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!" $%&%'()*+ ,-"./)0&123&"1 %() 45"1251) -0 6&% 5"7 829-23 &" ,-"%)9:-353; <&=&:&"- >-)%3; &" ?"1=&*( Maria Rhodora G. Ancheta1 University of the Philippines at Diliman, Philippines
@A*%35'% "#$%$&&$'( &)(*+, $' -'.%$/# $/ +0+(%, +(01 0/ #23)+)2/ *(4*5 62* *#( &(+$)1 7+)3 *#( 1970‟s to the present is seen as creating a liberati '. /&08( 7)+ &)(*+,5 0'1 9 &)/$* *#0* part of this “liberation” is the rise of new poets whose awareness of and engagement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
B);C-37* "#$%$&&$'( &)(*+, $' -'.%$/#5 #23)2+5 8)332'$*0/5 %$'.2$/*$8 &%0,5 $'8)'.+2$*,5 $'8)'.+2$*, *#()+, )7 #23)2+
"#$%$&&$'( &)(*+, $' -'.%$/# $/ +0+(%, +(01 0/ #23)+)2/ *(4*5 0/ $*/ #$/*)+, 7+)3 H905 to the 1970‟s is characteris(1 characteris(1 30$'%, 6, 0 &0%&06%( M)30'*$8 /*+0$' 7+)3 1905 to the 1940‟s, and from *#( from *#( 1940‟s to the 1970‟s, a formalist spirit (Abad). 1
Dr. Maria Rhodora Ancheta is professor in the Department of English and Comparativ Comparativee Literature at the University of the Philippines Diliman, teaching American literature. Her areas of interest are humour studies, everyday life and domestic cultures, sociology of the body and the Bakhtinian carnivalesque. She was a research fellow at the Center for Popular Cultural Studies at Bowling Green State University at Bowling Green, Ohio, and fellow of the USIS Summer Institute at the University of California, Santa Barbara.
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But the period from the 1970‟s to the present is seen as creating a liberati'. space for poetry, and I posit that part of this “liberation” is the rise of new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understood using Paul McGhee‟s definition of humo2+ :#$8# 8)2%1 (4&%0$' :#, *#( ,);$'. )7 )+ *#( 1$//)'0'8(/ $' %0'.20.(5 0'1 *#($+ 8)'/(K2('* $30.(+, 0'1 *)'(5 0+( #23)+)2/> @8N#(( &)/$*/ *#0* #23)2r is a “form of play – *#( &%0, :$*# $1(0/5” and states that “without a playful frame of mind, the same (=('* $/ &(+8($=(1 0/ $'*(+(/*$'.5 &2GG%$'.5 0''),$'.5 7+$.#*('$'.5 (*8>5 62* ')* 0/ funny” (Ruch 36). McGhee 011/ that “while people might be very good at /&)**$'. *#( $'8)'.+2$*$(/5 06/2+1$*$(/5 0'1 $+)'$(/ )7 %$7(5 )'%, *#( 3('*0%%, playful will find humor in them… [t]her(7)+(5 &%0,72%'(// $/ /((' 0/ *#( 7)2'10*$)' )+ *#( 3)*)+ )7 *#( /('/( )7 #23)+” ADOE> 9* $/ 0%/) $3&)+*0'* *) ')*( *#0* :( 8)2%1 7$'1 #23)2+ $' :#0* 8)2%1 6( deemed “serious” poetry by its deployment of play or playfulness in the use of %0'.20.