Kon Paano Nag-umpisa Sa Paghambae Ro Mga Filipino
Ni Melchor F. Cichon
June 20, 2011
Pagbuka ku botong kon siin si Malakas ag si Maganda nagtuhaw, mahipos ro kalibutan. Owa’t eabot sa mga huni it kapispisan, ag mga tunog ku mga ayam, kuring, kanding, anwang, baka, kabayo at iba pa nga mga kasapatan, owa gid sanda’t mabatian nga tunog sa andang palibot. Kon may gusto nga hambaeon si Malakas kay Maganda, ginakuhit nana imaw, o kon magsinyas. Kon gusto nana nga magpaeapit si Maganda kana hay ginapaypayan eang nana. Ro mabahoe nga problema ni Malakas ag ni Maganda hay kon matunod eon ro adlaw. Mayad eang kon ugsad ay mahayag ro anda nga palibot.
Sangka agahon nga magaeum ro kaeagitan, nag-agto si Malakas sa Maeara, sangka suba-suba sa Lezo, Aklan. Naglingkod imaw sa sangka tuod nga maeapit sa tubi. Ginpamatyagan nana ro matin-aw ag malinong nga tubi it suba. Ag gulpi nga may nagpuka. Owa magbuhay hay may nagpuka pa gid. Ginsunod nana ro tunog it pagpuka—tsok! Gintandaan nana ra. Sa piniino na hay isugid nana ra sa anang asawa nga si Maganda.
Pagtindog na hay may naghuni nga paka—kla, kla, kla. Mangan-angan hay may nabatian pa imaw nga huni it paka—kla, kala, kla. Ginsunod nana ra sa anang paino-ino. Sa isip na, siguro naga-istoryahanay ro daywang paka. Siguro mana hay baye ag eake rato sanda. Mayad pa mana ro paka naga-estoryahanay, buko’t paris kamon ni Maganda nga gakalablitan o nagasinyas eang.
Pag-abot ni Malakas sa andang eangbon, nagsinggit si Malakas kay Maganda: Kla! Kla!
Nagsabat si Maganda: Kla! Kla!
Rato ro umpisa ku paghambae it mga tawo sa Pilipinas.
Monday, June 20, 2011
Tips in Poetry Writing
Tips in Poetry Writing
By
Melchor F. Cichon
August 14, 2010
Every poet has his own way of writing poems.
I have my way.
Generally before I write a poem, I read. Just anything. But if there is a book of poetry, I pick that up first and read it.
While reading it, most often an idea comes in.
Ideas come in like lightning. If you cannot record it, it will be lost forever.
Or if you can remember it, good.
So what I do is, I always bring a notebook, and a pen or pencil. Once an idea comes into my mind, I write it down.
Usually, this idea becomes the focus of my poem. If more related ideas come in,
I continue my writing until I finish the poem. Otherwise, I just leave it there for future use.
I write my first draft as it comes from my heart. But once I revise it, the writing will now come from my mind. I become the first critic of my work.
And I revise it without mercy.
How many times do I revise my work? I do not know. Perhaps once, perhaps two. Or even more.
If I feel that I have molded it the way I wanted it, then I stop.
How do I know that it has reached the end of it? When I feel that everything
that I hope to put in it is already there.
How do I revise my poem?
Is it wordy? If it is, I trim the adjectives that I believe should not be included in the poem. I prefer more action words. The shorter the sentence the better.
I check the spelling, the grammar, and the words and phrases. The whole sentence.
Is there unity? Is there logic in the arrangement of the stanzas?
Can I be understood? Are there words that are very difficult to understand? If there are, I change that to something that is easily understood.
Like Robert Frost, I prefer to use easy to understand words. Easy they seem to be, but they can evoke layers of meanings.
Let us take this poem:
HAM-AT MADUEOM RO GABII, INAY?
Ni
Melchor F. Cichon
Inay, ham-at madueom ro gabii?
May buean, Toto, ugaling may galipud nga gae-um.
Inay, ham-at madueom ro gabii?
May bombilya ro mga poste't Akelco,
Ugaling may brown-out.
Inay, ham-at madueom ro gabii?
Ginsinindihan ko ro atong kingke,
Ugaling ginapinaeong it hangin.
Inay, ham-at madueom ro gabii?
Toto, matueog ka eon lang
Ay basi hin-aga temprano pa
Magsilak ro adlaw.
Indi, 'Nay ah!
Sindihan ko't uman ro atong kingke.
Here the words are very simple. But is it really easy? Does it evoke other meanings? Does it dig your senses, your feelings, your conscience?
If I find that the word I used is abstract, I try to change it with concrete words—or words that have pictures. Abstract words are words that confuse the reader.
Example, when we say, he is a well-known person, we do not know whether that person is liked or disliked. But if we say that person is famous, he or she is liked and well-known.
Concrete words describe things that people experience with their senses: red, cold, dog. A person can see red, feel cold, and hear the bark of a dog. This is related to image.
In using images in our poems, we use our five senses: smell (fragrance of a sampaguita), taste (the taste of heaven of durian), touch (soothing touch of mother), feelings (After you left me, a dull pin has been piercing my heart ), hearing (The sound of Jawili falls remind me of you).
Abstract words refer to concepts or feelings, like liberty, happy, love. A person cannot see, touch or taste any of these things. These abstracts words are common in greetings cards. That is the reason why poems in these cards do not reach the textbooks, particularly in anthologies. Many of the words used in greeting cards are clichés. Simply said, generally, texts in greeting cards have no poetic value.
