~In Literature, philosophical movement which emphasizes on individual existence, freedom and choice.
~there's is no point the readers to be confused about the character because there they are clearly defined.
~the individual is accountable for their own actions and for giving meaning to their lives, despite the difficulties all human faces.
THE METAMORPHOSIS -
Gregor wakes up one morning to
discover that he's become a "monstrous vermin" (1.1). As he struggles
to come to terms with his new body, he realizes that he's late for his job as a
traveling salesman. First his mother, then his father and sister, knock on his
bedroom door in an effort to get him out of bed. His supervisor, the office
manager, arrives to inquire about his absence. With his parents pleading with
the office manager outside his bedroom door and his sister sobbing in another
room, Gregor manages to crawl to his bedroom door, open it, and reveal to
everyone his shocking new form. His mother collapses, and the office manager
runs out of the apartment in horror. His father grabs a newspaper and the
office manager's cane and chases Gregor around the living room. Gregor finally
manages to crawl back to his bedroom door, but he gets stuck. His father firmly
shoves him into the room and closes the door behind him.
Perplexed and horrified by Gregor's new body, both Gregor and the family settle into a routine in the following weeks and months. While Gregor gets to know the capabilities of his new body – and his new taste for rotten foods – Grete, his sister, becomes his primary caretaker, feeding him twice a day and cleaning his room.
One day, Grete discovers that Gregor enjoys crawling all around the room, including over the walls and the ceilings. Grete and the mother proceed to move the furniture out of Gregor's room to give him more space to roam. While up to this point Gregor has hidden himself whenever anyone walks into the room, he plants himself on top of a picture on the wall in an effort to express his wish that the furniture remains in his room. When the women return to the room, the mother sees Gregor and faints. Grete runs into the living room to get the mother some spirits, and Gregor follows. When Grete turns, she is startled by Gregor and runs back into Gregor's room. Flustered, Gregor scurries around the living room until he plops onto the table in the middle of the living room, exhausted.
After a brief while, the father returns home. Grete explains what has happened. The father, infuriated, chases Gregor around the living room and throws apples at him. One apple lodges into Gregor's back, paralyzing him. Suddenly, the mother runs from the room and begs the father to spare Gregor.
It takes a month for Gregor to heal from his wound. The door to Gregor's room is left open in the early evenings so that he can witness the family's nightly routine. While the father dozes in his bank messenger's uniform in a chair, the mother sews lingerie and Grete studies shorthand and French. The family hires a new cleaning woman, an old widow, who regularly chats with Gregor, much to Gregor's dismay. The family also takes in three boarders to make ends meet.
One night, the boarders invite Grete to play violin for them in the main room. Gregor is enthralled with Grete's playing, and creeps out into the middle of the room, in full view of all the spectators. At first amused, then horrified, the boarders declare that they intend to move out the next day without paying any rent. After the boarders retreat, the family confers. Grete insists that Gregor must be gotten rid of at all costs. Gregor, who is at this point still lying in the middle of the room, makes his way back into his room. Famished, exhausted, and depressed, Gregor dies early the next morning.
A few hours later, the cleaning woman discovers Gregor's corpse and announces his death to the family. After kicking out the boarders, the family decides to take a day off and take the trolley out into the country.
Perplexed and horrified by Gregor's new body, both Gregor and the family settle into a routine in the following weeks and months. While Gregor gets to know the capabilities of his new body – and his new taste for rotten foods – Grete, his sister, becomes his primary caretaker, feeding him twice a day and cleaning his room.
One day, Grete discovers that Gregor enjoys crawling all around the room, including over the walls and the ceilings. Grete and the mother proceed to move the furniture out of Gregor's room to give him more space to roam. While up to this point Gregor has hidden himself whenever anyone walks into the room, he plants himself on top of a picture on the wall in an effort to express his wish that the furniture remains in his room. When the women return to the room, the mother sees Gregor and faints. Grete runs into the living room to get the mother some spirits, and Gregor follows. When Grete turns, she is startled by Gregor and runs back into Gregor's room. Flustered, Gregor scurries around the living room until he plops onto the table in the middle of the living room, exhausted.
After a brief while, the father returns home. Grete explains what has happened. The father, infuriated, chases Gregor around the living room and throws apples at him. One apple lodges into Gregor's back, paralyzing him. Suddenly, the mother runs from the room and begs the father to spare Gregor.
It takes a month for Gregor to heal from his wound. The door to Gregor's room is left open in the early evenings so that he can witness the family's nightly routine. While the father dozes in his bank messenger's uniform in a chair, the mother sews lingerie and Grete studies shorthand and French. The family hires a new cleaning woman, an old widow, who regularly chats with Gregor, much to Gregor's dismay. The family also takes in three boarders to make ends meet.
One night, the boarders invite Grete to play violin for them in the main room. Gregor is enthralled with Grete's playing, and creeps out into the middle of the room, in full view of all the spectators. At first amused, then horrified, the boarders declare that they intend to move out the next day without paying any rent. After the boarders retreat, the family confers. Grete insists that Gregor must be gotten rid of at all costs. Gregor, who is at this point still lying in the middle of the room, makes his way back into his room. Famished, exhausted, and depressed, Gregor dies early the next morning.
A few hours later, the cleaning woman discovers Gregor's corpse and announces his death to the family. After kicking out the boarders, the family decides to take a day off and take the trolley out into the country.
CRITICISM:
In
the novel, it pictured clearly the character Gregor, on how he reacted
upon discovering that he completely turned and changed into an insect.
The
novel can be said to be an existentialism literature for it told us all
about Gregor from the beginning of the story up to the last that after
he transformed into a "monstrous vermin" and realized that he cannot go
back to his old Him, he still felt sorry for his family because he
cannot provide them money and after knowing his supervisor came to his
house to know why he didn't come to work and he was about to be fired,
he tried to explain everything but of course his manager got scared of
his appearance and eventually left the house, from then on, his family
kept him up in his room and his sister brought him food but he realize
that he cannot appreciate any decent human foods any preferred to eat
rotten food.
