"Mi último adiós"

Main article: Mi último adiós

The poem is more aptly titled, "Adiós, Patria Adorada" (literally "Farewell, Beloved
Fatherland"), by virtue of logic and literary tradition, the words coming from the first line of the
poem itself. It first appeared in print not in Manila but in Hong Kong in 1897, when a copy of the
poem and an accompanying photograph came to J. P. Braga who decided to publish it in a
monthly journal he edited. There was a delay when Braga, who greatly admired Rizal, wanted a
good job of the photograph and sent it to be engraved in London, a process taking well over two
months. It finally appeared under 'Mi último pensamiento,' a title he supplied and by which it
was known for a few years. Thus, when the Jesuit Father Balaguer's anonymous account of the
retraction and the marriage to Josephine was appearing in Barcelona, no word of the poem's
existence reached him in time to revise what he had written. His account was too elaborate that
Rizal would have had no time to write "Adiós."

Six years after his death, when the Philippine Organic Act of 1902 was being debated in the
United States Congress, Representative Henry Cooper of Wisconsin rendered an English
translation of Rizal's valedictory poem capped by the peroration, "Under what clime or what
skies has tyranny claimed a nobler victim?"[46] The Americans, however, would not sign the bill
into law until 1916 and did not grant full autonomy until 1946—fifty years after Rizal's death.

Last Poem of Rizal

His friend Mariano Ponce gave it the title of MI ULTIMO ADIOS, as it originally had none

To The Philippines

Rizal wrote the original sonnet in Spanish

Our Mother Tongue

A poem originally in Tagalog written by Rizal when he was only eight years old
Hymn To Labor

I'm not sure if this is a poem or a song. I guess it could be both

Song Of Maria Clara

A poem, found in Rizal's book Noli me tangere, sung by Maria Clara, which accounts for
the title

To The Philippine Youth

Unfold, oh timid flower !

To Josephine

Rizal dedicated this poem to Josephine Bracken, an Irish woman who went to Dapitan
accompanying a man seeking Rizal's services as an ophthamologist.

Sa aking mga Kababata

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Sa aking mga Kababata

"Sa aking mga Kababata" (English: To my Fellow Youth) is believed to be the first poem
written by Filipino polymath and national hero José Rizal (1861-1898). "Sa aking mga
Kababata" was written by Rizal in 1869 at the age of eight, and is considered to be the first
literature ever written by him.

The poem was inspired by the love of one's native language, in Rizal's case, Tagalog.
Why did Jose Rizal write his poem To the Philippines?

because he lived there

Our Mother Tongue

José P. Rizal

Rizal, José P. “Our Mother Tongue.” Translated by Encarnacion Alzona. In Rizal's Poems. Manila: National
Historical Institute, 2002, Pp. 1.

EXECUTIVE SUMMARY: José Rizal's "Our Mother Tongue" talks of love and taking pride in one's own
language. Seeing it as a means for Filipinos to acquire a sense of freedom and identity, he stresses
that Tagalog is much like other foreign languages which are considered 'superior' to own.

      Written by Christian G. Go; Edited by Jack Victor M. Nera

 

A poem in Tagalog written by Rizal when he was only eight years old. Its theme is the "significance of the
mother tongue." In Diez Poesias de Rizal, a selection made by Vicente de Jesus and Jacinto R. de Leon
and published by Manlapaz Publishing Company (1958), it appears with the title Sa Aking mga Kabata
and A mis compañeros de ninez in the Spanish version in Poesias de Rizal compiled by Jaime C. de Veyra
and published by the Philippine National Library in 1946. This title, " To my Fellow Children" seems to us
a dedication.

What is the summary of Jose Rizal's poem in memory of my town?

this is as brief as it could get.

Rizal reminisces of his childhood days as he writes this poem. He somehow wishes he could
rewind the time and spend more days doing what he used to do, being with the people he
used to be with, and feeling the sensations he felt as a boy. he wants his innocence back, and
the great feeling of praying to God Almighty with a little child's faith which is believed to
be the purest of all hearts. :)

that's about it, i believe. go read the real thingand read it SLOWLY... just internalize it
and savor each word. it's quite good...

