'Toy napigket nga daga
Pitpitenmi nga umuna
Danggayanmi't kankanta
Takkiagmi a napigsa
Kettang ken bannogmi
dikam igingina
Mannamili
Ilokano Folk Song
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llokano Women and Ilokano
Literature: Initial Attempts at a Literary History of Ilokano Women Writing in Ilokano Estrella O. Soria. Ed.D, with Romulo G. Basuel, and Marcelino C. Soria Department of Education-Ilocos Sur |
Introduction
This work presents a feature of famous Ilokano women writers in the Ilokano language across history. In the feature, their masterpieces are presented and an expose of their craft mirroring the mind and soul of the Ilokano is presented.
In the literary history of the Ilokanos—and perhaps Filipinos—Leona Florentino stands out. According to Gregorio F. Zaide, “The poems of Leona were characterized by their elegance of expression. In limpid, lyrical verses she sang the customs and traditions of her race…” In a way, we can say that Florentino inspired the class of Pacita Saludes, Onofrecia Ibarra, Maria Quigao, Ruperta Asuncion, Virginia Duldulao, and many other Ilokano women to write in their own mother tongue and sustain their writing with fervor and intensity.
Literature mirrors the sentiments and aspirations, joys and sorrows, triumphs and defeats, and success and despair of the people at a certain point in time. Culture and heritage, values and traditions of the people pulsate between and beyond the lines.
This paper presents how Ilokano women writers in the Ilokano language in the past and at present, brought to the fore the Ilokano culture, through their writings. In analyzing the works of these women, we will attempt to surface the sentiments and aspirations, joys and sorrows, triumphs and defeat, and the successes and despair that are reflected in their works. They try to identify how these build on a culture unique to that of Ilokanos, and yet a culture just the same that intersects with the larger Philippine community.
We are premising our analysis on one accepted and acknowledged prejudice: that women are destined to perpetuate and nurture the human race by virtue of their biological make-up. By this assertion, we hold that women, women writers in particular, are also destined to perpetuate and nurture culture – the heart and soul of the race by the the power of their poetic sensibilities, and thus, by their poetic works. We hold here what Salvador Lopez has written in Literature and Society about the link between literature and society—and we say, in application, Ilokano society and culture: “the content, the ideas and faith and some of the cultural values of a language, as well as its form, can take root and become part of the authentic heritage of other people.”
The researchers listed the different writers of the different eras in accord with the national history of the country: Spanish Period (prior to 1900), American Period (1900-946), after Philippine Independence (1947-1971) and Contemporary Period (1972-to date).
Through a thorough research on the women writers of different age brackets at different periods in history and socio-cultural, economic, educational and political backgrounds, the researchers looked into how their writings build on a cultural unique to that of Ilokanos.
The researchers delved into the archives and repositories of the works of writers from the 16th century to the present. Leona Florentino delos Reyes was the first Ilokano woman writer among the Ilocanos whose works broke into print in the 19th century.
The researchers identified the different values of the Ilokanos that emerged from the masterpieces of selected Ilokano women writers writing in Ilokano through qualitative analysis of their works. They identified how their socio-cultural education, economic, and political background affected, influenced, and inspired them.
Spanish Period
The involvement of Ilokano women in Ilokano literature is considered to have started during the time of Leona Florentino herself.
Leona F. Florentino (19 April 1849-4 Oct. 1884) was born in the historic Villa Fernandina, now Vigan, Ilocos Sur, to Don Marcelino Florentino and Dona Isabel Florentino, she was the first Filipino woman poet. Many critics consider her the Sappho of the Philippines. The literary allusion is with reference to Sappho the Greek woman poet.
Although she belonged to a rich and powerful clan, she did not go to college because women then were not encouraged or allowed to acquire higher formal education. She learned to write dramas (sarsuelas) and poems from self-study under the tutorship of her parents and a Filipino priest, Father Evaristo Abaya, from Candon, also in Ilocos Sur, then the parish priest of Villa Fernandina.
