Saturday, December 11, 2010

CALOOCAN CITY HISTORY

The City of Caloocan also known as the City of Kalookan (officially Makasaysayang Lungsod ng CaloocanThe Historic City of Caloocan) is one of the cities and municipalities that comprises National Capital Region the in thePhilippines. Located just north of the capital City of Manila, Caloocan is the country's third most populous city with a population of 1,378,856 as of the 2007 census.

Municipality of Caloocan
Period of Tenure Mayor
1902–1904 Pedro Sevilla
1904–1906 Silverio Baltazar
1906–1908 Tomas Susano
1908–1910 Leon Nadurata
1910–1913 Emilio Sanchez
1913–1915 Godofredo Herrera
1915–1921 Jose Sanchez
1922–1925 Dominador Aquino
1926–1928 Pablo Pablo
1928–1931 Dominador Aquino
1932–1940 Pablo Pablo
1941–1944 Cornelio Cordero
1945–1946 Oscar Baello
1946–1951 Jesus Basa
1952–1962 Macario Asistio, Sr.
City of Caloocan
Period of Tenure Mayor
1962–1971 Macario Asistio, Sr.
1972–1976 Marcial Samson
1976–1978 Alejandro Fider
1978–1980 Virgilio Robles
1980–1986 Macario Asistio, Jr.
1986 Virgilio Robles
1986–1988 Antonio Martinez
1988–1995 Macario Asistio, Jr.
1995–2004 Reynaldo Malonzo
2004–present Enrico Echiverri

 
History of Caloocan
The people of Caloocan should be proud of their city. It had at one time or another, romantic flings with history. Foremost among these episodes were the events that took place in 1896, when organized armed resistance rose against the tyranny of the Spanish masters in the Philippines. These caught the attention of the Filipino people and the world as well. The name Caloocan has always been prominently written in the pages of our history.Writers, poets, and even balladeers always mentioned the Cry of Balintawak; the names of Andres bonifacio, Tandang Sora, Antonio Luna, Torres Bugallon, Cecilio Apostol.


ITS ORIGIN
monumentoHow Caloocan got its present name is a story by itself. According to opinions and even beliefs, the name Caloocan orginated from the Tagalog word “lo-ok” (bay) in view of its proximity to Manila Bay being located in Dagat-Dagatan, a small lake separated by Manila Bay and town of Navotas. Others believed that the word “lo-ok” meant “sulok” or corner. In the past, Caloocan was actually located “at the corner” where the ends of the old towns of Tondo and Tambobong (Malabon) meet.

The first name of Caloocan when it was still a small barrio of Tondo was Aromahan or Espina as the Spaniards used to call it. The site of the barrio was located in a low place called Libis, west of the center of the poblacion of Caloocan. It was then commonly called Libis Espina.

In 1762 the spanish Augustinian priests reached the insular “lo-ok”, and eventually established the first Catholic Church the barrio in 1765. However, the spiritual administration of Caloocan was transferred to the Recollectos in 1814.

In 1802 Caloocan began to grow. When it was converted into a town in 1815, the poblacion had to be moved from the western fringe to its present site.

Geography
mmanilaCaloocan is divided into two areas. Southern Caloocan City lies directly north of the City of Manila and is bounded by Malabon City and Valenzuela City to the north, Navotas to the west, and Quezon City to the east. Northern Caloocan City is the northermost territory of Metro Manila and lies to the east of Valenzuela City, north of Quezon City, and south of San Jose del Monte City in the province of Bulacan.
The city is politically subdivided into 188 barangays.
THE LAND AND ITS PEOPLE
Early records reveal that the first inhabitants of Caloocan were composed of “Chinese, mestizos or Indians of the Philippines. Father Zuñiga described them as dull-colored, thin-beared, flat nosed, and black-eyed. In their customs, ingenuity, and qualities, they are like the rest of the nation..”