I
can say that this novel is a good example of existentialism theory
because I didn't feel any confusion about knowing the characters
especially Gregor the main center of the story, how he acted, how he
felt, how he reacted upon a certain situation, and how he accepted his
new personality becoming an insect, meanwhile the novel also pictured
the family of Gregor, how they reacted upon discovering that their son
turned into a insect, how his sister took care of him and brought him
food, and how they approached Gregor.
NEW CRITICISM
- it
is a movement in American literary criticism from the 1930s to the
1960s, concentrating on the verbal complexities and ambiguities of short
poems considered as self-sufficient objects without attention to their
origins or effects.
~ This is structured in the way.
~You have to read and carefully understand the meaning of the text.
~ Meaning resides on the text - not in reader, author, or word
THIS IS JUST TO SAY - William Carlos Williams
the plums
that were in
the icebox
and which
you were probably
saving
for breakfast
Forgive me
they were delicious
so sweet
and so cold
CRITICISM:
The title of the poem - This Is Just To say means that the author, if he were the one talking the poem, has no intention for giving the poem a double meaning, based on what I have understood and have read, the poem contains no idioms and intended to just say whatever he wants to say.
As I focused in the lines of the poems, I noticed that the speaker of the poem is asking forgiveness for having eaten the plums that were in the icebox.The speaker said "were in the ice box" so meaning the plums could no longer be in the icebox but the speaker was already digesting it!
In the last lines of the poems, the Speaker is describing how sweet, how juicy the plums were, but of course this will make the "you" in the poem feel worse because he has nothing to eat already.
But as I read again the poem, I think that he really describes the plums so that the "you" the speaker was addressing would somehow know that the speaker really appreciate the plums.
The setting is in the kitchen of the term icebox.
The Speaker probably the one who is going to left the house ahead of anybody and cannot find anything for breakfast and saw the plums that was in the icebox and ate it instead so he left the note about he, eaten the plums and after he ask forgiveness he changed it into describing the plums. so maybe the speaker is not quite really sorry after eating the plums.
That I Think is the meaning of the poem. In existentialism theory, you have to careful analyze the true meaning of the text.
In this poem if you don't read it carefully you might mistake it for having a double meaning, but is just actually saying he was sorry for having eaten the plums that were in the icebox that was supposed to be saved for breakfast.
POSTCOLONIALISM
~This theory does not only attempts to focus on the colonizers but also on the oppression of those who were ruled under colonization.
~ deals with the reading and writing of literature written in colonizing countries which deals with colonization or colonized people.
~ a set of theoretical and and critical strategies used to examines the culture, literature, politics, history of former colonies.
Kahapon, Ngayon at Bukas - Aurelio Tolentino
MGA TAUHAN
INANGBAYAN (PILIPINAS)
DILAT NA BULAG (ESPANYA)
BAGONGSIBOL (AMERIKA)
MASUNURIN (BABAING PILIPINA)
TAGAILOG(ANG KATAGALUGAN)
MATANGLAWIN (GOBYERNO NG KASTILA)
MALAYNATIN (GOBYERNONG AMERIKANO)
ASALHAYOP (MAPAGLILONG TAGALOG)
DAHUMPALAY(MAPAGLILONG TAGALOG)
HARINGBATA (HARING INTSIK)
HALIMAW (PRAYLE)
WALANG TUTOL (LALAKING PILIPINO)
Mga taong bayan, mga Hukbong Tagalog, mga Hukbong Intsik, Kapisanan ng Cruz Rojang babae, mga kawal na rebulosyonaryo, mga batang lalaki’t babae, bandang musika ng Hukbong Tagalog, mga Kaluluwa ng nangamatay sa labanan, ang Haring Kamatayan, Rehimiyento ng Artiller, Infanteria at Ingeniena.
BAHAGI I
(Isang bakurang may sagingan at iba pang halaman sa tabi. Sa gitna ay isang balag.)
LABAS I
(Asalhayop at mga taong bayan. Nangakahanay ang babae sa kanan at ang mga lalaki naman sa kaliwa. Nanga-taas ang kanang kamay nilang lahat, na tumatangan sa kopang ginto. Masasaya ang anyo nila.)
(Asalhayop, Masunurin, Walang tutol, mga taong bayan.)
Walangtutol : Mag-inuman, magsayawan.
Masunurin : Si Asalhayop ay ipagdiwang.
Koro : Ipagdiwang.
1.o : Mapala ang kanyang buhay.
1.a : At lumawig habang araw.
2.o : Habang araw.
Walangtutol : Dangal niya’y huwag dadalawin ng siphayo’y ng hilahil.
2.a : Huwag dadalawin.
3.a : Dangal niya’y magluningning sa ligayang sasapitin.
Koro : Magluningning.
Masunurin : Madlang puri, madlang biyaya sa kaniya’y sumagana.
Koro : Sumagana.
3.a : Madlang yaman, madlang tuwa sa kaniya’y lumawig nawa.
Koro : Lumawig nawa.
Asalhayop : Katoto’t giliw, mga kaibigan, sa inyo’y salamat nang habang buhay.
Ang inyong nais na tungkol sa akin ay aking biyaya sa sasapitin.
Kayo ang dangal ko, at kayong tunay ang tanging suhay sa aking buhay.
(Lalapitang isa-isa ni Asal. Ang mga Koro at ipipingki sa kani-kanilang kopa ang kanyang hawak.)
Mag-inuman, magsayawan, mag-awitan, limutin ang kalumbayan.
Koro : Mag-inuman.
(Anyong iinumin ng lahat ang laman ng kani-kanilang kopa.
Biglang lalabas si Ina, at si Tag. Magugulat ang mga dadatnan.Titigan sila ng kagulat-gulat ni Ina.)
LABAS 2
(Sila rin, Inangbayan, Tagalog)
Inangbayan : Mga walang loob,
mga walang damdam,
bago’y nagluluksa
ang kawawang bayan.