Considered one of the geniuses of her race, she could, at age 10, write poetry in Ilokano and speak Spanish fluently. Her poems could have been compiled easily into 10 volumes but many of the original manuscripts were lost. Her extant works, however, are considered priceless treasures for they are now kept in libraries in Paris, London, and Madrid. Many of her works were exhibited at the Exposicion General de Filipinas in Madrid in 1887 and in Exposicion Internationale in Paris in 1889. Some of her poems were included in the Bibliotheque Internationales de Ouevres de Femmes compiled by Andzia Wolzka and published in 1889.
In 1960, Bannawag serialized Leona Florentino’s biography (June-September 1960), written by Placido R. Real, Jr. In 1972, this biography was published into a book by the same author, including some of Florentino’s extant poems.
Married to Elias de los Reyes, she was the mother of another famous Ilokano writer and patriot, Don Isabelo de los Reyes.
Some of her major poems, in Ilokano, are: “Rukruknoy,” “Naangawan a Kablaaw,” “Pannakabalangat Ti Maysa A Balasang Iti Kasangayna, Ruknoy Iti Kaaldawan Ni Castora,” “Nalpay A Namnama, Agpaay Ken Carmen, Daniw A Mairuknoy Iti Agkasangay,” “Asug Ti Maysa A Naapay,” “Namnama A Nakeltay,” “Panagpakada, Sabali A Pannakakeltay Ti Namnama,” “Saibbek,” “Daniw Ti Balasang Nga Insina Ti Kaayan-ayatna,” “Iti Maysa A Balasang A Simmina,” “Ruknoy Ti Kaaldawan Ni Rosa.”
Dona Leona started writing at an early age. Her writings were estimated to be more or less ten volumes poems, drama and comedy. However, only very few of her poems survived the ravages of war and the ages for the next generation to behold. Her poems evoked most profound thoughts and emotions, claimed by scholars to have pioneered lyric verse. The “Namnama a Nakeltay,” written in 1880, is an example:
Ay, gasat ayaunayen aya,
ti banag ni ayat ken tungpalna!
ta laksidem man toy siinanama,
kadagiti ragsakmo ken liwliwa.
Gapuna a di agsarday ti panagsangsangit,
toy pusok agnanayon a sisasaibbek,
gapu amin ken ayat a naidadanes,
a mangted ti nakaro a ladingit.
Takunaynayem kad’ ti siririgat,
a liday toy pusok a sipapasag,
ta kas as-asugen daytoy riknak,
ti naldaang unay kenka a pannakaisinak.
Asiak payen a maikawa,
amangan ta naklaat a naisina;
ta dagiti dungngo nga inruamna,
no itayen ket pusayenna.
Ruam kad’ ita ni dungngo,
saanen ta panangikulbo
ta diak impapan ken impato
nga ayatko piman ti mairubo.
Kas gamut a nabalangatan,
pusok kenka riknak ti kas maawan:
ala P……isun, isunan,
isun ta gulibmo ti innak kapnekan.
Kunak a ta di ka met gawidan,
ta ania kad toy inna kaikarian;
ta uray liwliwa koma nga innak pagragsakan,
anta patayko ket a pakauloyan.
Imbilangko a lawag a naiddep,
wenno an-annayko a naidegdeg;
gibusam laeng ta turdek,
ni patay tangay sikat’ nangted.
Ubbogem pay ti naut-ut-ot
kenka nangnangruna a karo ni tuok,
tangay siwawaknit toy pusok,
ket siraragsak met nga umarakup.
Itan ta sumina ka
“Sadin yanmon?” inoranorasto nga innak kunkuna,
maulilanto metten dagitoy mata;
“Ay awanen di naidumat’ ragsakna!”
Iti lagipmo dikanto idian,
ditoy ili a nakayanakam
nupay ragsakto laeng ti kalak-amam,
dinto koma ipalubos ta gasatmo a didiay pakabatiam.
