Sunday, August 3, 2025
Para Sa'yong Kay Tagal Kong Hinintay
Maraming taon na akong nagbilang ng pagsikat ng araw. At sa bawat bukang-liwayway ay ipininta ko sa aking kamalayan, paulit-ulit na idinalangin ng puso, ipinanikluhod sa harapan ng Ama, na sasapit din ang umagang ikaw ang bubungad sa aking mga mata sa unang pagdilat. Na aking maidadampi ang aking daliri sa iyong mga talukap habang dinig ko ang malabulong mong paghinga sa pagitan ng ulirat at panaginip. Na makatatawid ang aking hintuturo sa iyong noo, pababa sa tungki ng iyong ilong, hanggang sa maninipis mong labi. May mukha ang pag-ibig sa bawat umaga at ikaw nga iyon.
Subali't may lungkot sa bawat pamamaalam ng araw sa kalunuran at dinadala na lamang ng hangin ang lamig ng pagkabigo sa bawat pagtatapos ng magdamag. Muli, ako ay mananaginip, yakap ng puso ang pag-asang sa pagsilip ng madaling araw, baka sakali, gigising akong ika'y nakaunan sa aking bisig.
Lumipas ang mga taon kung saan ang bawat gabi ay painot-inot na pumipilas sa pinaghahawakan kong larawan ng hindi pa dumarating na sukli ng pag-ibig. May araw din na hindi matatapos at ika'y mananatili. Ngayon nga iyon, mahal. Salamat sa iyong pagdating.
May habambuhay at walang katapusang bukas pa para sa atin, at hihigitan nito ang lahat ng nalunod na kaarawan sa paghihintay. Mahal ko, kapit lang. Hindi kita hinintay para lamang magpaalam.
Nagmamahal at mananatili,
J
"Para Sa'yong Kay Tagal Kong Hinintay"
- Mga Liham at Pagpapahinuhod
Friday, November 15, 2024
Sa Gitna ng Dalamhati at Pangungulila
“Eh nasaan na ang anak n’yo?”
“Kailan ba kayo mag-aanak?”
Ito ay lahok sa Saranggola Blog Awards 2024

Cultural Center of the Philippines
Thursday, February 29, 2024
Pahinga ay Paglingap
"Awit"
Umaawit ang dagat.
Sumisipol sa pagitan
ng alon at hangin
Tangay nito'y paghuni
ng pagtatangi
at pagtingin.
Aking nauulinigan
kanyang marahang oyayi—
nag-iimbita
sa kagyat na paghinga,
kumakalabit
sa bawat tilamsik,
sa ritmo ng pagbasag,
pagtampisaw, at pagbalik.
Kung ang dagat ma'y tunay
na musikang sumasalimbay,
aking pagpaparaya
sa pagitan ng mga alon
ang malayang pagpatianod
mula baybayin
hanggang laot.
"Sayaw"
Sa kabundukan tayo
kinakausap ng mga tala,
kung saan natutulog
ang mga ilaw na lumalamon
sa kinang ng mga dalaga
—sumisilip sila sa kadiliman
sakaling ika'y
handang tumunghay
sa tahimik nilang pagsayaw.
Laan sa iyo
—ikaw, sa damuhan,
nakahilata.
Sa dagling pahinga
may pagtiim ang dilim,
nang hagkan ng Amihan
ang tumutunghay sa
namimintana.
Sapat ang ngiti ng mga tala
sa munting pagtatanghal,
sa magdamagang ginaw,
ginahawa.
"Tagpuan"
Sa milyong bituing
pinatitingkad ng dilim,
may isang nanatili
hanggang takip-silim
Sumayaw sa tempo
at bugso ng daluyong,
sa nakalulunod na ritmo,
urong-sulong ng alon
Subali't pahinga
ang bawat paglubog,
at ginhawa naman
ang bawat pag-ahon
Dahil sa dulo ng laot
kinatatagpo ang langit
ng iyong bugso
at ng aking pag-ibig.
***
Ito ay lahok sa Saranggola Blog Awards 2023
Cultural Center of the Philippines
Monday, November 7, 2022
Bakit Hindi Lumayas Si Elisa Magbanwa
Bakit Hindi Lumayas Si Elisa Magbanwa
Tumunog ang telepono. Isa pang ring. Sa ikatlong ring ay sinagot ng naka-duty sa Municipal Tactical Operation Center ang tawag.
“Hello!” halos sumisigaw na ang babae sa kabilang linya.
“Pwede po ba kayong magpadala ng pulis dito?! 23 Waling-Waling St., Brgy. Sta. Ana. Pakibilisan po! Baka mapatay na po ‘yung babae! Nagbasag na po ng mga gamit yung asawa n’ya!” ani ng nanginginig na boses ng babae sa kabilang linya.
Bumilis ang oras nang gabing ‘yon. Ang mga kamay ng orasan ay matulin na pinaikot ng buhay na kailangang isalba.
Nakayuko na naman si Elisa. Ayaw na naman n’yang sagutin ang tanong sa kanya ng psychiatrist. Tila isang kulungan para sa kanya ang mga puting dingding ng National Center for Mental Health. At sa tuwing naaalala n’ya kung bakit s’ya naroon, lalo lang s’yang nangungulila kay Nilo.
Nagsusulat sa notebook ang doktor, saka s’ya tumingin kay Elisa, “Elisa, uulitin ko ang tanong, ha?”
Tumango si Elisa.
“Kahit naaktuhan na si Nilo sa pambubugbog sa’yo at naospital ka nang dahil sa pananakit n’ya, bakit hindi mo itinuloy ang kaso? Nakakulong na s’ya, itutuloy mo na lang ang pagsasampa.”
Sumagot si Elisa nang may pagtatanggol sa asawa, “Hindi nyo kasi kilala si Nilo. Mabuti s’yang tao. Mabuti s’ya sa mga kaibigan at kamag-anak n’ya. Lagi s’yang maasahan kaya s’ya ang laging hinihingan ng tulong kapag may problema ang mga kakilala n’ya. Ganun ang tiwala ng mga tao sa kanya. Kaya nga kahit nagsabi ako dati sa kaibigan ko nung unang beses n’ya kong sinampal, hindi s’ya makapaniwala. Kaya alam namin na nabigla lang s’ya. Hindi s’ya masamang tao. Hindi n’ya kailangan makulong nang dahil nagalit lang s’ya.”
Napailing ang doktor.
“Direkta nating sagutin ito, Elisa. Oo o hindi lang. Sinaktan ka ba ni Nilo?”
“Opo,” mahina nyang sagot.
“Naospital ka dahil doon?”
“Opo,” mas humina pa ang kanyang sagot.
“Alam mo ba na pwede kang mamatay sa pagkakataong ‘yon?”
Panandaliang katahimikan. Makalipas ang ilang segundo, “Opo.”
“Base sa lahat ng ‘yan, masasabi mo bang mabuti sa’yo si Nilo? Sa’yo, ha? Hindi sa ibang tao. Mabuti ba sa’yo si Nilo?”