Example: If I used flower, I change it to a specific flower like gumamila or sampaguita or rose. If I use tall, I change it to, say, flagpole so that the reader will have something to compare with it.
Look at these lines:
Good: She fells happy when she sees me.
Better: She jumps when she sees me.
Good: The palm of his hand is coarse.
Better: The palm of his hand is a cactus.
Here are some words that poets should avoid using when writing a poem.
Big, happy, tall, beautiful, great, little.
I also check whether I used a cliché. If I did, then that line should either be revised or be deleted outright. If I cannot create a fresh metaphor for that questionable line, I change the whole sentence.
Cliché is like a rose that has lost its fragrance and beauty.
A cliché is an over-used metaphor like: she is like a red, red rose. Here is a poem which is full of cliches:
Predictable
Poor as a church mouse,
Strong as an ox,
Cute as a button,
Smart as a fox.
Thin as a toothpick,
White as a ghost,
Fit as a fiddle,
Dumb as a post.
Bold as an eagle,
Neat as a pin,
Proud as a peacock,
Ugly as sin.
When people are talking
You know what they’ll say
As soon as they start to use a cliche.
Here are some cliches that poet should avoid:
Being in the same boat
Building bridges
Clasping at straws
Cutting the Gordian knot
Earning brownie points
Getting a feather in their cup
Getting down to brass tracks
Missing by a whisker
Missing the bus
Muddying the water
Not having a crystal ball
I also check whether I used a passive voice. If I did, then I change the sentence into an active one.
Example:
Passive: My first visit to Miagao will always be remembered by me.
Active: I shall always remember my first visit to Miagao.
Many poets have been using poetic devices like assonance, metaphor, simile, irony, and other poetic devices. These devices really create great impression to the readers.
What is assonance?
Assonance is a repetition of vowel sounds within words like: "The rain in Spain stays mainly on the plain."
Or
Naghapay ro baeay ni Inday sa binit it baybay pag-agi ni Moray.
What is metaphor?
A metaphor is a statement that pretends one thing is really something else:
nipa hut--
my castle atop a hill
a witness to my tears
*****by Edna Laurente Faral
Your smile is my sleeping tablet.
What is a simile? It is a statement where you say one object is similar to another object. It uses "like" or "as"
"I knew; the light that lingered in ordinary things
like a spark sheltered under the skin of our days--
The light was you;
It did not come from."
*****From "Her amazement at her only child" by Karol Wojtyla
What is irony? Irony is the use of words to convey the opposite of their literal meanings. It is also a literary style employing such contrasts for humorous or rhetorical effects.
Here is a good example of irony.
BAKIT SI XELA AY NAGDIGHAY PAGKATAPOS MAG-INOM NG COKE?
Ni Alex de Juan
Kanila lang
Puno ng pawis ang tansan
na nagyakap sa bibig ng Coke.
Naghalakhak ang tansan
na gin-aywanan ang bibig ng Coke.
Nagtambad ang kalawang
sa ilalim ng bibig ng Coke.
Gin-inom ni Xela ang Coke.
Si Xela ay nagdighay
pagkatapos mag-inom ng Coke
dahil gusto ng tansan na maulit
ang tunog ng kanyang halaklak
sa paglaho
ng kalawang
sa ilalim ng bibig ng Coke.
Another thing which I check in my poem is the injection of moral lesson. This device has been used in many of the traditional poems. I was once a judge in Hiligaynon poetry contest, and I noticed this mistake in many of the entries. So avoid this, let us leave that giving of moral lesson to the preachers. Our business as a poet is to present what we see, hear, feel, smell, imagine, and dream of. And if possible, inject a little opinion and leave the rest to the readers.
Another technique in creating great poem is by subverting the ordinary:
Subverting is turning upside down. Here is a good example:
crossing a bamboo bridge—
a son holds
his father's arm
*****by Melchor F. Cichon
Using rhyme and rhythm is an effective way of conveying our feelings, but we must be very careful with them. For one, if we will stick to rhyme and rhythm, most of our ideas will be trimmed because we have to suit our words with them. This is the main reason why modern poets are now using free verse.
Using words thy, thyself, and other words common in the 16th century should be avoided, unless of course you want to be associated with William Shakespeare.
Great poems have conflicts, just like in a short story. There must be two opposing forces in the poem.
Let us take this poem:
Ang Matandang Ito
Rio Alma
Hukot
Dahil mabigat ang liwanag.
Mauban
Dahil pinakupas ng liwanag.
Makulubot
Dahil niluto ng liwanag.
Tahimik
Dahil tigib ang bibig ng liwanag.
Here is another one:
Sa Bangketa
Ni Rio Alma
Kalansing ng barya
Sa basyong lata.
Simula ba ito ng kasaysayan
Hinggil sa walang katapusang pag-asa?
O pangwakas na himala?
Another element of a great poem is its universality. The more universal the theme and topic of the poem, the more each individual reader can identify with the poem. You can express individual hurt (or joy), for example, but the reader must be able to see it as his or her hurt (or joy) as well."
Let us take these very short poems:
Old pond
A frog jumps in
A sound of water
—Basho
A LETTER
By Melchor F. Cichon
John,
I will definitely go home
To our house
Where we can see the clouds
Through the roof.