The arable portions of Libis Espina owned by the Augustinians were leased to the inhabitants. At that time, there were only about 500 inhabitants.
Most of the people were fishermen, especially those who resided near Dagat-Dagatan, the Navotas and Manila Bay boundaries. Those who inhabited in the mountain areas were engaged in agriculture, producing crops. The large agricultural areas were those in the Maysilo Estate, owned by the Jesuits; the Piedad owned by Don Pedro de Galarraga; and the Cruz and Naligas Estates, owned by the friars.
The British invasion in 1762 and the expulsion of the Jesuits from the Philippines in 1768 have totally changed the socio-economic conditions of the inhabitants. The Spanish Government confiscated most of the agricultural lands in Caloocan, the bigger portion of which was owned by the Maysilo Estate. Later on, this was sold to a Spanish mestizo.

The British occupation of manila had ill effects on the peace and order condition of Caloocan. When they gained full control of the Walled city, they opened the jails and set all the prisoners free. Based on the account of Father Zuñiga, these prisoners, joined by other restless elements sought refuge in Caloocan, “murdered men were seen on the roads, naked and pierced with dagger stabs, thereby showing the terrible conditions in which they had been killed to rob them.”

When Caloocan became a town in 1815, it occupied a vast territory. Its territorial jurisdiction was bounded on the north by the barrio of Tinajeros, Malabon, and Tanza River; on the east by the town of Marikina; on the south by the towns of Sampalok and Santa Cruz, the Hacienda de Santa Mesa, and the sitio of San Francisco del Monte; and on the west by the towns of Tondo and Malabon. The first gobernadorcillo was Mariano Sandoval, while the first curate was Fray Manuel Vaquerro, a Recollect.
Miguel Saludes became the first capitan municipal when the Maura Law changed the Title of the town head during the last three years of the Spanish regime. Others who held the same position were Silverio Baltazar and Pedro Sevilla.

The socio-economic condition greatly improved after Caloocan was established as a town in 1815. The town became peaceful. It no longer suffered from restless residents caused by the collection of tributes, forced labor, agrarian unrest, and oppression committed by the Spanish officials.
THE ECONOMY MOVES
oathShortly after the town was constituted, people were producing various agricultural products and engaged in weaving, rope making, quarrying, and even earthen-jar making. As a consequence of the galleon trade, the country’s merchants experienced a boom in the trade between Manila and Acapulco. The flow of products from the Philippines resulted in the inflow of more Mexican money. Within the context of trade necessities for the mutual benefit of Manila and Acapulco, the demand for Philippine products increased. Export products produced by Caloocan entrepreneurs were in great demand in Manila to meet the commitments of the Philippine traders to Acapulco.

When the Manila Railroad Company Limited started developing a railway, the people of Caloocan had high hopes of enjoying economic benefits upon the completion of the project.

On February 23, 1892 the hopes of the people of Caloocan for a better socio-economic life became a reality when part of the Manila-Dagupan line from Manila to Mabalacat, Pampanga was inaugurated. Historian Leopoldo R. Serrano described the event thus: “ The locomotive name Hernando Cortes pulling two de luxe cars, two first class cars, six second-class cars, and two freight cars arrived at the Caloocan station at 7:17 o’clock in the morning. The train carried the governor general; the archbishop of Manila; the segundo cabo; the intendant; and the civil governors of Manila, Pampanga, and Tarlac-the three provinces benefited by the lines. These dignitaries spent some time in Caloocan inspecting the warehouses and shops of the Manila Railroad Company.”

The door of economic opportunities for the people of Caloocan was fully opened when the railroad line from Manila to Dagupan was finally opened on November 23, 1892 ten (10) months after the Manila-Mabalacat line was inaugurated.

Quoting again historian Serrano, “The completion of the Manila-Dagupan line proved to be a great boon to the inhabitants of Caloocan. It brought the town closer to Manila and other points in Central Luzon, facilitated the transportation of the products of the town to those points, and gave employment to many residents of Caloocan. The coming of the British and Spanish railway employees also favorably affected the town.”





