. Both of these kundimans were composed by Nicanor Abelardo. Click on “Sample Flash” to listen to a sample poetry reading.



Sound and Sense

Not so many of today's young generation are familiar with or interested in kundiman. In the early 1900s, many kundiman compositions were used not just for entertainment pieces, but often as expressions of the fervent desire for freedom, hidden behind the metaphors for romantic love. Some of these kundiman were parts of the zarzuela. It took quite a while for the Americans to realize that the zarzuela was used as a medium for keeping alive the move for independence. The authorities prohibited public presentations of the zarzuela. But, the ban failed to dampen nationalistic sentiments because the kundiman continued as the alternate and, probably, only medium.

Moreover, even heard as instrumental pieces, the melody of kundiman evokes sentiments through what is called “the language of the heart.” For this reason, the kundiman accompaniment to the poetry reading enhanced the sound and sense. For a full version of “Huling Paalam”, click on the button (or icon) “Huling Paalam” on this page or visit the website at this URL http://www.geocities.com/valkyrie47no/

Today’s generation of Filipinos might find it difficult to understand the exact meaning of some words in Bonifacio’s translation because those are hardly used in ordinary speech, like for example, “pamimiyapis, nunukal, dalitin, salterio” and other words used only in literary compositions. The student can either consult a Tagalog-English dictionary or, simply compare the text with an English translation.

One obstacle to developing appreciation for poetry is a natural tendency to read the lines according to how it is written in the stanza, rather than reading the parts as phrases within a sentence. In many cases, the reader gives up because that kind of reading does not readily make the meaning clear. For example, the 7th stanza

Ang aking adhika sapul magkaisip
noong kasalukuyang bata pang maliit,
ay ang tanghaling ka at minsang masilip
sa dagat Silangan hiyas na marikit.

could be read this way:

Ang aking adhika,
sapul magkaisip noong kasalukuyang bata pang maliit,
ay ang tanghalin ka at minsang masilip sa dagat Silangan,
hiyas na marikit.

 


Imagery and Symbolism


The main difference between an image and a symbol lies in the levels of meaning. An image is frequently used as a symbol but not all images are symbols. Put another way, an image has a one on one correspondence with an object in reality. For example, an apple is a fruit and, whatever the color of a variety, its shape , taste and texture remain basically the same. When used as an image, an apple corresponds only to the fruit, but when used a symbol, the image of an apple takes on a meaning that is far removed from the edible fruit. The image of an apple is the commonest symbol used as the "forbidden fruit" that Adam and Eve ate in Paradise. Today, the image of an apple, with one bite in it, is the symbol of MacIntosh computer.

In both poems, Rizal and Bonifacio used a lot of imagry and figures of speech, especially metaphor and simile. The use of imagery in Bonifacio’s translation is closely attuned to Filipino sentiments, though some people might find such images overly sentimental. Nevertheless, the imagery in the 11th stanza is particularly moving.

Kung sa libingan ko'y tumubong mamalas
sa malagong damo mahinhing bulaklak,
sa mga labi mo'y mangyayaring ilapat,
sa kaluluwa ko halik ay igawad.

The stanza creates an image of a person who happens to see a wild flower that had bloomed among the thick grass around the grave and, having pressed it to his/her lips, places the flower on the grave. That flower would then serve as a “kiss” to the soul of the departed one. Such an imagery is powerful enough, but its impact is stronger when heard with the lament of a kundiman in the background. Such is the power of lyric poetry to move the soul and awake a slumbering political consciousness.

"Mahinhing bulaklak" is an image, but was it also used as a symbol? If it were used as a symbol, then the meaning of the whole stanza would change. Let us say that the symbolism of "mahinhing bulaklak" means the effect or result of Rizal's death by execution. The stanza would then be an assurance to his countrymen that his death would not have been in vain if his life and death leads to the attainment of Filipino goals of freedom and eventual political independence. "Mahinhing bulaklak" would then be both an image and a symbol that expresses the idea that his reward is how his countrymen use the event of his death, as expressed in "sa kaluluwa ko halik ay igawad."