I'm fed up
With the twinkling neon lights,
But I have not yet paid
For the earrings that I got
From Mama San.
I need them so my tinkling
Will be louder and my hips
Will be heavier.
Don't worry, John,
This Christmas
You and I will create a moon
And through the roof
We two alone
Will grasp its light.
Ana
There are some more tips that I can offer.
Some writers are afraid to show their works to other people. That is Ok because they say they write for themselves.
But great poets think otherwise. They show their works to their fellow poets—for comments.
All great poets have written hundred or even thousand of bad poems—poems that use cliches, faulty grammar, etc. But out of these writings, come a great one. And that matters most. And that makes all the difference.
Here is one poem that is included in Sansiglong Mahigit ng Makabagong Tula sa Filipinas, edited by Virgilio S. Almario, 2006.
Owa’t Kaso, Saeamat
Ni Melchor F. Cichon
Owa ako kimo magpangabay
Nga tipigan mo rang maeapad nga handumanan.
Hasayran ko man eagi
Nga ring tagipusuon hay may husto eang nga lugar
Para sa imong mga pagbakho.
Owa ako kimo magpangabay
Nga taguon rang euha agud madumduman.
Hasayran ko man eagi
Nga gusto mo eang magsupsop—
Samtang may ona pa—it duga nga mapuga ko
Sa atong kaeayo.
Owa’t kaso, saeamat,
Paris it pagpasaeamat it eanas sa bulkan
Sa lava nga anang ginabuga.
All great poets have received rejections slips. I have my share.
Rejection slips have many reasons. Our works might not be suited to the editorial policy of the magazine or journals. It could also mean that our works still need revision.
But rejection slips should be appreciated—they are energy for us to cross bridges to write greater poems.
Do you know that two other publishers had turned down the first manuscript of Harry Potter. But now every publisher wants to be the publisher of this series.
There are times when you cannot produce a line for your poem. Do not worry. Ideas come like seasons: rainy season and dry season. And when rainy season comes, try as much as possible to capture in paper those bountiful ideas. And when the dry season comes, just relax. Walk around. Smell the flowers. See a movie. Listen to your favorite radio stations. Read a novel. Or just lie down. And in your relaxation, you will be surprised that you have a new line to work on.
The second to the last tip I can offer is this:
Give a surprise ending:
Here are examples from Aklanon luwa:
Sa ibabaw sang lamesa
May tiki nga nagadupa
Ginpudyot ni Lola
Abi niya ya maskada.
@@
Sa tanan nga bata ni Nanay
Ako ang labing ma-isog
Kulas-kulas sa dapog
Una ako nanaog.
@@@
May manok akong bukay,
Ginbueang ko sa Ibajay;
Nagdaug pero patay.
Ginsumsuman ni Nanay.
The last tip is: Revise, revise and revise your work until you are satisfied.
By
Melchor F. Cichon
August 14, 2010
Every poet has his own way of writing poems.
I have my way.
Generally before I write a poem, I read. Just anything. But if there is a book of poetry, I pick that up first and read it.
While reading it, most often an idea comes in.
Ideas come in like lightning. If you cannot record it, it will be lost forever.
Or if you can remember it, good.
So what I do is, I always bring a notebook, and a pen or pencil. Once an idea comes into my mind, I write it down.
Usually, this idea becomes the focus of my poem. If more related ideas come in,
I continue my writing until I finish the poem. Otherwise, I just leave it there for future use.
I write my first draft as it comes from my heart. But once I revise it, the writing will now come from my mind. I become the first critic of my work.
And I revise it without mercy.
How many times do I revise my work? I do not know. Perhaps once, perhaps two. Or even more.
If I feel that I have molded it the way I wanted it, then I stop.
How do I know that it has reached the end of it? When I feel that everything
that I hope to put in it is already there.
How do I revise my poem?
Is it wordy? If it is, I trim the adjectives that I believe should not be included in the poem. I prefer more action words. The shorter the sentence the better.
I check the spelling, the grammar, and the words and phrases. The whole sentence.
Is there unity? Is there logic in the arrangement of the stanzas?
Can I be understood? Are there words that are very difficult to understand? If there are, I change that to something that is easily understood.
Like Robert Frost, I prefer to use easy to understand words. Easy they seem to be, but they can evoke layers of meanings.
Let us take this poem:
HAM-AT MADUEOM RO GABII, INAY?
Ni
Melchor F. Cichon
Inay, ham-at madueom ro gabii?
May buean, Toto, ugaling may galipud nga gae-um.
Inay, ham-at madueom ro gabii?
May bombilya ro mga poste't Akelco,
Ugaling may brown-out.
Inay, ham-at madueom ro gabii?
Ginsinindihan ko ro atong kingke,
Ugaling ginapinaeong it hangin.
Inay, ham-at madueom ro gabii?
Toto, matueog ka eon lang
Ay basi hin-aga temprano pa
Magsilak ro adlaw.
Indi, 'Nay ah!
Sindihan ko't uman ro atong kingke.
Here the words are very simple. But is it really easy? Does it evoke other meanings? Does it dig your senses, your feelings, your conscience?
If I find that the word I used is abstract, I try to change it with concrete words—or words that have pictures. Abstract words are words that confuse the reader.
Example, when we say, he is a well-known person, we do not know whether that person is liked or disliked. But if we say that person is famous, he or she is liked and well-known.
Concrete words describe things that people experience with their senses: red, cold, dog. A person can see red, feel cold, and hear the bark of a dog. This is related to image.