( 6(802/( *#( &(+8($=(1 72''$'(// )7 *#( *(4* ):(/ 328# *) *#( 8).'$*$=( &+)8(//(/ *#0* ($*#(+ “analyze the structural properties of humorous stimuli or the way they are processed” (Ruch 24), and in this, the perception of incongruity, “the bringing together of two ')+30%%, 1$/&0+0*( $1(0/5 8)'8(&*/5 )+ situations in a surprising or unexpected manner” ABPE 6(8)3(/ 0 /0%$('* 60/$/5 0'1 8)'/(K2('8(5 )7 *#$/ %$'.2$/*$8 &%0, *#0* $'=)%=(/5 03)'. 30', )*#(+ /*+0*(.$(/5 &2''$'. 0'1 *+0'/%$*(+0*$)'/> Paolo Manalo‟s !"#"$%&'() is a poetry collection that won the Philippines‟ 3)/* 1$/*$'.2$/#(1 %$*(+0+, 8)'*(/*5 *#( "0%0'80 L:0+1/5 $' BCCB> Q) 2'1(+/*0'1 !"#"$%&'() 5 :( #0=( *) /(( $* 0/ 0 80+*).+0&#, )7 6)*# 703$%$0+ 0'1 1(703$%$0+$/(1 "#$%$&&$'( 2+60' %0'130+;/ 0'1 &+08*$8(/5 $' :#$8# :( 7$'1 *#( $'8)'.+2$*$(/ )7 6($'. ?$%$&$') /(* 0.0$'/* 4"1 6($'. )'( – 0/ )'( :#) $/ ')* ?$%$&$') #0/ *) '0=$.0*( *#+)2.# *#( 6+(0;0.( )7 -'.%$/# 0/ $* 3)+&#/ $'*) $*/ ?$%$&$') *+0'/%$*(+0*$)'/> Q#(/( $'8)'.+2$*$(/5 70+ 7+)3 6($'. 0:;:0+1 )+ ')'/('/$80%5 *0;( )' '(:5 +(%(=0'* /('/(/ $' *#( %$.#* )7 /)8$0%5 82%*2+0%5 &)%$*$80% 0'1 0(/*#(*$8 +(0%$*$(/ $' *#( "#$%$&&$'(/> 9'1((15 !"#"$%&'() $/ :#0* $*/ *$*%( &+)3$/(/ $* $/5 literally “writing the 7"#"$ >” A large, and integral, part of the success of Manalo‟s 8)%%(8*$)' $/ *#( $'=('*$=('(// :$*# :#$8# #( 0'8#)+/ *#( /&(8$7$8 &)(*$8/ )7 these works to the underbelly of Philippine society. His poem “Being the True, !"#$%#&' "#$% &' (#% )' *+,+-.+/ )012
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the Good, the Beautiful and Definitive Meaning of „Jologs‟ (Or When Is the RK20**0# S)* the Othah)” (which he also calls his “bonus track”) is a tongueT$'T 8#((;5 :0..$/# (4&%0'0*$)' )7 *#( <0..(1 #$(+0+8#$80% <24*0&)/$*$)'/ $' "#$%$&&$'( /)8$(*,> Q#$/ /(8*$)' 1)(/ ')* 0&&(0+ *) 6( &)(*+, 0* 0%%5 6($'. 0/ $* $/ 0 1$0%).$80% &)/$*$)'$'. )7 *#( 0//23(1 %0+.(%, 3$11%(T8%0// /*21('*/ 0'1 *#( teacher as personas, the “paTcoño” kids, referring to the wealthy, EnglishT speaking students, who represent the Filipino elite class, and the “jolog 5” who, although contemporarily synonymous to the “squatter 5” %$*(+0%%, *#( &))+ :#) 62$%1 *#($+ houses on other people‟s lands, is noted by Manalo as being different 7+)3 $*> U#$%( :( 0+( %));$'. 