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boughtwithaprice · 4 years ago

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The Literary Forms in Philippine Literature

by: Christine F. Godinez-Ortega

The diversity and richness of Philippine literature evolved side by side with the country's history. This can best be appreciated in the context of the country's pre-colonial cultural traditions and the socio-political histories of its colonial and contemporary traditions.

The average Filipino's unfamiliarity with his indigenous literature was largely due to what has been impressed upon him: that his country was "discovered" and, hence, Philippine "history" started only in 1521.

So successful were the efforts of colonialists to blot out the memory of the country's largely oral past that present-day Filipino writers, artists and journalists are trying to correct this inequity by recognizing the country's wealth of ethnic traditions and disseminating them in schools and in the mass media.

The rousings of nationalistic pride in the 1960s and 1970s also helped bring about this change of attitude among a new breed of Filipinos concerned about the "Filipino identity."

Pre-Colonial Times

Owing to the works of our own archaeologists, ethnologists and anthropologists, we are able to know more and better judge information about our pre-colonial times set against a bulk of material about early Filipinos as recorded by Spanish, Chinese, Arabic and other chroniclers of the past.

Pre-colonial inhabitants of our islands showcase a rich past through their folk speeches, folk songs, folk narratives and indigenous rituals and mimetic dances that affirm our ties with our Southeast Asian neighbors.

The most seminal of these folk speeches is the riddle which is tigmo in Cebuano, bugtong in Tagalog, paktakon in Ilongo and patototdon in Bicol. Central to the riddle is the talinghaga or metaphor because it "reveals subtle resemblances between two unlike objects" and one's power of observation and wit are put to the test. While some riddles are ingenious, others verge on the obscene or are sex-related.

The proverbs or aphorisms express norms or codes of behavior, community beliefs or they instill values by offering nuggets of wisdom in short, rhyming verse.

The extended form, tanaga, a mono-riming heptasyllabic quatrain expressing insights and lessons on life is "more emotionally charged than the terse proverb and thus has affinities with the folk lyric." Some examples are the basahanon or extended didactic sayings from Bukidnon and the daraida and daragilon from Panay.

The folk song, a form of folk lyric which expresses the hopes and aspirations, the people's lifestyles as well as their loves. These are often repetitive and sonorous, didactic and naive as in the children's songs or Ida-ida (Maguindanao), tulang pambata (Tagalog) or cansiones para abbing (Ibanag).

A few examples are the lullabyes or Ili-ili (Ilongo); love songs like the panawagon and balitao (Ilongo); harana or serenade (Cebuano); the bayok (Maranao); the seven-syllable per line poem, ambahan of the Mangyans that are about human relationships, social entertainment and also serve as a tool for teaching the young; work songs that depict the livelihood of the people often sung to go with the movement of workers such as the kalusan (Ivatan), soliranin (Tagalog rowing song) or the mambayu, a Kalinga rice-pounding song; the verbal jousts/games like the duplo popular during wakes.

Other folk songs are the drinking songs sung during carousals like the tagay (Cebuano and Waray); dirges and lamentations extolling the deeds of the dead like the kanogon (Cebuano) or the Annako (Bontoc).

A type of narrative song or kissa among the Tausug of Mindanao, the parang sabil, uses for its subject matter the exploits of historical and legendary heroes. It tells of a Muslim hero who seeks death at the hands of non-Muslims.

The folk narratives, i.e. epics and folk tales are varied, exotic and magical. They explain how the world was created, how certain animals possess certain characteristics, why some places have waterfalls, volcanoes, mountains, flora or fauna and, in the case of legends, an explanation of the origins of things. Fables are about animals and these teach moral lessons.

Our country's epics are considered ethno-epics because unlike, say, Germany's Niebelunginlied, our epics are not national for they are "histories" of varied groups that consider themselves "nations."