In using images in our poems, we use our five senses: smell (fragrance of a sampaguita), taste (the taste of heaven of durian), touch (soothing touch of mother), feelings (After you left me, a dull pin has been piercing my heart ), hearing (The sound of Jawili falls remind me of you).
Abstract words refer to concepts or feelings, like liberty, happy, love. A person cannot see, touch or taste any of these things. These abstracts words are common in greetings cards. That is the reason why poems in these cards do not reach the textbooks, particularly in anthologies. Many of the words used in greeting cards are clichés. Simply said, generally, texts in greeting cards have no poetic value.
Example: If I used flower, I change it to a specific flower like gumamila or sampaguita or rose. If I use tall, I change it to, say, flagpole so that the reader will have something to compare with it.
Look at these lines:
Good: She fells happy when she sees me.
Better: She jumps when she sees me.
Good: The palm of his hand is coarse.
Better: The palm of his hand is a cactus.
Here are some words that poets should avoid using when writing a poem.
Big, happy, tall, beautiful, great, little.
I also check whether I used a cliché. If I did, then that line should either be revised or be deleted outright. If I cannot create a fresh metaphor for that questionable line, I change the whole sentence.
Cliché is like a rose that has lost its fragrance and beauty.
A cliché is an over-used metaphor like: she is like a red, red rose. Here is a poem which is full of cliches:
Predictable
Poor as a church mouse,
Strong as an ox,
Cute as a button,
Smart as a fox.
Thin as a toothpick,
White as a ghost,
Fit as a fiddle,
Dumb as a post.
Bold as an eagle,
Neat as a pin,
Proud as a peacock,
Ugly as sin.
When people are talking
You know what they’ll say
As soon as they start to use a cliche.
Here are some cliches that poet should avoid:
Being in the same boat
Building bridges
Clasping at straws
Cutting the Gordian knot
Earning brownie points
Getting a feather in their cup
Getting down to brass tracks
Missing by a whisker
Missing the bus
Muddying the water
Not having a crystal ball
I also check whether I used a passive voice. If I did, then I change the sentence into an active one.
Example:
Passive: My first visit to Miagao will always be remembered by me.
Active: I shall always remember my first visit to Miagao.
Many poets have been using poetic devices like assonance, metaphor, simile, irony, and other poetic devices. These devices really create great impression to the readers.
What is assonance?
Assonance is a repetition of vowel sounds within words like: "The rain in Spain stays mainly on the plain."
Or
Naghapay ro baeay ni Inday sa binit it baybay pag-agi ni Moray.
What is metaphor?
A metaphor is a statement that pretends one thing is really something else:
nipa hut--
my castle atop a hill
a witness to my tears
*****by Edna Laurente Faral
Your smile is my sleeping tablet.
What is a simile? It is a statement where you say one object is similar to another object. It uses "like" or "as"
"I knew; the light that lingered in ordinary things
like a spark sheltered under the skin of our days--
The light was you;
It did not come from."
*****From "Her amazement at her only child" by Karol Wojtyla
What is irony? Irony is the use of words to convey the opposite of their literal meanings. It is also a literary style employing such contrasts for humorous or rhetorical effects.
Here is a good example of irony.
BAKIT SI XELA AY NAGDIGHAY PAGKATAPOS MAG-INOM NG COKE?
Ni Alex de Juan
Kanila lang
Puno ng pawis ang tansan
na nagyakap sa bibig ng Coke.
Naghalakhak ang tansan
na gin-aywanan ang bibig ng Coke.
Nagtambad ang kalawang
sa ilalim ng bibig ng Coke.
Gin-inom ni Xela ang Coke.
Si Xela ay nagdighay
pagkatapos mag-inom ng Coke
dahil gusto ng tansan na maulit
ang tunog ng kanyang halaklak
sa paglaho
ng kalawang
sa ilalim ng bibig ng Coke.
Another thing which I check in my poem is the injection of moral lesson. This device has been used in many of the traditional poems. I was once a judge in Hiligaynon poetry contest, and I noticed this mistake in many of the entries. So avoid this, let us leave that giving of moral lesson to the preachers. Our business as a poet is to present what we see, hear, feel, smell, imagine, and dream of. And if possible, inject a little opinion and leave the rest to the readers.
Another technique in creating great poem is by subverting the ordinary:
Subverting is turning upside down. Here is a good example:
crossing a bamboo bridge—
a son holds
his father's arm
*****by Melchor F. Cichon
Using rhyme and rhythm is an effective way of conveying our feelings, but we must be very careful with them. For one, if we will stick to rhyme and rhythm, most of our ideas will be trimmed because we have to suit our words with them. This is the main reason why modern poets are now using free verse.
Using words thy, thyself, and other words common in the 16th century should be avoided, unless of course you want to be associated with William Shakespeare.
Great poems have conflicts, just like in a short story. There must be two opposing forces in the poem.
Let us take this poem:
Ang Matandang Ito
Rio Alma
Hukot
Dahil mabigat ang liwanag.
Mauban
Dahil pinakupas ng liwanag.
Makulubot
Dahil niluto ng liwanag.
Tahimik
Dahil tigib ang bibig ng liwanag.
Here is another one:
Sa Bangketa
Ni Rio Alma
Kalansing ng barya
Sa basyong lata.
Simula ba ito ng kasaysayan
Hinggil sa walang katapusang pag-asa?