Luluak met la ti ibuyogko,
a gapu ti leddaang toy puso,
ket sapay koma dayta taknengmo,
dinto rakraken ni limdo.
Agdiosak met ti kumuyog kenka,
iti ipapan mo idiay Abra;
iti lagipmo dikanto koma isina,
kadagiti silaladingit a mamalubos kenka.
Lost Hope (Translation by Lilia Quindoza Santiago)
Ay, what destiny can this be,
Where will this love take me
When you refuse my desire
To love you and be happy.
There is no end to this wailing
My heart cries, ceaselessly
All because of this cursed love
This cause of all grieving.
Heed this suffering
And misery from a heart in pain
Because now I am breathing my last
Because of the sorrow brought
by our parting.
Pity, my poor soul
Who will be divorced
From all the love I know
In just a moment, all will be gone.
I used to be in love
But now, it’s all over.
I never thought this could be
I never thought love could end this way.
Like a maze, so confusing,
My heart is entrapped, and lost
Go, now, P, if this is your wish
Go, I will forever wallow in your cruelty.
I thought I should not stop you
For you are not destined to be here
Even as I thought I can aspire to be happy
It is certain now that I face nothing
But death.
My plight is like a light slowly vanishing
I can no longer bear this suffering
Yet, I bid you let it come to its fullest
Render me, death’s blow.
Let this pain be like a well
That grows deeper and deeper still
Because my heart fully accedes
Embracing all, O so willingly.
Now that you choose to go
At each moment I will ask,
“Where have you gone?”
These eyes shall desperately seek you
“Ay, it shall no longer have
Its reason to be.”
Please do not banish the memory
Of the place where you were born
And raised.
And should you in the future
Be blessed with happiness
Let not your destiny lead you astray.
I offer all my tears now
Because of this grieving within me.
And I hope that what becomes of you
Will never be shaken by fate.
God bless you and farewell
As you depart for Abra
Please always do remember those of us
Who sadly bid you goodbye.
The predominant theme of her writings was on the vagaries and varieties of love: unrequited love, romantic, filial love, and patriotic love.
In her “As-asug ti Maysa a Mapapaay” (“Agonies of One Often Despaired”), the pains and frustrations in her heart beat in every line of her poem that anyone who reads the poem can’t help but empathize with her.
Masnebanak ti nasaem a sasainnek, ay-ayat!
Ta di man la agtanak ti lak-amen a tuok ken rigat
Isuna kadin isunan; ala isunan yantangay daytoy a biag,
Diak duaduaan a suminan itoy bagik a daksanggasat.
Ay, ayat, aya unayen ti sanaang
Ni patay sumken nakalkaldaang
Ta ti mayasa nga agayat a dida pagayatan,
Nakasaksakit nakem no di a maimatangan.
Naranggas dagiti laingmo ken sayaksakmo naulpit,
Nadawel, kitam man toy silaladingit,
Ta maallilaw man dagitoy matak no buybuyaek
Ta ti inanama ken talek isuda kaniak ti namatalged.
Ngem eppes man dagidinga inanama
Ta diak impapas ti kastoy ti tungpalmo,
Tungpal tanem ket itan ti nagbanaganna
Daytoy bagik ta isu ti kaikarianna.
Agonies of One Often Despaired
I am overwhelmed with painful sobs, oh, love!
For the pains and hardships I suffer do not stop
Please stop; do stop because this life
I’m certain will depart from my poor body.
Oh, love, how painful
Death comes grievously
It’s more painful to my mind if they don’t witness.
Your greatness is merciless and your charm cruel,
Destructive, please look at this one grieving,
Deceived are my sense of sight
For hope and trust did assure me.
But empty were those hopes
For I did not perceive it to end like this
Now it has ended to the grave
My body where it is destined.