The epics come in various names: Guman (Subanon); Darangen (Maranao); Hudhud (Ifugao); and Ulahingan (Manobo). These epics revolve around supernatural events or heroic deeds and they embody or validate the beliefs and customs and ideals of a community. These are sung or chanted to the accompaniment of indigenous musical instruments and dancing performed during harvests, weddings or funerals by chanters. The chanters who were taught by their ancestors are considered "treasures" and/or repositories of wisdom in their communities.

Examples of these epics are the Lam-ang (Ilocano); Hinilawod (Sulod); Kudaman (Palawan); Darangen (Maranao); Ulahingan (Livunganen-Arumanen Manobo); Mangovayt Buhong na Langit (The Maiden of the Buhong Sky from Tuwaang--Manobo); Ag Tobig neg

Keboklagan (Subanon); and Tudbulol (T'boli).

The Spanish Colonial Tradition

While it is true that Spain subjugated the Philippines for more mundane reasons, this former European power contributed much in the shaping and recording of our literature. Religion and institutions that represented European civilization enriched the languages in the lowlands, introduced theater which we would come to know as komedya, the sinakulo, the sarswela, the playlets and the drama. Spain also brought to the country, though at a much later time, liberal ideas and an internationalism that influenced our own Filipino intellectuals and writers for them to understand the meanings of "liberty and freedom."

Literature in this period may be classified as religious prose and poetry and secular prose and poetry.

Religious lyrics written by ladino poets or those versed in both Spanish and Tagalog were included in early catechism and were used to teach Filipinos the Spanish language. Fernando Bagonbanta's "Salamat nang walang hanga/gracias de sin sempiternas" (Unending thanks) is a fine example that is found in the Memorial de la vida cristiana en lengua tagala (Guidelines for the Christian life in the Tagalog language) published in 1605.

Another form of religious lyrics are the meditative verses like the dalit appended to novenas and catechisms. It has no fixed meter nor rime scheme although a number are written in octosyllabic quatrains and have a solemn tone and spiritual subject matter.

But among the religious poetry of the day, it is the pasyon in octosyllabic quintillas that became entrenched in the Filipino's commemoration of Christ's agony and resurrection at Calvary. Gaspar Aquino de Belen's "Ang Mahal na Passion ni Jesu Christong Panginoon natin na tola" (Holy Passion of Our Lord Jesus Christ in Verse) put out in 1704 is the country's earliest known pasyon.

Other known pasyons chanted during the Lenten season are in Ilocano, Pangasinan, Ibanag, Cebuano, Bicol, Ilongo and Waray.

Aside from religious poetry, there were various kinds of prose narratives written to prescribe proper decorum. Like the pasyon, these prose narratives were also used for proselitization. Some forms are: dialogo (dialogue), Manual de Urbanidad (conduct book); ejemplo (exemplum) and tratado (tratado). The most well-known are Modesto de Castro's "Pagsusulatan ng Dalawang Binibini na si Urbana at si Feliza" (Correspondence between the Two Maidens Urbana and Feliza) in 1864 and Joaquin Tuason's "Ang Bagong Robinson" (The New Robinson) in 1879, an adaptation of Daniel Defoe's novel.

Secular works appeared alongside historical and economic changes, the emergence of an opulent class and the middle class who could avail of a European education. This Filipino elite could now read printed works that used to be the exclusive domain of the missionaries.

The most notable of the secular lyrics followed the conventions of a romantic tradition: the languishing but loyal lover, the elusive, often heartless beloved, the rival. The leading poets were Jose Corazon de Jesus (Huseng Sisiw) and Francisco Balagtas. Some secular poets who wrote in this same tradition were Leona Florentino, Jacinto Kawili, Isabelo de los Reyes and Rafael Gandioco.