0* *#$/ /(8*$)' 30$'%, *) (4&%0$' #): @0'0%) #0/ *+0'/7)+3(1 *#( ?$%$&$') /%0'. :)+1 $'*) (=(' '(:(+ 8)$'0.( $' *#( *(+3 “jolography 5” :( 0%+(01, /(( 0' ('.0.(3('* :$*# :)+1 &%0,5 62* $' *#( .2$/( )7 class discussion, when he asks for “the etymology of the word” A@0'0%) VWE> Q#(+( $/ 0 K2(/*$)' whether “jolog” here is derived from the name of a Filipino *((' &)& /*0+ '03(1 X)%$'05 :#)/( 8%0$3 *) 703( 0/$1( 7+)3 08*$'. 0'1 /$'.$'. $/ #(+ 8)%)2+72%%, 8+(0*$=( :0, )7 1+(//$'. 0'1 088(//)+$/$'. #(+/(%7 *#0* (0+'(1 her the following of the Filipino lower classes (cf. “the true” 78) Y )+ :#(*#(+ $* $/ 0 1(+$=(1 *+0'/%0*$)' )7 *#( ?$lipino word “hulog” [to drop], “originally +(7(++$'. *) *#( "$'), #$&Thop… especially those seen walking as a group in malls…” whose clothing “includes those very loose and wide pants that were „huhulog Thulog‟ [literally dropping off the wearer] (cf. “th( good” 78). “Jolog” 8)2%1 0%/) #0=( 6((' taken from “„the squatter of discos‟” called Jaloux, derogatorily deemed low class as it played “ 8&90) Z1[8%0//[5 $' &))+ *0/*(\ 1$/8) 32/$85 0'1 &()&%( :#) 7+(K2('*(1 *#( &%08( :(+( ,)2'. 70/#$)' =$8*$3/ :#) :(+( 7 eeling… baduy themselves…” (“the beautiful5” 78). 9* 30, 0%/) +(7(+ *) 0' abbreviation of “95#56 5 10)" Z/30%% 1+$(1 7$/#\ 0'1 51#"$ Z(..\” Z1$T,)Tlog] (“the definitive”) – “the food of the poor” (79)> 9' *#(/( 32%*$&%( &)//$6$%$*$(/ :( /(( #(+( 0 &0+0%%(% 3)=(3('* @0'0%) 2/(/ for his title poem “Jolography >” We find 0 &0+0%%(% 3(0'1(+$'. )7 =0+$)2/ &()&%(/ 0'1 8%0//(/ *#+)2.# *#( %$*(+0% 0'1 $3&%$(1 8$*,/80&(> U( 0%/) ')*( 0 &%0, :$*# 8#+)')%)., 0/ #( 1(/8+$6(/ *#( 3)=(3('* )7 #$/ /&(0;$'. &(+/)'0 :$*#$' *#$/ ?$%$&$') *(++0$'> “Jolography” is a poem that while written in English is almost $3&(+3(06%( *) /&(0;(+/ )7 -'.%$/# :#) 0+( ')* ?$%$&$') A0'1 $' 708* (=(' *) 30', ?$%$&$')/ *#(3/(%=(/E 0/ *#( *(4* $/ +(&%(*( :$*# $'8)3&+(#('/$6%( $1$)3/5 "#$%$&&$'( &%08( 30+;(+/ *#0* 0+( *:(0;(1 *) 8+(0*( '(: /(30'*$8 +(7(+('8(/5 0'1 0%%2/$)'/ *) &+08*$8(/ *#0* 0+( *+2%, ?$%$&$')> -08# )7 *#( 8)2&%(*/ $' *#( &)(3 80++$(/ *#(/( 1(&0+*2+(/ 7+)3 -'.%$/#5 0'1 *#( &)(3 0&&(0+/ *) 6( 0 /(%7T +(7(+('*$0% <)2+'(, $'*) :#0* $/ 0 /((1, ?$%$&$') %0'1/80&(5 )'( $'#06$*(1 6, “jologs>” The first couplet actually refers to them as the speaking &(+/)'0 addresses a “you” in] ^5 #): 1(01 ,)2 8#$%1 0+(5 :#)/( /&)$%(1