Nakabibingi ang pagtahimik ni Elisa.
Ang doktor na ang sumagot, “Elisa, ang mabuting tao sa’yo, kahit magalit, hindi ka pagtatangkaang patayin. Hindi ka bubugbugin. Hindi ka gagawan ng masama. May kakayahan ang isang normal na tao na pigilan ang galit n’ya para hindi s’ya makapanakit ng iba.”
Yumuko muli sa Elisa. Tila nahihiyang isinuklob ang mahaba nyang buhok sa kanyang mukha. Matapos ang isang buntong-hininga, nag-angat s’yang muli ng mukha.
“Pero hindi naman nananakit si Nilo nang walang dahilan. Laging meron. Minsan, hindi ko lang talaga alam kung ano, pero meron. Saka bumabawi naman s’ya palagi. Pinararamdam n’ya sa ‘kin na totoong magbabago s’ya—na hindi na s’ya uulit. Minsan, nagseselos s’ya kasi may mga lalaking lumalapit. Normal lang ‘yun sa mga mag-asawa, ‘di ba?” Tila nagmamakaawa si Elisa sa pagsang-ayon ng doktor. Subali’t ibinalik nito ang tanong sa kanya.
“Tama bang pagselosan ang magtataho na suki mo tuwing umaga dahil lang nakangiti ka noong nag-abot ka ng bayad?” Hindi sumagot si Elisa.
“Tama bang sabihin n’yang nanlalalaki ka kaya patay ang cellphone mo? Noong nagpaliwang ka ba sa kanya na na-empty-batt ka, naniwala ba s’ya sa’yo?” patuloy na pagtatanong ng doktor.
Hindi sinagot ni Elisa ang tanong. Bagkus, nagdagdag s’ya ng pagdadalihan para sa Nilo.
“Minsan kasi nagkakamali rin ako,” patuloy na paliwanag ni Elisa. “Kasi ang tanga-tanga ko talaga minsan. Naiiwan ko kung saan ang cellphone ko o kaya naiiwan ko ang powerbank kapag lalabas ako. Eh, na-empty-batt ako kaya ‘di ko alam na tumatawag s’ya at hinahanap n’ya ko. Natural lang na magalit s’ya kasi nag-aalala s’ya, eh. Kasalanan ko ‘yon.”
“Sinabi ba n’ya na kasalanan mo tuwing nagagalit s’ya?” Tumango si Elisa. “May mga pagkakataon din ba na hindi mo maalala ang sinasabi nya’ng kasalanang ginawa mo?” Tumango ulit si Elisa.
“Ang tawag doon, gaslighting,” paliwanag ng doktor. “Pinaniniwala ka n’ya na ikaw ang may problema at dapat sisihin. Ginagawa ka n’yang makakalimutin, tanga, at hindi kapani-paniwala para sa sarili mo. Para ikaw mismo, magduda ka. Para sa kanya ka lang lagi maniwala at isisi mo ang lahat sa sarili mo,” mariin ang pagpapaliwanag ng doktor. Saglit s’yang tumigil sa pagsasalita at mahinahong kinausap muli si Elisa.
“Hindi masama na makalimutan mo ang gamit mo o magkamali ka paminsan-minsan. Hindi kasi tayo perpekto. Hindi mo kailangang mabuhay sa takot na baka masaktan ka kapag nagkamali ka. Pero masama na punuin nya ng pasa ang katawan mo. Nag-aalala sya kamo na may mangyayaring masama sa’yo? Kaya ka n’ya binugbog at itinali ang kamay at paa nang dalawang araw? Hindi ba mas nakakapag-alala ang ginawa n’ya sayo?”
Tumahimik muli si Elisa, tila naghahagilap ng dahilan na katanggap-tanggap para sa kausap n’ya. Sumagot s’yang muli matapos mag-isip.
“Hindi ko alam kung bakit pero sigurado ‘ko stressed lang s’ya sa trabaho. Nakakapagod naman talagang magtrabaho, ‘di ba?” May paaalangan ang boses ni Elisa. Kahit si Elisa ay hindi kumbinsido sa kanyang tinuran.
“Nalaman mo ba ang dahilan sa mga pagkakataon na hindi mo alam kung bakit s’ya nagalit?” patuloy na tanong ng doktor.
Tumahimik ulit si Elisa. Dahan-dahan s’yang umiling.
“Hindi s’ya nag-sorry ‘di ba? Hindi rin s’ya nagpapaliwanag. Parang wala lang nangyari. Tapos, bati na kayo ulit kung nasa mood na sya, tama?”
Dahan-dahang tumango muli si Elisa.
“Pero nung nakakulong kasi s’ya, sabi n’ya magbabago na kasi s’ya, eh” patuloy na pagdadahilan ni Elisa. Hindi na para sa kausap, bagkus para sa sarili.
“Lahat naman ng nakakulong sasabihin ‘yun kung ang kapalit ay paglaya nila. Kaya nga s’ya laging nakakalaya, hindi ba?”
Hindi na nasagot ang tanong na ito ng doktor, kaya inilabas n’ya ang photo album na matagal nang iniingatan ni Elisa.
“Ang tyaga mo rin mag-ipon ng mga pictures. Puro travel pictures pa! Bakit mo pa pinapa-print? Pwede namang online mo na lang itabi ang mga pictures n’yo. Hindi pa masisira,” komento ng psychiatrist sa mga makukulay na larawan.
“Mas madali ko kasing makuha sa tabi ng TV o ng kama. Kapag online kasi ang hirap hanapin sa social media lalo na kapag mahina ang internet ko,” ani Elisa na tila napapangiti sa pagkakita sa mga larawan.
“Hindi ba dahil kinukuha ni Nilo ang cellphone mo kapag nag-aaway kayo?”
“Oo, 'yun din,” kaswal na sagot ni Elisa na tila normal lang ang ganoong sitwasyon.
“Tuwing kailan mo tinitingnan ang mga pictures nyo?” tanong ulit ng doktor.
“Kapag gusto kong maalala lahat ng magandang pinuntahan namin. Yung mga kinain namin na bago sa panlasa ko, o yung pinakamasarap na ganitong pagkain na natikman ko. Kapag naaalala ko lahat ng pinuntahan namin, napapangiti ako. Alam ko na hindi ko kayang mawala sa ‘kin si Nilo. Kasi hindi ko naman magagawa ‘yun kung wala s’ya eh,” malamlam ang mga mata ni Elisa pero may kaunting ngiti sa sulok ng kanyang mga labi.
“Marami pala kayong magagandang alaala ni Nilo. Alam mo ba na ang tawag d’yan ay trauma bonding? Lagi mong naiisip ang magagandang bagay sa tuwing malungkot ka. At dahil malungkot ka kapag nag-aaway kayo o kapag magkahiwalay na kayo, ang magagandang alaala n’yo ang pinipili mong isipin. Iyon kasi ang paraan mo para mapalubag ang loob mo. Pero hindi s’ya maganda kasi nakakalimutan mo ang mabibigat na dahilan para umalis ka,” paliwanag ng doktor.
