cultural criticism

CULTURAL CRITICISM

•  The practice of describing, interpreting and evaluating culture.
• Cultural criticism makes the term culture refer to popular and classic culture. It breaks down the boundary between high and low culture, and discovers the political reason why a cultural product is more valued than others.

THE GIFT OF MAGI - William Sydney Porter a.k.a O. Henry 

 

Mr. James Dillingham Young ("Jim") and his wife, Della, are a couple living in a modest flat. They each have only one possession in which they take pride: Della's beautiful long, flowing hair, almost to her knees and Jim's shiny gold watch, which had belonged to his father and grandfather.
On Christmas Eve, with only $1.87 in hand, and desperate to find a gift for Jim, Della sells her hair for $20, and eventually finds a platinum fob chain for Jim's watch for $21. She found the perfect gift at last and runs home and begins to prepare dinner.
When Jim comes home, he looks at Della with a strange expression. Della then admits to Jim that she sold her hair to buy him his present. Jim gives Della her present — an assortment of expensive hair accessories (referred to as “The Combs”), useless now that her hair is short. Della then shows Jim the chain she bought for him, to which Jim says he sold his watch to get the money to buy her combs. Although Jim and Della are now left with gifts that neither one can use, they realize how far they are willing to go to show their love for each other, and how priceless their love really is.
The story ends with the narrator comparing the pair's mutually sacrificial gifts of love with those of the Biblical Magi:

The magi, as you know, were wise men – wonderfully wise men – who brought gifts to the new-born King of the Jews in the manger. They invented the art of giving Christmas presents. Being wise, their gifts were no doubt wise ones, possibly bearing the privilege of exchange in case of duplication. And here I have lamely related to you the uneventful chronicle of two foolish children in a flat who most unwisely sacrificed for each other the greatest treasures of their house. But in a last word to the wise of these days let it be said that of all who give gifts these two were the wisest. Of all who give and receive gifts, such as they are wisest. Everywhere they are wisest. They are the Magi.

CRITICISM:

This short story by O. Henry showed how Jim and Della love each other very much. They were husband and wife who were referred to as Magi. As we all know the Magi or the "Three wise men"/The three kings were the king who brought Baby Jesus their gifts. They traveled so far and did not think how hard it is to get their but what matter most to them is how they were going to present the gifts to the Babe on the manger.
Somehow, O. Henry connected the two characters as same as the Magi. The story started with describing how poor the couple were and they were both want to give each a decent gifts for Christmas where in the resolution of the story their gifts came to be useless. there is a twist in this story in the end.
So I think the culture that the story is trying to get through us, the readers is that the culture of giving gifts from your hearts to your most love ones, sacrificing everything even your most valuable possessions just to be sure that you would have a gift.
Those who give gift are the wisest according above.












 

Neo-classicism

NEO CLASSICISM

• Neoclassicism is a revival of the styles and spirit of classic antiquity inspired directly from the classical period, which coincided and reflected the developments in philosophy and other areas of the Age of Enlightenment, and was initially a reaction against the excesses of the preceding Rococo style. While the movement is often described as the opposed counterpart of Romanticism, this is a great over-simplification that tends not to be sustainable when specific artists or works are considered, the case of the supposed main champion of late Neoclassicism, Ingres, demonstrating this especially well
• Literature during this ere are sophisticated, meaning that there is a beauty in it.

