Modern literature in the Philippines 필리핀의 현대문학
They then point out how large-scale armed uprisings chanting Independence took place later in 1890 under Andrés Bonifacio´s leadership.
필리핀의 반에스빠냐 비밀혁명단체의 <까띠뿌난>의 창건자이며 독립투사이고 작가인 보니파씨오 (1863-1897)의 서사시 <조국애>
The texts then focus on the figure of Andrés Bonifacio (1863-1897), independentist fighter, writer and founder of the underground revolutionary movement Katipunan, which opposed Spanish imperialism.
서사시 <조국애> epic poem Love for the Homeland
빼앗긴 조국을 찾기 위하여 일떠설것을 모든 동포들에게 호소하였다
through this epic poem, Bonifacio appealed all the filipino people to recover the homeland they had been deprived from.
필리핀 사람의 영예 어디 있느냐 ?
죽어서도 지녀야 할 그 혈통
어디 있는냐?
나라는 위험에 처했네
어이 그대를 수수방관관할수 있으리?
어이 태연하게 그 고통 바라볼 수 있으리냐?**
Korean translation from the book we are summarizing in this post
Where is the filipinos´ honor?
Where the blood that must be set flowing?
Their country in peril-why passive?
Will they calmly see her suffer?
English translation from The Kahimyang project
호세 싼또스의 장편소설 [광명과 해빛] (1911) José Santos´s novel Future and Sunlight
인물 character 1. Felipe 펠리페
대지주의 외아들, 새로운 사회구조 탐색 Only son of a large land owner. In the quest for a new social structure.
마닐라에서 로동생활을 하는 과정 통하여 돈이 로동자들의 피와 땀임에 대한 깊은 인식 받음.
Experiencing labour life in Manila makes him see that money comes from the worker´s blood and sweat.
아버지가 주는 돈을 거절, 자기가 번 돈으로 살아 간다. He rejects his father´s money and start to live on his own work.
아버지의 의사를 거절하고 가난한 집의 딸을 사랑한다. Contrary to father´s will, he loves the daughter of a poor household.
2. 인물 character Felipín 펠리핀
법과대학생, 대기업가인 라몬의 딸 메리를 사랑한다. A Law student, he is in love with the daughter of Ramón, a large company owner.
라몬은 가문의 수치라, 미국으로 떠나 심복의 손에 살해 된다. Considering that a dishonor to their family, Ramón leaves to the USA, where he is murdered by his right-hand man.
3. 펠리페와 펠리핀의 공통성: 투쟁 목적
Struggle is Felipe and Felipín´s common destiny
힘을 합치고 미국독점자본을 반대하는 투쟁 They join forces in the struggle against US´s monopolistic capital.
외국자본의 침투를 반대하고 필리핀 근로자들의 민족적감정과 자주적 지향을 진실하게 보여 주는 장편소설. Realistically depicts the national feelings and autonomist orientation of filipin@ workers opposed to the penetration of foreign capitals.
페르난도 게르레로 (1873-1929) 의 시 [민족의 넋]
Fernando Guerrero´s poem The nation´s spirit
쓰러진 영웅들은 죽지 않는다!
무덤에서 나오지 않아도
그들은 생활에로 되돌아 오나니
그 생활속에 그들의 넋이 살아 있다
만일 살아서 그들이 보통 새였다면
죽어서 그들은 강한 매가 되리
Fallen heroes never die!
They may not come out of their graves
But they do come back to life
There is a life where their spirits always live
If they were ordinary birds before they died
They shall be mighty hawks thereafter
In a proud tone and through the image of once-ordinary birds reborn as mighty hawks, this poem sings about the people´s vigorous spirit, which treasures the nation´s soul.
필리핀 근대 문학의 대표적 작가 호쎄 리쌀 (1861-1896)과
장편소설 <나를 건드리지 말라> 와 <리탈자>
José Rizal, representative of modern filipin@ literature,
and his novels Noli me tangere and El filibusterismo.
리쌀의 창작은 동남아시아 나라들에서 근대문학의 서막을 장식하고 이 지역에서 타오른 반제민족해방운동의 일반적 특징을 구현하였으며 계몽주의의 리념과 필리핀 민족 문학의 특징을 체현하고 있는 것으로 하여 동남아시아 나라들의 근대문학에서 뚜렷한 자리를 차지하고 있다. José Rizal´s works mark the opening scene of southeastern Asian countries´modern literature. It embodies this region´s people´s organized and ardent desire for national liberation and conveys enlightened philosophy along with the characteristics of national filipino literature.