Another popular secular poetry is the metrical romance, the awit and korido in Tagalog. The awit is set in dodecasyllabic quatrains while the korido is in octosyllabic quatrains. These are colorful tales of chivalry from European sources made for singing and chanting such as Gonzalo de Cordoba (Gonzalo of Cordoba) and Ibong Adarna (Adarna Bird). There are numerous metrical romances in Tagalog, Bicol, Ilongo, Pampango, Ilocano and in Pangasinan. The awit as a popular poetic genre reached new heights in Balagtas' "Florante at Laura" (ca. 1838-1861), the most famous of the country's metrical romances.

Again, the winds of change began to blow in 19th century Philippines. Filipino intellectuals educated in Europe called ilustrados began to write about the downside of colonization. This, coupled with the simmering calls for reforms by the masses gathered a formidable force of writers like Jose Rizal, Marcelo H. del Pilar, Mariano Ponce, Emilio Jacinto and Andres Bonifacio.

This led to the formation of the Propaganda Movement where prose works such as the political essays and Rizal's two political novels, Noli Me Tangere and the El filibusterismo helped usher in the Philippine revolution resulting in the downfall of the Spanish regime, and, at the same time planted the seeds of a national consciousness among Filipinos.

But if Rizal's novels are political, the novel Ninay (1885) by Pedro Paterno is largely cultural and is considered the first Filipino novel. Although Paterno's Ninay gave impetus to other novelists like Jesus Balmori and Antonio M. Abad to continue writing in Spanish, this did not flourish.

Other Filipino writers published the essay and short fiction in Spanish in La Vanguardia, El Debate, Renacimiento Filipino, and Nueva Era. The more notable essayists and fictionists were Claro M. Recto, Teodoro M. Kalaw, Epifanio de los Reyes, Vicente Sotto, Trinidad Pardo de Tavera, Rafael Palma, Enrique Laygo (Caretas or Masks, 1925) and Balmori who mastered the prosa romantica or romantic prose.

But the introduction of English as medium of instruction in the Philippines hastened the demise of Spanish so that by the 1930s, English writing had overtaken Spanish writing. During the language's death throes, however, writing in the romantic tradition, from the awit and korido, would continue in the novels of Magdalena Jalandoni. But patriotic writing continued under the new colonialists. These appeared in the vernacular poems and modern adaptations of works during the Spanish period and which further maintained the Spanish tradition.

The American Colonial Period

A new set of colonizers brought about new changes in Philippine literature. New literary forms such as free verse [in poetry], the modern short story and the critical essay were introduced. American influence was deeply entrenched with the firm establishment of English as the medium of instruction in all schools and with literary modernism that highlighted the writer's individuality and cultivated consciousness of craft, sometimes at the expense of social consciousness.

The poet, and later, National Artist for Literature, Jose Garcia Villa used free verse and espoused the dictum, "Art for art's sake" to the chagrin of other writers more concerned with the utilitarian aspect of literature. Another maverick in poetry who used free verse and talked about illicit love in her poetry was Angela Manalang Gloria, a woman poet described as ahead of her time. Despite the threat of censorship by the new dispensation, more writers turned up "seditious works" and popular writing in the native languages bloomed through the weekly outlets like Liwayway and Bisaya.

The Balagtas tradition persisted until the poet Alejandro G. Abadilla advocated modernism in poetry. Abadilla later influenced young poets who wrote modern verses in the 1960s such as Virgilio S. Almario, Pedro I. Ricarte and Rolando S. Tinio.

While the early Filipino poets grappled with the verities of the new language, Filipinos seemed to have taken easily to the modern short story as published in the Philippines Free Press, the College Folio and Philippines Herald. Paz Marquez Benitez's "Dead Stars" published in 1925 was the first successful short story in English written by a Filipino. Later on, Arturo B. Rotor and Manuel E. Arguilla showed exceptional skills with the short story.

Alongside this development, writers in the vernaculars continued to write in the provinces. Others like Lope K. Santos, Valeriano Hernandez Peña and Patricio Mariano were writing minimal narratives similar to the early Tagalog short fiction called dali or pasingaw (sketch).