THE HUNCHBACK OF NOTRE DAME - Victor Hugo



The story begins on Epiphany (6 January), 1482, the day of the Feast of Fools in Paris, France. Quasimodo, a deformed hunchback who is the bell-ringer of Notre Dame, is introduced by his crowning as the Pope of Fools.
Esmeralda, a beautiful Gypsy with a kind and generous heart, captures the hearts of many men, including those of Captain Phoebus and Pierre Gringoire, a poor street poet, but especially those of Quasimodo and his adoptive father, Claude Frollo, the Archdeacon of Notre Dame. Frollo is torn between his obsessive love and the rules of the church. He orders Quasimodo to kidnap her, but the hunchback is suddenly captured by Phoebus and his guards who save Esmeralda.
Quasimodo is sentenced to be flogged and turned on the pillory for one hour, followed by another hour's public exposure. He calls for water. Esmeralda, seeing his thirst, offers him a drink. It saves him, and she captures his heart.
Esmeralda is later charged with the attempted murder of Phoebus, whom Frollo actually attempted to kill in jealousy after seeing him about to have sex with Esmeralda, and is tortured and sentenced to death by hanging. As she is being led to the gallows, Quasimodo swings down by the bell rope of Notre Dame and carries her off to the cathedral under the law of sanctuary.
Frollo later informs Pierre Gringoire that the Court of Parliament has voted to remove Esmeralda's right to sanctuary so she can no longer seek shelter in the church and will be taken from the church and killed. Clopin, a street performer, hears the news from Gringoire and rallies the Truands (criminals of Paris) to charge the cathedral and rescue Esmeralda.
When Quasimodo sees the Truands, he assumes they are there to hurt Esmeralda, so he drives them off. Likewise, he thinks the King's men want to rescue her, and tries to help them find her. She is rescued by Frollo and her phony husband Gringoire. But after yet another failed attempt to win her love, Frollo betrays Esmeralda by handing her to the troops and watches while she is being hanged.

When Frollo laughs during Esmeralda's hanging, Quasimodo pushes him from the heights of Notre Dame to his death. Quasimodo then goes to the vaults under the huge Gibbet of Montfaucon, and lies next to Esmeralda's corpse, where it had been unceremoniously thrown after the execution. He stays at Montfaucon, and eventually dies of starvation. About eighteen months later, the tomb is opened, and the skeletons are found. As someone tries to separate them, Quasimodo's bones turn to dust.

CRITICISM:

Why Neo Classicism? Victor Hugo describes the importance of architecture and how it is an indication of society's values and ideals. It is also obvious that Hugo is already recognizing the cultural similarities between the ancient and modern times.
In this novel, we can really appreciate the beauty within it. It is shown from the very beginning of the story.
We can also notice that there are so many values that the story gives us. First the movie tells us that physical appearance of a person is not enough fro judging him what is within him. This shows Quasimodo a bell ringer in the tower of the Notre Dame. The people always say that because of his ugliness he is also evil that is very contradictory what really he is because as the story goes on Quasimodo is indeed a very good an a very loving person. Esmerelda on the other hand is also judge by the people as an evil because she is a gypsy where in fact that like Quasimodo she is loving and kind.
Frollo, despite of his being a monk, practice dark magic and trap Esmeralda by giving her a choice whether she will be hanged or she will say she loves Frollo. In short he is very evil.
And many other characters that show how their appearances is very different from their inner thoughts and characters.
Notre Dame was the first work fictional novel that encompasses the whole life.












 

Moral Criticism

MORAL CRITICISM

•  Judge the value of the literature on its moral lesson or ethical teaching

  A. Literature that that is ethically sound and encourages virtue is praised
  B. Literature that misguides and/or corrupts is condemned.

•  Works that are moral (or literature that attempts to teach and instruct as well as entertain) are often seen in contemporary criticism as didactic. 

 THE ROAD TO EL DORADO (MOVIE)

 