Born 15 May 1875(1875-05-15)
Caloocan, Philippines
Died 15 March 1943(1943-03-15) (aged 67)
Manila, Philippines
Spouse Andrés Bonifacio (1893 – 1897)
Julio Nakpil (1898 – 1943)Gregoria de Jesús (15 May 1875 – 15 March 1943), also known as Aling Oriang,[1] was the founder and vice-president of the women's chapter of the Katipunan of the Philippines.[2] She was also the custodian of the documents and seal of the Katipunan.[1] She married Andrés Bonifacio, the supremo of the Katipunan, and played a major role in the Philippine Revolution.[1] She has one son from Andrés Bonifacio and five children from Julio Nakpil.

TEORYANG PAMPANITIKAN

 Ano nga ba ang TEORYANG PAMPANITIKAN.?
  >Ang teoryang pampanitikan ay ang sistematikong pagaaral ng panitikan at ang mga paraan sa pagaaral ng panitikan.Mayroong iba't ibang teorya para sa pag-aaral na ito.
Katotohanan kaysa kagandahan ang mababakas sa teoryang ito. Kahit sino, ano mang bagay at lipunan ay dapat makatotohanan ang paglalarawan o paglalahad. Nagpapahayag din ito ng pagtanggap sa katotohanan o realidad. Tulad sa akda, totoong ang tao ay nasisilaw sa ginhawang maibibigayng kayamanan. Natanggap ng isang tauhan ang nangyari subalit tinakasan ng isang tauhan ang katotohanan at siya ay nawala sa sarili. Ang sobrang paghahangad ng materyal na bagay ay totoong makasisira rin sa tao.


1.)Teoryang Klasismo/Klasisismo
v    Ang layunin ng panitikan ay maglahad ng mga pangyayaring payak, ukol sa pagkakaiba ng estado sa buhay ng dalawang nag-iibigan, karaniwan ang daloy ng mga pangyayari, matipid at piling-pili sa paggamit ng mga salita at laging nagtatapos nang may kaayusan.

2.)Teoryang Humanismo
v    Ang layunin ng panitikan ay ipakita na ang tao ang sentro ng mundo; ay binibigyang-tuon ang kalakasan at mabubuting katangian ng tao gaya ng talino, talento atbp.

3.)Teoryang Imahismo
v    Ang layunin ng panitikan ay gumamit ng mga imahen na higit na maghahayag sa mga damdamin, kaisipan, ideya, saloobin at iba pang nais na ibahagi ng may-adka na higit na madaling maunawaan kaysa gumamit lamang ng karaniwang salita. Sa halip na paglalarawan at tuwirang maglalahad ng mga imahen na layong ilantad ang totoong kaisipan ng pahayag sa loob ng panitikan.

4.)Teoryang Realismo
v    Ang layunin ng panitikan ay ipakita ang mga karanasan at nasaksisan ng may-akda sa kanyang lipunan. Samakatuwid, ang panitikan ay hango sa totoong buhay ngunit hindi tuwirang totoo sapagkat isinaalang-alang ng may-akda ang kasiningan at pagkaefektibo ng kanyang sinulat.


5.)Teoryang Feminismo
v    Ang layunin ng panitikan ay magpakilala ng mga kalakasan at kakayahang pambabae at iangat ang pagtingin ng lipunan sa mga kababaihan. Madaling matukoy kung ang isang panitikan ay feminismo sapagkat babae o sagisag babae ang pangunahing tauhan ay ipimayagpag ang mabubuti at magagandang katangian ng tauhan.



6.)Teoryang Formalismo/Formalistiko
v    Ang layunin ng panitikan ay iparating sa mambabasa ang nais niyang ipaabot gamit ang kanyang tuwirang panitikan. Samakatuwid, kung ano ang sinasabi ng may-akda sa kanyang panitikan ang siyang nais niyang ipaabot sa mambabasa – walang labis at walang kulang. Walang simbolismo at hindi humihingi ng higit na malalimang pagsusuri’t pang-unawa.