The romantic tradition was fused with American pop culture or European influences in the adaptations of Edgar Rice Burroughs' Tarzan by F. P. Boquecosa who also penned Ang Palad ni Pepe after Charles Dicken's David Copperfield even as the realist tradition was kept alive in the novels by Lope K. Santos and Faustino Aguilar, among others.

It should be noted that if there was a dearth of the Filipino novel in English, the novel in the vernaculars continued to be written and serialized in weekly magazines like Liwayway, Bisaya, Hiligaynon and Bannawag.

The essay in English became a potent medium from the 1920's to the present. Some leading essayists were journalists like Carlos P. Romulo, Jorge Bocobo, Pura Santillan Castrence, etc. who wrote formal to humorous to informal essays for the delectation by Filipinos.

Among those who wrote criticism developed during the American period were Ignacio Manlapaz, Leopoldo Yabes and I.V. Mallari. But it was Salvador P. Lopez's criticism that grabbed attention when he won the Commonwealth Literay Award for the essay in 1940 with his "Literature and Society." This essay posited that art must have substance and that Villa's adherence to "Art for Art's Sake" is decadent.

The last throes of American colonialism saw the flourishing of Philippine literature in English at the same time, with the introduction of the New Critical aesthetics, made writers pay close attention to craft and "indirectly engendered a disparaging attitude" towards vernacular writings -- a tension that would recur in the contemporary period.

The Contemporary Period

The flowering of Philippine literature in the various languages continue especially with the appearance of new publications after the Martial Law years and the resurgence of committed literature in the 1960s and the 1970s.

Filipino writers continue to write poetry, short stories, novellas, novels and essays whether these are socially committed, gender/ethnic related or are personal in intention or not.

Of course the Filipino writer has become more conscious of his art with the proliferation of writers workshops here and abroad and the bulk of literature available to him via the mass media including the internet. The various literary awards such as the Don Carlos Palanca Memorial Awards for Literature, the Philippines Free Press, Philippine Graphic, Home Life and Panorama literary awards encourage him to compete with his peers and hope that his creative efforts will be rewarded in the long run.

With the new requirement by the Commission on Higher Education of teaching of Philippine Literature in all tertiary schools in the country emphasizing the teaching of the vernacular literature or literatures of the regions, the audience for Filipino writers is virtually assured. And, perhaps, a national literature finding its niche among the literatures of the world will not be far behind.

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pachecoworld · 4 years ago

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Francisco Balagtas

Francisco Balagtas y de la Cruz (April 2, 1788 – February 20, 1862), commonly known as Francisco Balagtas and also as Francisco Baltazar, was a prominent Filipino poet during the Spanish colonial period of the Philippines. He is widely considered one of the greatest Filipino literary laureates for his impact on Filipino literature. The famous epic Florante at Laura is regarded as his defining work.

The surname "Baltazar", sometimes misconstrued as a pen name, was a legal surname Balagtas adopted after the 1849 edict of Governor-General Narciso Claveria y Zaldua, which mandated that the native population adopt standard Spanish surnames instead of native ones. His surname is also sometimes given as "Balagtas Baltazar" when instead he used one or the other but not both at the same time. His mentor was José de la Cruz, otherwise known as Huseng Sisiw.

Balagtas learned to write poetry from José de la Cruz (Joseng Sisiw), one of the most famous poets of Tondo, in return for chicks. It was De la Cruz himself who personally challenged Balagtas to improve his writing. Balagtas swore he would overcome Huseng Sisiw as he would not ask for anything in return as a poet.

In 1835, Balagtas moved to Pandacan, Manila, where he met María Asunción Rivera, who would effectively serve as the muse for his future works. She is referenced in Florante at Laura as 'Selya' and 'MAR'.

