Wednesday, October 16, 2013
Modern Contemporary Filipino Stories and writers
Question: how is Gonzalez's protagonist different from the other female protagonist in this section? Is this a subversive text?
HINILAWOD
HINILAWOD
Adventures of Datu Paubari and his Sons
When the goddess of the eastern sky Alunsina (also known as Laun Sina, "The Unmarried One") reached maidenhood, the king of the gods, Kaptan, decreed that she should marry. All the unmarried gods of the different domains of the universe tried their luck to win her hand to no avail. She chose to marry a mortal, Datu Paubari, the mighty ruler of Halawod.
Her decision angered her other suitors. They plotted to bring harm to the newlyweds. A meeting of the council of gods was called by Maklium-sa-t'wan, god of the plains, where a decision by those present was made to destroy Halawod by flood.
Alunsina and Paubari escaped harm through the assistance of Suklang Malayon, the goddess and guardian of happy homes and sister of Alunsina, who learned of the evil plot and warned the two so they were able to seek refuge on higher ground.
After the flood waters subsided, Paubari and Alunsina returned to the plains secretly. They settled near the mouth of the Halawod River.
Several months later Alunsina became pregnant and told Paubari to prepare the siklot, things necessary for childbirth. She delivered a set of triplets and summoned the high priest Bungot-Banwa to perform the rites of the gods of Mount Madya-as (the mountain abode of the gods)to ensure the good health of the children. The high priest promptly made an altar and burned some alanghiran fronds and a pinch of kamangyan. When the ceremony was over he opened the windows of the north side of the room and a cold northernly wind came in and suddenly the three infants were transformed into strong, handsome young men
Labaw Donggon, the eldest of the three, asked his mother to prepare his magic cape, hat, belt and kampilan (sword) for he heard of a place called Handug where a beautiful maiden named Angoy Ginbitinan lived.
The journey took several days. He walked across plains and valleys, climbed up mountains until he reached the mouth of the Halawod river. When he finally met the maiden's father and asked for her hand in marriage, the father asked him to fight the monster Manalintad as part of his dowry. He went off to confront the monster and with the help of his magic belt Labaw Donggon killed the monster and to prove his feat he brought to Angoy Ginbitinan's father the monster's tail.
After the wedding Labaw Donggon proceeded home with his new bride. Along the way they met a group of young men who told him that they were on their way to Tarambang Burok to win the hand of Abyang Durunuun, sister of Sumpoy the lord of the underworld and whose beauty was legendary.
Labaw Donggon and his bride continued on their journey home. The moment they arrived home Labaw Donggon told his mother to take care of his wife because he is taking another quest, this time he was going to Tarambang Burok.
Before he can get to the place he has to pass a ridge guarded by a giant named Sikay Padalogdog who has a hundred arms. The giant would not allow Labaw Donggon to go through without a fight. However, Sikay Padalogdog was no match to Labaw Donggon's prowess and skill in fighting so he gave up and allowed him to continue.
Labaw Donggon won the hand of Abyang Durunuun and also took her home. Before long he went on another journey, this time it is to Gadlum to ask for the hand of Malitong Yawa Sinagmaling Diwata who is the young bride of Saragnayan the lord of darkness.
This trip required him to use his biday nga inagta (black boat) on which he sailed across the seas for many months, went across the region of the clouds, passed the land of stones until finally he reached the shores of Tulogmatian which was the seaside fortress of Saragnayan. The moment he set foot on the ground Saragnayan asked him, "Who are you and why are you here?" To which he answered, "I am Labaw Donggon, son of Datu Paubari and goddess Alunsina of Halawod. I came for the beautiful Malitong Yawa Sinagmaling Diwata."
Saragnayan laughed. He told Labaw Donggon that what he wished for was impossible to grant because she was his wife. Labaw Donggon then challenged Saragnayan to a duel saying that whoever wins will have her.