Nakatingin lang si Elisa sa doktor. Tila hindi matanggap na hindi pagmamahal ang nagpapabalik sa kanya kay Nilo.
“Simplehan natin. Parang pag-inom ng pain killer ‘yan. Ang mga alaala na ‘yun ang pain killers mo. Kaya kapag masakit, saka mo sila binabalikan. Pero masama ang laging naka-pain killers. Kasi hindi nagagamot ang totoong sakit. Namamanhid ka lang hanggang sa sumuko na ang katawan mo dahil malala na,” Hinawakan ng psychiatrist ang isang kamay ni Elisa at marahang tinapik ito ng isa pa n’yang kamay.
“Kaya ka nawalan ng malay sa presinto. Hindi na kasi kinaya ng katawan mo kahit gusto mo pang magtiis,” pagpapaalala sa kanya ng psychiatrist matapos ang huling pag-aresto kay Nilo.
May inilabas na maliit na notebook ang doktor. May ipapabasa ako sa’yo tapos sabihin mo sa ‘kin kung ano dapat ang gawin ni Karen. S’ya yung may-ari ng diary.”
Iniabot n’ya ang notebook kay Elisa, “Basahin mo ang page 7-9.” Saka tahimik s’yang naghintay na matapos ang pagbabasa ng kanyang pasyente.
“Ano sa tingin mo ang dapat gawin ni Karen?”
“Kailangan na nyang makipagbreak. Umalis na s’ya. Hindi kasi s’ya mahal nung boyfriend nya.”
“Pwede mo bang basahin sa ‘kin ang part ng diary ni Karen na pinagbasehan mo ng payo mo sa kanya?”
Marahang binuklat ni Elisa ang mga pahina ng diary. Huminto s’ya sa pagbuklat at saka nagbasa.
“Nag-away kami gaya ng ibang mag-boyfriend, kaya ang sabi ko, magkita kami para magkaayos kami. Hindi ko kasi alam ang bahay ng parents n’ya. Ang alam ko lang, kung saan s’ya nagdo-dorm. Kaya mabilis akong nagpunta sa dorm kahit hindi ako marunong magbyahe. Nagtanong ako sa mga kakilala at nakipag-sapalaran bumiyahe papuntang Makati.
Nagtext ako na nasa loob na ‘ko ng gate ng dorm, pero hindi raw s’ya papasok sa school kaya hindi s’ya pupunta sa dorm. Hindi ako naniwala. Alam ko kasing mahalaga sa kanya ang grades n’ya. Kaya naghintay ako hanggang inabot na ‘ko ng gabi. Kumain ako ng inilalakong tinapay para makapaghintay pa. Hanggang sa alas-onse na pala ng gabi. Nakatulog na ‘ko sa upuan sa labas ng dorm. Wala na ‘kong pakialam sa lahat ng dumadaan na nakatingin sa ‘kin na para bang pulubi ako. Sa wakas, nakita ko ang pamilyar na motor. Dumating s’ya kahit hindi n’ya ko nilingon.”
umigil si Elisa sa pagbabasa at sinabing, “Paano mo magagawa ‘yun sa taong mahal mo?”
Ngumiti lang ang psychiatrist. Saka s’ya ulit nagsalita. “Punta tayo sa page 20-22. Pakibasa mo nga nang malakas,” mahinahong utos ng doktor kahit alam na n’ya kung ano ang susunod na mangyayari. O dahil alam na n’ya ang susunod na mangyayari. Tumahimik muli ang psychiatrist at naghintay.
Nagsimula muling magbasa si Elisa.
“Hindi ko alam ang nangyari. Bigla na lamang s’yang tumalikod at ayaw magsalita. Kinulit ko s’ya para mag-usap kami. Ayaw kong matulog nang magkaaway kami, lalo na at hindi ko alam kung bakit.
Sa pangungulit ko, bumangon s’ya at inabot nya ang bentilador. Ibinato sa pader. Nakalas ang mukha ng bentilador at naputol ang elesi. Napatayo ako at napaatras palabas ng kwarto. Humakbang s’ya palapit sa ‘kin at sinubukan kong tumakbo.
Pero hinila n’ya ‘ko sa buhok. Bumagsak ako sa sahig. Tumama ang likod ko. Namilipit ako sa sakit. Hila ang buhok ko, kinaladkad n’ya ko mula kusina hanggang sa may pintuan. Saka n’ya ko pinagsusuntok sa braso habang nakatalungko ako sa sulok.
Sigaw s’ya nang sigaw pero hindi ko na s’ya maintindihan. Ang alam ko lang ay masakit na ang katawan ko.
Hanggang sa nakita kong nakabukas ang ilaw ng CR. Itinulak ko s’ya at saka ako tumakbo at nagkulong sa banyo. Yakap ko ang aking tuhod habang ‘nakaupo sa sulok ng banyo. Nanginginig ang mga kamay ko. Nangangatal ang panga ko at ayaw tumigil. Hindi ko alam kung makakalabas pa ‘ko nang buhay sa bahay namin.”
Tumigil sa pagbabasa si Elisa. Tumulo ang luha n’ya. Nasundan ng paghikbi. Nanginginig na ang kanyang mga kamay kaya nabitawan na n’ya ang notebook. Matapos ang ilang sandali ng pag-iyak, saka sya nagtanong na tila bumubulong.
“Bakit ito nandito?” tanong ni Elisa.
“Sulat kamay ko ‘yan, pero ‘yan ang salaysay mo sa unang beses na hinuli si Nilo,” sabi ng doktor.
Isang napakatagal at nakabibinging katahimikan.
“Matapos ang pangyayaring ‘yan, maraming beses na rin n’yang sinabing magbabago na s’ya. Pero naulit pa rin nang naulit. Hanggang sa narito na tayo ngayon,” paliwanag ng doktor.
“Elisa, pareho tayo ng payo sa mas batang Elisa. At hindi s’ya ibang tao sa Elisa ngayon na kausap ko. Hanggang ngayon, ganyan pa rin ang mundo mo hangga’t hindi mo pinipiling umalis sa siklo ng pananakit-paglalambing-pakikipagbati-at muling pananakit ni Nilo.
Kailangan mong makita na nakakulong ka sa siklo na ‘yan. Kailangan mong makita ang mga rehas mo, at ang desisyon mo lang ang makapagpapabukas ng pinto para makalaya ka. Hindi ako. Hindi ang kaibigan mo. Hindi ang kahit na sino. Ikaw lang ang pwedeng makakita kung nasaan ang pinto at nasa iyo ang susi.”
Natapos ang payo ng doktor subali’t hindi sigurado kung kayang gawin ni Elisa ang payo n’ya sa sarili.
“Pero hindi naman s’ya araw-araw gano’n. Hindi naman araw-araw mahal mo ang asawa mo, ‘di ba?” sagot ni Elisa sa pagitan ng kanyang mga hikbi.