 In Spain 1519, two con artists, Tulio (Kevin Kline) and Miguel (Kenneth Branagh) win a map to the legendary City of Gold, El Dorado, in a rigged gambling match (though ironically they end up winning the map fairly). After being accused of cheating with loaded dice, the two evade capture while being chased by a bull and hide in barrels, which are shortly loaded onto one of the ships to be led by Hernán Cortés (Jim Cummings) to the New World. During the trip, they are caught as stowaways, but manage to break free and take a rowboat with the help of Cortés' horse, Altivo (Frank Welker). They land at an unknown shore at the edge of South America, and Miguel begins to recognize landmarks stated on the map. The map leads them to a totem marker outside of a waterfall where a young woman approaches them, chased by a number of guards. The guards see the image of Tulio and Miguel riding Altivo as the same on the totem, and believing them to be gods, escort them and the woman under the falls and into El Dorado, truly a city made of gold.
Tulio and Miguel are brought to the city's elders, Chief Tannabok (Edward James Olmos) and wicked high priest Tzekel-Kan (Armand Assante). While Tannabok warmly welcomes them to the city, Tzekel-Kan mainly sees them as a way to enhance his own standing. Tzekel-Kan also believes that with the arrival of the gods comes "The Year of the Jaguar", a year in which the city will be purged of all wicked people. Tulio and Miguel begin to argue on what to do. Everyone is convinced they are gods when as a volcano is beginning to erupt, Tulio yells at Miguel to "stop!" and the volcano suddenly stops. After celebrations offered by both Tannabok and Tzekel-Kan, the two are taken to private quarters along with the woman they met earlier, Chel (Rosie Perez), who has seen through their ploy but offers to help maintain it as long as they give her a share of the gold and take her with them when they leave. Tulio tells Tannabok the next day that they are only here for a visit, but will need a boat to leave the city with the gifts the city has showered upon them. Tannabok says it will take them at least three days to construct a vessel to carry both them and the gifts given to them by the people of El Dorado.
Chel encourages Miguel to continue to explore the city, allowing her to become closer to Tulio. When Tzekel-Kan sees Miguel playing a ball game with children, he demands that the gods play against the city's best players. During the match, Tulio and Miguel are clearly over-matched, but Chel replaces the ball with a rolled-up armadillo, allowing the two to cheat and win the game. However, when Tzekel-Kan offers to have the defeated players put to death, Miguel orders him to leave the city. As he is leaving, Tzekel-Kan sees a small cut on Miguel's forehead, and realizes that they are not gods because gods do not bleed. Tzekel-Kan conjures a giant stone jaguar to chase them through the city. Tulio and Miguel manage to outwit the stone jaguar, causing both it and Tzekel-Kan to fall into a giant whirlpool, thought to be the entrance to Xibalba, the spirit world. Tzekel-Kan comes to outside El Dorado, where Cortés and his men are searching for gold. Thinking Cortés is a true god, Tzekel-Kan quickly offers to lead them to El Dorado.
With their boat completed and loaded with treasures, Tulio is ready to leave but Miguel announces that he will be staying because he finds the city peaceful. As Tulio and Chel start to leave, they spot smoke on the horizon, realizing that Cortés and his men are approaching the city with the help from Tzekel-Kan. To protect the city from the Spanish troops, Tulio determines they can use the boat to slam against rock formations under the waterfall path that will cave in and block access to the city. The city residents pull down a large statue to create a wave to propel the boat, but Tulio cannot get the sails up to give the boat enough speed to avoid the statue. Miguel forgoes his chance to stay in the city and jumps into the boat with Altivo to finish hoisting the sails. The boat clears the statue in time, and Tulio's plan is successful; though the boat and its treasures are lost, the entrance to El Dorado is sealed for good. Tulio, Miguel, Chel, and Altivo hide as Tzekel-Kan brings Cortés and his men towards the waterfall. Once Tzekal-Kan finds out that the entrance has been blocked, an angry Cortés takes this as a lie. Cortés and his men then march away with a humiliated Tzekel-Kan in their hands. Tulio, Miguel, and Chel, though disappointed they lost their treasure, take off in a different direction for a new adventure, unaware that Altivo still wears the golden horseshoes he was outfitted with in the city.