Mga walang puso,
mga walang dangal,
nahan ang pangakong
kayo ay dadamay
sa mga pumanaw?
(Tatawa nang malakas si Asal at ituturo si Ina.)
Inangbayan : Asalhayop!
Asalhayop : Masdan ninyo si Inangbayan,
Ang buwisit at manggagaway.
(Magtatawanan ang koro.)
Humayo ka, Inangbayan,
Huwag sabihin ang patay.
(Magtatawanan ang koro.)
Koro : Mag-inuman.
(Anyong iinumin ang laman ng mga kopa.)
Inangbayan : Huwag!
Huwag ninyong lagukin, huwag ninyong mainom ang
hinahawakang alak na may lason.
(Magtatawanan ang koro.)
Ang inyong kaluluwa ay malilinggatong, kayo’y isusumpa ng
mga pahanon.
(Magtatawanan ang koro.)
Mainit pang tunay sa mga buruhan ang bangkay ng inyong nuno at magulang.
(Magtatawanan ang koro.)
Hayo at mag-isip ng tinutunguhan, hayo at bakahin ang mga
kaaway.
(Mahabang tawanan nila Asal at ng Koro.)
Koro : Magsayawan.
(Iinumin ni Asal, at ng Koro ang laman ng mga kopa. Tititigan sila nang kagulat-gulat ni Ina.)
Inangbayan : Mga walang kaluluwa! Ang inyong mga kasayahan ngayon ay pagdustang tunay sa libingan ng ating marangal na lipi. Ano? Hindi baga ninyo nararamdaman sa ibutod ng inyong mga puso ang lamig ng kamatayan ng bayan? Hindi baga kayo nangahihiya sa sarili, ngayong kayo nangagsasayahan sa ilalim ng talampakan ni Haringbata ang magiging anak ni Hingiskang?
Asalhayop : Mahusay manalumpati ang ating ina, ang mangangaway.
Inangbayan : Asalhayop!
Asalhayop : Bigyan ako ng kaunting alak.
Koro : Kami man.
Inangbayan : Ako man.
Asalhayop : Kita ninyo? Kita ninyo’y huminging kusa, pagkakitang hindi natin siya alintanahin?
Magaling na talaga si aling inangbayan.
Asalhayop : (Kay ina) Heto ang alak na alay ko sa iyo. (Bibigyan siya ng isang kopa.) Mag-inuman!
(Itataas ni Asal at Koro ang kanilang mga kopa.)
Walangtutol : Mabuhay si Asalhayop!
Koro : Mabuhay!
Inangbayan : Sumpain nawa ni Bathala ang hindi magsisi sa paglapastangan sa araw na ito! Ito ngang tunay na araw ng kamatayan ng mga tagapagtanggol ng bayan. Ito ang araw ng pagkalugso ng ating kahambal-hambal sa Balintawak. Sumpain nawa ni Bathala ang hindi magsisi!Taos sa puso ko yaring sumpa, at sa katunayan ay… ayan!
(Ipupukol sa lupa ang kopang hawak)
Asalhayop : Inangbayan!
Koro : (Biglang lalapitan ni Asal at tatampalin. Si Ina, ay mabubuwal, kasabay ng pagtawa ng Koro.)
Asalhayop : Manggagaway!
(Kasabay ng tampal at tawanan. Kasabay ng pagsakal sa kanya at pagtindig ni Ina.)
Walangtutol : Huwag! Bitiwan mo. Asalhayop.
(Bibitiwan.)
Inangbayan : Asalhayop, paglapastangan mo sa akin ay nahulog sa Apo, sa kamay ni Mandagaran, ang taksil mong kaluluwa. At kayong mga nakianib sa kanya, kayong mga anak kong pinakamamahal, ay nangahawa na mandin sa kanyang sawing palad. Dinudusta ninyo sa libingan ang dangal ng inyong mga nuno.
Ah! Hindi ko inakala kailan pa man, na kayo’y hindi ko maihahalubilo sa mga angkang nagkalat dito sa Dulong-Silangan.
Mga anak ko, mga bunsong pinakaiibig, kayo’y nangaliligaw. Panumbalikin ninyo ang inyong mga loob, pagsisihan ninyo ang paglapastangan sa akin at sa dakilang araw ng pagkalugso ng bayan. Kapag nilimot ninyo ang araw na ito ay lilimutin din ninyo ang libingang luksa ng inyong mga magulang.
Kayo’y nangabulag na lubos. Buksan ninyo ang inyong mga mata.
(Biglang itataas ang tabing. Lilitaw ang mga libingang may mga pangalang sulat sa panahong una at may mga sabit na luksa at sari-saring putong.)
Ayan at tanawin ninyo sila!
(Mangagluluhuran si Tag at Koro at mangangahulog sa kanilang kamay ang mga kopoang hawak, tanging hindi lamang si Asal at tatalikdan ang mga nasabing libingan.)
Sa mga libingang iyan ay nalalagak ang mga buto nila Gat-Salian, Bituin at laksa-laksang iba pang bayaning kawal ng bayan.
Oh! Yayamang nilapastangan ninyo ang araw na ito at ang mga libingang iyan; yayamang dinudusta ninyo ang daklilang pangalan ng inyong mga nuno; yayamang inilublob ninyo sa pusali ng kapalamarahan ang banal na kasulatan ng ating maharlikang lipi, ay ipagpatuloy na ninyo ang inyong baliw na kasayahan, 3 colors ipagpatuloy na ninyo, mga bunsong ginigiliw, nguni’t pakiusap ko lamang, na doon sa ibabaw nila, sa ibabaw ng mga libingang iyan, ay doon kayo mag-inuman ng alak, doon kayo magsayawan at mag-awitan, doon ninyo sambilatin at yurakan iyang mga laksang sabit, doon ninyo huwag tugutang libakin ang inyong sariling dangal.