O pangwakas na himala?
Another element of a great poem is its universality. The more universal the theme and topic of the poem, the more each individual reader can identify with the poem. You can express individual hurt (or joy), for example, but the reader must be able to see it as his or her hurt (or joy) as well."
Let us take these very short poems:
Old pond
A frog jumps in
A sound of water
—Basho
A LETTER
By Melchor F. Cichon
John,
I will definitely go home
To our house
Where we can see the clouds
Through the roof.
I'm fed up
With the twinkling neon lights,
But I have not yet paid
For the earrings that I got
From Mama San.
I need them so my tinkling
Will be louder and my hips
Will be heavier.
Don't worry, John,
This Christmas
You and I will create a moon
And through the roof
We two alone
Will grasp its light.
Ana
There are some more tips that I can offer.
Some writers are afraid to show their works to other people. That is Ok because they say they write for themselves.
But great poets think otherwise. They show their works to their fellow poets—for comments.
All great poets have written hundred or even thousand of bad poems—poems that use cliches, faulty grammar, etc. But out of these writings, come a great one. And that matters most. And that makes all the difference.
Here is one poem that is included in Sansiglong Mahigit ng Makabagong Tula sa Filipinas, edited by Virgilio S. Almario, 2006.
Owa’t Kaso, Saeamat
Ni Melchor F. Cichon
Owa ako kimo magpangabay
Nga tipigan mo rang maeapad nga handumanan.
Hasayran ko man eagi
Nga ring tagipusuon hay may husto eang nga lugar
Para sa imong mga pagbakho.
Owa ako kimo magpangabay
Nga taguon rang euha agud madumduman.
Hasayran ko man eagi
Nga gusto mo eang magsupsop—
Samtang may ona pa—it duga nga mapuga ko
Sa atong kaeayo.
Owa’t kaso, saeamat,
Paris it pagpasaeamat it eanas sa bulkan
Sa lava nga anang ginabuga.
All great poets have received rejections slips. I have my share.
Rejection slips have many reasons. Our works might not be suited to the editorial policy of the magazine or journals. It could also mean that our works still need revision.
But rejection slips should be appreciated—they are energy for us to cross bridges to write greater poems.
Do you know that two other publishers had turned down the first manuscript of Harry Potter. But now every publisher wants to be the publisher of this series.
There are times when you cannot produce a line for your poem. Do not worry. Ideas come like seasons: rainy season and dry season. And when rainy season comes, try as much as possible to capture in paper those bountiful ideas. And when the dry season comes, just relax. Walk around. Smell the flowers. See a movie. Listen to your favorite radio stations. Read a novel. Or just lie down. And in your relaxation, you will be surprised that you have a new line to work on.
The second to the last tip I can offer is this:
Give a surprise ending:
Here are examples from Aklanon luwa:
Sa ibabaw sang lamesa
May tiki nga nagadupa
Ginpudyot ni Lola
Abi niya ya maskada.
@@
Sa tanan nga bata ni Nanay
Ako ang labing ma-isog
Kulas-kulas sa dapog
Una ako nanaog.
@@@
May manok akong bukay,
Ginbueang ko sa Ibajay;
Nagdaug pero patay.
Ginsumsuman ni Nanay.
The last tip is: Revise, revise and revise your work until you are satisfied.
Tuesday, June 14, 2011
Si Malakas ag Si Maganda
Si Malakas ag Si Maganda
Gin-Inakeanon ni Melchor F. Cichon
June 14, 2011
Kato anay, may eawod eang, ag eangit, ag hangin. Ro Diosa it Eawod ag ro Dios it Eangit hay magkaaway ag nag-ilinaway sa sueod it pilang siglo. Ginhaboy ku Dios it Eangit ro eawod it kidlat, ag daeagko nga mga dalipi, samtang ro Diosa it Eawod hay ginabanayo it humbak ag nagaalimpuyo nga hangin ro eangit.
Ro mapasinsiyuso nga Dios it Hangin hay ginaoy sa owa’t pahuway nga ilinaway. Nagpakuno-kuno imaw nga mabahoe ag gwapahon nga pispis ag gintabo ro Diosa it Eawod ag ro Dios it Eangit agod mag-amiguhay sandang daywa. Sa ulihi naglamano ro daywa sa tinaipan—kon siin ro eawod ag ro eangit hay nagatabu. Sa ulihi sanday hay nagmahaean. May maisot nga binhi nga tumubo, ag gintanum ra sa sangkamanami nga dalipi nga kato hay ginhaboy ku Dios it Eangit sa eawod. Sa binhi ngara nagtobo ro sangka botong.
Ro pispis nga nagdaea it kalinugan hay nagtugpo agod magpahuway sa sangka dalipi ag hakita ro gatubo nga botong. Sa anang kangawa, tinuka na ra ag nagtunga ro botong. May nagguwa nga sangka eaki ag sangka baye sa kadatunga it botong.
Ro eaki hay gintawag nga si Malakas ag ro baye hay gintawag nga si Maganda. Ag nagkapamilya sanda ag nagkaunga, ag nagkainapo. Ro mga henerasyon hay nag-eapnaag sa nilibong dalipi ag tinawag nga Pilipinas.