 CRITICISM:

This movie somehow could be applied to moral criticism. Though if you watch the entire movie, you may find it fictional and comedic but the movie itself shows morals and values.
First, the two main characters, Tulio and Miguel, that when they arrived at El Dorado, their friendship was tested. Secondly, Tsezel-kan, his implicit characteristic is that he is greedy. though somehow he showed respect to their chief, deep inside he wanted to take revenge and to reign El Dorado so that all the Golds will belong to him. Also in the end of the movie he showed his traitorship to his own people, but eventually failed when the passage to El Dorado was blocked. In the end he was the one who received the punishment from the Spaniards troops.
The Movie, though not very highlighted, somehow wants to give some morals to its viewer.
Like friendship is really tested in times of trouble. This was shown by Tulio and Miguel, in the last part of the movie when Miguel Decided to stay to El Dorado while Tulio, Together with the gold decide to leave the city. But when the sails was blocked Miguel eventually jumps to the boat. Together they successfully blocked the entrance to El Dorado when the Spanish Troops planned to invade it.
And, Bad deeds never Succeeds. this is when Tsezel-Kan tried to betray his city by allowing the Spaniards troops to enter the city. but of course he never knew that the entrance was already blocked.
For me, the movie is entertaining and yet gives moral especially to the young ones.

Post modernism

POST MODERNISM

~ Since individual responses tend to differ from one another and change over time, postmodernist thought is skeptical of explanations that claim to be valid for all human groups, cultures, or times. Instead, it encourages the exploration and comparison of individuals' subjective responses to a given poem, painting, or other cultural product. It examines the role that language, power, and motivation play in the formation of ideas and beliefs. It is skeptical about the accuracy and usefulness of describing people or things in terms of sharply defined either/or categories (male/female, straight/gay, white/black, imperial/colonial). It examines how people's social relationships to one another, such as their relative power or place in a hierarchy, affect how they see the world and how they use their knowledge of it. It emphasizes constructivism, idealism, pluralism, relativism, and scepticism.

PIERRE MENARD, AUTHOR OF THE QUIXOTE - Jorge Luis Borges 

The first part of “Pierre Menard, Author of the Quixote” introduces the reader to both the tone and the narrator, both of which are scholarly. The narrator, a French academic, seeks to correct the erroneous and incomplete catalog of the work of an author named Pierre Menard that had been compiled by a Madame Henri Bachelier. The narrator proceeds to enumerate a list of Menard’s “visible” works, which include poems, a number of scholarly works on philosophical and literary topics, a translation, a catalog preface, and other minor academic works.

The narrator then shifts to his primary topic: Menard’s “subterranean, interminably heroic, and unequalled” work, which the narrator feels is “possibly the most significant of our time.” This work consists of “the ninth and thirty-eighth chapters of Part One of Don Quixote and a fragment of the twenty-second chapter.” Justifying the apparent “absurdity” of this statement, the narrator explains, is the purpose of this “note.” Menard did not want to produce another Don Quixote, but the Don Quixote, the narrator stresses. At first, Menard considered recreating the events, circumstances, and cultural surroundings of Miguel de Cervantes’s life in order to “become” the author and therefore be able to create the Quixote again; later, he abandoned this approach as “too easy.” He decided that to remain Menard and still compose the Quixote would be a more arduous and therefore more rewarding undertaking.

The narrator never explains exactly how Menard succeeds in composing these fragments, and instead analyzes Menard’s text. The narrator quotes at length from a letter of Menard’s in which he explains that he chose theQuixote because, as a Frenchman, the book was not prominent in his literary education. The project of rewriting theQuixote is “considerably more difficult” than was the project of writing the novel in the first place, for in Cervantes’ time the work was “perhaps inevitable,” but in Menard’s time it is ”almost impossible.”

The majority of the last half of the section is taken up with an explanation of why the Menard Quixote is “more subtle than that of Cervantes.” Where Quixote simply “indulges in a rather coarse opposition” between chivalry stories and realistic descriptions of seventeenth-century Spain, Menard sets his story in the distant past, yet avoids describing his fictional setting with trite, stereotypical details of gypsies and the Inquisition. A discourse delivered by Don Quixote holding that arms were superior to letters is explicable in the Cervantes text by the fact that Cervantes himself was a soldier, but in the Menard Quixote the idea is distinctly more subtle and ironic. Cervantes’ meditation on history is mere rhetoric while Menard’s is clearly a reaction to the ideas of William James. The narrator concludes by evaluating the impact of Menard. His Quixote has enriched contemporary literature by its technique of “deliberate anachronism and erroneous attributions,” and the narrator recommends applying Menard’s technique in order to “improve” many classic works of literature.