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R&)+*(1'(// $/ 6($'. 70/#$)' /#):(1 F(02*$72%%$'. 0/ :( /&(0; – $' _260) Q#(+( $/ *#0* /03( %));] `)2+ _+)//$'. 96060:5 `)2+ S(&0 _2*(5 U(1'(/10,/ Baclaran, „Please pass. Kindly ride on” A@0'0%) PE
Manalo actually explains in his glossary that “how dead you child are” “is a transliteration of the Tagalog expression “„ '&1&) :&4$ 8&1& :& ‟ :#$8# 3(0'/ loosely, „you‟re dead meat‟” (81). The speaking persona appears at first glance to be an entity apart from the “jolog” that parades, and the verb used here is “fashion showed5” which in ?$%$&$') $/ 0 &#+0/( *#0* 8)2%1 6( 8)%%)K2$0%%, 8)'<2.0*(1 /$3&%, 6, 011$'. *#( 0&&+)&+$0*( 077$4(/ *) /$.'0% *('/( /#$7*/ A 4&$ T 70/#$)' /#): Z&0/*\5 4&$'& T70/#$)' /#): Z&+(/('*\5 3&$'& T70/#$)' /#): Z72*2+(\E> U#$%( *#$/ 30;(/ /('/( $' ?$%$&$')5 *#( +(/2%*$'. =(+6 7)+3 $' -'.%$/# $/ 0%3)/* $'8omprehensible, as for most, the reading here will point only to “showed” as the verb, which, by inversion, would refer to “spoiled Sportedness is being fashion” as the object of the verb, which makes even less sense. We are able to 30;( /('/( )7 *#$/ =(+6 2/( )'%, :#(' :( /(( $* $' *#( 8)'*(4* )7 *#( <)%)./ gleefully parading themselves, “Beautifulling 5” again another word whose part )7 /&((8# $/ '): =$)%0*(1 *) 8+(0*( 0 '(: )'( 0/ *#$/ $/ *+0'/%$*(+0*(1 7+)3 “4&$3&3&$&49& 5” not just feeling beautiful, but &+(/('*$'. )'(/(%7 *) 6( 6(02*$72%5 $' *#( &%08(/ :#(+( *#( 30//(/ *('1 *) 8)'.+(.0*(] $' _260)5 :#$8# $/ 0' 2+60'5 3$11%( *) %):(+ 3$11%( 8%0// #0=(' )7 /#)&/5 30+;(*/5 30%%/5 residential streets, in which could be found “crossing 58&8&; ” A%$*(+0%%, 8+)//$'. 06)=(E – +(7(++$'. *) *#( +)01:0, *#0* 30;(/ 7)+ 0 /%):(+ *+$& 7)+ &26%$8 62/ commuters as these are littered with bus stops, versus “ 5#5 ” (under) which refers to the underpass, and “Nepa QT@0+*5” a public market frequented by 3$11%( 0'1 %):(+ 8%0// 7)%; A versus Farmer‟s market nearby, :$*# 3)+( (4&('/$=( 7))1 /*277E5 '): 80%%(1 S(&0 _2*(Y $' F08%0+0' $' *#( /)2*# )7 @0'$%0 :#(+( 0 _0*#)%$8 8#2+8# $' #)')2+ )7 *#( a$+.$' @0+, $/ %)80*(15 0'1 :#)/( ')=('0 10,/ )' U(1'(/10,/ 30;( *+077$8 $' *#0* &0+* )7 *#( 8$*, 0 '$.#*30+(> Q#( +(/* )7 *#( &)(3 1(.('(+0*(/ $'*) 0 %$/* )7 &+08*$8(/5 30', )7 *#(3 =(+.$'. )' *#( 80+'$=0%(/K2(5 0/ *#(/( 0+( ('23(+0*(1 0/ 0 *(/*03('* *) *#( “jologs” own seedy nature: Q)'$.#* :$%% 6( 2/ *)3)++):(1 – b)=(+/ )7 *#( c0&&, @(0% 0'1 $*/ c5 Who dream of the importedness of sex as long as it‟s "$+0*(1 0'1 2'1(+ 0 #2'1+(15 :#) 80' /3(%%