Although most of her poems spoke of her desperate effort to keep her philandering husband in the fold of their marriage, the ever faithful and forgiving wife in her is mirrored in:
Iti lagipmo dikanto idian
Ditoy Ili a nakayanakam,
Nupay ragsakto laeng ti kalak-amam,
Dinto koma ipalubos ta gasatmo a didiay pakaibatiam.
Luluak met la ti ibuyogko,
A gapu ti leddaang toy puso,
Ket sapay koma dayta taknengmo,
Dinto rakraken ni limdo.
Agdiosak met ti kumuyog kenka,
Iti ipapan mo idiay Abra;
Iti lagipmo dikanto koma isina,
Kadagiti silaladingit a mamalubos kenka.
Please do not banish the memory
Of the place where you were born
And raised.
And should you in the future be blessed
With happiness.
Let not your destiny lead you astray.
I offer all my tears now
Because of this grieving within me.
And I hope that what becomes of you
Will never be shaken by fate.
God bless you and farewell
As you depart for Abra
Please always remember those of us
Who sadly bid you goodbye.
The frail and sickly Leona Florentino was the epitome of inner strength. When she was nearing death, she showed courage to face her Creator, emboldened by the belief of life after death.
Daksanggasat kunak a ta maipusay
Toy naldaang unay a bangkay;
Ngem ni lagip dinto met bumalakday,
Agnanayonto laeng a sitatarabay.
Unfortunate I say for it will die
My very grievous heart;
But my mind will not go astray,
It will guide forever.
Leona’s writings reflected the affluent circle she used to mill around; the birthday parties of Mellang and Castora, and the wedding of her relatives. Always, her poems are replete with filial love and fear of God as seen in the fragments of her poem “Rukruknoy” (“Dedications”).
Dimteng itay, kakabsatko a kaingungotak
Ti aldaw a tinudingan ti Dios a puon ti imbag
Nga inkay panagassawa panagkaysa siaayat
Iti natan-ok a Sakramento inkay inawat.
No ti Apotayo a Dios ta ikkannakayto
Ti bunga ti panagassawayo
Ipakitamto ti dakkel a salukagmo
Iti pannakaaywanda pannakasursuro.
Panunotem nga isuda ti kapatgan a saniata
A mabalin nga iparabur ti Dios kenka
A ragsak ken liwliwam ditoy rabaw ti daga
Nga ingganat’ biagyo sumina.
No ubing da pay a maladaga
Agawaamton nga imaldit ti pusoda
Ti panagayat ken panagbutengda
Iti Apotayo a Dios a namarsua kadakuada.
A while ago, came, my brethren
The day God picked as source of fortune
Your marriage and happy union
In Holy Matrimony which you received.
If our Lord God will give you
Fruits of your marriage
Show your diligence
In caring and teaching them.
Remember they are the most precious gifts
That God can give you
As happiness and comfort on earth
Until your lives depart.
While they are still infants
Hurry in imprinting in their hearts
The love and fear
To our Lord God who created them.
She exudes sense of humor in “Naangawan a Kablaaw,” as she was giving tribute to a spinster on her birthday:
Kas hasmin a nalaylay ti kayarigan
no 28 a tawenen ti magtengan
ket rebbeng unay a pagdanagan
ti umadani a pannakakonsomonan.
Ta uray ania ti aramiden
a mangtukol no agirayen
kakasdinto la nga agtuangen
ta ti lasbangna malaylayen.
You become like a wilted jasmine
When you reach the age of 28
And you must be worried indeed
Of this coming time of aging.
For whatever you do
You cannot stop the bending
Like a flower from falling
Its fragrance vanishing.
…and mischief? … a satirist?
Unget mo met ti pengdam
ta maysa met dayta a pagbaketam
nangruna no innaka taktakawan
ni G. a maragampang.
Ragragsakem la dayta nakemmo
nangruna no makitam ida nga agkarinyo
ni Baket D. kenni M.
ta kasla da tugi iti kabudo.