Source: http://www.filipinoplanet.com/filipino-legends.html
Retrieved: June 14, 2011
Gin-Inakeanon ni Melchor F. Cichon
June 14, 2011
Kato anay, may eawod eang, ag eangit, ag hangin. Ro Diosa it Eawod ag ro Dios it Eangit hay magkaaway ag nag-ilinaway sa sueod it pilang siglo. Ginhaboy ku Dios it Eangit ro eawod it kidlat, ag daeagko nga mga dalipi, samtang ro Diosa it Eawod hay ginabanayo it humbak ag nagaalimpuyo nga hangin ro eangit.
Ro mapasinsiyuso nga Dios it Hangin hay ginaoy sa owa’t pahuway nga ilinaway. Nagpakuno-kuno imaw nga mabahoe ag gwapahon nga pispis ag gintabo ro Diosa it Eawod ag ro Dios it Eangit agod mag-amiguhay sandang daywa. Sa ulihi naglamano ro daywa sa tinaipan—kon siin ro eawod ag ro eangit hay nagatabu. Sa ulihi sanday hay nagmahaean. May maisot nga binhi nga tumubo, ag gintanum ra sa sangkamanami nga dalipi nga kato hay ginhaboy ku Dios it Eangit sa eawod. Sa binhi ngara nagtobo ro sangka botong.
Ro pispis nga nagdaea it kalinugan hay nagtugpo agod magpahuway sa sangka dalipi ag hakita ro gatubo nga botong. Sa anang kangawa, tinuka na ra ag nagtunga ro botong. May nagguwa nga sangka eaki ag sangka baye sa kadatunga it botong.
Ro eaki hay gintawag nga si Malakas ag ro baye hay gintawag nga si Maganda. Ag nagkapamilya sanda ag nagkaunga, ag nagkainapo. Ro mga henerasyon hay nag-eapnaag sa nilibong dalipi ag tinawag nga Pilipinas.
Source: http://www.filipinoplanet.com/filipino-legends.html
Retrieved: June 14, 2011
Saturday, June 11, 2011
Ro Ginhalinan It Dama De Noche
Ro Ginhalinan It Dama De Noche
Gin-Inakeanon ni Melchor F. Cichon
June 12, 2011
Kato, ro mga maintok nga kaharian hay ginadumaeahan it datu ag sultan. Sanda hay ginarespeto ag ginasilbihan ku andang mga sinakupan. Ginasunod nanda ro tanan nga andang gusto. Makapili sanda it baye nga gusto nanda nga pangasaw-on.
Makara ro sitwasyon ni Datu Makisig. Bata pa imaw ag makusog, imaw ra nga abong mga daeaga nga unga it magueang nga datu ag sultan sa kaeapit nga kaharian nga naghandum nga magkabana kana. Galing owa't napili kanda si Datu Makisig.
Ona bis, sa pagbisita ni Datu Makisig sa maeayong lugar nga nasakup ku anang kaharina hay hakita nana si Dama, daeagang pobre pero gwapahon. Gin-amia ni Datu Makisig ro daeaga ag ro anang mga magueang. Owa magbuhay, nagpakasae sanda. Nagmayad nga asawa si Dama. Nagmanami ro palasyo ku maisot nga kaharian ni Datu Makisig. Permi eon ra nga limpyo ag matipid. Ginbutangan ra it mga puni. Mga saboruso ro mga pagkaon nga ginaeaha ni Dama para kay Datu Makisig ag sa anang mga bisita. Ginawisikan nana it pahumot ro andang sueod agod mahamuok ro andang pagtueog.
Pila man nga dag-on ro mayad nga pag-imaw ni Datu Makisig ag ni Dama. Ugaling owa sanda't unga. Raya ro rason sa pagbag-o ku datu. May mga oras owa gauli kon gabii ro datu ag ow eon nana ginakaon ro eaha ni Dama. Kon amat eon lang nana ginahala ra asawa.
Nagmas-ot ra buto si Dama sa pagbag-o ku anang bana. Pero ginpanami pa gid man ginahapon ro anang pagsilbi sa anang banang datu. May mga gabii nga owa imaw gaihapon ag owa man gakatueog sa paghueat kay datu Makisig. Bangod kara nag-euya ro eawas ni Dama hasta imaw nagmasakit.
Sangka gabii, nag-uli si Datu Makisig. Paris katu, naham-utan nana ro kahumot sa andang sueod ugaling naga-eubog sa sakit si Dama.
"Mahae nga Datu, maiwat ro mahae nga reyna," hambae ku albularyo nga sa binit it maysakit nga si Dama.
Naeuoy si Datu Makisig sa maiwat ngana nga aswa. Sinapnay nana ag hinaruan ra asawa ag nangayo it pasinsiya. Nagmukeat ro mata ni Dama, kumupkop sa datu nga may hiyum-hiyum ra bibig sa paghambae: "saeamat sa pag-abot mo. Mahae kita. gusto ko nga pagsilbihan ka pa. ugaling ginabawi eon ako't Ginuo. Mapanaw eon ako mahae kong Datu."
Nag-eaeaw ro maisot nga kaharian it datu sa pagkamatay ku mahae nga reyna. Nagnuoe si Datu Makisig. Ro masubong datu hay nakakiita it maisot nga hailamon sa eueobngan ni Dama. gin-alila ra nana't mayad ag nagpangabay sa Diyos nga himuon nga perming berde rayang tanum sa eueobngan ni Dama.
Nagtaliwan ro abong adlaw. Nagbahoe ag nagtambok ro hilamon ng gina-atinder ni Datu Makisig. Ag umabot ro adlaw nga nagsukoe ro tanum.