What is the theme of the poem entitled Hymn to Labor by Jose Rizal?
Jose Rizal's poem entitled "Hymn to Labor" exhorts men, wives, maidens and children to work for their
country whether in war or in peace.

Ahm can i ask for the intepretation of rizal's poem hymn to labor?? tnx..?
Best Answer - Chosen by Voters
It's about nationalism without the force of ammos. Rizal was trying to influence people to "work" harder
and show the "invaders" the filipinos could stand alone (so they could all pack up and go).. since he was
not totally into "arms", he just wanted his people to make the invaders see what they're worth. Also
talks about how one should totally fulfill his duties at home, because the family is the core and basic unit
of society/country.

Mga Kundiman ni José Rizal

Bahay Pahina

Aralin 1 Kumusta kayo, mga kids! 

 
Aralin 2-A
Mahilig kayong kumanta, di ba?  Pakikinggan
Aralin 2-B natin ngayon ang isang kundiman na
komposisyon ni José Rizal na pimagatang "Alin
Mang Lahi".
Aralin 3
Halos nabaon na sa limot ang ating mga
Aralin 4 - 10 kundiman.  Sabi ng marami, hindi raw nila
"type" ang kundiman dahil masyadong
malungkot, o kaya naman ay sobrang
sentimental daw.  Ano nga ba ang kundiman?

Halos lahat ng kundiman ay mga kanta na

nagsasaad ng pag-ibig sa tinubuang lupa.

Nauso ang Kundiman noong panahon

ng mga Kastila kung kailan walang
kalayaan ang mga Pilipinong
magpahag ng pagmamahal sa kanilang
inang bayan.Ang ginamit na simbolo
sa kundiman ay ang paglalarawan ng
pag-ibig ng mga binata at dalaga sa
bawa't isa tulad ng matatagpuan sa
mga awiting harana.  Ginamit din sa
paglikha ng tugtuging Kundiman ang
mga estilong musikal at tema na
taglay ng sinaunang mga Kumintang
(warrior songs), mga Harana
(courtship songs)  at mga Balitaw (folk
songs).  Ngayon, lahat ng mga sina-
unang mga kantang pag-ibig o "love
songs" ng mga Pilipino ay tinatawag
na ring  "kundiman".

Upang marinig ang isang kundiman mula sa bayan ng San Miguel,

Bulacan noong 1858, i-click ang "play button" ng "sound player". Ang
pamagat nito ay CONDIMAN. Masaya ang "melody" o himig ng
kundimang ito katulad ng melody ng mga Balitaw (folk songs). Pero
malalim ang lamang mensahe ng awitin at iyon ay ang pagbabalik sa
sinaunang mabuting kaugalian ng mga dalagang Filipina na sila'y dapat
maging maayos at mahinhin di lamang sa pagkilos kundi rin sa
kanilang pananamit. Ang Balitaw ay mga kantang patungkol sa
kapaligiran, sa mga kaugalian at sa simpleng buhay ng mga tao sa
lalawigan.

Ang ginagamit na simbolo sa kundiman ay naglalarawan ng pag-ibig ng

mga binata at dalaga sa bawa't isa. Dahil dito, marami sa tinatawag na
kundiman ay hindi tunay na kundiman kundi harana (love songs) at at
balitaw na mga kantang tungkol sa kalikasan at ang simpleng buhay
ng mga tao sa lalawigan (probinsiya).  Ngayon, lahat ng mga sina-
unang kanta ng Pilipino ay tinatawag nang "kundiman".

 
 Sabi ni "Titser Wes"

Maliwanag na isinasaad sa kundimang "Alin Ang "Kundiman" ay isang

Mang Lahi" na ang ipagtanggol ang Inang Bayan tula na isinulat ni José Rizal
ay nasa puso at diwa ng bawa't isa.  sa tagalog, nguni't ito ay
hindi isinalin sa musika. 
  Gayunpaman ang tema ay
tulad rin ng lahat ng
Para kay José Rizal at sa lahat ng mga bayaning kundiman, ang matinding
pag-ibig sa Inang Bayan. 
tulad nina Andres Bonifacio, Antonio Luna,
Gregorio del Pilar, atbp, matamis ang magbuwis
ng buhay at dugo upang makalaya ang Inang Kundiman
Bayan.  Ito ang isinasaad ng mga salitang,
Tunay ngayong umid yaring
  dila't puso
Sinta'y umiilag, tuwa'y
Ang kamatayan man, kung saka-sakali lumalayo,
Bayan palibhasa'y lupig at
Igiginhawa ng mga kalahi sumuko
Tatanggapin ng may ngiti Sa kapabayaan ng
Kasaliw ang tuwang di mumunti nagturong puno.