Avoid being too grumpy, and angry
For you will only grow old and ugly
Even as you know, someone cheats you
Like this one flirt, named G.
Keep your spirits up
Especially when you see
Old fellows like D. and M.
Still cuddling each other like the tugui.
One of the scholars in Philippine literature claimed that Leona Florentino, endowed with a brave nature and aware of the atrocities of the Spaniards at that time against his fellowmen, used her pen to express her love for her country through the following lines:
Gapu a di agsarday ti sangsangit,
Toy pusok agnanayon a sisasaibbek.
Gapu amin ken ayat a naidadanes,
A mangted nakaro a ladingit.
Since weeping does not cease
My heart sobs forever.
All due to love that is expressed,
That gives too much grief
The scholar claimed that Leona referred to “pusok” (heart) as symbol for her countrymen and “ayat” (love) as symbol for freedom.
For all these, Leona Florentino de los Reyes, national poetess of the Philippines, made a great contribution to the development of Ilokano literature, the perpetuation and propagation of Ilokano culture. Above all, she pioneered the way for women toward literary expression and academic freedom.
American Period (1900 – 1946)
Dr. Marcelino Foronda, Jr., in his essay “Dallang: Ilocano Literature,” in Literature and Society: Cross–Cultural Perspective edited by Roger J. Bresnaham, claims that certain American practices and traditions were introduced during the American period. Still, the early American rule discreetly saw to it that literature would not advance the Philippine Independence Movement….” For many reasons including this changed political and governmental environment, there was a dearth of Ilokano women writers during the period. Those who wrote produced quality works.
Ursula Villanueva (21 Oct. 1883 – 9 March 1979) was born in Vigan, Ilocos Sur. Like the daughters of the elite at the turn of 19th century and the early years of the 20th, she was tutored by a daughter of the great Ilokana poetess Leona Florentino. Later on, her frequent trips to Cagayan and Isabela were occasions for her to write poetry.
As a poet, Villanueva favored the sonnet, although she also wrote in other forms. In 1931, her poem “Ti Babai Nga Ilokana’ won first prize in a poetry contest. The poem was recited as a declamation piece that year to honor the queen of the Vigan carnival. It was also acclaimed as one of the finest lyrics in Ilokano poetry.
As a playwright, she wrote some plays (sarsuelas) which were staged during town festivals in the Ilocos. One of her major works was her own version of the epic Biag Ni Lam-ang.
An introvert, she preferred to be alone, disdaining the limelight. She became blind in her twilight years and died a spinster.
Some of her poem, all in Ilokano, are: “Ti Babai Nga Ilocana,” “Pakada ken Rosario,” “Arpad Ti Tanem Ni Ina.”
Below is “Arpad Iti Tanem Ni Ina,” one of those that represent her poetic sensibilities:
O ingungotek nga Ina!
Akoem dagitoy un-unnoyna
Toy ayayatem a bunga…
Ditoy arpadmo gumawgawawa.
Di immuna nga agekmo kaniak,
Di damok a makitat’ lawag;
Ditoy pusok kinupikupak,
Pudo’t sang-awmo a pagbiagak.
Isu laeng ti pamedpedko,
Ditoy siraraba nga iliwko;
Sidadagensen a barukongko,
A di nakananam idta dungngo.
Ina! Ina daytoy biagko!
Sungbatannak; Sadinot yanmo
A yuyeng wenno disso…
Dimo man mangeg toy parawko?
Dimon sa man mangeg,
Ina, dagitoy sasainnek;
Dinak utoyan ipangegmo,
Dayta il-iliwen a timekmo.
Amangan, Ina, ti arpadko
Kadagiti kapadatak kaayayamko;
Adda inada a mangdungdungngo,
Mangibagnos naimbag a sursuro.
Apalak dagiti tumatayab,
Iti tangatang siraragsak,
Apalak dagiti kulibangbang,
Agapappayaw kadagiti rosas.