Balagtas' affections for MAR were challenged by the influential Mariano Capule. The latter won the battle for MAR when he used his wealth to get Balagtas imprisoned. It was here that he wrote Florante at Laura in fact, the events of this poem were meant to parallel his own situation. He wrote his poems in the Tagalog language, during an age when Filipino writing was predominantly written in Spanish.

Balagtas published "Florante at Laura" upon his release in 1838. He moved to Balanga, Bataan, in 1840 where he served as the assistant to the Justice of the Peace. He was also appointed as the translator of the court. On November 21, 1849, Governor General Narciso Clavería y Zaldua issued a decree that every Filipino native must adopt a Spanish surname.

In 1856, he was appointed as the Major Lieutenant, but soon after was convicted and sent to prison again in Bataan under the accusation that he ordered Alferez Lucas' housemaid's head to be shaved.

He sold his land and all of his riches, in order for him to be imprisoned in 1861, and continued writing poetry, along with translating Spanish documents, but he died a year later on February 20, 1862, at the age of 73. Upon his deathbed, he asked the favor that none of his children become poets like him, who had suffered under his gift as well as under others. He even went as far as to tell them it would be better to cut their hands off than let them be writers.

Balagtas is greatly idolized in the Philippines that the term for Filipino debate in extemporaneous verse is named after him: Balagtasan.

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ibongadarnamaiklingpelikula-blog · 6 years ago

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Ibong Adarna: Trivia

Ang Ibong Adarna ay isang pasalaysay na tula na ang buong pamagat ay “Corrido at Buhay na Pinagdaanan nang Tatlong Prinsipeng Magkakapatid na Anak nang Haring Fernando at nang Reina Valeriana sa Kahariang Berbania.”

Walang tiyak na petsa ang tula, at nananatiling lihim ang awtor nito, bagaman may ilang naniniwala na ang nasabing tula ay isinulat ni Huseng Sisiw na palayaw ni Jose de la Cruz.

Si Huseng Sisiw, ayon kay Julian Cruz Balmaseda, ang nagturo umano kay Francisco Balagtas kung paano sumulat ng tula.😊

#Ibong Adarna #Huseng Sisiw #Juan de la Cruz #Fransisco Balagtas #Florante at Laura

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theinsignias22 · 2 years ago

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Fransisco Balagtas

Biography by Rhea Himalla

Fransisco Balagtaz y Dela Cruz was one of the Philippines' most celebrated poets, and his work has been praised by many as among the country's finest writings. He was called Prince of the Manunulang Pilipino. And his most famous work is Florante at Laura. He was born in Panginay, Bigaa, Bulacan on April 12, 1788. He is the youngest of four siblings. He is the second youngest of four siblings. And his parents were Juan Balagtas and Juana de la Cruz. He began his formal education in a priestly school in his hometown, where he studied prayers and catechism. He moved to Tondo Manila when he was seven years old to work as a homeowner for the Trinidad family, one of his wealthy relatives. His aunt dearly loved him and sent him to Colegio de San Jose and Colegio de San Juan de Letran so he could complete his schooling. And at the age of 24 he completed his law studies, Spanish, Latin, physics, Christian studies, liberal arts and philosophy.

Jose Dela Cruz, also known as Huseng Sisiw, is a well-known poet in Tondo. He taught John how to write poems. She inspired Balagtas to write beautiful poetry and masterpieces. In 1835, Balagtas moved to Pandacan, where he met Maria Asuncion Rivera. They fell in love and married soon after. She was a beautiful woman whose example inspired Balagtas. "Selya" was her nickname and she was Balagtas' M.A.R in his masterpiece Florante at Laura Balagtas was imprisoned by Mariano Capule, a powerful and wealthy man who had a rivalry with him in love with Celia. In prison he wrote Florante and Laura, which inspired his current life When Balagtas was liberated, he went to Bataan where he met Juana Tiambeng of Orion They married on July 22, 1842 and had eleven children.