  Datapuwa't muling sisikat

ang araw,
Nguni't ano ang mapait  na nangyayari? Higit na Pilit maliligtas ang inaping
mapait at masaklap ang ipagkanulo ng kapuwa bayan,
kababayan, tulad ng sinasabi sa istansang ito: Magbabalik mandin at
muling iiral
  Ang ngalang Tagalog sa
sandaigdigan.
Nguni’t pagkasawing-plad yata
Ng katagalugang napapanganyaya Ibubuhos namin ang dugo't
Ibukod pa sa ibang umaaba
babaha
Lalong nagbibigay hapis ang ibang kapwa.
Matubos nga lamang ang sa
amang lupa
 
Habang di ninilang
panahong tadhana,
Ito ang katumbas ng pagmamalupit tayo sa ating
Sinta'y tatahimik, iidlip ang
sariling kababayan na walang kakayahang nasa.
ipagtanggol ang kanilang sarili dahil sa kanilang
kakulangan ng dunong at yaman.  Ayon kay Prof. Evelyn
Cabanban, may isa pang
I-click ang larawan ni Rizal upang
pakinggan kundimang isinulat ni Rizal
na ginamit raw ng mga
Kastila sa paglilitis kay Rizal
bilang katibayan na ang
nasabing kundiman ay
ginamit ni Rizal upang
at mabasa ang titik ng "Alin Mang Lahi" susugan ang paghihimagsik
 laban sa España sa mga
salitang, "Ibubuhos namin
ang dugo'y ibabaha ng
matubos lamang ang sa
Amang lupa!" Dahil sa hindi
pa ito lubos na
napapatunayan, hindi
isinama sa pahinang ito ang
nasabing kundiman.

"Alin Mang Lahi" ay isa sa dalawang kundiman na katha ni José Rizal.  Ang

"Awit ni Maria Clara" ay unang isinulat sa kabanata 23 ng Noli Me Tangere,
nguni't nakaraan ang ilang taon bago ito isinalin sa musika.  Noong 1893,
isina-musika ni Julio Nakpil ang kanyang tulang "Amor Patrio" na ang mga
titik ay kinuha sa kantang inawit ni Maria Clara.

Ang pabalat sa librong Noli me

Tangere

Kundiman

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Kundiman

Stylistic origins Filipino folk music

Tagalog, also other ethnic groups in the

Cultural origins
Philippines

Typical instruments Vocals • acoustic guitar

Mainstream Widespread before the 1960's, in
popularity decline since then.

Derivative forms Manila Sound

Kundiman (originally spelled Cundiman) is a genre of traditional Filipino love songs. The lyrics
of the Kundiman are written in Tagalog. The melody is characterized by a smooth, flowing and
gentle rhythm with dramatic intervals. Kundiman was the traditional means of serenade in the
Philippines.

The Kundiman came to the fore as an art song at the end of the nineteenth century and the early
part of the twentieth, when Filipino composers such as Francisco Santiago and Nicanor Abelardo
(born February 7, 1893, death March 21, 1934 ), formalized the musical structure and sought
poetry for their lyrics, blending verse and music in equal parts.

Scholars and historians believed that the Kundiman originated from the Tagalog town of
Balayan, Batangas. [1] Dr. Francisco Santiago(1889-1947), the "Father of the Kundiman Art
Song", briefly explains in his scholarly work "The Development of Music in the Philippines" the
reason why this Tagalog song is called Kundiman is because the first stanza of this song begun
thus:

"Cundiman, cundiman

Cundiman si jele"

"Hele ng Cundiman

Hele ng Cundangan"

In 1872, the illustrious Franciscan Tagalist and poet, Father Joaquin de Coria wrote the "Nueva
Gramatica Tagalog Teorica-Practica" which, besides treating grammar, also enumerates the
characteristics of Tagalog language, and discusses Tagalog poetry.[2] In this book, Father Coria
also gave us a list of the names of the most important songs of the Tagalogs. They are:

 Diona and Talingdao (songs in the homes and in ordinary work)

 Indolanin and Dolayin (songs in the streets)
 Soliranin (boat songs)
 Haloharin, Oyayi and Hele-hele (songs to make the baby sleep)
 Sambotani (song for festivals and social reunions)
 Tagumpay (song to commemorate victory in war)
 Hiliraw, Balicungcung (sweet songs)
 Dopayinin (almost same as Tagumpay, but more serious and more sincere)
 Kumintang (love song; also a pantominic "dance song" -Dr. F. Santiago)
 Cundiman (love song, used especially in serenading)
The Spanish scholar V.M. Avella described the Kundiman in his 1874 work "Manual de la
Conversación Familiar Español-Tagalog" as the "cancion indigena" (native song) of the
Tagalogs and characterized its melody as "something pathetic but not without some pleasant
feeling." [3]

In his 1883 book "Cuentos Filipinos", Don José Montero y Vidal recorded in Spanish the sad
lyrics of a "popular" Kundiman of the "Tagalas" or Tagalogs :[4]

Cundiman, cundiman

Cundiman si jele

Mas que esta dormido

Ta sona con ele.

Desde que vos cara

Yo ta mira

Aquel morisqueta

No puede traga.

Cundiman, cundiman

Cundiman, cundaman

Mamatay, me muero

Sacamay mo lamang.

The Spanish writer and historian Wenceslao E. Retana recorded in 1888 the lyrics of a popular
Kundiman in Batangas. The melancholic lyrics in the Tagalog original as recorded in Retana's
book "El Indio Batangueño" reads: [5]

Aco man ay imbi, hamac isang ducha

Nasinta sa iyo, naghahasic nga

Di ba guin si David ng una ay aba

Pastor ay nag harin ng datnan ng awa?

Estrebillo:

Hele ng Cundiman

Hele ng Cundangan
 Mundo palibhasai, talinghaga lamang

Ang mababa ngayon bucas ay marangal.

Sa lahat ng hirap sintang dala-dala

Salang cumilos isip coi icao na

Acoi mananaog na hahanapin quita

Estrebillo:

Hele ng Cundiman

Hele ng Cundangan

Cundangan nga icao ang may casalanan

Tataghoy-taghoy ni 'di mo pa paquingan.

In 1916, Dr. Juan V. Pagaspas, a doctor of philosophy from Indiana University and a much
beloved educator in Tanauan, Batangas described the Kundiman as "a pure Tagalog song which
is usually very sentimental, so sentimental that if one should listen to it carefully watching the
tenor of words and the way the voice is conducted to express the real meaning of the verses, he
cannot but be conquered by a feeling of pity even so far as to shed tears." [J.Pagaspas, "Native
Amusements in the Province of Batangas"]

Dr. Francisco Santiago, the "Father of Filipino Musical Nationalism" declared in 1931 that the
Kundiman "is the love song par excellence of the Filipinos, the plaintive song which goes
deepest into their hearts, song which brings them untold emotions." [F. Santiago, "The
Development of Music in the Philippines"]

The melody and sentiment of the Kundiman tends not only toward the melancholy but also the
cheerful[6], and the commitment of the heart to passion is celebrated in every piece. The singer
of the kundiman expresses the pain and beauty of love felt by every listener, for the kundiman is
not merely entertainment but an embodiment of collective emotion.

Endowed with such power, the Kundiman naturally came to serve as a vehicle for veiled
patriotism in times of colonial oppression, in which the undying love for a woman symbolized
the love of country and desire for freedom.

Dr. Jose P. Rizal (1861-1896), the Philippine national hero, has consecrated the Kundiman in his
social novel “Noli Me Tangere”. Not only this but he himself wrote a Kundiman which is not of
the elegiac type because its rhythm sounds the threat, the reproach and the revindication of the
rights of the race.

KUNDIMAN NI RIZAL[7]
 Tunay ngayong umid yaring diwa at puso

Ang bayan palibhasa'y api, lupig at sumuko.

Sa kapabayaan ng nagturong puno

Paglaya'y nawala, ligaya'y naglaho!