“Hindi araw-araw mahal ang asawa, oo. Hindi mo rin naman mahal ang kapitbahay mo. Pero hindi mo naman sila susuntukin sa mukha dahil hindi mo sila mahal, hindi ba? Hindi kailangang araw-araw kang sinasaktan para masabing delikado ang buhay mo kapag kasama mo s’ya. Tandaan mong sa isang iglap lang nangyayari ang lahat ng pagpatay.”
Sa pagtatapos ng ikalawang sesyon ni Elisa sa NCMH, walang kasiguruhan kung babalik pa s’ya para sa huling sesyon, o kung nauunawaan na n’ya ang kanyang sinapit. Ang katotohanan ni Elisa ay nakakulong sa mga masasayang alaala nila ni Nilo. Pawang mga panaginip na nakakulong sa salamin na hindi kayang basagin ng mga suntok at sipa ng kanyang asawa.
Naglakad si Elisa palabas ng NCMH. Mula sa puting pasilyo natanaw nya ang pamilyar na motor sa may tarangkahan.
Wala nang buhay si Elisa. Nakadilat ang mga matang tila hindi makapaniwala sa nagawa ng kanyang asawa. Nakahiga sa sahig na saksi ng lahat ng kanyang sinapit mula pa sa simula. Sa ngalan ng pagmamahal. Ng kasal. Ng pinagsamahan. Ng pagpapatawad.
Nakatayo sa harap ng bahay nila Elisa ang isang reporter at walang emosyong nagsalaysay. Hindi naman kasi bago o kakaiba ang sinapit ni Elisa. Ayon sa UN, tinatayang isang babae o bata ang namamatay kada 11 minuto araw-araw. May mga ilang hakbang na rin na ginagawa ang lipunan ukol dito. Subali’t may kulang. May isang tanong pa rin na mahirap sagutin para sa marami na kung nasagot sana, buhay pa si Elisa.
“Magandang gabi, mga kababayan. Narito po kami ngayon sa harap ng isang bahay sa Makati kung saan natagpuan ang duguang bangkay ng babaeng kinilalang si Elisa Magbanwa, 35. Ang asawa ay sumuko sa pulisya matapos nyang mapatay sa saksak ang kanyang biktima. Aniya, ito ay dahil sa sobrang galit nang sila ay mag-away. Ngunit ang naturang biktima ay may record na sa pulisya bilang isang survivor ng domestic violence at ang asawa ay paulit-ulit na nakakalaya. Muli rin silang nagbabalikan matapos ang ilang araw o buwan na hiwalayan. Narito ang hepe ng Makati Police Station 13 para isang maiksing panayam,” sabay baling ng kamera at mic sa matandang lalaking nakauniporme.
“Hepe, sabi po sa ilang panayam sa mga kapitbahay, naaresto na po dati ang lalaki sa pambubugbog sa biktima. Nakukulong saglit pero nakakalaya ulit. Lilipas lang ang ilang buwan, at babalik ulit ang biktima sa bahay kung saan naganap ang krimen. Tapos ganoon ulit. Ano po kaya ang nangyari? Bakit po hindi natatapos ang siklo ng ganitong kaso ng domestic violence? Bakit hindi lumayas si Elisa Magbanwa?”
Huminga nang malalim ang Hepe. “Ang kaso ni Elisa Magbanwa ay gaya ng marami sa mga narespondehan namin, ma’am—bihira ang tumutuloy sa kaso.Nagbabago kasi ang isip ng biktima kapag nakalipas na ang magdamag. Lalo na at nakakulong ang suspek. May naawa, para raw sa pinagsamahan, nagpatawad, tapos mababalitaan mo na lang, nagbalikan na. Hindi rin namin alam kung bakit bumabalik at hindi na lang tuluyang lumayas si Elisa Magbanwa.”
May Mali Ba Kay Toto? Ang Kwento ng Prinsesang Nakatago
May Mali Ba Kay Toto?
Ang Kwento ng Prinsesang Nakatago
‘Yung kalaro ko nga ang tawag nila, si Pidot. Walang nakakaalam kung bakit naging gano’n ang palayaw n’ya, kahit Lester ang pangalan n’ya sa eskwelahan. Pero Pidot din ang sinasabi n’ya sa mga kalaro n’ya kapag may bagong saltang bata sa may eskinita para makilaro sa ‘min.
Meron bang taong nagsabi na, “Hindi nga? Toto ba talaga ang pangalan mo?” Wala pa naman nagtanong sa ‘kin ng gano’n. Pero kapag may nagtanong sa ‘kin kung lalaki ako at sinabi kong, “Babae po,” hindi pa rin ako babae para sa kanila.
Kaya naman usap-usapan ng mga tsismosa sa kabilang kanto, “May mali yata kay Toto.”
Hindi ko alam ang ibig nilang sabihin no’ng bata pa ‘ko. Pareho lang naman kami ng katawan ng mga kalaro ko. Wala lang akong bestida at palda. Pero gano’n naman talaga. Hindi nakukuha ng bata ang lahat ng gusto n’ya.
Sina Mama at Papa kasi ang bumibili ng damit, laruan, at kahit gamit sa eskwela. Gagamitin ko lang. Wala naman akong magagawa, hindi ba? Magtatampo sila kapag inayawan ko ang regalo nila. Si Kristine nga, ayaw n’ya ng Little Mermaid na bag n’ya. Gusto ko nga sanang makipagpalit, pero ayaw rin naman n’ya ng Batman na bag ko.
Lahat ng bata ay may gusto at ayaw sa mga bagay na ibinibigay sa kanila. Wala lang talaga silang magawa kahit ayaw nila. Kaya kaya kong sabihin sa mga tsismosa sa kanto na “Walang mali kay Toto.”
Noong lumalaki na ako, kagaya ko rin naman ang mga batang kalaro ko. Pawisan sa pakikipaghabulan, madungis, at amoy-araw kapag galing sa laruan. Nakikipagtawanan rin ako kagaya ng ibang bata.
Napapaaway din ako sa tuksuhan. Masakit nga sa anit makipagsabunutan. Hindi na ‘ko umulit nang maranasan ko nang isang beses. Masama talagang makipag-away, ano?
Wala rin namang mali kahit mag-mother ako sa chinese garter, hindi ba? Ako lang kasi ang marunong mag-cartwheel sa mga kakampi ko. Kapag nataya sila, ako ang babawi. Sa huli, lagi kaming panalo! Kaya naman kaya kong iyabang sa mga tsismosa sa kanto, “Walang mali kay Toto.”
Magaling nga ‘ko sa lahat ng mga bagay na gusto kong ginagawa. Minsan nga, daig ko pa ang ibang bata. Pero sabi ng mga kapitbahay mali daw na kumekembot ang lakad ko o kung ginagaya ko ang mga ginagawa ni Mama.
Gusto ko ang mga ginagawa ni Mama. Nagluluto s’ya lagi sa bahay, kaya naman sa garden, inuulit ko ang niluluto n’ya gamit ang mga dahon at bato sa lutu-lutuan. Akala ko nga, magiging chef ako.