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L "0/$. M0=(+ $' 0 10'8( 8%26> ^5 *#( *)$%(* Won‟t flush, but we are moved, doing the gerby 9' 0 &%0/*$8 60.Y :( :0'* *) 7((% *#( .+))=(/ ^7 *#( +(8)+1/5 :( :0'* *) #(0+ /)3( /8+0*8# – In a breakaway movement, we‟re the shake Q) *#( 3)*$=( )7 &)8;(*/5 *) *#( 304> Q#( 8#0'.( $/ 0%% $' *#( 7$+/* <((& Of the morning‟s route. Rerouting Q#$/ 8$*, 0'1 $*/ #(0+* 0**08;/Y )'( 3$'2*( 70/*(+ Than four o‟clock, and the next U0=( *#0* /*0'1/ )2* $' *#( )2*1))+ 8+):1 c0'.$'. :$*# 0 62'8# )7 ,)T,)/ – L 708( :$*# 0' $'=(+*(1 80& )'5 :(0+$'. 0%% R3$%(/ *#( /3(%% )7 7))* /*28; 6(*:((' *#( *((*# APTOE>
The “jolog” i/ *#( ?$%$&$') 70/* 7))1 %)=(+ A referring to the McDonald‟s “Happy Meal”] whose commonplace names exhibit a “fondness for the letter [h]… > Bhoy, Ghirlie, Bheng, Jhenyfer, Jhoana, Jhayson” (81), a “face with an inverted 80& )'5 :(0+$'. 0%%J R3$%(/ *#( /3(%% )7 7))* /*28; 6(*:((' *#( *( eth” (6), who goes home not in luxury cars but “in the first jeep/ Of the morning‟s route” after “dream[ing] of sex5” going to cheap dance clubs and dancing to its music, defecating (“gerby”) not in the cheap club‟s toilets, but in plastic bags that are %0*(+ *#+):' 0:0, $' *#( /(:(+/5 0/ $/ *#( :)'* )7 *#( #)3(%(// $' "#$%$&&$'( 8$*$(/5 :#) 1) /) 6(802/( *#(, #0=( ') 088(// *) 708$%$*$(/ A87> OE> d0*+$'0 Q+$(G('6(+.5 $' :+$*$'. 06)2* #23)2+ $' %$*(+0*2+(5 /&(0;/ )7 word choice or diction as a “humor enh0'8(+5” especially “when words are carefully chosen to evoke particular scripts in the minds of the audience” (538). U( 80' 0&&+(8$0*( *#( 2/( )7 1$8*$)' #(+( 0/ 0 /)2+8( )7 *#( #23)2+ :#(' :( /(( *#$/ $' *#( %$.#* )7 /8+$&* )&&)/$*$)' *#0* +(/*/ )' *#( 0&&+(#('/$)' )7 $'8)'.+2$*,> a$8*)+ M0/;$'5 :#) &$)'((+(1 *#( R(30'*$8 R8+$&* Q#()+, )7 c23)2r, looked at scripts as the “stereotypical understanding of an object )+ an event” (Triezenberg 534), or as “a structured chunk of information about %(4(3(/ 0'1J)+ &arts of the world” (Ruch 25) and “posits that humor occurs when two scripts that shouldn‟t be in the same place” are yoked together, and somehow made to make sense within that place” (534). In this poem the &+(=0$%$'. /8+$&* $/ *#( :0, %):(+ 8%0// ?$%$&$')/5 *#( <)%)./5 0+( /2&&)/(1 *) 6( /((' 0'1 1(J=0%2(1 6, 0'J)*#(+ ?$%$&$')/5 #(+( 2'/&(8$7$(15 62* +(=(0%(15 )+ 6(*+0,(15 6, *#( =(+, 703$%$0+$*, *#( /&(0;$'. &(+/)'0 #0/ :$*# *#( 3$8+)=(+/( !"#$%#&' "#$% &' (#% )' *+,+-.+/ )012