7.)Teoryang Saykolohikal/Sikolohikal
v  Ang layunin ng panitikan ay ipaliwanag sa pamamagitan ng pagpapakita ng mga salig (factor) sa pagbuo ng naturang behavior (pag-uugali, paniniwala, pananaw, pagkatao) sa isang tauhan sa kanyang akda. Ipinakikita sa akda na ang tao ay nagbabago o nagkakaroon ng panibagong behavior dahil may nag-udyok na mabago o mabuo ito.

8.)Teoryang Eksistensyalismo
v  Ang layunin ng panitikan ay ipakita na may kalayaan ang tao na pumili o magdesisyon para sa kanyang sarili na siyang pinakasentro ng kanyang pananatili sa mundo (human existence).

9.)Teoryang Romantisismo
v  Ang layunin ng teoryang ito ay ipamalas ang iba’t ibang paraan ng tao o sumasagisag sa tao sa pag-aalay ng kanyang pag-ibig sa kapwa, bansa at mundong kinalakhan. Ipinakikita rin sa akda na gagawin at gagawin ng isang nilalang ang lahat upang maipaalam lamang ang kanyang pag-ibig sa tao o bayang napupusuan.

10.)Teoryang Markismo/Marxismo
v  Ang layunin ng teoryang ito ay ipakita na ang tao o sumasagisag sa tao ay may sariling kakayahan na umangat buhat sa pagdurusang dulot ng pang-ekononiyang kahirapan at suliraning panlipunan at pampulitika. Ang mga paraan ng pag-ahon mula sa kalugmukan sa adka ay nagsisilbing modelo para sa mga mambabasa.

11.)Teoryang Sosyolohikal
v  Ang layunin ng panitikan ay ipakita ang kalagayan at suliraning panlipunan ng lipunang kinabibilangan ng may-akda. Naipakikita rito ang pamaraan ng mga tauhan sa pagsugpo sa suliranin o kalagayan ng lipunan na nagsisilbing gabay sa mga mambabasa sa magpuksa sa mga katulad na suliranin.

12.)Teoryang Moralistiko
v  Ang layunin ng panitikan ay ilahad ang iba’t ibang pamantayang sumusukat sa moralidad ng isang tao – ang pamantayan ng tama at mali. Inilalahad din nito ang mga pilosopiya o proposisyong nagsasaad sa pagkatama o kamalian ng isang kilos o ugali ayon sa pamantayang itinakda ng lipunan. Sa madaling sabi, ang moralidad ay napagkakasunduan ayon na rin sa kaantasan nito.



13.)Teoryang Historikal
v  Ang layunin ng panitikan ay ipakita ang karanasan ng isang lipi ng tao na siyang masasalamin sa kasaysayan au bahagi ng kanyang pagkahubog. Nais din nitong ipakita na ang kasaysayan ay bahagi ng buhay ng tao at ng mundo.


14.)Teoryang Dekonstraksyon v  Ang layunin ng panitikan ay ipakita ang iba’t ibang aspekto na bumubuo sa tao at mundo. Pinaniniwalaan kasi ng ilang mga pilosopo at manunulat na walang iisang pananaw ang nag-udyok sa may-akda na sumulat kundi ang pinaghalu-halong pananaw na ang nais iparating ay ang kabuuan ng pagtao at mundo.


CATEGORY: panitikan para sa ika-apat at ikatlong taon

OLI IMPAN (ONE ACT PLAY-TAGALOG)


OLI IMPANni Alberto Florentino
OLI IMPAN ("Holy Infant")
A Tagalog translation by the playwright
of his original one-act play in English translated in Tagalog
(1,478 words)

"Saaylenay . . . oolinay . . ./ oliskam . . . olisbray
(Silent night; holy night;/ All is calm; all is bright)."


>from "Silent Night," as sung by Filipino children-carollers
The author's Tagalog translation of Oli Impan was first published in the National Midweek (June 11-18, 1986), edited by Jose F. Lacaba.
The original play written in English won the Arena Theater Playwriting Contest (Special Award, 1959) and was staged in the "arena-style theater" at the PNC Quadrangle on Taft Avenue under the direction of playwright Severino Montano (recently posthumously declared a National Artist).