Datapuwa't muling sisikat ang maligayang araw

Pilit na maliligtas ang inaping bayan

Magbabalik man din at laging sisikat

Ang ngalang Tagalog sa sandaigdigan!

Ibubuhos namin ang dugo'y ibabaha

Ng matubos lamang ang sa Amang Lupa!

Hanggang 'di sumapit ang panahong tadhana

Sinta ay tatahimik, tutuloy ang nasa!

Sinta ay tatahimik at tutuloy ang nasa!

O Bayan kong mahal

Sintang Filipinas!

From 1896 to 1898 the most famous Kundiman, which fired the patriotic sentiments of the
Tagalog revolutionaries in the struggle for liberation from Spanish colonial rule, was Jocelynang
Baliuag. Officially known as Musica del Legitimo Kundiman Procedente del Campo Insurecto
(Music of the Legitimate Kundiman that Proceeds from the Insurgents), Jocelynang Baliwag was
the favorite Kundiman among the revolutionaries of Bulacan during the Philippine Revolution of
1896 - earning it the title "Kundiman of the Revolution."

In the guise of a love and courtship song, it features lyrics dedicated to a young and beautiful
Filipina idolized in the Bulacan town of Baliuag named Josefa 'Pepita' Tiongson y Lara who
symbolizes the image of the beloved Motherland, the Inang Bayang Katagalugan or Filipinas.

JOCELYNANG BALIWAG

P- Pinopoong sinta, niring calolowa

Nacacawangis mo'y mabangong sampaga

Dalisay sa linis, dakila sa ganda

 Matimyas na bucal ng madlang ligaya.

E- Edeng maligayang kinaloclocan

Ng galak at tuwang catamis-tamisan

Hada cang maningning na ang matunghaya'y

Masamyong bulaclac agad sumisical.

P- Pinananaligan niring aking dibdib

Na sa paglalayag sa dagat ng sakit

'Di mo babayaang malunod sa hapis

Sa pagcabagabag co'y icaw ang sasagip.

I- Icaw na nga ang lunas sa aking dalita

Tanging magliligtas sa niluha-luha

Bunying binibining sinucuang cusa

Niring catawohang nangayupapa.

T- Tanggapin ang aking wagas na pag-ibig

Marubdob na ningas na taglay sa dibdib

Sa buhay na ito'y walang nilalangit

Cung hindi ikaw lamang, ilaw niring isip.

A- At sa cawacasa'y ang kapamanhikan

Tumbasan mo yaring pagsintang dalisay

Alalahanin mong cung 'di cahabagan

Iyong lalasunin ang aba cong buhay.

The Filipino composer, conductor and scholar Felipe M. De Leon Jr., wrote that the Kundiman is
a "unique musical form expressing intense longing, caring, devotion and oneness with a beloved.
Or with a child, spiritual figure, motherland, ideal or cause. According to its text, a kundiman
can be romantic, patriotic, religious, mournful. Or a consolation, a lullaby. Or a protest and other
types. But of whatever type, its music is soulful and lofty, conveying deep feelings of devotional
love." [F.M. De Leon Jr., "But What Really Is The Kundiman?"]
Why did Jose Rizal write the poem Maria Clara's Song?

The poem "Song of Maria Clara" is in the novel "Noli Me Tangere." It was sung by the character
named Maria Clara.

Several lines in the poem give readers an idea why Rizal wrote it. In English, the first line says,
"Sweet are the hours in one's own native land." The fourth line: "Even death is gratifying and
more tender is love."

The last stanza says it all: "It is sweet to die in one's own native land... "

In short, the poem reveals Rizal's desire to die in his beloved Philippines.

María Clara

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A crayon sketch of Leonor Rivera, the basis of the Maria Clara character in José Rizal's Noli Me Tangere.