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*#( 7"#"$ $'#06$*/> Q#$/ &+)=$1(/ )2+ $'$*$0% )&&)/$*$)' $' *#$/ /8+$&*5 0' )&&)/$*$)' 60/(1 )' 703$%$0+$*, 0'1 2'703$%$0+$*,> Q#( &)(3 *0;(/ 2/ $'*) *#( 0&&0+('*%, 2'703$%$0+ :0,/ )7 0 "#$%$&&$'( /)8$0% /268%0//5 )'%, *) +(0%$/( *#0* 6)*# *#( /&(0;$'. &(+/)'0 0'1 *#( ?$%$&$') +(01(+ 0+( 8)T)&*(1 6, *#0* =(+, /268%0// 6, =$+*2( )7 0 703$%$0+$*,5 0 '(8(//0+, 0%6($* 0 &)//$6%, +(%28*0'* )'(5 :$*# *#( /&08(/ :#$8# *#$/ /268%0// $'#06$*/> 9 #01 3('*$)'(1 (0+%$(+ *#0* Manalo‟s poetry exhibits incongruities :$*#$' 0 ?$%$&$') '0*$)'0% *(++0$' :#$8# /(* *#(/( $'8)'.+2$*$(/ 0.0$'/* 6($'. ')'T?$%$&$')> F2* $* $/ (K20%%, *+2( *#0* #$/ &)(3/ 0%/) /(* *#( ?$%$&$') 0.0$'/* #$3/(%7 $' #$/ 1(/$+( *) 30$'*0$' 077$'$*$(/ :$*# 088(&*06%( 8%0//(/5 )'%, *) 7$'1 *#0* *) 6( ?$%$&$') $/ *) 6( 3$+(1 :$*#$' 0 8)3&%(4 82%*2+0% (8)')3, *#0* $/ 1$=(+/(5 =0+$)2/5 +$8#5 0'1 in which “popular 0'1 local discourses, codes and practices resist… systematicity and order”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umorous, as a reader‟s reaction to this may be puzzlement or “even an aversive reaction” (Ruch 25). 9'8)'.+2$*, +(/)%2*$)' *#()+$(/ )7 #23)2r look at incongruity as the “conflict between :#0* $/ (4&(8*(1 0'1 :#0* 08*20%%, )882+/ $' *#( <);(5” and resolution as the “more /26*%( 0/&(8* )7 <);(/ :#$8# +('1(+/ $'8)'.+2$*, 3(0'$'.72% )+ 0&&+)&+$0*( 6, resolving or explaining it” (Shultz K*1> $' M28# BPE> U( #0=( (0+%$(+ &)$'*(1 *) an abnormal, unexpected delineation of “jolog/Filipino life” in its depiction of &+08*$8(/ 2'088(&*06%( *) *#( 1)3$'0'* 8%0//(/ $' *#( "#$%$&&$'(/ 0/ )'( /)2+8( )7 $'8)'.+2$*, $' *#$/ &)(35 0'1 *#( +(/)%2*$)' %$(/ $' )2+ +(0%$/0*$)' *#0* @0'0%)5 $' &0$'/*0;$'.%, 8+(0*$'. 0 '(: language to capture this subclass‟ (4&(+$('8(/5 ('1/ 2& +(7+03$'. *#( 7$//2+(/ :$*#$' ?$%$&$') /)8$(*,5 0'1 $'1((1 =0%)+$/$'. *#$/ /268%0// 0/ 0' 08*$=( 0.('* $' *#( 82%*2+0% 0'1 %$'.2$/*$8 1(=(%)&3('* $' ?$%$&$') %$7(> L.0$'5 Q+$(G('6(+. /2&&)+*/ *#$/ 6, /*0*$'. *#0* 82%*2+0% 708*)+/ /28# 0/ *#( +(8).'$/06$%$*, )r offensiveness of a stereotype” can be another “humor enhancer5” as *#( 02*#)+ :#) $/ =(+, :(%%T=(+/(1 $' *#( &+(<21$8(/5 #0'.T2&/5 *06))/ )7 the intended audience, as well as the history of humor in that audience‟s 82%*2+(5 :$%% 6( 328# 3)+( /288(//72% than one who doesn‟t know these *#$'./> Q) 2/( 0' 2'+(8).'