Kumbinsido ako na walang mali sa akin hanggang sa nagbago ang lahat pagtapak ko sa hayskul.
Nakasusuklam ang katawang nasa repleksyon sa salamin. Nakatatakot. Para akong isang kaluluwang sumapi sa katawang hindi ko kilala.
Hindi ito ang katawan ko. Hindi ko gusto ang nangyayari sa kanya. Ayaw ko ng bigote o balbas. Ayaw ko ng malapad na balikat. Ayaw ko nitong lahat. Hindi ito si Toto. Hindi akin ang katawang ito.
Ngayon, hindi na ‘ko makahaharap sa mga tsismosa sa kanto. Parang gusto ko nang sumang-ayong “May mali nga yata kay Toto.”
Kagaya nang may mali kay Pina nang s’ya ay naging pinya.
Sa Alamat ng Pinya na binasa dati sa akin ni Mama, naisip kong napakalungkot siguro ni Pina nang s’ya ay maging pinya. Lahat ng gusto n’yang gawin bilang tao, hindi na n’ya pwedeng magawa. Isa na lamang s’yang prutas na naka-ugat sa lupa, walang pwedeng marating kung hindi ang mesa kapag inihain na s’ya bilang meryenda.
Laging bumubulong sa ‘kin ang salita ng mga tsismosa, “May mali kay Toto.” Paulit-ulit. Hindi tumatahimik. At luha lang ang meron ako para ipagluksa ang nakatagong prinsesa na unti-unti nang binubura ng pagkabinata.
Sa araw ng eskwela, isusuot ko ulit ang unipormeng panlalaki. Kailangang maitago na hindi lang dalawa ang kasarian ng tao. Para rin hindi malaman ng pamilya ko.
Ayaw nila sa bakla. Ayaw nila sa baklang pinagtatawanan at ginagawang katatawanan. Kaya nga tumatawa ang mga tao sa lalaking nagbibihis babae kahit lalaki naman sila. Tingin ng mga tao, katatawanan ang maging bakla. Ayaw ng pamilya ko dahil iba ang nakatutuwa sa nakatatawa.
Kung paanong tumatawa nang palihim ang mga kaklase ko nang umakyat ako sa stage sa Recognition Day kasabay ang Papa ko. Panlalaki ang lakad ko kaya sila tumatawa. May isang malaking sikreto na alam ng lahat maliban kay Papa.
Pero hindi ako nagpapatawa.
Masakit ang lahat ng pagkakataon na kailangan kong maging ibang tao sa harap ng pamilya ko. Nabanaag siguro ng titser ko ang sakit sa mga mata ko nang bigla s’yang tanungin ni Papa, “May napapansin po ba kayong mali kay Toto?”
Tumingin sa akin si Ma’am. Ramdam ko ang kanyang pag-aalinlangan. Saka s’ya ngumiti kay Papa at sinabing, “Wala naman pong mali kay Toto. Magaling nga po s’ya sa eskwela. Tama lang po na nasa Pre-Law class s’ya,” sabay abot ng report card ko kay Papa.
Nakahinga ako nang maluwag. Kailangan ko na lang magtagumpay kahit napakaliit ng mundo ko. Balang-araw, maipakikilala ko rin sa pamilya ko ang prinsesang nakatago.
Mahusay ako sa eskwela. Alam ko ang talento ko. Alam kong kaya kong magtagumpay sa buhay at walang kinalaman ang pagiging babae ko. Balang araw, maitatama ko ang naging mali nang dumaan ang salot ng pagbibinata sa isang prinsesang nakatago. Pero paano?
Laman ng parlor ang fairy godmother ko. Sa kanila ko nalaman na may mundo kung saan ko mahahanap ang kinagisnan kong katawan—katawang walang palatandaan ng pagiging lalaki. Ang tawag nila dito, World of Transitioning. Para akong si Cinderella na nakilala ang fairy godmother ko. At dahil sa “Bibbidi-Bobbidi-Boo,” magiging prinsesa akong muli.
Pero hindi tulad ni Cinderella na sa isang iglap ay prinsesa na, kailangan kong tuluy-tuloy na pagsikapan ang dahan-dahang pagbalik sa dati kong katawan. Kailangan kong uminom ng gamot na hindi ibinigay ng doktor. Nakatatakot subali’t mas nakatatakot na tuluyang mawala kung sino ako.
Isinugal ko ang kalusugan ko kapalit ng muli kong makita sa salamin ang prinsesang nakatago. Kailangang magtiis ng pagkahilo at iba pang epekto ng pills hanggang sa masanay ang katawan ko.
Ang pag-transition ay unti-unting pagkalap sa pira-pirasong bahagi ng pagkatao ko na pinunit at sinira ng mga taong ayaw akong makitang prinsesa, gaya ng mga step-sister ni Cinderella.
Kaya hindi tamang sabihin na kaartehan ang pag-transition. Kasabay nito ang iba’t-ibang pakikialam ng ibang tao: ang pagkabigo ng pamilyang hindi ka kayang tanggapin, ang panlilibak ng mga hindi nakauunawa, ang pagtawa ng mga mapanghusga, at pagkamuhi ng mga taong galit lang talaga sa bakla.
Ang prinsesang nakatago ay naka-baluti. Nakikipaglaban sa lahat ng gusto s’yang itumba. Kailangan n’yang patunayan ang galing n’ya sa lahat ng pagkakataon upang hindi s’ya pagtawanan, bagkus irespeto. Napakahirap makuha ng respeto ng ibang tao para sa pagkataong iyo naman talaga mula pa sa simula.
Sa wakas! Tapos na ang pakikidigma. Naibalik ko na ang aking katawan na para sa aking kaluluwa. Hindi ko na muling itatago ang pagiging prinsesa. At dahil sa lahat ng ipinanalo kong digmaan, tama lang naman na tanghaling reyna, hindi ba?
Sa huli, ang gusto ko lamang naman ay wala nang magsabing may mali kapag sinabing babae si Toto. Walang mali kay Toto. Ako po si Toto, at babae po ako.
Sunday, June 6, 2021
Kay B
Friday, September 4, 2020
Tuesday, December 31, 2019
A Critical Paper on Emily Dickinson's "Why do I love" You, Sir? Because—
by Emily Dickinson
(Poem 480)
"Why do I love" You, Sir?
Because—
The Wind does not require the Grass
To answer—Wherefore when He pass
She cannot keep Her place.