Dagiti sabsabong iti tanap,
Toy pagelko ayayendak!
Idar-ayda ilingay kaniak,
Ti sayamusomdat’ bigbigat.
Dagiti nalitnaw a baresbes,
Danggayanda toy sasaibbek,
Lamiisdat’ inda ipedped,
Toy wawko iti dayta agek.
Ngem, ay! Dida mapaingga,
Toy limdo apges ken lulua.
Amangan, Ina ti saemna
No sumken toy iliwko kenka.
Inulilanak kadagita dungngo,
Ginudasnak dayta ayatmo…
Naganusak unay nga agtutubo,
Insinanak awan gawayko.
Imbatinak nga agsasaibbek,
Iti katengngaan ti allon ni pait,
Adtoyak piman a naibaet,
Kadagiti mirto ken sipres.
Beside My Mother’s Grave
O my beloved Mother,
Hearken unto the sighs
Of your dear child…
Who by your side cries.
Your first kiss to me,
When first I saw the light,
Have I treasured within my breast,
Warmth of your breath which is my life.
Is it only that which quenches
This intense longing of mine;
My weary and heavy heart
Which knew not yet your love.
Mother! O, Mother of mine!
Answer me: Where are you
Which nook or place…
Can you not hear my weak voice?
Perhaps you can never hear,
My sighs, O, mother of mine.
Hearken unto me and let me hear
Your voice I love so dear.
O, Mother, here in my midst
With my playmates,
They have mothers to love them,
To teach them good manners.
I envy the birds,
Happy as they are in the skies,
I envy the butterflies,
Which hover over the roses.
Flowers of the valley
Soothe me of my pain
They offer me gladness
And their fragrance in the morn.
The crystal-clear streams
Join with these sighs of mine,
With their coldness they quench
My thirst for your kiss.
But, O, they can never cease
My sufferings, bitterness and tears;
O, Mother of mine, how it pains me
When I longingly desire for thee.
You orphaned me of your care,
Took away from me your love…
When I was just a babe,
without strength, from me you went away.
You left me sighing,
Midst the waves of sufferings,
Here, what a pity; am I amidst
Solemn myrtles and tall cypresses.
Enriqueta De Peralta was actively engaged in social work and was head of women’s organization in Ilocos Norte, her province. Her verses were published in Sinamar, Ti Mangyuna, Ti Silaw, Timekmi and other now defunct Ilokano periodicals and magazines.
Enriqueta De Peralta’s “Dardarepdep Ti Ladawan Ti Maysa Nga Ina” which was included in Leon C. Pichay’s Dallang ti Amianan (1934) appears below.
Dardarepdep Iti Ladawan Ti Maysa Nga Ina
(Maisagut iti Aldaw dagiti Inna)
Naminsan a kaltaang ti rabii a naidumat ulimek,
Dagiti tattao, nalabit, addada aminen iti saklolo ni ridep
Immapay kaniak ti maysa a datdatlag a dardarepdep
Wenno parparmata a kas pudno unay a naaramid.
Iti tengnga ti langit kas nagtakder, ket innak naimatangan
Ti nakaskasdaaw a buya ti nangayed unay a ladawan
Ti maysa a naemma a babai a langana’t kapartakan,
Mugingna’t nalawa, kas managpanunot pagimbagan;
Ti kudilna nabessag, ti kudilna kas la naaday
Siisem ti bibigna, ti panagkitat’ matana nalanay
Iti let-ang ti barukogna kas agpatak nga aganninaw
Ti naindaklan a puso nga ayatna ti di agsarday.
Idi apaman a mabigbigko kas man nadagemanak,
Nabibineg ti riknak, ket kas diak ammo ti nagipapanak
Pagammoakon maysa a timek ti kasko naal-lingag,
Ket ti kaipapanan daydi ladawan inna impalawag.