$G(1 /*(+()*,&( $/ *) 70$% *) 30;( 0 <);(Y *) 30;( 72' )7 0' $//2( *#0* #0/ +266(1 *#( 021$('8( +0: $/ *) 6( 0* 6(/* 6)+$'. 0'1 at worst boorish; to not know what was funny once… is to be stale, to 8+(0*( 0 8)3&%(*( 1$/8)''(8* :$*# *#( +(01(+/5 0'1 *) 70$% 2**(+%,> APDWE !"#$%#&' "#$% &' (#% )' *+,+-.+/ )012
3&
8+?@#=A7BC/7=B >9+ D6=BC6B+ #A E7> 6=: FC-#C/ 7= @#=>+-G#/6/H I7$7G7=# J#+>/H 7= K=B$7L9
“Peksman” is a poem that thrives on what Manalo refer/ *) 0/ “homonyms” in his explanatory notes, but which we shall look at as punning. Again, “Peksman” is premised on a Filipino “colloquial word used in promises and honesty” (Manalo 82), used almost like a default phrase to underscore one‟s truthfulness. The word “peks” in Filipino does not really mean anything and the particle “man” is an emphasis word that could mean “even if >” Manalo explains in his notes: “the complete phrase is „ *+:63&4< 3&3&1&) 3&4 &:"5‟ which is like „Cross my heart and hope to die‟” AWBE> N$=(' *#$/ (4&%0'0*$)'5 :( 2'1(+/*0'1 #): *#( &)(3 $/ 0.0$' 0 1$0%).2( 6(*:((' *#( &(+/)'0 30;$'. *#( &+)3$/(5 0'1 *#( )*#(+ :#) $/ *#( +(8$&$('* )7 $*> Q#( *+2*# $/ :#0* :0/ *0;(' :0/ 30,6( .)*5 0/ $' *#( #(0=,T &0+( #(0=,5 3)/*%, %06)> U#0* 1$1 ,)2 (4&(8*e Q) /(( $/ *) 6$%$6$15 *) 6( 6%$'1 $/ *)) 1$=$'(] $' *#( 10+;'(// 3)+( (4&(8*0*$)'/> Q#$/ $/ 0 &#)'( 80%% )2* )7 /(0/)'> Ac$%0:eE Q#$/ $/ 0' 0'.(% )2* )7 6+(0*#> Ac$%)eE Q#$/ $/ 0 :0*(+3(%)' ^2* )7 )+1(+> c(%%)5 "(;/30'5 0, ;'(: ,)2 A:(%%5 9 ;'(: ,)2 *))E Too well. For you I‟ve crossed Q#( 6+(0;$'. &)$'* A*#( '236(+ `)2 1$0%(1EY 7)+ ,)2 9 *#)2.#* 9 1$(1 A30+03$'. '03030*0, /0 0;0%0E Q#$/ $/ :#(+( $* #$* 3(TTT *#( A62%%(* Q)10, :$%% .$0'* ,)2E 8)3( 608; @0;$'. 0 8)3(608; 0/ *#)2.# ;$%%$'. Q$3( :)2%1 6( *#( +(0/)' 7)+ ?)+.(**$'. *#( &0/* *('/( 72*2+( Imperfect diction of our „coz/cause, the wa ''0 .)''05 :0%0'.T.0'0 )7 8)2+/( 0/ $' 8+0/# Q(/*$'. ,)2+ 6$+*21> 9* $/ :#0* 30;(/ 3(
!"#$%#&' "#$% &' (#% )' *+,+-.+/ )012
N0
56/76 89#:#/6 ;% <=,9+>6
9'=2%'(+06%(J $3&)//$6%( *) *+0'/%0*( *#(J *)3)++): /(8)'1/ )7 3, %$7(/&0'> J U#0* 03 9 /0,$'.e “I cannot get past the pronouns…” U#$8# $/ :#, ,)2 #0=( *) c$+$* 0.0$' A30;$'.E 0'1 0.0$' A/$'.T $* '0 %0'.] 60+05 60+05 6,(E AHHTHBE>