Oli Impan (in Tagalog translation) is being featured in PALH-ezine (Philippine American Literary House), managed by Cecilia M. Brainard, on the 43rd anniversary of the play's creation on Dec. 20, 2001, 43 years after the squatters written about in the play were evicted 5 days before Christmas of 1958 by Manila Mayor Antonio Villegas and relocated to either Sapang-Palay or Welfareville.
The playwright was influenced by the French film Forbidden Games, directed by Rene Clement, which the playwright saw in the first U.P. Film Festival under UP Film Center Director Virginia Moreno.


Mga Tauhan:
Batang Lalaki (BLalake), 5 taong gulang.
Batang Babae (BBabae), 4 na taong gulang

Panahon:
Kapaskuhan ng 1958 .

Pook:
Sa Binondo, sa isang pook na tinatawag na "Casbah."

PAUNAWA:
(English version)
After the liberation of Manila, thousands of squatters lived in the slums of Binondo.
The place was known as the "Casbah" where lived the landless and homeless poor of a city ravaged during World War II and the liberation of Manila in 1944.
On Dec. 20, 1958, 5 days before Christmas, Mayor Villegas evicted the "squatters," relocated them far from the prime real estate of the city, and dumped them in either Welfareville or Sapang-Palay.
To this day, 43 years later, Welfareville is still home to thousands of second- and third-generation squatters descended from the original families routed from the "Casbah."
(Notes revised and updated 12/2001)

THE SCENE:
A slums area close to a building of several storeys.
A low wall cuts across the stage, separating the squatters from the business section of the city.
A 4-year-old girl in tattered dress sits at one end of the low wall. Offstage are heard sounds of commotion of people and the noise of houses being demolished by hired workers and carried away by trucks.
Offstage a mother's voice is heard berating her son for standing in the way.
The 5-year-old enters the stage pulling a toy car made of empty milk cans linked together and tied to a string.

The following is the Tagalog version of the play, with stage directions in English