Because He knows—and
Do not You—
And We know not—
Enough for Us
The Wisdom it be so—
The Lightning—never asked an Eye
Wherefore it shut—when He was by—
Because He knows it cannot speak—
And reasons not contained—
—Of Talk—
There be—preferred by Daintier Folk—
The Sunrise—Sire—compelleth Me—
Because He's Sunrise—and I see—
Therefore—Then—
I love Thee—
Analysis:
An objective evaluation of a literary text is always hinged on the sensitivity of the critic to analyze the extrinsic and intrinsic elements of a text. Since New Criticism deals with the poem as an object which has ontological status, the poem is analyzed as a self-contained, autonomous entity. With this, Emily Dickinson’s 480th poem, “Why Do I Love” You, Sir? can be an example of a poem that made use of these elements effectively to give the impact of the persona’s emotion towards the addressee. To avoid the intentional and affective fallacies, we will focus on the text alone and all ambiguities will be resolved and justified through citing evidence from the poem itself.
Let us start with the first line which is the main point of the poem.
The persona asked a question, yet when she tried answering it, she couldn’t finish the line. The line must end with a dash.
Instead of giving her reason, the persona resorted to the use of metaphor as she compared herself to Grass and the man to Wind. The persona would be the Grass that couldn’t keep its place when the Wind passes by, just as how she finds the presence of the man overwhelming that she couldn’t be still.
Aside from the image that the lines created, they give the message that the persona is already presenting an excuse why she couldn’t give an answer to the first line. Same as the Wind doesn’t require the grass to answer, he should not ask the persona why she loves him.
In the second stanza, the persona used the paradox of knowing and not knowing at the same time to create the contrast and the complexity of the situation.
Despite the contradiction of the statements, it is sensible in the way that according to the persona, the man knows that she loves him, while there is something that the addressee doesn’t know—the reason why he loves the woman. The last line concludes that they both don’t know their reasons.
The third stanza is structured with the same concept compared to the first. Metaphor is used to compare the persona to an Eye and the addressee to Lightning. This comparison would give the readers an idea on how the persona reacts in the presence of the man—she fails to look at and speak with him.
The following lines support the image about the Lightning and the Eye. The very reason that the Lightning doesn’t ask the Eye is that it can’t speak, just as how the persona couldn’t speak to her loved one.
Aside from the persona’s reaction, these lines also give an excuse for the persona not to answer the question in the first line. According to her, just as how the Lightning would not ask the Eye for the reason that it would close when Lightning comes, the man should not ask why the persona loves the man.
To justify that an answer should not be forced out of her, she added that reasons of her love is not contained in words, which is preferred by people who are refined and prim.
The poem concluded as the persona addresses the man as Sire, with much reverence, utilizing metaphor once again when she compared the man to Sunrise—how it compels her to wake for the very reason that it is Sunrise. With this justification, she then concluded that the first line would be answered in the same manner—she loves him with the very simple and undeniable reason that she loves him.
Since the lines have already been discussed, let us now go to the objective correlative which is defined as a set of objects, a situation, a chain of events or reactions that can effectively serve to awaken in the reader the emotional response, which the author desires without being a direct statement of that emotion.
The poem’s objective correlative is presented from the beginning of the poem down to the last line. This is found from the time the persona mentions her behavior in the presence of the addressee. Also, it is evident in the manner her words are written—the frequent use of dashes, which supports her behavior with the implication of her nervousness while addressing the man.
It is also noticeable that the dashes had been more frequent in the stanzas wherein she is directly addressing the man, unlike the other stanzas that she would only talk about him and her feelings for him. These things would paint the picture of a woman, stuttering in the presence of a man whom she loves and who loves her back. With their aim to justify the emotions that they feel, they ended up settling with the idea that they love each other because they just do.
Looking at the structure of the poem, it is noticeable that the use of dashes had been too frequent that it would really affect how the poem would be read. The frequent pauses and even the hanging statement in the second line would create the implication that the persona speaks with so much nervousness that it is reflected on the way her words are written. This extreme emotion is greatly supported by her lines pertaining to how she would behave in the presence of the man—just like the grass that couldn’t keep its place and like the eye that couldn’t help closing and couldn’t speak.
Another use of structure to convey the message of the persona is the unusual use of capitalization. Aside from all words that serve as beginnings of lines, words that are capitalized would usually pertain to the persona and the addressee. If this pattern would be followed, even the Grass, Wind, Lightning, Eye, Talk, Daintier Folk and Sunrise are pertaining either to the persona, addressee, or both. It is easy to understand why Grass, Eye, Wind, Lightning, and Sunrise would refer to the persona and the addressee respectively because of the use of metaphor or the direct comparison of two different things while pointing out their similarities.
The comparison with the use of metaphor clearly brought the meaning and the image that the author wants to convey, but the tension on the words Talk and Daintier Folk would need unlocking to solve the ambiguity in diction. If the use of capitalization is patterned as representations of the persona and the addressee, Talk may refer not the usual connotation of it which is words. Instead, these words, since capitalized, would refer to “their talk” or their words. The persona would like to express that whatever they say to justify why they love each other could not define the reasons why they do, which is justified by the central idea of the poem. With the same pattern, the Daintier Folk could also be identified as the two of them. It would not really pertain to other people who are refined in manners, but just them. The persona would like to emphasize that it is prim not to talk about the reasons why they love each other.
People might not easily notice but the use of quotation marks in the first line of the poem is already an effective use of structure. The first line is written as “Why do I love” You, Sir? Notice that the quotation marks are placed before the word Why and after the word love. This unusual placement of quotation marks would give us the idea that the words Why do I love were trying to convey two meanings: First, the persona is asking herself why she loves the man. Second, the persona is asking the man the same question, as if asking, “What about you, sir?” This is supported by the lines “Do not You— And We know not—” which means that the addressee also doesn’t know why he loves the woman.
With all things discussed in the use of diction and structure, it is safe to conclude that organic unity in the poem is achieved. This organic unity leads to the central idea of the poem, which is a paradox. Paradox naturally rise from the use of metaphors. And since the root of all figures of speech that deal with comparison is metaphor, paradox will be present in any literary work. In this poem of Dickinson, the paradox of reasons of love is highlighted. The central idea that the only reason for loving is the lack of reason to love seems to appear false at first, but if all things presented would be analyzed, this is very much justified by the persona. This poetic truth challenges the truth based on facts and reasons; creating the artistic epitome of an excellent literary piece judged objectively through New Criticism.
Summary and Post-colonial Analysis of Nick Joaquin's Candido's Apocalypse
The story revolves around the character Bobby/Candido Heredia. It all began when Mr. Henson called the Heredia residence in the morning and informed them that Bobby had stowed away and was in the Henson’s. Ineng, Bobby’s mom, agreed that Bobby’s father, Totong, will receive them as Mr. Henson will take Bobby home. Bobby’s parents were worried because he was acting strange in the past days. During a conversation with other women in the bakeshop, Ineng brought up the incident in their home where Bobby pointed a gun at Pompoy Morel and fired three warning shots. He also said things that angered his teacher, the principal, and the prefect before they lost track of where he is. He also humiliated his girl’s best friend. People do not understand what’s happening until Bobby narrated the events in his point of view.