(Tatangis at marahang lalakad na tungo sa mga libingan.)
Mga bunsong pinakamamahal! Paalam ako sa inyo! Paalam ako sa inyo!
(Mahuhulog na muli ang dating tabing.)
LABAS 3
(Sila rin, wala lamang si Inangbayan)
Tagailog : Mga kapatid ko!… Oh! Ano’t kayo’y nangalulumbay? Dahil baga sa pag-aalala ninyo sa nalugsong buhay ng bayan sa araw na ito? Ah, tunay nga! Sapul noon hangga ngayon ay dalawampung taon nang singkad,dalawampung taong pagkakaalipin. Nguni’t huwag. Ngayo’y nahahanda nang lahat kapag kayo’y umayos sa aking mga panukala…
Koro : Magsabi ka!
Tagailog : Ibig baga ninyong bawiin sa kamay ng kaaway itong bayang sinamsam nila sa kamay ng ating mga magulang?
Koro : Ngayon din.
Tagailog : Tayo na’t magsandatang lahat.
Koro : Tayo na.
(Aalis na lahat, matitira si Asal.)
LABAS 4
(Asalhayop)
(Tatanawin ang mga nagsisialis)
Asalhayop : Mga mangmang!
Ang mga taong ito ay may mga walang pinag-aralan. Mabuti pa ang aso, mabuti pa ang kalabaw, mabuti pa ang hayop kaysa sa kanila, sapagkat ang mga hayop ay nabubuhay at marurunong magsipamuhay, nguni’t ang mga taong ito ay hindi.
Nangatatahimik ang aming mga magulang. At ano? kung ipaghiganti ko baga sila ay mangabubuhay pa kayang muli? Babawiin daw ang kalayaan ng bayan. At bakit pa? Mabuti ang may salaping alipin kaysa mahirap na laya. Mga hangal!
(Magkukuro) Mabuti nga.
Hahanapin ko ang mga Intsik, hahanapin ko si Haringbata at aking sasabihin sa kanya ang lahat ng nangyari. Salapi na naman ito!
(Anyong aalis. Lalabas si Haringbata.)
LABAS 5
(Asalhayop, Haringbata, mamaya’y Inangbayan)
Haringbata : Asalhayop.
Asalhayop : Ako po’y sumasayapak mo, dakila’t marangal na Haringbata.
Haringbata : Salamat.
(Lalabas si Ina, at manunubok sa tabi ng tabing. Hindi siya makikita ng dalawa.)
Asalhayop : Ako po sana ay talagang paparoon sa inyong bahay at may nasang sabihing malaking bagay.
Haringbata : Ano yaon?
Asalhayop : Si Tagailog at lahat niyang kasama, na pawang kapatid niya’t kapatid ko rin ay kaaalis din po dito ngayon. Mangagsasakbat ng sandata at kayo po ay babakahin.
Inangbayan : (Mapaglilo!)
Haringbata : Tunay?
Asalhayop : Tunay po.
Haringbata : At bakit daw?
Asalhayop : Ibig daw po nilang mabawi ang kanilang kalayaan.Haringbata : Mga masiging! At saan nangaroon?
Asalhayop : Ewan po, hahanapin ko sila at pakikialaman ko ang kanilang lihim, upang di maipagbigay alam ko sa inyo at mangahulog sa inyong kamay.
Inangbayan : (Buhong!)
Haringbata : Salamat. Talasan mo ang iyong mga tainga’t mata. Heto ang salapi mong bayad.
(Bibigyan ng salapi)
At kung mangahulog na sila sa ilalim ng aking kapangyarihan ay dadagdagan ko pa iyan, at bibigyan kita ng katungkulang mataas.
Asalhayop : Salamat po.
Haringbata : Hihintayin kita ngayong gabi sa aking bahay, at ipagbigay alam mo sa akin ang lahat nilang panukala. Heto ang tandang ilalahad mo sa taliba upang di ikaw ay papasukin.
(Bibigyan siya ng isang tsapang tanso at aalis.)
Asalhayop : Asahan po ninyo.
(Titingnan ang salapi.)
Heto ang salapi ko, heto ang tunay na Ina kong bayan, ang tunay na Bathala. At madaragdagan pa; at matataas pa ang aking katungkulan.
Sayang palad!
Inangbayan : ( Walang puri! )
LABAS 6
(Sila rin, Tagailog)
Asalhayop : Tagailog, hinahanap kita.
Tagailog : Ako’y gayon din, kita’y aking hinahanap.
Asalhayop : Sasalakayin baga natin si Haringbata?
Tagailog : Oo, bukas. Humanda ka’t ikaw ay kasama.
Asalhayop : Papaano ang paraang gagawin natin?
Tagailog : Ako’y magdadala kunwari ng buwis.
Asalhayop : Mahusay. At saan tayo dadaan?
Tagailog : Sa tabing-dagat ang kalahati, at ang kalahati naman ay sa Diliman. Heto na’t nagdadatingan ang ating mga bayaning kawal, kasama ang mga babaeng tagapagsiyasat ng sugatan.
LABAS 7
(Sila rin, Walangtutol, Masunurin, Korong lalaki at babae. Ang mga lalaki ay pawang sandatahan.)
Walangtutol : Tagailog, narito na kami.
Tagailog : Hintayin natin ang mga ibang kasama.
Asalhayop : Ako’y kasama ninyo, nguni’t ako’y uuwi pa muna sandali.
Tagailog : Hihintayin ka namin dito, at dito tayo magbubuhat sa pagsasalakay kay Haringbata.
Asalhayop : Asahan ninyong ako’y darating. Asahan ninyong kung saan kayo mamatay ay doon din ako magpapakamatay. Paalam.
(Anyong aalis.)
Koro : Mabuhay si Asalhayop.
Inangbayan : (Kay Asal.) Hintay! Tagailog, huwag mong paalisin si Asalhayop.
Asalhayop : Ako?
Inangbayan : Ikaw.
Lahat : At bakit?