María Clara, whose full name is María Clara de los Santos, is the mestiza heroine in Noli Me
Tangere, a novel by José Rizal, the national hero of the Republic of the Philippines. Maria Clara
is the childhood sweetheart and fiancée of Noli Me Tangere 's hero, Juan Crisóstomo Ibarra y
Magsalin, the son of Don Rafael Ibarra. Although raised as Santiago "Kapitan Tiyago" de los
Santos’s daughter, Maria Clara is the illegitimate offspring of Father Dámaso, a Spanish friar,
and Doña Pía Alba. Doña Alba is the wife of Kapitan Tiyago, who are both native Filipinos.
Father Damaso (also known as Padre Damaso) is known to Maria Clara as a godfather. Maria
Clara never met her mother because Doña Alba died during the delivery of her daughter. She
grew under the guidance and supervision of Tía Isabél, Kapitan Tiyago's cousin. While her
boyfriend Crisostomo Ibarra was travelling in Europe, Kapitan Tiyago sent her to the Beaterio de
Santa Clara, a convent where she developed femininity under religion. Later in the novel, Maria
Clara discovers the truth that Father Damaso is her biological father.

Contents
[hide]

 1 Description
 2 Basis and adaptation
 3 Song of Maria Clara
 4 References
 5 External links

[edit] Description

In the novel, Maria Clara is regarded as the most beautiful and widely celebrated lady in the
town of San Diego. Maria Clara, being religious, the epitome of virtue, “demure and self-
effacing” and endowed with beauty, grace, and charm, was promoted by Rizal as the “ideal
image”[1] of a Filipino woman who deserves to be placed on the “pedestal of male honor”. In
Chapter 5 of Noli Me Tangere, Maria Clara and her traits were further described by Rizal as an
“Oriental decoration” with “downcast” eyes and a “pure soul”.[2]

[edit] Basis and adaptation

Rizal based the fictional character of Maria Clara from his real life girlfriend and cousin Leonor
Rivera. Although praised and idolized, Maria Clara's chaste, "masochistic", and "easily fainting"
character had also been criticized as the "greatest misfortune that has befallen the Filipina in the
last one hundred years".[1][3] In fashion in the Philippines, Maria Clara's name has become the
eponym for a Filipino national dress for females known as the Maria Clara gown, an attire
connected to Maria Clara’s character as a maiden who is delicate, feminine, self-assured, and
with a sense of identity.[4]

[edit] Song of Maria Clara

In Noli Me Tangere, Rizal wrote a poem about Maria Clara entitled the “Song Of Maria Clara”.
The following verses were sung by Maria Clara in the novel, thus the title of the poem:[5]

Sweet the hours in the native country,

where friendly shines the sun above!

Life is the breeze that sweeps the meadows;

 tranquil is death; most tender, love.

Warm kisses on the lips are playing

as we awake to mother's face:

the arms are seeking to embrace her,

the eyes are smiling as they gaze.

How sweet to die for the native country,

where friendly shines the sun above!

Death is the breeze for him who has

no country, no mother, and no love![6][5]

A La Juventud Filipina / To The Filipino Youth by Jose Rizal

I got several search queries on my site looking for Dr. Jose Rizal’s poem “A La
Juventud Filipina” also known as “To The Philippine Youth / To the Filipino
Youth” or “Sa Kabataang Pilipino” in Filipino. Here it is. In 1879, Artistic
Literary Lyceum of Manila, a society of literary men and artists held a literary
contest. Jose Rizal at that time only eighteen years old, submitted the poem, A La
Juventud Filipina (To the Filipino Youth) where he earned first prize. This was the
first poem ever written by a native Filipino and it aroused the nationalistic concept
among the Filipinos.

This poem titled “A la Juventud Filipina,” which he wrote in 1879 at the age of 18, Rizal
approved the idea of a Philippine identity different from that of Spain, but there he also
acknowledges the the benefits that mother country had bestowed on the Philippines.

(The image on the left is his picture when he was 18 while studying at University of Santo
Tomas. As you can see Uso din noon ang hair style ng kabataan ngayon)