Balagtas was imprisoned again when a female helper accused him of cutting her hair. He was released in 1860 and continued writing poetry. He died on February 20, 1862, at the age of 74.

#Biography

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pantigatkataga-blog · 7 years ago

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Turning the Pages of History in the Chapters of Philippine Literature

By: C. Linco

Literature.

It is a form of an awakening, where it shows you see a different world through the lenses of its characters. Many books are published that became immortal, life-changing, and the basis of greatness for neophyte writers. Philippine literature has gone through a lot from the very first writings to the colonization of other countries, and even up to the present time- The Philippine literature is still breathing. It spawned new authors and created new techniques on writing.

How did the literature of the Philippines started?

In the pre-colonial times, the Philippine literature thrived. Folk songs, a lyric poem that showed emotions and told stories, were one of the first forms to emerge. Examples of it are lullabies, love songs, serenade, and narrative songs. Folk narratives, a magical, heroic stories or also called in Tagalog, “kwentong bayan”, also began in this time.

During the Spanish colonial tradition, prose and poetry came to life. It has 2 classification: religious and secular, in which metrical romances emerge. Various kinds of prose narratives are written to prescribe proper decorum. During that time, the two leading poets who are still famous up until now are Corazon “Huseng Sisiw” de Jesus and Francisco Balagtas, author of Florante at Laura.

During the 19th century, the ilustrados, or those Filipinos who got the chance to study, began writing about the downside of colonization which led to the propaganda movement that inspired Rizal’s two political novels: El Filibusterismo and Noli Me Tangere.

During the American Colonial Period, free verse poetry was popularize-A form of poetry where there is no measure of the length of verse and stanza. A modern form of short story and critical essay also emerged. The English language became a potent medium from the1920’s. The last throes of American colonialism saw the flourishing of Philippine literature in English at the same time, with the introduction of the New Critical Aesthetics, made writers pay close attention to craft and “indirectly engendered a disparaging attitude” towards vernacular writings – a tension that would recur in the contemporary period.

The flowering of Philippine literature in the various languages continues in the contemporary period especially with the appearance of new publications after the Martial Law years and the resurgence of committed literature in the 1960′s and the 1970′s. Filipino writers continue to write poetry, short stories, novellas, novels, and essays whether these are socially committed, gender/ethnic related or personal in intention.

This is just a brief history of Philippine literature. There are still stories and poetry to explore that will, without a doubt, change the world. With just enough interest and understanding to read these exquisite works, these new aspiring writers will be given a chance to prove themselves, to move emotions and to direct beyond their world. Giving them a chance to make the people love literature more with the stroke of their pens will allow the Philippine literature to have a chance to change the course of the world. Who knows, it might lead to a utopian world we dream of.

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sophfunintheph-blog · 5 years ago

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Known during the Spanish era as Corrido at Buhay na Pinagdaanan nang Tatlong Principeng Magcacapatid na Anac nang Haring Fernando at nang Reina Valeriana sa Cahariang Berbania, the epic of Ibong Adarna centers on the efforts of the three princes of the kindgdom of Berbania--Don Pedro, Don Diego and Don Juan, respectively-- as they try to catch the elusive Ibong Adarna, which was said to have mystic powers that could heal their ailing father. This is written in the form of a korido, a type of poem that has eight syllables per stanza, and is usually reserved for epics. The authorship of Ibong Adarna is unknown, but it is commonly theorized that it had been penned by Jose de la Cruz, a Filipino poet who goes by Huseng Sisiw.

image credit: https://cf.shopee.ph/file/b07e25dc6c697e379d3e8e1010f49b7c

#art

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swellbloom-kids · 2 months ago

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The SAIS MARIAS are powerful demons serving the Bakunawa in Swellbloom Kids.

Huseng Kabayo is the demon of forests, lies, and illusion. They smell of rainwater and are the forerunner of all tikbalangs.