Inangbayan : Ako’y may itatanong sa kanya dito sa harapan.
Masunurin : Ano kaya?
Koro : Ano kaya?
Inangbayan : Asalhayop, wala ka bagang taglay na salapi ngayon?
Asalhayop : Wala.
Inangbayan : Dinggin ninyo? Wala raw. At wala ka bagang taglay na kahit anong tanso sa katawan?
Asalhayop : Salupikang mangkukulam! Ano’t itinatanong mo?
Inangbayan : Wala ka bagang taglay na kahit anong tanso sa katawan?
Sumagot ka.
Lahat : Sumagot ka.
Asalhayop : Wala. Anhin ko ang tanso?
Inangbayan : Dinggin ninyo? Wala raw siyang taglay na salapi, at wala rin namang taglay na kahit anong tanso.
(Tatawa nang malakas si Ina.)
Asalhayop : Ngitngit ni Bathala! Ano’t nagtatawa ka?
Inangbayan : Dakpin ninyo at ipinagbili tayong lahat kay Haringbata.
Lahat : Oh!
Asalhayop : Ako?
Inangbayan : Ikaw.
Asalhayop : Sinungaling si Inangbayan. Sinasabi kong sinungaling si Inangbayan.
Inangbayan : Mga bunso, siyasatin ninyo ang katawan ni Asalhayop, at may taglay na salapi, at may taglay na tanso.
Tagailog : (Sa Koro) Siyasatin ninyo.
Asalhayop : Hindi ako pasisiyasat.
Tagailog : Dakpin ninyo.
(Tatanganan si Asal ng mga sandatahan ng mga babae ang kanyang katawan. Makukunan sa bulsa ng salapi at isang tsapang tanso.)
Masunurin : Tunay nga!
Lahat : Tunay nga!
Tagailog : Ano’t ipinagkaila mo ang iyong taglay?
Asalhayop : Ako’y… sapagkat… Datapwat…
(Tatawa nang malakas si Ina.)
Inangbayan : Yayamang hindi niya matutuhang turan ay aakuin ko na siya at ako na ang magsasabi.
Asalhayop : Inangbayan! Mahabag ka!
Tagailog : Sabihin mo, Inangbayan.
Lahat : Sabihin mo.
Asalhayop : Inangbayan!
Inangbayan : Ang salaping iyan ay siyang pinagbilhan ng nilako niyang buhay ng bayan kay Haringbata.
Lahat : Oh!
Inangbayan : At ang tansong iyan ay siyang ilalahad sa mga taliba ng kaaway, upang siya’y papasukin at maisiwalat ang ating lahat ng lihim.
Asalhayop : Sumpa ng Apo! Ngitngit ni Mandagaran!
Inangbayan : Pagmasdan ninyo ang tanso at may tatak marahil ni Haringbata.
(Pagmamasdan ng lahat ang tanso)
Masunurin : Tunay nga.
Koro : Tunay nga.
Walangtutol : Kay Haringbatang tatak.
Tagailog : Asalhayop!
Asalhayop : Patawad!
Inangbayan : Ngayon at inyo nang nakilala kung sino nga si Asalhayop, ay paalam na ako sa inyo.
(Tuloy aalis. Anyong hahabulin ng lahat.)
Lahat : Inangbayan?
LABAS 8
(Sila rin, wala lamang si Inangbayan)
Tagailog : (Kay Asal) Oh! Walang pusong kapatid! Walang dangal! Sa mga ugat mo ay tumatakbo ang maruming dugo ni Lakasalian, yaong taksil na nagpagapos ng leeg ng ating kawawang Inangbayan, kay Hangiskang na ama ng suwail na Haringbata.
Pagmasdan ninyo’t kumikislap sa kaniyang mga mata ang alipato ng kanyang paglililo.
Bayang Tagalog, tandaan ninyo yaring hatol.
Dapat mahalin ang ating mga kapatid, ang ating mga magulang, ang ating sariling buhay, nguni’t lalo pa nating dapat mahalin ang dangal ng ating kahambal-hambal na Inangbayan.
(Sandaling palipas) Kaya nga, ang sino pa mang maglilo sa kanya, kapatid man natin o magulang kaya, ay huwag pagpitaganan; takpan ang mata ng awa at idalhag siya sa bangin ng lalong dustang kamatayan, at idagan sa kanyang ulo ang matinding sumpa ng ating pagkakapaalipin.
(Sandaling palipas) Bayang Tagalog, kung sakaling mawalan man tayo ng hiya sa mukha nating bantad, at pabayaan nating makatkat sa ating noo ang limbag ng puri, manang katutubo ng ating mga kaluluwa, ay magkaroon man lamang tayong kaunting tapang sa pagkitil ng sariling buhay. Ibuhos natin ang ating dugo,lamurayin natin ang ating laman, iwalat natin ang ating mga buto, huwag na lamang kumalat-kalat sa lansangan ang mabusilak na dangal ng liping Tagalog, huwag na lamang tayo ring ito ang maglublog sa putik ng lagim, ng kagalang-galang na mukhang tumatangis ng ating kahabag-habag na Inangbayan.
(Sandaling palipas) Bayang Tagalog, si Asalhayop ay nagtaksil. Sunugin siyang buhay.
Koro : Patawad!
Tagailog : Bayang Tagalog, kung malaki ang pagmamahal mo kay Asalhayop, ako naman ay lalo pa, nguni’t lalo pang malaki ang pagmamahal ko sa ating Inangbayan. Inilako ni Asalhayop si Inangbayan kay Haringbata, kaya dapat siyang mamatay, sapagkat dapat na lipulin ang lahat ng halamang lasong tumubo at umusbong sa lupang Tagalog.
(Sandaling palipas)
Sunugin s’ya ng Buhay.
Koro : Patawad!
