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DOCUMENTS
OF THE Katipunan |
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Andres Bonifacio (attrib.) “Pagibig
sa Tinubuang Bayan” Source: José P. Santos, Si Andres Bonifacio at ang Himagsikan
(Manila: n.pub, 1935), pp.8-10; and A.B.,
“Pagibig sa Tinubuang Bayan”, manuscript in Archivo General Militar de Madrid, Caja 5677, leg. 1.94. |
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Introduction Probably the best known of all Katipunan texts, the poem
“Pagibig sa Tinubuang Bayan” was published in Kalayaan in March 1896
above the initials “A. I. B.”[1] It is generally accepted that these
initials stand for “AGAP-ITO BAGUM-BAYAN”, which was the pseudonym placed
beneath another contribution to the paper – “Ang Dapat Mabatid ng mga
Tagalog” – and that both pieces were written by Bonifacio.[2] The pseudonym connotes something like “the
new nation is here, and ready”.[3]
Two Tagalog texts Unfortunately, no printed copy of Kalayaan has yet
been located, and perhaps none has survived.
The familiar Tagalog text of “Pagibig”, which was first published by
Jose P. Santos in 1935, was probably transcribed not from an actual printed
copy of the paper, but from a handwritten draft.[4] There is no way of knowing for sure whether
this was the final draft prior to the poem being set in type, or whether
there were later amendments. No
facsimile or photograph of the document that A manuscript copy of “Pagibig sa Tinubuang Bayan”
has survived, however, in the military archives in Madrid. This too is a draft, and it is almost
certainly an earlier draft than the text published by Santos. The poem at that stage was evidently still
a “work in progress”, and the manuscript is marked with several amendments,
some of which are reflected in the Santos text and some of which are
not. The two texts of “Pagibig” – the later, Santos
version and the earlier, Madrid version – are transcribed below in parallel,
and the discrepancies between them, large and small, are highlighted in the
Madrid version. As can be seen, the
significant discrepancies are confined to just a handful of the poem’s 28
stanzas. A
note on the front page of the Madrid manuscript indicates that the
handwriting is that of Emilio Jacinto.
Signed by sometime KKK Supreme Council member Valentin Diaz, the note
reads “Letra de Emilio Jacinto segun manifiesta Aguedo del Rosario” –
Aguedo del Rosario being another KKK Supreme Council member. There is little doubt that this
identification is correct. But the
identity of the penman, of course, does not necessarily correspond with the
identity of the author, and at the foot of the poem are inscribed the
initials “A.B.”, obviously suggesting that Bonifacio was the author. It is possible that Jacinto copied out the
text whilst Kalayaan was being prepared for publication, presumably
for editing purposes. There is perhaps a further sliver of evidence
indicative of Bonifacio’s authorship in the orthography of the text published
by Jose P. Santos. There are several
words in the text in which the letter “g” is followed by the double vowel
“ui” – guinhawa, for example, guiliw,
ibiguin and palaguing. These spellings
are not “wrong”, or even that rare, but more commonly (at least from the late
19th century onwards) writers have omitted the “u” and employed the forms ginawa, giliw and so on. Emilio
Jacinto almost invariably omitted the “u”, and the manuscript of “Pagibig” in
his handwriting, as can be seen, renders none of these words with the “ui”
combination.[5] Bonifacio, on the other hand, switched back
and forth, sometimes using the “ui” forms and sometimes not. By this particular measure, at least, the
document from which Santos transcribed the published text of “Pagibig” thus
seem more likely to have been penned by Bonifacio than by Jacinto. Tagalog scholars might be able to discern
other variations in orthography (and perhaps in style) that would corroborate
or confute this line of speculation. Transcriptions
The text published by Jose P. Santos is transcribed in the left-hand
column below, and the Madrid manuscript – the earlier draft – is transcribed
in the right-hand column. The verse numbers do not appear in the originals,
and have been inserted simply to facilitate comparison between the Tagalog
versions and the two translations into English that have been transcribed
underneath. |
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English translations Transcribed in
the left-hand column below is the translation made from Transcribed in the right-hand column below is the translation
made from Epifanio de los Santos’s Spanish version [[“Amor a la patria” in
his “Andrés Bonifacio”, Revista
Filipina, 2 (November 1917), pp.64-6.]] and published in Philippine Review, III:1-2 (January-February
1918), pp.40-1. De los Both translations, it may be noted, render “ang mga tagalog”
as “the Filipinos” and “Katagalugan” as “Filipinas”.
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NOTES
[1] Wenceslao E. Retana (comp.), Archivo del bibliófilo
filipino, vol.III (Madrid: Imprenta de la Viuda de M. Minuesa de los
Rios, 1897); p.133.
[2] Ibid., p.148. Pio Valenzuela, “Memoirs” (translated by Luis Serrano from an
unpublished manuscript in Tagalog (c.1914) and reproduced as Appendix A in Minutes
of the Katipunan (Manila: National Heroes Commission, 1964), p.106; Teodoro A. Agoncillo, The Revolt of the
Masses: the story of Bonifacio and the Katipunan (Quezon City: University
of the Philippines Press, 1956), pp.80; 91-6; 334-5.
[3] Manuel Artigas y Cuerva, Andrés Bonifacio y el “Katipunan” (Manila: Libreria “Manila Filatelica”, 1911), p.403.
[4]
José P.
Santos, Si Andres Bonifacio at ang
Himagsikan (Manila: n.pub, 1935), pp.8-10.
The reasons for believing Santos transcribed the poem from a manuscript
rather than from a typeset document are set out in the posting on "Ang Dapat Mabatid
ng mga Tagalog" in the studies section of this website.
[5] Santos said he transcribed the text of “Pagibig sa
Tinubuang Bayan” from the original “without
making any changes, even in the manner and style of the writing” (“sinipi ko
ng walang anumang pagbabago, maging
sa ayos at paraan ng pagkakasulat.”) He did not employ the “ui” forms in his
own writing, and nor do they appear in his transcriptions of Jacinto’s
works.
[6] These four lines are from the “Song of María
Clara” in Chapter XXXIII of the Noli, and were presumably translated
from the Spanish of the first edition - José Rizal, Noli me tangere:novela tagala (Berlin: Berliner Buchdruckerei-Actien-Gesellschaft, 1887),
p.119. The same lines are rendered in
English by Soledad Lacson-Locsin as: “Sweet are the hours in one’s own land/
Where all is loved under the sun,/ Life is the breeze in her fields sweeping,/
Death is welcome, and love more caring!”
José Rizal, Noli me tangere, translated by Ma. Soledad
Lacson-Locsin, edited by Raul L. Locsin (Manila: Bookmark, 1996), p.141.
[7] When editing the poem, Jacinto deleted
words from this line, but in his haste omitted to substitute other words in
their stead, leaving the line conspicuously short and incomplete.
[8]