Dalagang Pinusuan presides over scorn and rampage. Their sacred tree's jewel drops at midnight, granting people their super strength and matching ferocity.

Ninunong Punso is a wily gossiper, the demon of riddles and puzzles. They have eyes and ears everywhere - so steer clear of termite mounds.

Pedrong Sisiw forever hungers, presiding over money, hedonism, and indulgence. Feed them something of sentimental value and they'll reward you with gold and jewels.

Mariang Riposa entices the dreaming into their silvery mansion. Their home is in Biringan, the Disappearing City. A demon of desire and envy, they can dissolve any boundary.

Pepeng de Sarapeng is summoned with a nonsense chant, and similarly speaks in tongues. Their powers of alchemy can materialize your deepest desire, or turn your foes into hideous monsters.

#sais marias #swellbloom kids #philippine mythology #ttrpg

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the-twelve-guardians · 3 years ago

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Lineup of the Sais Marias! Design and concept notes under the cut:

Huseng Kabayo is themed on the concept of the dreaded Mercury retrograde. Mercury retrograde causes miscommunications and misunderstandings, even having technology go on the fritz. Part of miscommunication is confusion and losing your bearings - what better creature to represent that feeling of being lost than a tikbalang? The "Huseng" part is modeled after Huseng Sisiw, the pseudonym of the famous Tagalog writer Jose de la Cruz.

Dalagang Pinusuan is Venus and Mars retrograde. They're the planets of passion - Venus for love, Mars for conflict. If Huseng Kabayo is somber and misleading, Dalagang Pinusuan is fiery and aggressive. They represent the angry, messy side of heartbreak. The monkey shows up a lot in Philippine stories, so I thought it'd be a nice design for them. I also incorporated the myth of the agimat falling from the banana heart at midnight (which gives its bearer supernatural strength) in Dalagang Pinusuan's lore - they grant said agimat to those who want to go on a rampage.

Ninunong Punso is Jupiter retrograde. Jupiter represents wisdom and knowledge - when corrupted, it becomes excessive complexity and outright obfuscation. Ninunong Punso's name is a pun on the Philippine folklore creature nuno sa punso - a termite mound-dwelling dwarf. I took this a step further by giving Ninunong Punso the body of a termite queen, as well as the teeth and tiny eyes of a mole to further cement the underground theme.

Pedrong Sisiw is Saturn retrograde. Saturn is the planet of nobility and achievements - taken to the extreme, it becomes hedonism and extravagance. Pedrong Sisiw was conceptualized as this eternally hungry entity, so I took inspiration from the aswang myth, which states that aswangs hunger for flesh because of a black chick-like creature that lives inside their stomach. I made Pedrong Sisiw's feathers gold to further cement the extravagance theme. Pedro was named specifically because of St. Peter, who is associated with the rooster.

Mariang Riposa is Uranus and Neptune retrograde. These two are the planets of dreams and change. Mariang Riposa (a pun on mariposa as well as riposa, meaning "rest" in Italian) represents the unconscious as well as desire. They are the Maria of seduction and envy, hence the green eyes ("green-eyed monster" being a euphemism for someone who is envious).

Pepeng de Sarapeng, the darkest and most powerful of the six, is Pluto retrograde. Pluto is the planet of power, karma, and obsession. These in itself are already terrifying, but Pepeng de Sarapeng takes it further, representing corruption, dissolution, and cataclysm. They're pretty much an eldritch being. Funnily enough, they were conceptualized as a pun on the first few lines of "Pen Pen de Sarapen", a Filipino nursery full of nonsense words. It specifically mentions a carabao, which I instead made a tamaraw (its more aggressive relative) as well as a crow for general ominousness. Nonsense becomes unintelligible garble, fitting for the most mysterious one of them all.

#sais marias #()lineup #huseng kabayo #dalagang pinusuan #ninunong punso #pedrong sisiw #mariang riposa #pepeng de sarapeng

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