project in my philippine literature.

                         

                                   ( PHILIPPINE LITERATURE)

      SUBMMITED BY:                                                SUBMMITED TO:

    ARSON P. BALANA                                         Mrs.EMILIA MENDOZA

            BM 301A

Zarzuela (Spanish pronunciation) is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular song, as well as dance. The name derives from a Royal hunting lodge, the Palacio de la Zarzuela near Madrid, where this type of entertainment was first presented to the court.
There are two main forms of zarzuela: Baroque zarzuela (c.1630–1750), the earliest style, and Romantic zarzuela (c.1850–1950), which can be further divided into two. main sub-genres of género grande and género chico although other sub-divisions exist.
Zarzuela spread to the Spanish colonies, and many Hispanic countries – notably Cuba – developed their own traditions. There is also a strong tradition in the Philippines where it is also known as zarzuelta. Other regional and linguistic variants in Spain includes the Basque zartzuela and the Catalan sarsuela.
A masque-like musical theatre had existed in Spain since the time of Juan del Encina. The zarzuela genre was innovative in giving a dramatic function to the musical numbers, which were integrated into the argument of the work. Dances and choruses were incorporated as well as solo and ensemble numbers, all to orchestral accompaniment.

Baroque zarzuela

In 1657 at the Royal Palace of El Pardo, King Philip IV of Spain, Queen Mariana and their court attended the first performance of a new comedy by Pedro Calderón de la Barca, with music by Juan Hidalgo de Polanco. El Laurel de Apolo (The Laurels of Apollo) traditionally symbolises the birth of a new musical genre which had become known as La Zarzuela. The genre was named after the Palacio de la Zarzuela, one of the King's hunting lodges, situated in a remote countryside thick with zarzas or brambles, in what is now El Pardo.
Like Calderón de la Barca's earlier El golfo de las sirenas (The Sirens' Gulf, 1657), El Laurel de Apolo mixed mythological verse drama with operatic solos, popular songs and dances. The characters in these early, baroque zarzuelas were a mixture of gods, mythological creatures and rustic or pastoral comedy characters; Antonio de Literes's popular Acis y Galatea (1708) is yet another example. Unlike some other operatic forms, there were spoken interludes, often in verse.

Romantic zarzuela

After the Glorious Revolution of 1868, the country entered a deep crisis (especially economically), which was reflected in theatre. The public could not afford high-priced theatre tickets for grandiose productions, which led to the rise of the Teatros Variedades ("variety theatres") in Madrid, with cheap tickets for one-act plays (sainetes). This "theatre of an hour" had great success and zarzuela composers took to the new formula with alacrity. Single-act zarzuelas were classified as género chico ("little genre") whilst the longer zarzuelas of three acts, lasting up to four hours, were called género grande ("grand genre"). Zarzuela grande battled on at the Teatro de la Zarzuela de Madrid, founded by Barbieri and his friends in the 1850s. A newer theatre, the Apolo, opened in 1873. At first it attempted to present the género grande, but it soon yielded to the taste and economics of the time, and became the "temple" of the more populist género chico in the late 1870s.
Musical content from this era ranges from full-scale operatic arias (romanzas) through to popular songs, and dialogue from high poetic drama to lowlife comedy characters. There are also many types of zarzuela in between the two named genres, with a variety of musical and dramatic flavours.
Many of the greatest zarzuelas were written in the 1880s and 1890s, but the form continued to adapt to new theatrical stimuli until well into the 20th century. With the onset of the Spanish Civil War, the form rapidly declined, and the last romantic zarzuelas to hold the stage were written in the 1950s.
Whilst Barbieri produced the greatest zarzuela grande in El barberillo de Lavapiés, the classic exponent of the género chico was his pupil Federico Chueca, whose La gran vía (composed with Joaquín Valverde Durán) was a cult success both in Spain and throughout Europe. Valverde's son "Quinito" Valverde was even more famous in his day than his father had been.
The musical heir of Chueca was José Serrano, whose short, one act género chico zarzuelas - notably La canción del olvido, Alma de dios and the much later Los claveles and La dolorosa - form a stylistic bridge to the more musically sophisticated zarzuelas of the 20th Century.

Zarzuela in Catalonia

While the zarzuela tradition flourished in Madrid and other Spanish cities, Catalonia developed its own zarzuela, with librettos in Catalan. The atmosphere, the plots, and the music were quite different from the model that triumphed in Madrid; the Catalan zarzuela was looking to attract a different public, the bourgeois classes. Catalan zarzuela was turned little by little into what is called, in Catalan, teatre líric català ("Catalan lyric theater"), with a personality of its own, and with modernista lyricists and composers.

Twentieth century

In the first years of the 20th century, greater quality pieces were composed, such as Doña Francisquita by Amadeo Vives. Zarzuela was supported together with these works that, sometimes, were adapted to the Italian opera musical structure, thanks to the works of Pablo Sorozábal, Federico Moreno Torroba and Jacinto Guerrero. The zarzuela style continued to flourish, thanks to composers of the stature of Pablo Sorozábal – who reinvigorated it as a vehicle for socio-political comment – Federico Moreno Torroba, and Francisco Alonso.