Kinonana:”Dediay daydi babai nga agnanayon a siraragsak,
Idi adda pay laeng nga agdidiaya iti sidong dagiti nagannak,
Ngem itan impusayen ti naisangayan a gasat…
A nangupikop iti panagbiag nga agwaywayas,”
“Daydiay napartak unay a langana inna ipaneknek,
A sisasalukag nga awan narikut, awan alidunget,
Ket ti pannakaaday rupana, gaput bantut ti biag a dumam-it
Ti mugingna itangadna ita, siisem la dediay a bibig.
“Dediay puso a kas agipuspussuak iti apuy a sirarayray,
Kaarig pudot ti ayatna a dinto lumamiis ken makeltay
Nga ipakunnotna iti kaingongotna kalinganlingay
Ken anakna a pagbubusanna’t dungngo di agtel-lay.”
Bimmangonak a siulimek, ket, apaman a nakamurmurayak,
Inusigko a sipapannimid daydi nakaskasdaaw a parparmatak,
Naamirisko ti pannakailadawanna nga awan ket gidiat
Ti
napaypayso nga ina, agraman panagibtorna ken ayat.
Awisenkay ngarud ayayatek nga inanak, nangrunakay nga agtutubo
A mangimaldit iti daydi nainaan a ladawan iti barukongyo
Tapno ti rigat, ayat ken dungngo dagiti naasi a dadakkelyo
Dikayto koma lipatan ti pateg ken sam-itna, uray inton kaano.
Thoughts Before the Portrait Of A Mother
(Dedicated to Mother’s Day)
Once in the middle of a night most serene,
Perhaps all creatures were asleep
Came unto me a most strange dream
An illusion, maybe, yet so seemingly real.
Mid skies, it seemingly stood, and I saw
The strange sight of a most beautiful likeness
A most modest lady, with gracious gait,
Her forehead wide, seemingly deep in thought.
She was pale – so ashenly white
Her lips, smiling; her eyes, mournfully sad
In her breast could almost be seen
A heart most loving, full of care to the brim.
When her I recognized, seemingly was I shocked,
Was I paralyzed and knew not what to do
Then as if I heard some distant voice
Which explained to me the meaning of the dream.
Said the Voice: “There is the lady who always was glad
When still she could lie in her parent’s bosom,
But now strange luck snatched her away…
The fate which rules over independent life.
“That calm repose which she has, means
That she is well, devoid of problems, of pain
And the parlor of her face, due to life’s hardships,
Now she raises her head, a smile yet plays on her lips.
“That heart which seemingly emits intense fire,
Is like the warmth of her love which will never turn cold or die
Which she let her beloved and loved ones taste
And her children on whom she spent unending care.”
Silently, I arose and recovered consciousness,
In deep though, I pondered over my strange dream,
And discovered it showed with no trace of difference
A loving mother with her sufferings and love.
And so I invite you, dear children most especially you, the youth,
To impress the motherly picture in your minds,
So the hardships and love and care of your beloved parents,
You should never forget its value and sweetness.
Both poets spoke of the nostalgic longings for a lost mother at their early years. Didactic poems enjoined the youth not to forget to value the sweetness of mother’s love.
Antonia Marcos Rubio (1890–1944) gained considerable renown as an outstanding Ilokano poetess of her time. Her poems were published in Ilokano magazines and periodicals. She is also known to have partaken in many bukanegans.
Antonia Marcos Rubio’s “Naimnas ti Biag ti Away” (Life in the Farm) was included in Sangareppet a Dandaniw (Parnaso Ilocano) compiled by Mauro A. Peña and Antonio Fogata (1926) described in no plain language the colorful, fruitful and peaceful life in the farm and praised God for the gift of Nature.
Naimnas Ti Biag Ti Away
Agarado, agitukitka kadagiti bukbukel a nadumduma,
Limbangem, suksukayem, palubosam ta ling-et ta siboganna
Ket inton narukbos, narangpayan dagiti inka immula,
Ni asawam agsusuonto iti dapilag ken labba
A mapan agnateng kadagiti naganus a rangaw ken sabongda
Innanto purosen dagiti nalussayat a bungbunga
Ta isuda ti supapak ti kinasam-itna nga asawa.