The challenge was accepted and they started fighting. Labaw Donggon submerged Saragnayan under water for seven years, but when he let go of him, Saragnayan was still alive. The latter uprooted a coconut tree and started beating Labaw Donggon with it. He survived the beating but was not able to surpass the powers of Saragnayan's pamlang (amulet) and eventually he gave up and was imprisoned by Saragnayan beneath his house.
Back home Angoy Ginbitinan and Abyang Durunuun both delivered sons. Angoy Ginbitinan's child was named Aso Mangga and Abyang Durunuun's son was called Abyang Baranugon.
Reflection" the story is good and quite amusing hehehe
yet Hinilawod, what it is and what it teaches about the Filipino. When the goddess of the eastern sky Alunsina (also known as Laun Sina, “The Unmarried One”) reached maidenhood, the king of the gods, Kaptan, decreed that she should marry. All the unmarried gods of the different domains of the universe tried to win her hand to no avail. She chose to marry a mortal, Datu Paubari, the mighty ruler of Halawod.hmm
HINILAWOD
Adventures of Datu Paubari and his Sons
When the goddess of the eastern sky Alunsina (also known as Laun Sina, "The Unmarried One") reached maidenhood, the king of the gods, Kaptan, decreed that she should marry. All the unmarried gods of the different domains of the universe tried their luck to win her hand to no avail. She chose to marry a mortal, Datu Paubari, the mighty ruler of Halawod.
Her decision angered her other suitors. They plotted to bring harm to the newlyweds. A meeting of the council of gods was called by Maklium-sa-t'wan, god of the plains, where a decision by those present was made to destroy Halawod by flood.
Alunsina and Paubari escaped harm through the assistance of Suklang Malayon, the goddess and guardian of happy homes and sister of Alunsina, who learned of the evil plot and warned the two so they were able to seek refuge on higher ground.
After the flood waters subsided, Paubari and Alunsina returned to the plains secretly. They settled near the mouth of the Halawod River.
Several months later Alunsina became pregnant and told Paubari to prepare the siklot, things necessary for childbirth. She delivered a set of triplets and summoned the high priest Bungot-Banwa to perform the rites of the gods of Mount Madya-as (the mountain abode of the gods)to ensure the good health of the children. The high priest promptly made an altar and burned some alanghiran fronds and a pinch of kamangyan. When the ceremony was over he opened the windows of the north side of the room and a cold northernly wind came in and suddenly the three infants were transformed into strong, handsome young men
Labaw Donggon, the eldest of the three, asked his mother to prepare his magic cape, hat, belt and kampilan (sword) for he heard of a place called Handug where a beautiful maiden named Angoy Ginbitinan lived.
The journey took several days. He walked across plains and valleys, climbed up mountains until he reached the mouth of the Halawod river. When he finally met the maiden's father and asked for her hand in marriage, the father asked him to fight the monster Manalintad as part of his dowry. He went off to confront the monster and with the help of his magic belt Labaw Donggon killed the monster and to prove his feat he brought to Angoy Ginbitinan's father the monster's tail.
After the wedding Labaw Donggon proceeded home with his new bride. Along the way they met a group of young men who told him that they were on their way to Tarambang Burok to win the hand of Abyang Durunuun, sister of Sumpoy the lord of the underworld and whose beauty was legendary.
Labaw Donggon and his bride continued on their journey home. The moment they arrived home Labaw Donggon told his mother to take care of his wife because he is taking another quest, this time he was going to Tarambang Burok.
Before he can get to the place he has to pass a ridge guarded by a giant named Sikay Padalogdog who has a hundred arms. The giant would not allow Labaw Donggon to go through without a fight. However, Sikay Padalogdog was no match to Labaw Donggon's prowess and skill in fighting so he gave up and allowed him to continue.
Labaw Donggon won the hand of Abyang Durunuun and also took her home. Before long he went on another journey, this time it is to Gadlum to ask for the hand of Malitong Yawa Sinagmaling Diwata who is the young bride of Saragnayan the lord of darkness.