Tanikala

Poetry

Body:

Isa kang kadenang pumipigil sa aking mga hakbang,

Hakbang papalayo sa nais ng takasan,

di-lang dahil sa pait na bunga nito

kundi na rin sa lamig na patuloy

na pinadarama sa kanlungan mo.

Isa kang yumayapos sa aking

Puso, pinipigil ang pagtibok nito.

Upang muling ipagunita

ang mga panahong lumipas na.

Isa kang pasanin sa aking dibdib,

Pinupuno ako ng dalamhati at pighati.

Subalit kailangang ako'y tumiwalag na

sa mahigpit mong pagkakahawak,

Upang ako nama'y makapagsimula na ...

Dead Stars Lyrics#:1

we find our songs
in fashion magazines
we read the story
in the morning paper

I touch their hearts
and they touch my skin
I'm on your screen
and you are just so wide

put us on display for everyone to see
we write the words for all to understand

though I get my kicks
it's slowly wasting me
don't try to be an artist
I try to be a man

dead stars still burn
dead still stars burn

we find ourselves
in pictures on the net
blinded by science
addicted to devotion

I'm in your hold
eager to abuse
my favourite game
I suffer from misuse

I just want to know
the man in front of them
to read their minds
for me to understand

though I get my kicks
it's slowly wasting me
don't try to be an artist
I try to be a man.

Dead Stars Lyrics#:2

Shame on you
For thinking you're an exception
We're all to blame
Crashing down to Earth
Wasting and burning out, you're
Fading like a dead star, woah
Harm is coming your way
Yeah, it's coming your way


You used to be everything to me
And now you're tired of fighting
Tired of fighting
Fighting yourself


Shame on you
For thinking
You're all alone
If you want I'll make you wish you were
Failing to impress
Why can't you sleep with
Someone who'll protect you, yeah
Harm is coming your way
Yeah it's coming your way


You used to be everything to me
And now you're tired of fighting
Tired of fighting
Fighting yourself.

                                        

                                               DEAD STARS LYRICS#:3

                                      

                                                DEAD STARS LYRICS#:4

DEAD STARS LYRICS#:5

I suffer under your and my dead stars
everything I'd give you, all behind my eyes
just call my name and I'll be with you
I call your name and there's not much
you would do

I suffer under your and my dead stars
memories are wounds, they kill me every day
all the stars shine bright tonight
one reason to live and one to die

and never forget, the pain felt
your and my stars are dead dead dead

again I'm waiting, once more I'm falling
down, left behind, I'm passing time
oh it's killing me and
I listen to the radio as I try to sleep

I suffer under your and my dead stars
I fall under your and my dead stars
call my name and I'll be with you
I die under your and my dead stars

I'll never forget the pain felt

         How My Brother Leon Brought Home A Wife

How My Brother Leon Brought Home A Wife is a story written by Manuel Arguilla about a man who comes home to his province to introduce his wife from the city to his family. This short story won first prize in the Commonwealth Literary Contest in 1940.

Characters

• Baldo - younger brother of Leon, fetched Leon and Maria from the road to Nagrebcan

• Leon (or Noel) - older brother of Baldo who studied in Manila where he met his wife

• Maria - the beautiful and stunning wife of Leon from Manila

• Labang - the bull whom Baldo considers as his “pet”

• Norman Tabios - Maria's ex-boyfriend who happened to be a loro

• Gagambino - Leon's favorite fictional character who gave him lots of guts to study in Manila

• Churita - Labang's girlfriend/fiance

Synopsis

Baldo and his older brother Leon were both waiting for the arrival of their visitor riding the carretela. Seeing his brother's wife, Baldo was easily taken away by the beauty of the woman from city as he narrates their journey to Nagrebcan. The idea of meeting with Leon's parents for the first time made Maria a bit anxious. But along their way home, Maria discovered the peculiarities of the life in Nagrebcan as opposed to their life in the city where she met and fell in love with Leon.

The story is told from the point of view of Baldo, the younger brother of Leon. (The second paragraph gives you the clue.)
Leon is called Noel by his wife, the beautiful Maria. In the story, you'll get the feeling that Baldo makes a distinction between traditional names and modern ones. For example, he takes note that his brother calls his wife "Maria" instead of "Mayang", while Baldo's sister-in-law calls Baldo's brother Noel, which is the reverse of "Leon."
Baldo also wonders if their father will approve of Leon's new nickname.
Anyway, Baldo fetches his brother and Maria, and takes them home. They do not pass through the usual route. Instead, they take a shortcut through a field.
I don't know if symbolism is used in How My Brother Leon Brought Home A Wife. What I felt while reading the story is Manuel Arguilla's great love of Nagrebcan (Bauang, La Union). Arguilla takes the time to note the shape of clouds, the sounds made by the rolling wheels or even the rope near the neck of Labang (the bull), and even the scent of the air.
It's as if Arguilla transports you right there, among Maria and the two brothers. Right there with their father, mother, and sister Aurelia.
Perhaps another title for this short story would be How Manuel Arguilla Brought You To Nagrebcan.