"Berde ro mga bueak," hambae ku datu. "Ginpamatian gid man ku Diyos rang pangabay. Saeamat sa gintao ninyo nga handuman kakon ni Dama."
http://kapitbisig.com/philippines/tagalog-version-of-legends-mga-alamat-ang-alamat-ng-dama-de-noche.584/page/0/1
Retrieved: June 12, 2011
Gin-Inakeanon ni Melchor F. Cichon
June 12, 2011
Kato, ro mga maintok nga kaharian hay ginadumaeahan it datu ag sultan. Sanda hay ginarespeto ag ginasilbihan ku andang mga sinakupan. Ginasunod nanda ro tanan nga andang gusto. Makapili sanda it baye nga gusto nanda nga pangasaw-on.
Makara ro sitwasyon ni Datu Makisig. Bata pa imaw ag makusog, imaw ra nga abong mga daeaga nga unga it magueang nga datu ag sultan sa kaeapit nga kaharian nga naghandum nga magkabana kana. Galing owa't napili kanda si Datu Makisig.
Ona bis, sa pagbisita ni Datu Makisig sa maeayong lugar nga nasakup ku anang kaharina hay hakita nana si Dama, daeagang pobre pero gwapahon. Gin-amia ni Datu Makisig ro daeaga ag ro anang mga magueang. Owa magbuhay, nagpakasae sanda. Nagmayad nga asawa si Dama. Nagmanami ro palasyo ku maisot nga kaharian ni Datu Makisig. Permi eon ra nga limpyo ag matipid. Ginbutangan ra it mga puni. Mga saboruso ro mga pagkaon nga ginaeaha ni Dama para kay Datu Makisig ag sa anang mga bisita. Ginawisikan nana it pahumot ro andang sueod agod mahamuok ro andang pagtueog.
Pila man nga dag-on ro mayad nga pag-imaw ni Datu Makisig ag ni Dama. Ugaling owa sanda't unga. Raya ro rason sa pagbag-o ku datu. May mga oras owa gauli kon gabii ro datu ag ow eon nana ginakaon ro eaha ni Dama. Kon amat eon lang nana ginahala ra asawa.
Nagmas-ot ra buto si Dama sa pagbag-o ku anang bana. Pero ginpanami pa gid man ginahapon ro anang pagsilbi sa anang banang datu. May mga gabii nga owa imaw gaihapon ag owa man gakatueog sa paghueat kay datu Makisig. Bangod kara nag-euya ro eawas ni Dama hasta imaw nagmasakit.
Sangka gabii, nag-uli si Datu Makisig. Paris katu, naham-utan nana ro kahumot sa andang sueod ugaling naga-eubog sa sakit si Dama.
"Mahae nga Datu, maiwat ro mahae nga reyna," hambae ku albularyo nga sa binit it maysakit nga si Dama.
Naeuoy si Datu Makisig sa maiwat ngana nga aswa. Sinapnay nana ag hinaruan ra asawa ag nangayo it pasinsiya. Nagmukeat ro mata ni Dama, kumupkop sa datu nga may hiyum-hiyum ra bibig sa paghambae: "saeamat sa pag-abot mo. Mahae kita. gusto ko nga pagsilbihan ka pa. ugaling ginabawi eon ako't Ginuo. Mapanaw eon ako mahae kong Datu."
Nag-eaeaw ro maisot nga kaharian it datu sa pagkamatay ku mahae nga reyna. Nagnuoe si Datu Makisig. Ro masubong datu hay nakakiita it maisot nga hailamon sa eueobngan ni Dama. gin-alila ra nana't mayad ag nagpangabay sa Diyos nga himuon nga perming berde rayang tanum sa eueobngan ni Dama.
Nagtaliwan ro abong adlaw. Nagbahoe ag nagtambok ro hilamon ng gina-atinder ni Datu Makisig. Ag umabot ro adlaw nga nagsukoe ro tanum.
"Berde ro mga bueak," hambae ku datu. "Ginpamatian gid man ku Diyos rang pangabay. Saeamat sa gintao ninyo nga handuman kakon ni Dama."
http://kapitbisig.com/philippines/tagalog-version-of-legends-mga-alamat-ang-alamat-ng-dama-de-noche.584/page/0/1
Retrieved: June 12, 2011
Ro mga Ginhalinan
Ro Ginhalinan it Kalibutan
Gin-Inakeanon ni Melchor F. Cichon
June 9, 2011
Kato anay hay may eangit ag dagat eang. Ro diyos it eangit hay si Kaptan. Ro diyos it dagat hay si Magwayen. May unga si Kaptan. Ra eangan hay si Lihangin. May unga man si Magwayen nga si Lidagat. Ginpakasae nanda ro andang mga unga. Nag-unga ro mag-asawa’t ap-at nga mga eaki. Ro andang mga pangaean hay si Likalibutan, Ladlaw, Libulan ag si Lisuga.
Pagbahoe ku mga unga hay ginhandum ni Likabutan nga mangin hari it kalibutan. Nakumbinsi nana si Ladlaw ag si Libutan nga saeakayon ro kaeangitan.
Gangitngit si Kaptan sa kaakig pagkasyod nana ro gin-obra ku tatlo. Binuhian nana ro mga daeogdog ag gin-eampos ra sa magmaeanghod. Nagbilog nga paris it bola sanday Libutan ag nag-eapnaag sa kaeangitan.