This trip required him to use his biday nga inagta (black boat) on which he sailed across the seas for many months, went across the region of the clouds, passed the land of stones until finally he reached the shores of Tulogmatian which was the seaside fortress of Saragnayan. The moment he set foot on the ground Saragnayan asked him, "Who are you and why are you here?" To which he answered, "I am Labaw Donggon, son of Datu Paubari and goddess Alunsina of Halawod. I came for the beautiful Malitong Yawa Sinagmaling Diwata."
Saragnayan laughed. He told Labaw Donggon that what he wished for was impossible to grant because she was his wife. Labaw Donggon then challenged Saragnayan to a duel saying that whoever wins will have her.
The challenge was accepted and they started fighting. Labaw Donggon submerged Saragnayan under water for seven years, but when he let go of him, Saragnayan was still alive. The latter uprooted a coconut tree and started beating Labaw Donggon with it. He survived the beating but was not able to surpass the powers of Saragnayan's pamlang (amulet) and eventually he gave up and was imprisoned by Saragnayan beneath his house.
Back home Angoy Ginbitinan and Abyang Durunuun both delivered sons. Angoy Ginbitinan's child was named Aso Mangga and Abyang Durunuun's son was called Abyang Baranugon.
Reflection" the story is good and quite amusing hehehe
yet Hinilawod, what it is and what it teaches about the Filipino. When the goddess of the eastern sky Alunsina (also known as Laun Sina, “The Unmarried One”) reached maidenhood, the king of the gods, Kaptan, decreed that she should marry. All the unmarried gods of the different domains of the universe tried to win her hand to no avail. She chose to marry a mortal, Datu Paubari, the mighty ruler of Halawod.hmm
BIDASARI STORY WITH RELECTION
When a simple merchant, his young son and mute servant are out in the woods, they chance upon a drifting boat, in which there is a baby girl and a bowl containing a live goldfish. The merchant realises that the baby is unusual because her life is bonded to the fish: if the fish leaves the water, she stops breathing. The merchant adopts the baby as her own and names her Bidasari. Years later Bidasari grows up into a beautiful young woman while the merchant has prospered into a wealthy businessman.
At the royal palace of this kingdom, the King has just remarried a beautiful woman, the Permaisuri (Queen). The Permaisuri is a proud woman who secretly practises witchcraft. Hidden in her chambers is a magic mirror that can show her anything she asks. She uses it to ask who the most beautiful in all the land is. One day when she asks the mirror this question, the image of Bidasari appears in it. She is enraged by this and carries out a search to find who Bidasari is.
Her search leads her to the merchant's house. Under the guise of kindness, the Permaisuri asks the merchant for permission to bring Bidasari to the palace to be her companion. Although the merchant is reluctant to part with his beloved daughter, he lets her go. But once Bidasari arrives at the palace, she is sent to the kitchens as a servant, where she is starved and given the dirtiest jobs.
After the Permaisuri is satisfied that Bidasari has been ruined, she once again asks her magic mirror who is the most beautiful in the land. When the mirror shows Bidasari yet again, the Permaisuri flies into a rage and runs to the kitchen where she grabs burning pieces of firewood which she tries to burn Bidasari's face with. She is shocked when the fire goes out and Bidasari's face is left untouched. Bidasari, who has by now realised that the Permaisuri's malice is targeted only at her and will never stop, begs for mercy and explains her life is bonded to that of a fish that is kept in a bowl in her father's garden.
The Permaisuri has a servant steal the fish for her from the merchant's garden, and as soon as the fish leaves the water, Bidasari collapses and stops breathing. Satisfied that Bidasari's life is in her hands, the Permaisuri hangs the fish around her neck as a trophy. When she asks the mirror who is the most beautiful in the land, the mirror shows her own image.
The merchant realises that the fish is missing, and is told that Bidasari died mysteriously at the palace. Her body is returned to him and he builds a small tomb for her in the woods where her body is laid out in peace.