A La Juventud Filipina To The Philippine Youth Sa Kabataang Pilipino

Spanish version English version Filipino version

Alza su tersa frente, Unfold, oh timid flower ! Itaas ang iyong

Juventud Filipina, en este Lift up your radiant brow, Malinis na noo
dÃa! This day, Youth of my Sa araw na ito,
Luce resplandeciente native strand ! Kabataang Pilipino!
Tu rica gallardÃa, Your abounding talents Igilas mo na rin ang kumikinang mong
Bella esperanza de la show Mayamang sanghaya
Patria Mia!Vuela, genio Resplendently and grand, Magandang pag-asa ng Bayan kong
grandioso, Fair hope of my Mutya!Makapangyarihang wani’y
Y les infunde noble Motherland !Soar high, lumilipad,
pensamiento, oh genius great, At binibigyang ka ng muning mataas,
Que lance vigoroso, And with noble thoughts Na maitutulad ng ganap na lakas,
Mas rápido que el viento, fill their mind; Mabilis na hangin, sa kanyang paglipad,
Su mente virgen al The honor’s glorious Malinis na diwa, sa likmuang hangad.Ikaw
glorioso asiento.Baja con seat, ay bumaba
la luz grata May their virgin mind fly Na taglay ang ilaw
De las artes y ciencias a la and find Ng sining at agham
arena, More rapidly than the Sa paglalabanan,
Juventud, y desata wind. Bunying kabataan,
La pesada cadena At iyong kalagiun ang gapos mong iyang
Que tu genio poético Descend with the Tanikalang bakal na kinatalian
encadena. pleasing light Ng matulain mong waning kinagisnan.
Of the arts and sciences
Ve que en la ardiente to the plain, Ikaw na lagi nang pataas nag lipad,
zona Oh Youth, and break Sa pakpak ng iyong Mayamang
Do moraron las forthright pangarap,
sombras, el hispano The links of the heavy Na iyong Makita sa Ilimpong ulap
Esplendente corona, chain Ang lalong matamis
Con pia sabia mano, That your poetic genius Na mag tulaing pinakananais,
Ofrece al hijo de este enchain. Ng higit ang sarap
suelo indiano. Kaysa “ambrosia” at
See that in the ardent “nectar” na awagas
Tu, que buscando subes, zone, Ng mga bulaklak.
En alas de tu rica The Spaniard, where
fantasÃa, shadows stand, Ikaw na may tinig
Del Olimpo en las nubes Doth offer a shining Na buhat sa langit,
Tiernisima poesÃa crown, Kaagaw sa tamis
Más sabrosa que With wise and merciful Na kay Filomenang Malinis na
néctar y ambrosÃa. hand hiomig,
To the son of this Sa gabing tahimik
Tu, de celeste acento, Indian land. Ay pinaparam mo ang sa taong sakit,
Melodioso rival Ikaw, na ang batong sukdulan ng tigas
Filomena, You, who heavenward Sa lakas ng iyong diwa’y
Que en variado concento rise nagagawad
En la noche serena On wings of your rich Ng buhay at gilas,
Disipas del mortal la fantasy, At ang alaalang makislap
amarga pena. Seek in the Olympian Ay nabibigayan ng kamay mong
skies masikap
The tenderest poesy,
Tu que la pena dura More sweet than divine Ng buhay na walang masasabing
Animas al impulso de tu honey; wakes.
mente,
Y la memoria pura You of heavenly At ikaw, na siyang
Del genio refulgente harmony, Sa may iba’t ibang
Eternizas con genio On a calm unperturbed Balani ni Febong kay Apelas mahal,
prepotente. night, Gayundin sa lambong ng katalagahan,
Philomel’s match in Na siayng sa guhit ng pinsel mong
Y tu, que el vario melody, tanga’y
encanto That in varied Nakapaglilipat sa kayong alinman;
De Febo, amado del symphony
divino Apeles, Dissipate man’s Hayo na’y tumakbo!
Y de natura el manto sorrow’s blight; Sapagka’t ang banal
Con mágicos pinceles Na ningas ng wani’y nais
Trasladar al sencillo You at th’ impulse of maputungan
lienzo sueles. your mind Kayong naglalama’y,
The hard rock animate At maipamansag ng tambuling tangan,
Corred! que sacra llama And your mind with Saan man humanggan,
Del genio el lauro great pow’r consigned Ang ngalan ng tao, sa di matulusang
coronar espera, Transformed into Lawak ng palibot na nakasasaklaw.
Esparciendo la fama immortal state
Con trompa pregonera The pure mem’ry of Malwalhating araw,
El nombre del mortal genius great; Ito, Pilipinas, sa lupang tuntungan!
por la ancha espera. Ang Lumikha’y dapat na
And you, who with pasalamatan,
Dia, dia felice, magic brush Dahilan sa kanyang mapagmahal,
Filipinas gentil, para tu On canvas plain Na ikaw’y pahatdan.
suelo! capture
Al Potente bendice The varied charm of
Que con amante anhelo Phoebus,
La ventura te envia y el Loved by the divine
consuelo. Apelles,
And the mantle of
Nature;