BatangBabae. (looking around her) Me sunog ba?
BatangLalake. (stops pulling his toy) Ha? Ano 'kamo?
BBabae. Sabi ko, me sunog ba?
BLalake. (goes on with his playing) Wala! Walang sunog.
BBabae. (looks toward the street) Me sunog siguro.
BLalake. Sabi ko na, wala e! Ang tigas-tigas ng ulo mo!
BBabae. Meron! Meron!
BLalake. Pa'no mo nalaman? Me nakikita ka bang usok? Me naririnig ka bang bumbero? (he runs around, pulling his toy and imitating the noise of firetrucks) EEEEEEE!!!!!!! Ang sarap kung me sunog, ano?
BBabae. (worried) Kung walang sunog, e bakit nilalabas natin ito (points to their belongings)
BLalake. Mangyari pinalalayas tayo.
BBabae. Paano mo nalaman?
BLalake. Sabi ng Nanay ko.
BBabae. At sino'ng nagpapalayas sa atin?
BLalake. Ang gobyerno.
BBabae. Ano ba'ng "gobyerno"?
BLalake. Ewan ko.
BBabae. Ba't di mo tinanong ang Nanay mo?
BLalake. Nakalimutan ko e.
BBabae. Bakit naman tayo palalayasin ng gobyerno?
BLalake. Mangyari, gobyerno'ng me ari nito. Iyan, 'yan, at lahat ng 'yan.
BBabae. Aba, atin 'to, di ba?
BLalake. 'Yung mga bahay siguro. Pero 'yung lupa, di atin.
BBabae. Aba, hindi! Atin din 'yun!
BLalake. Di atin ang lupa!
BBabae. Atin! Ating lahat 'to!
BLalake. Hindi sabi e!
BBabae. Atin! Atin!
BLalake. Pa'no naging atin 'to?
BBabae. Di ba ang tagal na nating nakatira dito?
BLalake. Oo, pero di ibig sabihin atin 'to.
BBabae. Kung di atin 'to, alin ang atin? Alin?
BLalake. Wala!
BBabae. Kung palalayasin tayo, saan tayo lilipat?
BLalake. Ewan ko sa inyo.
BBabae. Bakit, kayo, me lilipatan ba kayo?
BLalake. Wala rin. Pero di bale. Me trabaho'ng Nanay ko.
BBabae. S'yanga?
BLalake. Oo!
BBabae. Ano'ng trabaho ng Nanay mo?
BLalake. Manghuhula.
BBabae. Ano'ng manghuhula?
BLalake. Yung humuhula---'yung bumabasa ng kamay ng mga tao.
BBabae. Kamay? Bumabasa ng mga kamay?
BLalake. Oo.
BBabae. Para ano?
BLalake. Para malaman n'ya kung ano'ng mangyayari bukas.
BBabae. Alam n'yang mangyayari? Babasa lang ng kamay?
BLalake. Oo.
BBabae. (shows her hand) 'Tung kamay ko, mababasa n'ya?
BLalake. Para ano?
BBabae. Para malaman ko kung saan kami titira bukas.
BLalake. Di n'ya mababasa ang kamay mo.
BBabae. Ba't hindi?
BLalake. Ang liit kasi. At ang dumi pa.
(BBabae wipes her hand on her dress)
BLalake. 'Tsaka, ang binabasa ng Nanay ko, kamay lang ng mga lalake.
BBabae. Mga lalake lang? Bakit?
BLalake. Sila lang ang nakikita ko e.
BBabae. Bakit nga!
BLalake. Ewan ko. Dahil siguro malaki'ng mga kamay nila. Madaling basahin.
BBabae. Pa'no n'ya nababasa ang kamay? Parang komiks?
BLalake. Siguro.
BBabae. Bakit, di ka ba nanonood?
BLalake. Hindi.
BBabae. Bakit?
BLalake. Ayaw n'ya ako'ng papanoorin. Pinalalabas ako at tinatarangka'ng pinto.
BBabae. Sinasara'ng pinto? Pa'no s'yang nakakabasa sa dilim?
BLalake. Ewan ko. Basta nagagawa n'ya.
BBabae. Di ka sumusilip?
BLalake. Hindi.
BBabae. Bakit?
BLalake. Sasampalin n'ya ko.
(a commotion outside: shouts and curses amidst sounds of demolition)
BBabae. Ano 'yun? Ano'ng nangyayari?
BLalake. (stands up and looks out) Ewan ko. Di ko makita e. 'Lika, tingnan natin!
BBabae. 'Yoko!
BLalake. Ba't ayaw mo?
BBabae. Sabi ng Tatay ko, huwag akong aalis dito.
BLalake. O sige, ako na lang!
BBabae. (suddenly frightened) H'wag! H'wag mo 'kong iwanan!
BLalake. Bakit?
BBabae. Natatakot ako e.
BLalake. Sa'n ka natatakot? Kanino?
BBabae. Ewan ko.
BLalake. Paano natin malalaman kung ano'ng nangyayari?