Meanwhile, the Permaisuri's stepson the Prince has been having dreams about Bidasari, although he has never met her. The dreams plague him even in his waking hours, despite his father's advice that such a beautiful woman cannot exist. The Permaisuri sees her stepson acting this way and plants a painting of Bidasari in his room. The Prince finds the painting, which leads him to the merchant who explains the sad tale of Bidasari's death and the mysterious disappearance of the fish.
The Prince decides to visit Bidasari's tomb to see her beauty with his own eyes. Coincidentally at this time, back at the palace the Permaisuri is having a bath in the royal bathing pool. The fish manages to break free of its locket and drops into the water where it starts swimming. This causes Bidasari to wake up right before the Prince's eyes. Bidasari tells him of what the Permaisuri did to her, which confirms the Prince's suspicions of his stepmother.
When the Permaisuri finishes her bath, she discovers that the fish has gotten free. She manages to catch it just as the Prince is about to help Bidasari leave the tomb, causing her to fall unconscious again. The Prince places Bidasari back in the tomb and promises to make things right.
The Prince returns to the palace in a fury, demanding that the Permaisuri give him the fish. The Permaisuri pretends not to know anything, and when the King listens to the Prince's explanation, the King declares that his son has gone insane and calls the royal guards. A fight ensues, during which the Permaisuri is injured and dies.
Just before the Prince is about to be captured, the merchant and the Prince's loyal manservants arrive with Bidasari on a stretcher. The merchant explains that the story about the fish being bonded to Bidasari's life is true. The Prince takes the fish from the locket around the Permaisuri's neck and puts it into a bowl of water. As soon as the fish enters the water, Bidasari comes back to life. The King apologises to his son, and the Prince and Bidasari are married
Reflection:
The story is quite good because it have twist in the story..! but then it have a happy ending because the prince and bidasari is married..And the prince save the bidasari and in his own eyes he sees the bidasari come back to life.The story have more values because of the merchant people.Even thou i heard rumors that the Bidasari story is originated in other country and not in the philippines.
And heres more did you now that Bidasari is a
Jewel of Malay Muslim culture the sly wit and silky eroticism of the verse genre known as romantic syair were staple dishes on the Southeast Asian cultural menu, especially in the Malay, Islamic regional centres. Yet very few examples are available in translation for the many readers interested in the genre, and attempts by academics to account for their powers of attraction are even rarer. This book is the author’s effort to convey the seductive qualities of the sexiest of the romantic syair, the ‘Poem of Bidasari’.
Few Malay works have been loved and disseminated to the extent the Syair Bidasarihas. It was translated in other languages of the region like Makassarese and Maranao and adapted for the Malay theatre and cinema.
Three tasks are attempted in the book: a transliteration into Roman characters of one of the surviving Malay manuscripts of the poem, a translation of that manuscript into English, and an inquiry into the poem’s virtues. The intertexts drawn upon in the analysis reveal the author’s conviction that understanding of traditions of kesenian rakyat (popular arts) such as pantun and the Malay theatre provides the background that allows the text to signify most powerfully.
At the royal palace of this kingdom, the King has just remarried a beautiful woman, the Permaisuri (Queen). The Permaisuri is a proud woman who secretly practises witchcraft. Hidden in her chambers is a magic mirror that can show her anything she asks. She uses it to ask who the most beautiful in all the land is. One day when she asks the mirror this question, the image of Bidasari appears in it. She is enraged by this and carries out a search to find who Bidasari is.
Her search leads her to the merchant's house. Under the guise of kindness, the Permaisuri asks the merchant for permission to bring Bidasari to the palace to be her companion. Although the merchant is reluctant to part with his beloved daughter, he lets her go. But once Bidasari arrives at the palace, she is sent to the kitchens as a servant, where she is starved and given the dirtiest jobs.