No bumangonka iti agsapa ket isirpatmo dagiti mata,
Makitam dagiti ruruot a nalasbang, nayaplagda
Bulbulong dagiti mulmula siukrad, sisasalumpayakda,
Iti tanap agbukar dagiti sabsabong no sinamar ti init mariknada,
Siiisemda amin a mangikablaaw iti “talna” ken “kappia”;
No sagidenda dayta pusom, iti Dios agdaydayawka.
Life in the Farm
Plow the fields and different grains you sow,
Let your sweat water them, between rows you plow,
And when your plants bloom and grow,
Your wife, a basket on her head,
Shall gather shoots and flowers,
And ripening fruits pluck,
Proof of her wifely concern.
When in the early morn you awake,
And look at fresh grass carpeting the earth
Leaves of plants open up,
And on the plains flower bloom as sun rays strike them,
All smile to announce calm and peace
When your heart they touch, praise ye Lord.
The Period Since Independence (1947–1971)
So many good poets in Ilokano appeared during this period, that one is almost tempted to call it the beginnings of what could have been a silver age of Ilokano poetry. The same period opened up new avenues for expression for the Ilokano women writing in and from Ilokano.
Luz Flores Bello (born in 1912) gained fame as a radio singer during the infancy of radio in the Philippines. Now actively engaged in managing family business interests like the famous tourist resort Cielito Lindo, and in encouraging the development of Ilokano arts and culture, Mrs. Bello is also one of the most active Ilokano poetesses today. She has written poetry, plays, vignettes and stories in Ilokano. Her poetry and prose have been collected in a volume entitled Pagmurmurayan (Pieces to Shake Off Drowsiness) (no publisher and no date; mimeographed). A composer, her compositions dedicated to President and Madame Ferdinand E. Marcos were played at White House dinner tendered by President and Mrs. Lyndon Johnson for the President and the First Lady during their state visit to the United States in 1966.
Below are samples of her works. Her poem is poignant and yearning for a lost love. Her “Daldallot,” a poem sang by a man and a woman in social gatherings, is an attempt to rediscover folk literacy roots from the remote part.
Ni Lipat
Idi pimmanawka mangrugrugin nga agluom ken lumabbaga
Dagiti bulbulong a nangarkos kadagiti kaykayo ditoy minuyonganta,
Malagipko man unay ita daydi karim idi inka kaniak agpakada
A didanto pay amin makapagregreg, ditoy arpadko nabayagton a nakasublika.
Ket ita agsabong manen dagiti kaykayo tapnon indan agbunga,
Ket dagiti tumatayab manarimaanda nga agaramid kadagiti pagumokanda,
Nakapagsublida aminen ket kas kaniak, sika lat segseggaanda,
Ngem dika metten sumangpet a ta nalabit nalpasen a nakalipatka.
Oblivion
When you went away had they begun to redden and ripen
The leaves which adorned the trees in our garden here,
Your vow when you bade me good-bye do I remember now
That a few leaves would still remain when by my side you’d have returned.
And now trees begin to blossom so they shall bear fruits soon,
And now the birds begin to build their nests, already have they all returned
And like me, anxiously await your coming
But still you haven’t come, perhaps you have forgotten.
Nasamsam-it Ti Matay
(Daldallot)
Lalaki: Ay, daldallot, duminidallot,
Ay, daldallang, duminidallang!
Ay, ta idi damoka a nakita
Kas nabulbulding dagitoy mata,
Kas nabulbulding dagitoy mata,
Ket binaludmo amin toy rikna!
Ket pusok ti di nakaidna
Ket pusok ti di nakaidna
Ta pintasmot awan pumada!
Ay, daldallot, duminidallot,
Ay, daldallang, duminidallang!
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