There is a certain irony in the fact that Andres Bonifacio translated Rizal’s “Mi Ultimo Adios” without knowing that he would be killed treacherously within five months of Rizal’s execution at Bagumbayan. Rizal had the time and, most likely, the peace of mind, to have written a last poem; Bonifacio did not, having been charged with treason by a Magdalo “military court” and seriously wounded when he was arrested forcibly. This sad and dark part of our history lends a poignancy to Bonifacio’s “Huling Paalam”, which as it were, could have been his own last farewell.


Exercises


On Sound and Sense


On Rizal's Poems

Rizal wrote many poems although the only one that is known to most Filipinos and foreigners is "Mi Ultimo Adios", which has been translated into more than a dozen foreign languages and into many Filipino dialects.

Text of Poems and Excerpts

”Mi Ultimo Adios”
Sa salin ni Andres Bonifacio sa pamagat na ”Huling Paalam”

Pinipintuho kong Bayan ay paalam,
Lupang iniirog ng sikat ng araw,
mutyang mahalaga sa dagat Silangan,
kaluwalhatiang sa ami'y pumanaw.

Masayang sa iyo'y aking idudulot
ang lanta kong buhay na lubhang malungkot;
maging maringal man at labis ang alindog
sa kagalingan mo ay akin ding handog.

Sa pakikidigma at pamimiyapis
ang alay ng iba'y ang buhay na kipkip,
walang agam-agam, maluwag sa dibdib,
matamis sa puso at di ikahahapis.

Saan man mautas ay di kailangan,
cipres o laurel, lirio ma'y patungan
pakikipaghamok, at ang bibitayan,
yaon ay gayon din kung hiling ng Bayan.

Ako'y mamamatay, ngayong namamalas
na sa Silanganan ay namamanaag
yaong maligayang araw na sisikat
sa likod ng luksang nagtabing na ulap.

Ang kulay na pula kung kinakailangan
na maitina sa iyong liwayway,
dugo ko'y isaboy at siyang ikikinang
ng kislap ng iyong maningning na ilaw.

Ang aking adhika sapul magkaisip
noong kasalukuyang bata pang maliit,
ay ang tanghalin ka at minsang masilip
sa dagat Silangan hiyas na marikit.

Natuyo ang luhang sa mata'y nunukal,
taas na ang noo't walang kapootan,
walang bakas kunot ng kapighatian
gabahid man dungis niyong kahihiyan.

Sa kabuhayan ko ang laging gunita
maningas na aking ninanasa-nasa
ay guminhawa ka ang hiyas ng diwa
paghingang papanaw ngayong biglang-bigla.

Ikaw'y guminhawa laking kagandahang
akoy malugmok, at ikaw ay matanghal,
hininga'y malagot, mabuhay ka lamang
bangkay ko'y maisilong sa iyong Kalangitan.

Kung sa libingan ko'y tumubong mamalas
sa malagong damo mahinhing bulaklak,
sa mga labi mo'y mangyayaring ilapat,
sa kaluluwa ko halik ay igawad.

At sa aking noo nawa'y iparamdam,
sa lamig ng lupa ng aking libingan,
ang init ng iyong paghingang dalisay
at simoy ng iyong paggiliw na tunay.

Bayaang ang buwan sa aki'y ititig
ang liwanag niyang lamlam at tahimik,
liwayway bayaang sa aki'y ihatid
magalaw na sinag at hanging hagibis.

Kung sakasakaling bumabang humantong
sa krus ko'y dumapo kahit isang ibon,
doon ay bayaan humuning hinahon
at dalitin niya payapang panahon.

Bayaan ang ningas ng sikat ng araw
ula'y pasingawin noong kainitan,
magbalik sa langit ng buong dalisay
kalakip ng aking pagdaing na hiyaw.