Tagailog : Bayang Tagalog, bayang pinakamamahal kong lubha, wala sino pa mang makasasalag sa madaling hampas niyaring hatol. Ibig ko pang ako’y mamatay, huwag na lamang ipahutok ang katuwiran. Kaya nga, sinumang may nais na humingi ng patawad na naitong suwail, ay patayin na muna ako, saksakin na muna yaring dibdib. Alin sa dalawa: mabuhay ang kataksilan at ako ang mamatay ang kataksilan
(Sandaling palipas)
Sunugin siyang buhay.
Koro : Patawad!
Koro : Oh! Bayang Tagalog! Bayan ng marangal nan liping Tagalog, huwag mong ihingi ng patawad ang nagtaksil sa dakilang dangal ng ating mga kasulatan.
(Bubunutin ang kanyang sundang.)
At yayamang ayaw ako ilugso ng mga nagtatanggol sa kanya, ako ang maglulugso sa mga sasago’t sasanla sa aking matatag na hatol. Iwawalat ko ang dibdib ng balang kumibo, hahalukayin ko ang puso ng balang magsigaw ng wikang “Patawad”.
(Itataas ang kanyang sundang. Mapapaurong ang lahat.)
Tagailog : Hukbong Tagalog, lahi ng katapangan, mga anak sa digma, tulinan ninyo.
Napaparam ang ulap ng sakim, sumisilay ang araw ng kalayaan: (Tuloy pasok)
LABAS 9
(Masunurin, Korong Babae)
Masunurin : Laban kayo, mga kawal, at bawiin itong bayan.
1.a : Sandali pa’y ating tunay na tagumpay.
Koro : Ang tagumpay.
Masunurin : Nagkaabot ang hukbo at nagkahalubilo.
2.a : Laban kayo, laban kayo, ang kalaba’y…
Koro : Tumatakbo.
Masunurin : Hayo’t abuluyan ang mga sugatan.
Koro : Abuluyan.
LABAS 10
(Maglalabasan ang mga kawal na Intsik, karamiha’y sugatan at nagabubuwal.)
Masunurin : Huwag bayaan , ito’y ating katungkulan.
LABAS 11
(Sila rin, Haringbata, Inangbayan, mamamaya’y si Tagailog. Kaladkad ni Haringbata si Inangbayan.)
Haringbata : Papatayin kita.
Koro : Si Inangbayan.
(Lalabas si Tagailog)
Tagailog : Haringbata!
(Sabay saksak. Mabubuwal si Haringbata.)
Haringbata : Mamamatay ako!
Koro : Patay si Haringbata!
LABAS 12
(Sila rin, kawal na Tagalog)
Tagailog : Ating-ating ang tagumpay. Atin ang ating katuwiran.
Inangbayan : Mabuhay si Tagailog.
Koro : Mabuhay!
Tagailog : Mabuhay si Inangbayan!
Koro : Mabuhay!
Inangbayan : Mabuhay ang ating kawal!
Koro : Mabuhay!
Tagailog : Mabuhay ang ating lipi sa lilim ng kalayaan!
Koro : Mabuhay!
Inangbayan : (Tatanaw sa kanan.) Sino ang mga dumarating?
Tagailog : Sino kaya?
Koro : Sino kaya?
(Tutugtugin ang Marcha Red Española at lalabas si Dilat-na-bulag at Matanglawin.)
LABAS 13
(Sila rin, Dilat-na- bulag,Matanglawin.)
Inangbayan : Sino kayo?
Dilat-na-bulag: Ako’y si Dilat-na-bulag.
Matanglawin : Ako’y si Matanglawin.
Tagailog : Kalaban ba kayo?
Dilat-na-bulag: Kami ay kaibigan.
Inangbayan : Ano ang inyong nais?
Matanglawin : Ang kayo’y iligtas sa pagkapanganyaya
Tagailog : May sakuna baga?
Dilat-na-bulag: Mayroon.
Matanglawin : Tanawin ninyo sa dakong kanan ang tila wari nagdidilim na langgam na paparito, at yao’y mga kawal na babaka sa inyong bayan.
Inangbayan : At sino nga sila?
Dilat-na-bulag: Mga kapatid din ninyo.
Tagailog : (Sumpa ng langit!)
Koro : Sumpa ng langit!
Matanglawin : Tanawin naman ninyo sa dakong kaliwa ang lalo pang makapal. Babakahin kayo.
Inangbayan : At sino naman ang mga iyon?
Dilat-na-bulag: Inyo ring mga kapatid.
Tagailog : Sumpa ni Bathala!
Koro : Sumpa ni Bathala!
Matanglawin : Tanawin ninyo sa dakong yaon ang maraming kawal na mapuputi. Yaon ay aming hukbo. Tanawin ninyo sa dagat ang mga sasakyang pambaka. Ang lahat na iyan ay amin. At kung kayo ay kakapatid sa amin, ang aming ari, ang aming hukbo, ang aming mga sasakyan at ang aming mga puso at kaluluwa, ay inyo ring lahat. Ipagtatanggol namin kayo sa lahat ng ligalig at pagkapaalipin.
Inangbayan : Tapat baga ang inyong pakikipagkapatid sa amin?
Dilat-na-bulag: Tapat.
Tagailog : Hindi ninyo bibigyang ligalig ang kalayaan ng aming mga anak?
Matanglawin : Hindi.
Inangbayan : Matatalaan ninyo ang gayon?
Dilat-na-bulag: Oo.
Inangbayan : Bayang Tagalog, narinig ninyong lahat. Sumagot kayo.
Koro : Kami ay pumapayag.
Matanglawin : (Kay Tagailog.) Talaan mo ito.
(Bibigyan ng pergamino, tatala si Tagailog.)
Tagailog : Ayan. At ikaw?
Matanglawin : Tatalaan ko ito. (Tatala rin sa isang pergamino.) Ayan.
Inangbayan : Ngayon, ang sumpaan.
Dilat-na-bulag: Ang sumpaan.
Lahat : Ang sumpaan.