CRITICISM:

The author here focuses on the works of Pierre Menard, the said so author of the Quixote which is very opposite to the original work of Cervantes. For instance, "indulges in a rather coarse opposition between tales of knighthood and the meager, provincial reality of his country". While Menard writes of the distant past ("the land of Carmen during the century of Lepanto and Lope”), in Cervantes “there are neither bands of Gypsies, conquistadors... nor autos de fe. 

so in short, Pierre Menard here is the cause of the questions, or what the queries of the readers about what really is true about the authorship, interpretations and appropriation.

modernism

MODERNISM

~ they making the old thing new.
characteristic of modernist approach
1. new ideas are entertained
2. real and changing times
- content based ideas
- actual happening that fictional
- application of science
- there should be fact to emphasize the literature

THE SUN ALSO RISES - Ernest Miller Hemingway

The protagonist of The Sun Also Rises is Jake Barnes, an expatriate American journalist living in Paris. Jake suffered a war wound that left him impotent; the nature of his injury is not explicitly described. He is in love with Lady Brett Ashley, a twice-divorced Englishwoman. Brett, with her bobbed hair and numerous love affairs, embodies the new sexual freedom of the 1920s.

Book One is set in the café society of Paris. In the opening scenes, Jake plays tennis with his college friend Robert Cohn, picks up a prostitute (Georgette), and runs into Brett and Count Mippipopolous in a nightclub. Later, Brett tells Jake she loves him, but they both know that they have no chance at a stable relationship.

In Book Two, Jake is joined by Bill Gorton, recently arrived from New York, and Brett's fiancé Mike Campbell, who arrives from Scotland. Jake and Bill travel south and meet Robert Cohn at Bayonne for a fishing trip in the hills northeast of Pamplona. Instead of fishing, Cohn stays in Pamplona to wait for the overdue Brett and Mike. Cohn had an affair with Brett a few weeks earlier and still feels possessive of her despite her engagement to Mike. After Jake and Bill enjoy five days of tranquility fishing the streams near Burguete, they rejoin the group in Pamplona where they begin to drink heavily. Cohn's presence is increasingly resented by the others, who taunt him with anti-semitic remarks. During the fiesta the characters drink, eat, watch the running of the bulls, attend bullfights, and bicker with each other. Jake introduces Brett to the 19-year-old matador Romero at the Hotel Montoya; she is smitten with him and seduces him. The jealous tension among the men builds—Jake, Campbell, Cohn, and Romero each love Brett. Cohn, who had been a champion boxer in college, has fistfights with Jake, Mike, and Romero, whom he beats up. Despite his injuries, Romero continues to perform brilliantly in the bullring.

Book Three shows the characters in the aftermath of the fiesta. Sober again, they leave Pamplona; Bill returns to Paris, Mike stays in Bayonne, and Jake goes to San Sebastián in northeastern Spain. As Jake is about to return to Paris, he receives a telegram from Brett asking for help; she had gone to Madrid with Romero. He finds her there in a cheap hotel, without money, and without Romero. She announces she has decided to go back to Mike. The novel ends with Jake and Brett in a taxi speaking of the things that might have been.

CRITICISM:

the novel "the sun also rises" is a novel of E. Hemingway that is a modernist literature
 the novel is a love story between the protagonist Jake Barnes—a man whose war wound has made him impotent—and the promiscuous divorcée Lady Brett Ashley. Brett's affair with Robert Cohn causes Jake to be upset and break off his friendship with Cohn; her seduction of the 19-year-old Romero causes Jake to lose his good reputation among the Spaniards in Pamplona. 
as we can see,  the characters are based on real people and the action is based on real events. In the novel, Hemingway presents his notion that the generation during those times considered to have been dissolutely damaged by world war 1 was resilient and strong. Additionally, Hemingway also includes the theme of love, death, and the renewal of the nature.

