kabisdak: ang hara

8.04.2012

ang hara

Dinhi sa akong lagwerta
Walay sagbot
Nga makalusot
Gawas lang kon pagbuot
Sa usa ka hara.
Inig talidhay sa adlaw
Magpahayahay ko
Dinhi sa akong trono
Diin ako ang ampay
Sa mga gangis nga gatagawtaw.
Ang kalabasa nga gakamang
Usahay gahi og ulo
Dili gayod motuo
Nga ang iyang mga liso
Dili mosanay ning lasang—
Magpahiyom sab kanako

Ang bulak sa Kakawati
Sa panahon sa kilumkilom

Aron mahinumdom ko
Sa katam-is ug kaaslom
Samtang ang mga alibangbang
Dinhi nakigdula sa kahoy
Gatagbaw lang og panguykoy.

Ay, kasingkasing hawoy!

Gitigbas dayon nako
Ang amorsiko nga gakanaas
Lakip sa gakamang nga halas
Kay dinhi sa akong lagwerta
Mao ra ko’g si Bathala

Samtang ang sampaguita

Niusbong diha-diha dayon

Uyon sa mando ning dughan:

Gibuboan sa ulan,
Gihagkan sa bulan.

-- MARIA VICTORIA BELTRAN

Cebu City, Philippines

4 comments:

ღღČяїstinEεїз said...: I noticed some of the poets in this blog is from CNU. Are you a normalite too??; August 5, 2012 at 12:51 PM
bambibeltran@gmail.com said...: Nope, i am from UP :-); December 16, 2013 at 1:14 AM
bambibeltran@gmail.com said...: Nope. I am from UP :-); December 16, 2013 at 1:15 AM
bambibeltran@gmail.com said...: This comment has been removed by the author.; December 16, 2013 at 1:16 AM

hagit sa handurawan

"Reimmersion (in native culture) is not an end in itself; it is to define more clearly the native grounds on which the Cebuano poet stands, the local parameters of language and experience, toward the end that he can stand in the world confident in the singular value of his own voice...

To conserve and extend the resources to which the Cebuano poet is heir by enhancing the natural rhythms of native speech, cultivating the rich concreteness of dialect, and confronting the particulars of his social experience...

The Cebuano poet today does not come upon a language that is already there, ready to use; he has to recreate it not only out of the rawness of daily speech but summon out of language that which has already fallen away from common consciousness and use."

-- Dr. Resil Mojares,
"Cebuano Poetry: Looking Backward, Forward."

matod nila, mando nato

"What could I say at all without my roots?... What could I say without coming to ground?... and I took no journey other than the return."
-- Pablo Neruda

"And the end of all our exploring will be to arrive where we started and know the place for the first time."
-- T.S. Eliot

"The work of language deserves our greatest care, for the tongue’s fire may devour the world, or may light the way."
-- Scott Russell Sanders

"Memory that yearns to join the centre, a limb remembering the body from which it has been severed, like those bamboo thighs of the god… The personal vocabulary, the individual melody whose metre is one's biography, joins in that sound, with any luck, and the body moves like a walking, a waking island."
-- Derek Walcott

"We ascend, from the infinite pit of our perceptions, to the finite life of words."
-- William Bronk

salo-salmot

Ari mo! Ambi, atong tilawan ang imong tampo. Palihog ipadala lang ang tinagik nga balak ug sugilanon ngadto sa geemyko@gmail.com.

Kinahanglang bag-o pang haon ang mugna nga imong buot idalit. Ang tigpasiugda ug tigdumala (moderator) niining balayan gapanilap sa katungod nga mopili ug modumili sa tampo. Tugotan pod unta siya og higayon nga mosugyot pagdugang og asin kon matab-angan usahay, pasabwan kun paughan gamay imong hinukad. Mao'y tumong ining balayan ang mamugnaong paghalingay ug pagsaw-anay sa atong gidalit. Kon gibalibaran, palihog ayaw og tyabaw. Ayaw tawon pamaak. Lagmit wala lang mobukal ang lana sa tigdumala kabahin sa timailhan sa tinuod nga wakwak.

sa makausa pa

"Reimmersion (in native culture) is not an end in itself; it is to define more clearly the native grounds on which the Cebuano poet stands, the local parameters of language and experience, toward the end that he can stand in the world confident in the singular value of his own voice...

To conserve and extend the resources to which the Cebuano poet is heir by enhancing the natural rhythms of native speech, cultivating the rich concreteness of dialect, and confronting the particulars of his social experience...

The Cebuano poet today does not come upon a language that is already there, ready to use; he has to recreate it not only out of the rawness of daily speech but summon out of language that which has already fallen away from common consciousness and use."
-- Dr. Resil Mojares,
"Cebuano Poetry: Looking Backward, Forward."