BBabae. H'wag na lang. Dito na lang tayo.
BLalake. Pero gusto kong makita e. (stands up) 'Timo! 'Lika! Kitang-kita rito!
BBabae. Ano'ng nakikita mo?
BLalake. Tingnan mo! Ang mga tao---
BBabae. Ano'ng ginagawa nila?
BLalake. Sinisira nila! Sinisira nila---
BBabae. Ang ano?
BLalake. Ang mga bahay natin!
(Sounds of demolition)
BBabae. Sino 'kamo'ng sumisira?
BLalake. Ang mga tao! Mga mama! Meron silang mga martilyo't bareta!
BBabae. 'Alang pumipigil sa kanila?
BLalake. Wala!
BBabae. Bakit? Saan ang mga pulis?
BLalake. Naro'n! Ang dami nga nila!
BBabae. Ano'ng ginagawa ng mga pulis?
BLalake. Wala!
BBabae. Di nila pinipigil . . .?
BLalake. Hindi.
BBabae. Ano'ng ginagawa nila?
BLalake. Nakatayo lang sila.
BBabae. Bakit?
BLalake. Ewan ko.
(A big commotion: shouts, curses, chases)
BBabae. Ano na'ng nangyayari?
BLalake. (excited) Me isang mama! Pinipigil niya ang mga taong sumisira . . . Hayun! Aba! Ang mga pulis! Pinipigil nila ang mama!
(a man screams)
BBabae. (screams) Tatay ko! Tatay ko 'yun! (covers her ears and cries) Tatay ko 'yun!
BLalake. (surprised) Tatay mo? Tatay mo 'yung mama?
BBabae. Oo! Ano na'ng ginagawa nila sa Tatay ko? Sinasaktan . . .?
BLalake. Hindi! Hinuhuli lang! . . . Hayun, nahuli na s'ya! Tinatali ng mga pulis ang kanyang kamay! Tinatali ng bakal . . .
BBabae. Ano'ng ginagawa nila sa Tatay ko?
BLalake. Ayun! Ipinasok sa puliskar!
BBabae. (screams) TATAYYYYYY!!!!! TATAYYYYY!!!!!
BLalake. Tigil na 'yan! Di ka naman nila maririnig. (she cries)
BLalake. (comes down to the ground) Ba't ka umiiyak? Tumigil ka na.
BBabae. Sasaktan nila ang Tatay ko.
BLalake. Di nila sasaktan ang Tatay mo.
BBabae. Pa'no mo nalaman?
BLalake. Basta alam ko. 'Lika, kumanta na lang tayo.
BBabae. Di ako marunong e.
BLalake. Ang dali-dali. Ha'mo, kakanta ako, pakinggan mo 'ko, ha?
BBabae. O sige. (wipes her tears)
BLalake. (sings) Saaylenay . . . Oolinay . . . Oliskam . . . Olisbray . . . Ranyonberginmaderentsayl . . . Oliimpansotenderenmayl . . . Slipinebenlipis . . . Slipinebenlipis . . .
BBabae. Ganda ng kanta mo.
BLalake. Narinig mo na 'yan, di ba?
BBabae. Oo, pero di ko alam kantahin. Sino'ng nagturo sa iyo'ng kumanta?
BLalake. . . . di ang Nanay ko.
BBabae. Ano'ng ibig sabihin ng kanta? Di ko maintindihan e.
BLalake. Inglis kasi.
BBabae. Tungkol sa ano ang kanta?
BLalake. Tungkol sa D'yos. 'Lam mo, sabi ng Nanay ko, ipinanganak daw ang D'yos sa 'sang kwadra.
BBabae. Ano'ng kwadra?
BLalake. 'Yun bang tirahan ng mga kabayo't mga hayup.
BBabae. Totoo? E di ang baho doon! Bakit?
BLalake. Bakit ano?
BBabae. Bakit do'n sila ipinanganak?
BLalake. Mangyari wala sila'ng matir'han.
BBabae. Bakit? Mahirap lang siya?
BLalake. Baka.
BBabae. Ang ganda talaga ng kanta mo. Kantahin mo uli, sige na.
BLalake. Kantahin natin . . . tayong dalawa.
BBabae. Pero di ko alam e.
BLalake. Gayahin mo lang ako.
BBabae. 'Wag mong bibilisan, ha?
BLalake. (sings) Saalenay . . .
BBabae. Saalenay . . .
BLalake. Oolinay . . .
BBabae. Oolinay . . .
BLalake. Oliskam . . .
BBabae. Oliskam . . .
BLalake. Olisbray . . .
BBabae. Olisbray . . .
BLalake. Ranyonberginmaderentsayl . . .
BBabae. Ranyon . . . di ko masasabi 'yun.
BLalake. H'wag na lang 'yun. (sings) Oliimpan . . . h'wag na rin 'yun. (sings) Slipinebenlipis . . .
BBabae. Slipinebenlipis . . .
BLalake. Slipinebenlipis . . .
BBabae. Slipinebenlipis . . . .