Umabot si Lisuga ag gin-usoy ra mga igmanghod. Nag-agtu imaw sa eangit. Akig pa gihapon si Kaptan busa pati si Lisuga hay nabunaean man nana it daeogdog. Nagtunga ro eawas ni Lisuga ag umagpak sa ibabaw it mga nagkaeatuktok nga easwas ni Likalibutan.
Nagtaliwan ro mga dinag-on pati ro kaakig ni Kaptan. Busa binanhaw nana it uman ro ana nga ginpangbakoe. Si Ladlaw hay inobrang Adlaw ag si Libulan hay nahimong Buean. Si Likalibutan hay tinubuan it mga hilamon ag nahimo nga kalibutan. Si Libulan ro ginhalinan ku primero nga baye ag eaki nga gintawag nga si Lalak ag si Babay.
Source: Source: http://kapitbisig.com/philippines/tagalog-version-of-legends-mga-alamat-ang-alamat-ng-daigdig.213. Retrieved: June 8, 2011
*************
Ro Ginhalinan it Adlaw ag Gabii
Gin-Inakeanon ni Melchor F. Cichon
June 7, 2011
Kato anay, permi eang nga mahayag ag owa’t ka dueom ro kalibutan bangud si Adlaw ag si Buean hay malipayon sa andang pagpangabuhi. Dagaya ro andang mga unga. Ro andang mga unga hay mga bituon ag nagaeapnaag ra sa kaeangitan. Amo ra nga mahayag ro kaeangitan.
Sangka adlaw, nag-away ro mag-asawa hasta umabot ro tiyempo nga nagbueag sanda. Ginpapili ro mga unga kon kanyo sanda mamunot. Bangod mabuot ro andang nanay, nagdesider ro mga unga nga magsunod sa andang nanay.
Halin kato, si Adlaw eon lang nga isaea ro nagatao it kahayag kon adlaw, ag kon gabii nga madueom hay si Buean ag ro andang mga unga eon lang ro nagatao it kahayag sa kaeangitan.
Source: http://kapitbisig.com/philippines/tagalog-version-of-legends-mga-alamat-ang-alamat-ng-araw-at-gabi.132
Gin-Inakeanon ni Melchor F. Cichon
June 9, 2011
Kato anay hay may eangit ag dagat eang. Ro diyos it eangit hay si Kaptan. Ro diyos it dagat hay si Magwayen. May unga si Kaptan. Ra eangan hay si Lihangin. May unga man si Magwayen nga si Lidagat. Ginpakasae nanda ro andang mga unga. Nag-unga ro mag-asawa’t ap-at nga mga eaki. Ro andang mga pangaean hay si Likalibutan, Ladlaw, Libulan ag si Lisuga.
Pagbahoe ku mga unga hay ginhandum ni Likabutan nga mangin hari it kalibutan. Nakumbinsi nana si Ladlaw ag si Libutan nga saeakayon ro kaeangitan.
Gangitngit si Kaptan sa kaakig pagkasyod nana ro gin-obra ku tatlo. Binuhian nana ro mga daeogdog ag gin-eampos ra sa magmaeanghod. Nagbilog nga paris it bola sanday Libutan ag nag-eapnaag sa kaeangitan.
Umabot si Lisuga ag gin-usoy ra mga igmanghod. Nag-agtu imaw sa eangit. Akig pa gihapon si Kaptan busa pati si Lisuga hay nabunaean man nana it daeogdog. Nagtunga ro eawas ni Lisuga ag umagpak sa ibabaw it mga nagkaeatuktok nga easwas ni Likalibutan.
Nagtaliwan ro mga dinag-on pati ro kaakig ni Kaptan. Busa binanhaw nana it uman ro ana nga ginpangbakoe. Si Ladlaw hay inobrang Adlaw ag si Libulan hay nahimong Buean. Si Likalibutan hay tinubuan it mga hilamon ag nahimo nga kalibutan. Si Libulan ro ginhalinan ku primero nga baye ag eaki nga gintawag nga si Lalak ag si Babay.
Source: Source: http://kapitbisig.com/philippines/tagalog-version-of-legends-mga-alamat-ang-alamat-ng-daigdig.213. Retrieved: June 8, 2011
*************
Ro Ginhalinan it Adlaw ag Gabii
Gin-Inakeanon ni Melchor F. Cichon
June 7, 2011
Kato anay, permi eang nga mahayag ag owa’t ka dueom ro kalibutan bangud si Adlaw ag si Buean hay malipayon sa andang pagpangabuhi. Dagaya ro andang mga unga. Ro andang mga unga hay mga bituon ag nagaeapnaag ra sa kaeangitan. Amo ra nga mahayag ro kaeangitan.
Sangka adlaw, nag-away ro mag-asawa hasta umabot ro tiyempo nga nagbueag sanda. Ginpapili ro mga unga kon kanyo sanda mamunot. Bangod mabuot ro andang nanay, nagdesider ro mga unga nga magsunod sa andang nanay.
Halin kato, si Adlaw eon lang nga isaea ro nagatao it kahayag kon adlaw, ag kon gabii nga madueom hay si Buean ag ro andang mga unga eon lang ro nagatao it kahayag sa kaeangitan.
Source: http://kapitbisig.com/philippines/tagalog-version-of-legends-mga-alamat-ang-alamat-ng-araw-at-gabi.132
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