After the Permaisuri is satisfied that Bidasari has been ruined, she once again asks her magic mirror who is the most beautiful in the land. When the mirror shows Bidasari yet again, the Permaisuri flies into a rage and runs to the kitchen where she grabs burning pieces of firewood which she tries to burn Bidasari's face with. She is shocked when the fire goes out and Bidasari's face is left untouched. Bidasari, who has by now realised that the Permaisuri's malice is targeted only at her and will never stop, begs for mercy and explains her life is bonded to that of a fish that is kept in a bowl in her father's garden.
The Permaisuri has a servant steal the fish for her from the merchant's garden, and as soon as the fish leaves the water, Bidasari collapses and stops breathing. Satisfied that Bidasari's life is in her hands, the Permaisuri hangs the fish around her neck as a trophy. When she asks the mirror who is the most beautiful in the land, the mirror shows her own image.
The merchant realises that the fish is missing, and is told that Bidasari died mysteriously at the palace. Her body is returned to him and he builds a small tomb for her in the woods where her body is laid out in peace.
Meanwhile, the Permaisuri's stepson the Prince has been having dreams about Bidasari, although he has never met her. The dreams plague him even in his waking hours, despite his father's advice that such a beautiful woman cannot exist. The Permaisuri sees her stepson acting this way and plants a painting of Bidasari in his room. The Prince finds the painting, which leads him to the merchant who explains the sad tale of Bidasari's death and the mysterious disappearance of the fish.
The Prince decides to visit Bidasari's tomb to see her beauty with his own eyes. Coincidentally at this time, back at the palace the Permaisuri is having a bath in the royal bathing pool. The fish manages to break free of its locket and drops into the water where it starts swimming. This causes Bidasari to wake up right before the Prince's eyes. Bidasari tells him of what the Permaisuri did to her, which confirms the Prince's suspicions of his stepmother.
When the Permaisuri finishes her bath, she discovers that the fish has gotten free. She manages to catch it just as the Prince is about to help Bidasari leave the tomb, causing her to fall unconscious again. The Prince places Bidasari back in the tomb and promises to make things right.
The Prince returns to the palace in a fury, demanding that the Permaisuri give him the fish. The Permaisuri pretends not to know anything, and when the King listens to the Prince's explanation, the King declares that his son has gone insane and calls the royal guards. A fight ensues, during which the Permaisuri is injured and dies.
Just before the Prince is about to be captured, the merchant and the Prince's loyal manservants arrive with Bidasari on a stretcher. The merchant explains that the story about the fish being bonded to Bidasari's life is true. The Prince takes the fish from the locket around the Permaisuri's neck and puts it into a bowl of water. As soon as the fish enters the water, Bidasari comes back to life. The King apologises to his son, and the Prince and Bidasari are married
Reflection:
The story is quite good because it have twist in the story..! but then it have a happy ending because the prince and bidasari is married..And the prince save the bidasari and in his own eyes he sees the bidasari come back to life.The story have more values because of the merchant people.Even thou i heard rumors that the Bidasari story is originated in other country and not in the philippines.
And heres more did you now that Bidasari is a
Jewel of Malay Muslim culture the sly wit and silky eroticism of the verse genre known as romantic syair were staple dishes on the Southeast Asian cultural menu, especially in the Malay, Islamic regional centres. Yet very few examples are available in translation for the many readers interested in the genre, and attempts by academics to account for their powers of attraction are even rarer. This book is the author’s effort to convey the seductive qualities of the sexiest of the romantic syair, the ‘Poem of Bidasari’.
Few Malay works have been loved and disseminated to the extent the Syair Bidasarihas. It was translated in other languages of the region like Makassarese and Maranao and adapted for the Malay theatre and cinema.
Three tasks are attempted in the book: a transliteration into Roman characters of one of the surviving Malay manuscripts of the poem, a translation of that manuscript into English, and an inquiry into the poem’s virtues. The intertexts drawn upon in the analysis reveal the author’s conviction that understanding of traditions of kesenian rakyat (popular arts) such as pantun and the Malay theatre provides the background that allows the text to signify most powerfully.
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