Bayaang sino man sa katotong giliw
tangisang maagang sa buhay pagkitil;
kung tungkol sa akin ay may manalangin
idalangin, Bayan, yaring pagkahimbing.

Idalanging lahat yaong nangamatay,
Nangag-tiis hirap na walang kapantay;
mga ina naming walang kapalaran
na inihihibik ay kapighatian.

Ang mga balo't pinapangulila,
ang mga bilanggong nagsisipagdusa;
dalanginin namang kanilang makita
ang kalayaan mong ikagiginhawa.

At kung ang madilim na gabing mapanglaw
ay lumaganap na doon sa libinga't
tanging mga patay ang nangaglalamay,
huwag bagabagin ang katahimikan.

Ang kanyang hiwaga’y huwag gambalain;
kaipala'y marinig doon ang taginting,
tunog ng gitara't salterio'y magsaliw,
ako, Bayan yao't kita'y aawitan.

Kung ang libingan ko'y limot na ng lahat
at wala ng kurus at batong mabakas,
bayaang linangin ng taong masipag,
lupa'y asarolin at kahuya’y ikalat.

Ang mga buto ko ay bago matunaw,
mauwi sa wala at kusang maparam,
alabok na iyong latag ay bayaang
siya ang babalang doo'y makipisan.

Kung magkagayon ma'y, alintanahin
na ako sa limot iyong ihabilin,
pagka't himpapawid at ang panganorin,
mga lansangan mo'y aking lilibutin.

Matining na tunog ako sa dinig mo,
ilaw, mga kulay, masamyong pabango,
ang ugong at awit, paghibik ko sa iyo,
pag-asang dalisay ng pananalig ko.

Bayang iniirog, sakit niyaring hirap,
Katagalugan kong pinakaliliyag,
dinggin mo ang aking pagpapahimakas;
diya'y iiwan ko sa iyo ang lahat.

Ako'y patutungo sa walang busabos,
walang umiinis at berdugong hayop;
pananalig doo'y di nakasasalot,
si Bathala lamang doo’y haring lubos.

Paalam, magulang at mga kapatid
kapilas ng aking kaluluwa't dibdib
mga kaibigan, bata pang maliit,
sa aking tahanan di na masisilip.

Pag-papasalamat at napahinga rin,
paalam estranherang kasuyo ko't aliw,
paalam sa inyo, mga ginigiliw;
mamatay ay siyang pagkakagupiling!



Huling Paalam ni Rizal
salin ni Agapito M. Joaquin

Paalam, Inang Bayang mahal, lupaing kasuyo ng araw,
Perlas ng dagat sa silangan, paraiso naming pumanaw,
Malugod akong maghahandog ng aba at nalantang buhay,
Na kahit naging sariwa pa, mabulaklak man o makulay,
Ipagkakaloob ko pa ring sa ikabubuti mo'y alay.

Sa larangan ng paghahamok, ng pagkahibang ay sapupo,
Ang iba'y naghain ng buhay na ang isipa'y di-nagtalo,
Hindi mahalaga ang pook: maging sipres, laurel o lirio,
Bibitayan o parang, kamay ng kaaway o ng berdugo,
Iisa, kung tahana't Inang Bayan ang humihiling dito.

Aalis akong sa langit mo'y nababanaag na ang hudyat,
Na ang hinintay na umaga ay papalit na sa magdamag,
Ang kulay ng madaling araw, kung kapos sa ikaririlag,
Dugo kong sa tumpak na oras ay ibibigay nang maluwag,
Kuni't nang sa ikapupula ng liwayway ay maparagdag!

Pangarap ko noong bata pang bago pa lang nagkakaisip,
Pangarap ko nang magbinatang kasiglahan ang diwa't bisig,
O, Hiyas ng Dagat-Silangan ay makita kang walang hapis,
Walang luha sa mga mata, noo'y nakataas, malinis,
Walang bahid ng kahihiyan, ng lungkot o ng pagkalupig!