The gun incident happened while Bobby and his friends, who call their band the Vultures, were rehearsing at the piazza while Pompoy Morel was there to replace Pete on the actual performance. They were preparing for the birthday party of Bobby’s sister, Sophie. When Ineng came into the room to ask if they want snacks, Bobby saw his mother naked and immediately realized that he was the only one who can see through her clothes because no one was reacting as he did. When Pompoy looked at his mom as if seeing her nakedness, he grabbed his father’s gun and the incident happened. Right away, Ineng decided to take Bobby to church for confession, but Bobby jump out of the confession room when he saw the priest naked, in state of excitement, after confessing a girl. Then one by one, he began seeing people’s clothes melt away and reveal their secrets. Not just their nakedness but also what they try to conceal. He realized that he is no longer Bobby but Candido, his ideal self who disdains pretensions and overacting of teens.
The revelations place a contrast on how we portray ourselves compared to who we really are. There is so much pretense and hypocrisy that Bobby began speaking to other people about what he sees. Knowing that these are true, they can’t help getting frustrated on how he got to know too much about them. Thus, the incident with the teacher, the principal, and the prefect. Totong was called by the school because of what happened, but Bobby left even before his father reaches school. When he went to his girl, Minnie, he saw Glo, her girl’s best friend, and commented on her body which humiliated Glo so much.
Bobby decided to leave as he will continue to offend people for saying the truth he sees. He witnessed the filth and the nakedness of everyone in the streets. He couldn’t stand seeing people naked with all their flaws, deformities, and filth. Alas, he thought of a place where he belongs. He went to her Grandma’s. He has always loved visits at Grandma. It was permanent, warm, and a break from all the routine. He has always felt that it is home. But when he was waiting for his Grandma to finish her rosary, he suddenly got scared if all of it are just pretense and his Grandma would also be as naked as the others are. He left right away even before knowing the truth. Then, he saw politicians and their supporters at Plaza Miranda, naked and filthy. He couldn’t stand how these people can interact with such filth and pretension.
Suddenly, the nakedness of his barkada was preferable. Theirs is a familiar kind of nakedness and somehow clean. He decided that he just wanted companions, so he went to the billiards hall to find his friends, Pete, Willie, and Rene. They convinced Bobby to make amends with Pompoy at the back of the church. He agreed. However, upon seeing Pompoy’s smirk, Bobby remembered how he looked at his mom’s nakedness, and he immediately hit his face. Pompoy got back at him and he blacked out.
Upon recovering, Bobby decided to hunt Pompoy and get back at him. When he didn’t get to find him, Pete invited him to join the barkada to celebrate that he is now a stowaway. They cooked a dog and drank until they were all struggling to move around. Pete and Bobby found their way to Pete’s place, in the apartments. Surprisingly, Mr. and Mrs. Henson were dressed! He thought, they didn’t have anything to hide. Bobby felt at ease in their home. He had always thought that Pete’s dad is the coolest. In the morning, when he heard Pete and Mr. Henson’s disagreement, he knew that Mr. Henson is just as naked as the other dads. As expected, he went down for breakfast to naked people.
Mr. Henson dropped Bobby to his place where he found not naked bodies but skeletons and innards moving around. People began shedding off not just clothes, but also their skin. Bobby found it difficult to identify people without faces. He then realized that the flesh, no matter how imperfect, makes us distinct. It is part of who we are. It is in our imperfections where our identity lies. Bobby saw the skeletons as mere mechanical moving things with parts. He couldn't find emotions for things. He prayed for naked people instead of skeletons so he won’t feel alone. Yet, people remained as they were.
During the preparation for Sophie’s birthday, Bobby went out of the house and tried to find his friends. He wanted company. However, he couldn’t feel companionship with three skeletons playing billiards. When something lurked as if a shadow that wants to be caught, Bobby contemplated on what he had to learn from all these. He realized that from the person who thinks he is above everyone else, he is now lost in the world of skeletons. This contemplation made him realize that God melted the faces of everyone so that he seeks His face. He chased the black thing he thinks is God until they reached the Heredias where the party is taking place. He cornered “God” and Bobby was shot by a thunderbolt “God” raised.
At the hospital, it was revealed that it was Pompoy who crashed the party and when he was cornered, he shot Bobby. He was sent to New York to avoid going to jail. Bobby stayed in the hospital for ten days, and woke up seeing normal clothed people again. He knew that everything is changed then. Candido went out of him and bid him goodbye when they left for home.
Analysis
Mimicry
It is notable that the women in the story mimic the western behavior of women. They offer themselves for a kiss. They pursue a guy. They leave the bedroom wrapped only with bed sheet. They engage in promiscuity. Another notable mimicry are those of the teenagers in the novel. They were all tagged “overacting” by Candido for portraying Americanized preferences, images, and popular culture. This mimicry is so natural among teens that majority of the generation wants to be part of that normalcy except for Candido. The clothes, the combos, the fanaticism, the motorcycles with leather jackets, the vest, everything that is American that Filipinos try to adopt in their culture, Candido disdains. He thinks that these are pretensions that people should drop. Unfortunately, this is not pretension since after the war, the Americans are the colonizers that these children grew up with, adopting their culture as their own, and setting their minds as how the Americans think. This mimicry was brought by universalism.
Universality
Universalism is reflected among the parents of these teenagers who raised children in American culture. They have seen America as the hero who saved the country, even if we are their colony. With that kind of fanaticism, they began accepting that the American culture speaks of social status, elitism, better quality of life, and the best this world could offer. This is what happened to the Heredias who had a grand modern house built but can’t afford to be lavish on the family needs. They would throw a big party for Sophie to keep the image they are preserving, even if they are struggling with the issues of Bobby. Also, Pete wanted to live in the house like the Heredias, thinking that staying in a village is better in apartments. People preferred drinking scotch over beer or gin. Everything American became a status symbol. Everything colonial became associated with better, and so people raised their children in this mentality, and produced children that mimic the colonizers in violence, in rebellion, in preferring to leave the country, in everything that the Americans feed the Filipino culture with.
Hybridity
Hybridity is recurring among the characters as Candido is disgusted by the American popular culture though he settles his conflicts through fights and guns just like the Americans. Also, he celebrates with friends on his sense of rebellion which is American, but they cooked a dog which is Asian. Another instance is his reverence for the culture that his Grandma was able to preserve in the middle of American influence, without realizing that all of those are Spanish influences, also of another colonizer. Candido identified with his roots and the cultures of colonizers that came before. This is also evident with women characters where they speak their mind yet remained within the gender roles set to them. Such is Ineng who had been a dominant character yet sees herself only within the bounds of her role as wife and mother. She doesn’t even see herself qualified for a "man to man" talk. Sophie knows what she wants and what she doesn’t yet she sticks with the woman’s role to host.
Orientalism
Orientalism was shown as contrast to Universalism. This was reflected in the simple living of the Hensons where they stayed in the apartments. Even Ineng who struggles to pay for her luxurious house look down on apartments. Pete does not want to stay within the family tradition and wanted to be everyone else, which is Americanized. Even Bobby thinks Mr. Henson is odd for the dislike he has shown towards the people who stays in the village, not fully understanding the conflict of culture. Being part of local and Filipino was an immediate indicator of poverty. Money mattered so much that many strive to put on a show as if they do have the money. Those who know better choose to live within their means, yet they are tagged as orientals. Looking down on other Filipinos boosts the false validation that one is part of the universal.