(Isasaksak si Tagailog at Matanglawin ang kani-kanilang sundang sa bisig sa kaliwa, sasahurin sa isang sarong ginto ni Ina ang dugo ni Tagailog at si Dilat-na-bulag naman ang kay Matanglawin.)
Dilat-na-bulag: (Kay Tagailog) Inumin mo ito.
Inangbayan : (Kay Matanglawin) Inumin mo ito.
(Tatanggapin nila Tagailog at Matanglawin ang mga sarong ginto.)
tagailog : Sa sarong gintong iyong tangan ay nalalamang totoo ang dalisay na dugo ko dugong tunay ng bayan ko.
Matanglawin : Sa sarong gintong iyong tangan ay tunay na nalalaman yaring duro kong dalisay na dugo ng aking bayan.
Lahat : Inumin ninyo.
Dilat-na-bulag: (Hahawakan ang kamay ni Ina.)
Ang kamay kong iyong tangan
ay kamay ng aking bayan,
kung di mo pagsisiluhan,
ang dito’y pinagsumpaan,
kamay na ito’y mag-aalay
sa iyo ng biyayang tunay.
Nguni’t kung lalapastangan,
kamay na ito ay tatangan
ng sundang na kamandagan,
ang puso mo’y tatarakan.
Inangbayan : Sa dibdib ko’y masisilip
ang dalisay kong pag-ibig,
ang kaluluwa kong malinis,
ang mga banal kong nais
na sa atin ay bibigkis,
ang puso ta’y nang magkatalik.
Nguni’t kung magbabalawis
sa ating pagkakapatid,
pag-ibig ko’y magngingitngit
at sa iyo’y siyang tutugis.
Koro : Kami naman ay gayon din.
Tagailog : Ang magtapat ay mabuhay.
Koro : Mabuhay.
Matanglawin : Ang magtaksil ay mamatay.
Koro : Mamatay.
Inangbayan : Ang dugong iya’y maging lunas sa puso ng kung sinumang magtatapat. Datapwa’t kung magsusukab sa buhay niya’y maging lason at kamandag.
Lahat : Inumin!
(Iinumin ni Tagailog at Matanglawin ang dugo. Mahuhulog na bigla ang tabing.)
CRITICISM:
I say that this play can be a post-colonial literature because the play centers the resistance of some characters against the colonizers.
Inang Bayan for intance, showed her care for the country by telling her children to wake up to the truth about the real situation happening in the country.
The play started by showing Asalhayop and his companions having drink for their celebration, InangBayan showed herself and telling Asalhayop that while they are celebrating the country's grieving for the heroes who died saving the country against conquerors. Upon hearing the statement of InangBayan, the celebrators decided to fight back against the colonizers but AsalHayop secretly traitor them by selling his fellowmwn to the colonizers and told them about the plans of revolt. Inangbayan heard all of this and immediately repoted it to Taga-ilogs (the Filipinos). Upon discovering Asalhayop traitorship the Tagailogs finally decided that AsalHayop should be killed.
The play centers how Filipinos (although with another name or characterization) made a revolt against their colonizers and to gain freedom for their oppressors.
It can be a post - colonial theory for it depicts the resistance of the colonized against their colonizers.
AUTOBIOGRAPHICAL THEORY
~ the author can simply represent the ideas or the transparency but also he or she can amplify or exaggerate the idea.
~ an autobiographical criticism is a form of literary criticism which analyzes a writer's biography to show the relationship between the author's life an their works of literature. Autobiographical criticism is often associated with Historical-Biographical criticism, a critical, a critical method that "sees a literary work chiefly, if not exclusively, as a reflection of its author's life and times."
THE END OF THE AFFAIRS (1951)- Graham Greene
The novel focuses on Maurice Bendrix, a rising writer during World War II in London, and Sarah Miles, the wife of an impotent civil servant. Bendrix is loosely based on Greene himself, and he reflects often on the act of writing a novel. Sarah is based loosely on Greene's mistress at the time, Catherine Walston, to whom the book is dedicated.
Bendrix and Sarah fall in love quickly, but he soon realizes that the affair will end as quickly as it began. The relationship suffers from his overt and admitted jealousy. He is frustrated by her refusal to divorce Henry, her amiable but boring husband. When a bomb blasts Bendrix's flat as he is with Sarah, he is nearly killed. After this, Sarah breaks off the affair with no apparent explanation.
Later, Bendrix is still wracked with jealousy when he sees Henry crossing the Common that separates their flats. Henry has finally started to suspect something, and Bendrix decides to go to a private detective to discover Sarah's new lover. Through her diary, he learns that, when she thought he was dead after the bombing, she made a promise to God not to see Bendrix again if He allowed him to live again. Greene describes Sarah's struggles. After her sudden death from a lung infection brought to a climax by walking on the Common in the rain, several miraculous events occur, advocating for some kind of meaningfulness to Sarah's faith. By the last page of the novel, Bendrix may have come to believe in a God as well, though not to love Him.
The End of the Affair is the fourth and last of Greene's explicitly Catholic novels
CRITICISM:
The novel is said to be an autobiographic literature because it somehow relate to the life of the author Graham Greene.
The novel examines the obsession, jealousy, and discernment of the three characters: Maurice Brendix a writer during the world war II, Sarah Miles the wife, and Henry Miles a civil servant.
The novel is dedicated to the author's mistress Catherine Walston. and Sarah in the novel portrayed Catherine.
The author probably wrote this novel because of his depression on his wife, the novel obviously depicts the life of the author. He wrote it similarly to what just happening to his life.
PSYCHOANALYTIC THEORY
~refers to the literary criticism or literary theory which, in method, concept, or form, is influenced by the tradition of pychoanalysis
~argues the literary texts, like dreams, express the secret unconscious desires and anxieties of the author
~seek evidence of unresolved emotions, psychological conflicts guilt, ambivalence, and so forth.
THERE'S A CERTAIN SLANT OF LIGHT - Emily Dickinson
On winter afternoons,
That oppresses, like the weight
Of cathedral tunes.