Run ! For genius’

sacred flame
Awaits the artist’s
crowning
Spreading far and wide
the fame
Throughout the sphere
proclaiming
With trumpet the
 mortal’s name

Oh, joyful, joyful day,

The Almighty blessed
be
Who, with loving
eagerness
Sends you luck and
happiness

Josephine Bracken
Did Jose Rizal love Josephine Bracken enough to retract from
Catholicism?
According to some Philippine Historians, Dr. Jose Rizal was a Mason and Josephine Bracken
was a catholic. In as much as they wanted to be married in the Catholic Church, they were never
granted the dispensation from the Catholic Bishop of Cebu. Religious intermarriages is not
acceptable in the strict practises of the Catholic Church in the Philippines up to present, let alone
living together outside marriage.

Dr. Rizal's alleged retraction, according to some, was the result of the persuasion of Reverend
Superior Balaguer so that Dr. Rizal will not be "eternally condemned" after his execution. Due to
Dr. Rizal's brilliance in words and great knowledge of legal documents, he manage to write his
retraction in a way that both the Diocesan Prelate and Masonry accepted.

He declared himself a Catholic "in which I was born and educated" and that " I abominate
Masonry as the enemy that it is of the Church and reprobate by the same." Thus, it may mean
that Masonry is an enemy of the church and not his.

Therefore, I must conclude, that Josephine Bracken has nothing to do with Dr. Jose P. Rizal's
retraction from Catholicism. Although there are some contradicting voices of his viewpoints and
strong beliefs which are evident in his writing and the accounts of those who are dedicated and
persistent enough to get close to our National Hero, only Dr. Jose P. Rizal knows the truth.

Josephine Bracken

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Josephine Bracken
 Photo of Josephine Bracken

9 August 1876
Born
Hong Kong

15 March 1902 (aged 25)

Died
Hong Kong

Marie Josephine Leopoldine Bracken (August 9, 1876 – March 15, 1902) was the fiancee of
Philippine national hero, José Rizal. Some believed that she was married to Rizal, although no
proof of a civil or church wedding has ever been found.

Contents
[hide]

 1 Early life
 2 Relationship with Rizal
 3 Notes
 4 External links

[edit] Early life

Bracken was born in Hong Kong on August 9, 1876 to Irish parents, James Bracken, a corporal
in the British Army, Elizabeth Jane McBride who married on May 3, 1868 in Belfast, Ireland.
When her mother died shortly after childbirth, she was adopted by an American named George
Taufer.

[edit] Relationship with Rizal

Bracken met Rizal when the latter spent several months in Hong Kong in 1891-92. She later
recommended that her blind adopted father see Rizal, who was a respected ophthalmologist. By
this time, he was a political exile in Dapitan, on the Zamboanga Peninsula. Although Taufer's
condition was beyond Rizal's help, Bracken fell in love with the physician. They were allegedly
wed in a civil union,[1] unable to obtain Catholic Church sanction for the marriage. This created a
series of minor crises for Rizal as the domestic help, as well as his sisters, who were there to
make life more comfortable for him, suspected Bracken, a white woman, of being a Spanish spy.

Some say they lived together in Dapitan. The day before his execution on charges of treason,
rebellion and sedition by the Spanish colonial government, the Catholic Church claimed that
Rizal had returned to his Catholic faith and was married in articulo mortis to Bracken in a
religious ceremony, although there has never been proof that this event happened.
After Rizal's death, Bracken joined the revolutionaries for a time. When called before the
Spanish Governor-General, she was requested to leave the Philippines, which she did, then
leaving for Hong Kong.

Josephine remarried in Hong Kong to another Filipino named Vicente Abad on December 15,
1898. They had a daughter named Dolores. While in Hong Kong, Josephine contracted
tuberculosis. She died on March 15, 1902 and was buried at the Happy Valley Cemetery. Her
grave remains unknown today since the cemetery has been converted into a racetrack.[2]