Eco-Criticism

ECO-CRITICISM

~ in this kind of literary piece you can see the relationship within the text that involves materials about environment.

THE PRELUDE - William Wordsworth

The poem begins in his boyhood and continues to 1798. By the latter date, he felt that his formative years had passed, that his poetic powers were mature, and that he was ready to begin constructing the huge parent work. Alternating with his almost religious conviction, there is an unremitting strain of dark doubt through the poem. The poem itself therefore may be considered an attempt to stall for time before going on to what the poet imagined would be far more difficult composition. As he tells the reader repeatedly, his purpose was threefold: to provide a reexamination of his qualifications, to honor Coleridge, and to create an introduction to The Recluse.

It was actually finished in 1805 but was carefully and constantly revised until 1850, when it was published posthumously. It had been remarked that Wordsworth had the good sense to hold back an introductory piece until he was certain that what it was to introduce had some chance of being realized. Moreover, The Prelude contained passages which promised to threaten the sensibilities of others, as well as himself, during the rapidly changing course of events after 1805. The year 1805 is the approximate date of his conversion to a more conservative outlook. However, his later-year recollection was that this change occurred some ten years earlier, and he tries in his revisions to push the date back.

The 1805 original draft was resurrected by Ernest de Selincourt and first published in 1926. A comparison of it with the 1850 (and final) version shows the vast change the work underwent. Some passages in the earlier version do not appear at all in the later; others are altered almost beyond recognition. The 1805 draft contains the clearest statement of Wordsworth's philosophy and is fresher and more vigorously written. The toned-down work as published in 1850 represents the shift of his thought toward conservatism and orthodoxy during the intervening years. The student is likely to find the 1850 version much more accessible for the purpose of reading the whole poem. Yet on the whole, critics tend to prefer the 1805 version when citing actual lines from the poem.

The only action in the entire poem is an action of ideas. Similarly, it would be inaccurate to speak of the poem has having a plot in any standard sense. Its "story" is easily summarized. The poem falls rather naturally into three consecutive sections: Books 1-7 offer a half-literal, half-fanciful description of his boyhood and youthful environment; Book 8 is a kind of reprise. Books 9-11, in a more fluid and narrative style, depict his exciting adventures in France and London. Books 12-14 are mostly metaphysical and are devoted to an attempt at a philosophy of art, with the end of the last book giving a little summary.

Each of these three "sections" corresponds roughly to a phase in Wordsworth's poetic development and to a period in his life. The first dates from the time of his intuitive reliance on nature, when he wrote simple and graceful lyrics. The second represents his days of hope for, and then disappointment with, the Revolution, and his adoption of Godwinian rationalism, during which he wrote the strong and inspiring sonnets and odes. The last coincides with his later years of reaction and orthodoxy, when he wrote dull and proper works such as The Excursion and Ecclesiastical Sonnets. The Prelude is critically central to his life work because it contains passages representing all three styles.

In the last analysis, The Prelude is valuable because it does precisely what its subtitle implies: It describes the creation of a poet, and one who was pivotal in English letters. In fact, The Prelude was so successful in its attempt that there was nothing left to deal with in The Recluse. Wordsworth could reach the high level of abstraction needed for a true philosophical epic only sporadically, in some of the shorter lyrics and odes, and could not sustain the tone.

CRITICISM:

The poem is kind too long that is why I decided to get the summary only.

The Prelude is the poem by William Wordsworth that can be a best example of an eco-criticism piece because it relates the author feeling of the environment.

the poem started by the speaker youth hood. He tells in the poem how he felt every time he sees the nature; the breeze, the green field. we can obviously see that the speaker in the poem reminisce his past or his youth hood, how he felt so happy or comfortable with his surroundings. 

also that he also see the nature as a living things that are very pleasing to the eyes every time they move.

 

postcolonialism

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.