Heavenly hurt it gives us;
We can find no scar,
But internal difference
Where the meanings are.
None may teach it anything,
'Tis the seal, despair,-
An imperial affliction
Sent us of the air.
When it comes, the landscape listens,
Shadows hold their breath;
When it goes, 't is like the distance
On the look of death.
CRITICISM:
Before anything else, let us all know who Emily was.
Emily Dickinson lived in New England during the American Renaissance period. Her contemporaries were many of the Transcendentalists, such as Walt Whitman, Henry David Thoreau, Ralph Waldo Emerson, Herman Melville, and Edgar Allan Poe. Although she insisted that she did not read the famous works of her contemporaries, many scholars contend that her poetry contains elements of Transcendental thought.
Very little is known about her personal life. Dickinson was somewhat of a recluse. She apparently never married, but there is evidence that she once had a male lover. She lived with her sister in their family’s ancestral estate and loved tending to her flower garden. Dickinson loved little children and her elderly neighbors. For birthdays and other special occasions, she would give her friends and neighbors a bouquet from her garden, along with a personalized poem she had written just for them. There is also evidence that she was a devout Christian most of her life, but that at some point, she may have briefly lost her religious faith. Later, she seems to have found it once again.
Much as been written about Dickinson, but many scholars focus on her mysterious lifestyle, rather than her poetry. This is unfortunate because Dickinson left us a wealth of poetry. She was a prolific poet, but never published any of her works during her lifetime. She was, however, in contact with the editor of the prestigious Atlantic magazine, which is now called the Atlantic Monthly. They corresponded for many years, and he apparently gave her many tips on improving her poetic skills; however, there is really no evidence that she applied his teachings by revising any of her works.
After Dickinson died, her sister was putting away some of Emily’s personal belongings in the attic. There, she found, much to her amazement, hundreds of poems that her sister had written and tucked away in old jacket pockets, dresser drawers, and boxes. They were all neatly folded into small squares, bundled together, and tied neatly with pretty ribbons. Although Dickinson never tried to publish her poetry during her lifetime, she apparently believed that they had worth, and that others may find joy in reading them after her death. After the discovery, Dickinson’s sister contacted the editor that Emily had been corresponding with, and together, they compiled and published the first collection of her poems.
It is obviously that the speaker of the poem was grieving for someone's death. The poem shows how the speaker blamed God for letting His children have a disease that can cause a person's death and the speaker eventually lost the faith in God.
Emily Dickinson had lost her faith to God but seemed to find it once again.
The poem and Emily's life reflect to each other, Emily wrote this poem during the time she had lost faith in God. The poem showed how she blamed God for having such a disease.
It contained the feelings Emily felt during that time she lost her faith.
TERRITORIALISM
~ It discuss how an individual tries to protect his or her possessions. It is creating a specific boundaries or markers on certain things.
~ a social theory of "propriety psychological space". If we are what we own, then we are also what we define ourselves to be, our psychic space. This self-definition is our territory. "Its sole function is to manage and defend the self's acquired identities and their properties"
HOPE FOR THE FLOWER - Trina Paulus
It all starts when Stripe, the main character, first hatches from an egg. He begins his life by eating the leaf he was born on. He realizes that there must be "more" to life than just eating leaves. He senses there must be a way to get up into the sky. He searches for a way and finds himself at the base of a pillar made up of caterpillars. They are all struggling to get up into the sky as well. Here he meets Yellow who also wants to get up into the sky by climbing to the top of the pillar. But she feels bad about what must be done to achieve this goal. You have to literally step on and climb over all the other caterpillars who are also trying to reach the top of the pillar. The two of them eventually decide to stop climbing and go back down the pillar. They live together for awhile. But Stripe's curiosity and unrest overcome him and he decides that he must get to the top of the pillar. Stripe says good-bye to Yellow. He focuses, adapts, and drives to reach the top, and eventually he succeeds at being on the top of the caterpillar pillar. This results in disillusionment, as he takes in a vast vista of other caterpillar pillars. Is this all there is at the top? He has not really gotten in to the sky. He just has a view of other caterpillars struggling to reach the top of their respective caterpillar pillars. Yellow, however, has followed her instincts, continues to eat and then spins a cocoon. She eventually emerges from the cocoon transformed into a butterfly and flies into the sky effortlessly. She has found the real answer to the feeling that there must be more to life than eating leaves, and who caterpillars really are. She is waiting for the disillusioned Stripe as he descends the pillar and eventually reaches the ground again. She shows Stripe her empty cocoon, and he eventually realizes what he needs to do. Stripe makes a cocoon of his own. Yellow waits for him. Stripe emerges transformed into a butterfly, and they fly off together
CRITICISM:
Hope for the flower is simply a story for both children and adults (and caterpillars who can read). The story began when stripe, a caterpillar hatches his egg. He began to wander and eat leaves on the trees. He then became bored and thought that there is more to life than eating those leaves. So he searches and found a caterpillar pillars and every caterpillar wants to be at the summit. Stripe started to climb and he met Yellow who was also eager to be at the top. Then finally they decided to leave the pillars. Together they eat again and play but Stripe was decided that he will go at the top. In this part Stripe showed that he really wanted to do what he want and Yellow trying to stop him, didn't work for Stripe leaving Yellow behind and returning to the pillars. While Sripe was away Yellow discovered how she will reach the sky and she turned into a butterfly. After being transformed into a butterfly, Yellow showed Stripe her cocoon and Stipe became a butterfly too.
this Story only shows us in real life we have a goal, and whatever goal we have in life, when we reach it we do not become satisfied and seek another one.
Stripe on the other hand want to be at the top of the pillar but after reaching and discovering what is on the top, he became disappointed.
the story really show characterization of a territorialism theory in the role of Stripe and Yellow. They didn't stop searching until they found out want they wanted to be. They didn't stop until they've reached their goal.
The story Hope for the flower is simple but after reading it you can find a very bountiful meaning of life.