The Ruling Class
The ruling class was clearly determined by colonial mentality, money, and status symbols. The richer you are, the more Americanized you are, the higher your status is. That was a concept embraced by many, and so people began valuing things for the money and not their importance. You don’t really need a white marble floor, like the Heredias, instead of a common wood if you can’t pay them. Both floors function the same anyway. In the case of Pete, one doesn’t really need to be like the Heredias to be part of a family. However, they determine who the ruling class is. Many would want to be part of that. They feel safer from abuse. They feel more accepted. They feel more superior than the other Filipinos who can’t afford the same kind of living. However, even those who can’t afford pretend that they can, exhaust everything, just so to keep up with the ruling class.
The colonial history and the post-colonial literature of the Philippines remind us of the identity that we developed as a people, bearing the flaws and the beauty of multiple cultures. This uniqueness made the Filipino a nation that holds roots from various influences, yet never the same mix as compared to our Southeast Asian neighbors. This also reminds us of continuous vigilance towards people who gain enough power to take the role of the colonizer. In the end, what matters is that we do not become the monsters that we defeated.
The Universal Grammar and the Role of Classroom Instruction in Language Learning: A Reflection
Language as a Species-specific Biological Feature
Seeing language in the perspective of biological capacity of the human being brought researches in the applied linguistics field such as in neurolinguistics and psycholinguistics. The Universal Grammar theory establishes the premise that language could be a biological endowment such as how birds fly with wings or how cold-blooded animals lay eggs. Since there are no species that are using the same language in communication, and other creatures have their own means, which we do not understand as humans, the plausibility of such claim led to researches on linguistic capacity as a brain activity more than an observable behavior. The Universal Grammar theory became a groundbreaking shift from the behavioral perspective as regards the human language. This shift in the study of the human language aims to cater to the biological context of the human language, supporting the probability of a universal system that the brain recognizes in order to facilitate language acquisition regardless of the availability of external stimulus. This is just one of the major implications of the Universal Grammar theory in the development of other linguistic studies. The following are the other implications that could be derived from the theory:
In Language Acquisition and Studying Languages in General
If Universal Grammar asserts that language acquisition is aided by the mind, responding to stimuli, therefore, all humans are capable of acquiring a language. Since the Universal Grammar theory argues that there are Language Acquisition Devices (LAD) that facilitate language acquisition for all human beings within normal conditions and are raised in normal circumstances, therefore, the linguistic system that these devices respond to has to be the similar in organization in order for any person to adopt any language as one’s native tongue. This particular system has been the basis of further linguistic studies, establishing the foundations of phonetics, phonology, morphology, semantics, and pragmatics as the micro linguistic branches responsible for language acquisition and learning.
We are no longer confined within the availability of circumstantial stimuli to effectively acquire language. We can already manipulate language learning and provide interventions for the irregularities of language acquisition phases. Language studies has extended beyond the micro linguistics and made research possible across fields of expertise. Further researches made innovations possible, and language is no longer just a medium of communication, but also a vast field of knowledge – a science, and the application of the science of language merges the field in all other sciences and their technology.
In Language Learning and Multilingualism
If the Universal Grammar theory argues that there are similar patterns on how languages are created and recreated, thus, there can be a universal means of structuring languages and learning the system of each. We can study how every language variant, whether regional languages or dialects, differ from one another and how they exist as offspring of parent languages. This could make faster teaching of multilingualism possible as language learning could be simultaneous, structured, and organized.
The strategy of teaching languages in the classroom can be altered by the concept of the Universal Grammar theory. If curriculum developers will investigate its theoretical arguments, all languages must be taught the same linguistic principles. These principles should be explicitly discussed among learners, so they can identify one language in relation to others, instead of seeing it as a single knowledge and skill, completely separated from the knowledge and skills required in learning other languages. This will help language learners establish their own techniques in learning a second language, and better, multiple languages.
In Bridging Linguistic Variations
Since languages also vary regionally, just like in the Philippines, the Universal Grammar theory can also be the basis for bridging linguistic variations within nations and help its people develop understanding of their regional languages. This can be applicable for dialects, so that one language can be united into one linguistic system. This can help ease the perceived division within a regional language because updates of dialects can already be passed on through formal language education. This will enrich the language, preserve the existing system, and avoid linguistic divisions among language users. Thus, if the Tagalog, a regional language common in the Southern Tagalog region, has various dialects across provinces, it can be consolidated into just one language, Tagalog, and other provinces get to study words that are contributed by other provinces across the country using the same regional language. Learning different dialects within a language will ease the feeling of exclusivity or alienation, hopefully extending, merging, one linguistic community to another. This way, language can unite people instead of creating further division.
In Unifying a National Identity
The same goes with learning the Filipino language. There are regions who wouldn’t embrace a Tagalog-based national language because they find their regional languages as qualified as the other languages of the Philippines. To resolve this divide, there can be studies conducted to determine a parent language where all languages of the Philippines are rooted. This will provide the equal opportunity for all regional languages to be candidates for the national language status.
Having the current national language based on Tagalog is not really the issue. The issue is the manner of selection that does not sit fair with other regional languages. With this process of determining the national language, non-Tagalog regions will see representation. Also, studies connecting the similarities and differences of regional languages will give the impression that our languages are unique in their own aspect, but are united under one unifying linguistic system. Identifying that system and naming it as national language will surely be a fair representation of the diversity of the Philippine languages. National unity can be achieved by unifying the bearers of our identity as a people, in this case, the Philippine languages.
In Learning a Second or Foreign Language
Using the arguments of the Universal Grammar theory, teaching the second language can be supported by the knowledge of one’s mother tongue. In fact, our phonemic inventory affects how we learn our second language. This is why Americans pronounce Filipino words differently compared to how we do. The same thing happens when we pronounce words of a different language we didn’t grow up with. The reason Filipinos can be fluent with English is our exposure to the language since childhood even if it is not our native tongue.
Since humans adopt a mother tongue that follows the same linguistic system of other languages, the jump from one language to another should be bridged by this interrelationship established by the theory. At the same time, understanding this connection between the native language and the second language, there could be a curriculum development that can bridge the knowledge of both languages instead of starting from scratch when learning a foreign language in a formal education set-up. This also emphasizes the effects of the linguistic performance in using the mother tongue to the capacity of the person to learn another language. The competency is no longer limited within the structure of a specific language, rather, a universal pattern that could affect further linguistic learning, regardless of language to study. Therefore, poor native language acquisition can lead to poor second language learning.
The Universal Grammar theory made the possibility of evolution of human languages and all the sciences that can lead to a better understanding of humanity. Who knows? Language could be one of the ways humans adapt to the changing environment for self-preservation and continued existence. Future researches could give us the answer.