Pangarapin ng aking buhay, marubdob na nasa ng dibdib,
Nagpupugay sa iyo itong kaluluwa kong papaalis!
A, kay gandang magpakalugmok upang ikaw ay maitindig,
Mamatay nang mabuhay ka, sa silong ng langit mo'y mapikit,
At sa binalaning lupa mo'y walang katapusang maidlip!

Sa aking puntod, isang araw, kung mayroon kang mapupuna,
Isang maliit na bulaklak na sa karawaga'y bumuka,
Ilapit mo sa labi, hagka't yaon ay aking kaluluwa,
Kahit sa hukay na malamig, sa init ng iyong hininga,
Ay madarama ko pang muli ang nag-aalab mong pagsinta!

Patanglawan ako sa buwang sinag ay malamlam, marahan,
Papaliguan ng liwanag ng liwayway na sumisilang,
Hayaang madampian ako ng humihibik na amihan,
At kung sa krus ng aking puntod ay may isang ibong dumalaw,
Ang ipahuni mo sa kaniya ay awit ng kapayapaan.

Hayaang higupin ng araw at dalhin sa langit ang ulan,
Sa dalisay na tubig, naiwang pagtutol ko'y ilalakbay;
Hayaang isang kaibiga'y saglit muna akong iyakan,
At kung sa paglubog ng araw, may luluhod sa pagdarasal,
Ipanalangin mo rin ako, upang sa Diyos ay mahimlay.

Ipagdasal mo rin ang lahat ng kapus-palad na nasawi,
Yaong nangagtiis ng dusang wala nang makakasing-hapdi,
Mga inang nagsisitangis sa dinaranas na pighati,
Ang mga ulila at balo, ang mga bilanggong lupagi,
At saka ang iyong sarili, nang ang laya mo ay ngumiti!

Sa gabi, kapag ang libingan ay ulila at tahimik na,
At mga patay lang ang doo'y tumatanod sa pag-iisa,
H'wag ipapukaw ang hiwaga, h'wag gambalain ang pahinga;
At kung may himig na mapanglaw, o huning mauulinig ka,
Tinig ko yaon, o Bayan ko, dinggi't inaawitan kita!

At kung sa tagal ay limot na ang puntod kong kinasadlakan
Walang krus o panandang bato na doo'y mapagkikilanlan,
Hayaang ito ay mabungkal, at mapahalo na sa linang,
Nang bago muna ang abo ko ay mapabalik sa kawalan,
Magpakapal man lang sa lupang maaari mong matuntungan.

Sa gayon, di na mahalaga kung ako ma'y ganap nang limot,
Sa himpapawid mo at parang, malaya akong maglilibot,
Sa pandinig mo ay magiging tumataginting akong tunog,
Sa samyo, liwanag at kulay, sa higing, sa awit at lamyos,
Buod ng paninindigan ko'y muli't muling ipatatalos!

Sintang Bayan ko, o tiisin ng lahat kong mga tiisin!
Minamahal kong Pilipinas, paalam ko ay ulinigin!
Iiwan ko nang lahat: mga magulang at mahal sa akin,
Sa patutunguhan ko'y walang maniniil, walang alipin,
Paniwala'y di pumapatay, Diyos lamang ang nagtuturing!

Paalam, magulang, kapatid, kapilas nitong kaluluwa,
Mga kaibigan sa kamusmusan sa tahanang inaba,
Pasalamat kayo't ang pagod ng maghapon ay natapos na!
Paalam, dayuhang magiliw, katuwaan ko, aking sinta,
Paalam, mga minamahal! Mamatay ay pagpapahinga!



Excerpts from translations in Philippine Dialects

In Cebuano by Tomas Alonso

Ako mamatay, nga magtan-aw sa langit nga magakahayag,
Nga magpaila nga haduol na ang kabuntagon:
Kong ikaw nagkinahanglan ug mapula, nga ipulog mo sa imong banag-bamag,
Iula ang akong dugo ug pabanawa nga malipayon,
Ug puloga sa silaw sa iyang matamis nga danag.