Born in a wealthy family in Calamba, Laguna, Rizal graduated in medicine and agriculture at college. In 1882, he went to Spain (에스빠냐) and studied philosophy, literature and medicine in Madrid University. While completing his studies in France and Germany (도이췰란드), he devoted to writing and published his first novel, Noli me tangere (Touch me not, <나를 건드리지 말라> (1887)), becoming a famous writer.
Back in the Philippines, he runs a private hospital while carrying out a committed activity in the field of culture enlightenment.
당국의 탄압을 받고 7개월만에 다시 망명 생활을 하지 않으면 안되었다.
But repression by the authorities left no way for him but to exile again.
그는 일본을 비롯하여 여러 나라들에서 망명 생활을 하면서도 필리핀의 독립과 계몽을 위한 활동을 중단하지 않았다.
Rizal didn´t cease in his enlightenment activity during his exile in several countries, like Japan.
그는 에스빠냐에서 발행하고 있던 필리핀 독립 운동자들의 신문 <단결>에 계몽사상을 반영한 많은 글을 써서 투고하였다. He continued to send abundant contributions, reflecting the enlightened ideals, to La Solidaridad, the newspaper of pro-independence filipino activists in Spain.
두 번째 장편소설 <리탈자> (1891)를 탈고하여 벨지끄에서
In 1891, he completed the manuscript for his second novel, El filibusterismo (The reign of greed), which was published in Belgium. This novel vividly reflects Rizal´s research spirit in pursuit of a faster and more radical way for liberation of the Philippines from the colonial rule.
Facing danger again, he returned to his country in 1892 and founded the Liga filipina, an illegal bourgeois nationalist organization to contribute to the independentist movement.
이 조직을 내온것으로 하여 에스빠냐 당국에 체포되어 민다나오 섬에서 4년간 류배살이를 하였다.
This caused him to be arrested by Spanish authorities and banished in Mindanao for 4 years. Not long after the end of this term, he was arrested again in relation with the popular uprisings that were taking place and was, this time, condemned to death.
His execution would fuel the uprisings even more and became a milestone in the filipino people´s struggle for independence after 300 years of Spanish colonial rule.
While still alive, Rizal published over 300 literary pieces including novels, poetry, chronicles and biographies, aesthetic critics, scientic theory books (과학리론저서), etc.
The achievements reached by his work is concentrated in Noli me tangere and El filibusterismo, novels that vividly explore the autonomy and independent will of filipino peoples, their ant-invasion ideology. “I wrote Noli to raise consciousness among my compatriots”, said the author, “I will be happy if many fighters emerge from the awakened people.
This work conveys an antifeudal, anti-friar´s rule, and anti-invasion enlightened ideas. 반봉건, 반승려, 반침략계몽사상을 폭 넓게 구현하고 있다.
Driven by a strong desire for independence and liberation, Juan Crisóstomo Ibarra returns to Philippines from studying abroad and manages to get a job at the house of Santiago de los Santos or Tiyago, a local richman and ex army captain, and engages with his daughter María Clara. But Tiyago wants her to marry a rich Spaniard instead.
Through the tragedy of his own father, a not very rich businessman who has been imprisoned without having committed any crime and loses his life in jail, Ibarra gains awareness that his people will never be able to escape their ill-fate until the social crime that rules is overthrown.
Via the school he founds in his hometown, Ibarra devotes to educating many people in the enlightened ideas and pleads to change the society´s unreasonableness.
By that time, an anti-Spanish popular revolt flares in the city and Ibarra is imprisoned for having allegedly led the turmoils, but, with help from his friend Elías, succeeds in escaping. The government then deploys the royal guard and gives him chase. Elías then exposes himself to the enemy and dies gloriously after saving Ibarra 로출시킴으로써 이바라를 구원하고 장렬하게 전사한다.
After gossips spread in the city that Ibarra is dead, María Clara, whose love for him is unchanged, repels her father´s attempt to have her marry the foreigner and enters a secluded monastery.
While sharing a common character orientation towards goodness, Elías and Ibarra also show some characteristics that oppose them. The basic thought conveyed in the novel doesn´t, therefore, lie in the conflict and contrast between goodies and badies but can rather be found in the exposure of different orientations between two positive characters.