             My Father Goes to Court

By Carlos Bulosan

November 13, 1943

When I was four, I lived with my mother and brothers and sisters in a small town on the island of Luzon. Father’s farm had been destroyed in 1918 by one of our sudden Philippine floods, so for several years afterward we all lived in the town, though he preffered living in the country. We had a next-door neighbor, a very rich man, whose sons and daughters seldom came out of the house. While we boys and girls played and sand in the sun, his children stayed inside and kept the windows closed. His house was so tall that his children could look in the windows of our house and watch us as we played, or slept, or ate, when there was any food in the house to eat.

Now, this rich man’s servants were always frying and cooking something good, and the aroma of the food was wafted down to us from the windows of the big house. We hung about and took all the wonderful smell of the food into our beings. Sometimes, in the morning, our whole family stood outside the windows of the rich man’s house and listened to the musical sizzling of thick strips of bacon or ham. I can remember one afternoon when our neighbor’s servants roasted three chickens. The chickens were young and tender and the fat that dripped into the burning coals gave off an enchanting odor. We watched the servants turn the beautiful birds and inhaled the heavenly spirit that drifted out to us.

Some days the rich man appeared at a window and glowered down at us. He looked at us one by one, as though he were condemning us. We were all healthy because we went out in the sun every day and bathed in the cool water of the river that flowed from the mountains into the sea. Sometimes we wrestled with one another in the house before we went out to play.

We were always in the best of spirits and our laughter was contagious. Other neighbors

who passed by our house often stopped in our yard and joined us in our laughter.

Laughter was our only wealth. Father was a laughing man. He would go in to the living room and stand in front of the tall mirror, stretching his mouth into grotesque shapes with his fingers and making faces at himself, and then he would rush into the kitchen, roaring with laughter.

There was plenty to make us laugh. There was, for instance, the day one of my brothers came home and brought a small bundle under his arm, pretending that he brought something to eat, maybe a leg of lamb or something as extravagant as that to make our mouths water. He rushed to mother and through the bundle into her lap. We all stood around, watching mother undo the complicated strings. Suddenly a black cat leaped out of the bundle and ran wildly around the house. Mother chased my brother and beat him with her little fists, while the rest of us bent double, choking with laughter.

Summary

The story is set in a city in the Philippines. The young narrator begins by describing his large family. Though they are poor they are full of mischief and laughter. The children are all strong and healthy even though they often go hungry. In contrast, their rich neighbor’s children are thin and sickly although they are given plenty of good food, which their impoverished neighbors enjoy smelling over the fence. Consequently, the rich man brings a charge against the narrator's family for stealing the spirit of his family’s food. The absurd case goes to court, and the narrator’s father agrees to pay back the rich neighbor. He does this by collecting coins from all his friends present in his hat, then shaking the hat full of coins. Being charged to pay for the spirit of food which his family supposedly got from its smell, he maintains that the jingling of the coins is a fair equivalent. The judge rules in the poor father’s favor, and the rich man is forced to depart with no other payment than the “spirit” of the money the poor man collected.

 

Like The Molave poem?

Not yet, Rizal, not yet. Sleep not in peace:

There are a thousand waters to be spanned;

there are a thousand mountains to be crossed;

there are a thousand crosses to be borne.

Our shoulders are not strong; our sinews are

grown flaccid with dependence, smug with ease

under another's wing. Rest not in peace;

Not yet, Rizal, not yet. The land has need

of young blood-and, what younger than your own,

Forever spilled in the great name of freedom,

Forever oblate on the altar of

the free? Not you alone, Rizal. O souls

And spirits of the martyred brave, arise!

Arise and scour the land! Shed once again

your willing blood! Infuse the vibrant red

into our thin anemic veins; until

we pick up your Promethean tools and, strong,

Out of the depthless matrix of your faith

in us, and on the silent cliffs of freedom,

we carve for all time your marmoreal dream!

Until our people, seeing, are become

like the Molave, firm, resilient, staunch,

rising on the hillside, unafraid,

Strong in its own fiber, yes, like the Molave!

II.

The youth of the land is a proud and noble appellation,

The youth of the land is a panoramic poem,

The youth of the land is a book of paradoxes,

The youth of the land is a pat on one's back,

The youth of the land is a huge canvas of spectral colors,

The youth of the land is an epic tragedy-comedy,

The youth of the land is a crashing symphony,

The youth of the land is a child grown old in tears,

The youth of the land is an old man laughing through a perpetual infancy;

A bastard child of a thousand dreams, masquerading and dancing,

The youth of the land.

III.

We, the Filipinos of today, are soft,

Easy-going, parasitic, frivolous,

Inconstant, indolent, inefficient.

Would you have me sugarcoat you?

I would be happier to shower praise upon

my countrymen…but let us be realists…

Let us strip us

Youth of the land, you are a bitter pill to swallow.

This is a testament of the youth borne on the four pacific winds;

this is a parable of seed four ways sown in stone;

this is a chip not only on the President's shoulder:

The nation of our fathers shivers with longing expectation.

Shall we, sons and daughters, brother youths of the land,

Walk up new and forever knock the flirting chip off?

Or will the nation of our fathers be forever and forever

lighting candles in the wind?