In Hiligaynon by Magdalena G. Jalandoni

Paalam, ginasimbang' banwa, puok nga mahal sana adlaw
Mutya sang Dagat sa Sidlangan, langit namon nga nawasi,
Ang kabuhi ko sa imo dulot kong’ginasug-alaw,
Kag kon may labing’ kaidlak kag may kaoab-as nga pulaw,
Tuhoy sa imo kaayuhan, halad ko nga walay bili.

In Samar-Leyte (Waray) by Juan Ricacho

Mga hingyap han ak’kinabuhi, akon tuyo nga tunay ug hingpit,
Buhayon ka! amo an guliat han akon kalag nga mabulag na;
Buhayon ka! tara kamatahom pagkapukan bas’ la tumindog ka,
Pagkamatay bas’ ka la mabuhi, pagkamatay he ubos han im’ langit
Ug pagkaturong ha kadayunan ha im’ makabibihag nga Tuna.


In Ilocano by Leon C. Pichay

No rabaw ti tanemko makitamto a tumanor iti maysa anga aldaw,
Iti kasamekan ruruot, maysa a kadawyan a sabung nakurapay,
yadanimto kadagita bibigmo, ta kararuak isuntot’ maungngoam,
ket maqriknakto’t mugingko babaen nalamiis anga innak nakaitabonan,
ti alingasaw dayta dungngo ken pudot met dayta sang-aw.


In Pangasinan by Jose I. Zulueta

Polim ya siak so wandagan na maoyanmon sinag na bulan
Polim labat so pasikyabn ta iter na linaway kabuasan;
Polim so paningel na dagem ed dolomoron ton angleman,
Tan mo wayu manok ya onedep bilang ya diad parepak dapoan,
Polim ya say manok atan yoni toy tagyaew na kareenan.


In Bicol by Jose Figueroa

Paaram sa imo, Banwang minamahal,
dagang pinaorog kan astro nin aldaw,
perlas magayonon, mutya sa Sirangan,
maginhawang eden, ika babatayan.
Ako mapagdan sa simo taslay
buhay ko mamondo asin malipungaw;


In Bontoc by Victorina F. Requino

No awnin ya makhosfet, ya nan posanto ya pumanget
Ya kecheng nan nangkaley as wad-ay ay mam-maek
Nan lton-a’y a-angnencha, o-ogkhayenyo man-et
Ayuweng mangayek-e, ay changngen yo ad chalek
Sak-en chi’y mangipasmek, ken sik-a ay laylaychek.


In Maranao by Ahmad Domocao Alonto

Amai ka kalipatan so kakokoboran raken,
Ka apai so toos lan na miadah sa ginawa;
Na pakirampaten ka ah mandado o pembasok,
Ka an on makazalanan so ombi o tolan aken,
A sabap ah irangiran o pamomolan ah tembak.

In Dupaninan (Eastern Cagayan Agta or Negrito)
by Randy & William Cabaldo & Thomas L. Nickell

Ha tiyempo a ito, awan ha balle nu maleptanan ak mo.
Lumakad ak paman ha palebut mo.
Pasig la mappiya i tanog a mateman mo ha nikan;
I kinasarob ko, I kinadisyag ko,
Kolor, kansyon, I pinagsabkal ko;
Kanayon ko iPendUan I panahod ko ha nikawn

 

In Chavacano-Caviteño by Alfredo B. German

Amada Patria, dolor sin igual, sin amparo,
Ui, querida Filipinas, mi ultimo adios;
Tu ya quidao cun mi tata y todo quien yo caro
Yo di asnda nuay mas esclavo, nuay barbaro,
Donde el fe no ta mata, y donde solo rey el Dios.

 


In Pampango by Monico R. Mercado

Pabustan me ing aldo ban ing uran payabua
at gulut ning daing ku subling malinis banua,
paburan meng kakuyug panlipas ku kiaka na,
at karing gatpanapun nung ting dalangin sa na
yaduan mu na man, Tibuan, king Dios ing pamainaua.

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