Although Ibarra can be considered the main character from the point of view of activity, protagonism is rather found in Elías when we focus on the ideological aspect.
Through these words he tells Ibarra, Elías exposes the religion´s hypocresy: “We memorized like a sacred chant that friars gave us faith and are here to save us from darkness, but do you think Jesuschrist´s teachings are really there?”
Subsequently, he claims that the only way to save the scorned and ragged is to materialize a rational reform and root out the police repression system. Ibarra, in turn, defends enlightenment and not reform.
Also of deep significance is María Clara´s character. Far from being limited to the typical depiction of feminine characters featuring classical characteristics like eternal loyalty and preserving love and moral purity, she is an independent woman who shares Ibarra´s opposition to the friar´s regime. Her character conveys the honesty and straightness of filipina women who, not just at that time but also nowadays, don´t just seek their individual happiness.
This work shows artistic features such as the vividness of character realism, an explicit structure, the author´s expression of his own emotions through the character depiction (서정토로).
A point where this novel is not satisfactory (부족점) lies in the weakness that prevails in the expression of the anti-colonialist ideas, the restrained way the ideals of social reform are expressed.
Among the notions expressed via the ideological dispute between Ibarra and Elías´are the idea that the progress of filipino society and civilization was only possible via the help from Spain and the claim for the necessity of reform. The author´s views on the ideological boundary line between && reform and enlightenment, between autonomy and reliance on foreign powers (개혁과 계몽, 자주와 외세의존의 사상적 계선에서), is not clearly expressed and shows some ambiguity.
Despite this limitation, Noli me tangere does have a significance in the history of literature since it conveys the author´s enlightened ideals about the future and pushes up the filipino people´s autonomous consciousness.
In El filibusterismo (리탈자), a sequel novel published a few years after Noli, the weak point of its precedent are systematically corrected. Topics, ideas and character´s personality are further developed.
In this novel, Ibarra, now Simoun the jeweler, returns as a developed version of Ibarra´s image. Saved by Elía´s valious sacrifice, Simoun organizes a revolt plan. A character showing strong anti-governmental and anti-friar´s regime sentiments, he is chased after by the government´s military and joins a bandit gang, where he establishes ties with its leader Cabesang Tales and drags him into the uprising he is preparing, where Rizal reflected the anti-government revolt that actually took place in 1896.
Another character Simoun would become acquainted with and recruit for the uprising is Basilio, a servant of the local governor. According to the plan, they will anihilate all spaniards and friars gathered in an event hall where a dancing ball takes place by taking advantage of the disorderly situation. The scheme is, however, discovered beforehand and frustrated by the enemies. Severely wounded and made prisoner, Simoun takes a poison to terminate himself.
Rizal dedicated this work to the patriotic figures who sacrificed in the anti-Spanish uprisings.
(...)
Anticolonial thought is better expressed in this second part than it was in the first novel. If Noli depicted Ibarra founding a school where he tried to cultivate enlightened ideas among people, El filibusterismo shows a clearly anticolonial and uprising mindset, as reflected in Simoun´s soliloquy at the time of giving Basilio a box with explosives:
“This is something stronger than just explosives. It is the tears i accummulated, the hatred I piled up, it is all the offenses and scorn from my past. This is the ragged people´s last weapon, it´s violence opposing violence, strike opposing strike.
…
Tonight, all the oppressors that wore God´s mask, all the beasts, will be destroyed!”
This monologue by the protagonist certainly contains the appeal to fight, the need of pro-liberation power in the struggle against colonial power. A qualitative progress can be seen here when compared to Noli, where symbolism and half-way subsiding (중도반단) are two characteristics.
The weakening of realist veracity through the depiction of personalities that ideologically agitate in the middle point between violence and nonviolence and the unilateral exaggeration of characters spotlights this work´s lack of a structural perfection. 작품은 폭력과 비폭력의 중간에서 사상적으로 동요하는 성격형상과 성격을 일면적으로 과장함으로써 사실주의적 진실성을 약화시키고 있는 것 등 구성이 치밀하지 못한 것과 같은 부족점을 발로 시키고 있다.
Together with Noli, El filibusterismo takes up an important place in modern literature from the Philippines and southeastern Asian countries in general as two of the first works that brings consciousness for autonomy, independence and antiimperialism to its country and nation.
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