Manalo‟s opening stanza already plays with the synonymy of “taken” and “got” in the lines “The truth is what was taken was maybe got” (11), but here Manalo 6(.$'/ 0 /(+$(/ )7 homonymy, and well, takes off from there. “Maybe got” is, as #( (4&%0$'/5 “a homonym of the Tagalog „306$.0*‟ which means „heavy‟” (82), and the speaking persona segues into allying this idea of “bigat” (weight) with *#( 8)%%)K2$0% &#+0/( 2/(1 (=(' $' -'.%$/# – “heavy pare heavy” ( #(0=,5 121(E5 and mostly “labo” ( 2'8%(0+E> Q#( &)(3 8)'*$'2(/ *) 3$'( /28# #)3)',3, *) 2'1(+/8)+( *#( /&(0;$'. persona‟s, or the addresser‟s, own negotiation of the “way to truth 5” as it is his )+ #(+ ):' 8)3&%$8$*, $' *#( %0'.20.( *#0* $/ 2/(1 *) 0++$=( 0* *#$/ *+2*#> 9' 708*5 :#0* :( /(( $' *#( &)(3 0+( 0%+(01, #$'*/ *#0* :#0*(=(+ *#$/ *+2*# $/5 $* $/ 0%3)/* 1)26*72% *#0* *#$/ 8)2%1 6( 08#$(=(15 7$+/*5 6(802/( *#( &)(*$8 011+(//(+ 1)(/ manifest this doubt: “What did you expect?” s/he says, “to see is to bilibid 5” in :#$8# *#( &#+0/( +(0%%, +(7(+/ *) /(($'. 0/ 6(%$(=$'.5 62* 0.0$' *#( /&(0;$'. &(+/)'0 &%0,/ (=(' :$*# *#$/ 6, +(/)+*$'. *) *#( ')'Tequivalent “bilibid5” meaning “prison” and “believe it>” The lines that follow do 2'1(+/8)+( ')* belief or certainty, but doubt, when we get phrases such as “to be blind is *)) 1$=$'(5” “in the darkness more expectations” (11). Manalo‟s persona follows *#$/ 2& 6, 0')*#(+ &2''$'. /$*20*$)' $' 0')*#(+ 0**(3&* *) 0++$=( 0* communication: “Thi/ $/ 0 &#)'( 80%% )2* )7 /(0/)'5” and then plays with Filipinized versions of “hello”: one is “hilaw 5” meaning “raw 5” which in +(7(+('8( *) *#( 2'/(0/)'0% &#)'( 80%% 8)2%1 6( *#0*5 +0:5 2'&)%$/#(1Y 0'1 “hilo5” meaning “dizzy 5” again comically referring to the “angel out )7 6+(0*#>” In the next stanza, the standard pronoun “I” is changed into “ay 5” which could 6( 6)*# 0 Q0.0%). %$';$'. =(+6 )+ 0' $'*(+<(8*$)' )7 /2+&+$/(5 0.0$' 0 #)3)',3$8 +(7(+('8( *) 0 %$*(+0% ?$%$&$') /(%7> "2''$'. #(+(5 :#$8# $/ %0+.(%, alliterative, involves “the repetition of a .$=(' /(* )7 &#)'(3(/ Z:#$8# 0+(\ /80**(+(1 0%)'. A&0+*/ )7E *#( +(%(=0'* text…” (Attardo 105). Attardo adds that puns “invoke… the surface structure of language…” and are therefore “nonTcasual speech forms” as “in casual /&((8# *#( /&(0;(+ $/ 2'8)'8(+'(1 6, *#( /2+708( /*+28*2+( )7 *#( 7)+3/ #(J/#( !"#$%#&' "#$% &' (#% )' *+,+-.+/ )012
N1
8+?@#=A7BC/7=B >9+ D6=BC6B+ #A E7> 6=: FC-#C/ 7= @#=>+-G#/6/H I7$7G7=# J#+>/H 7= K=B$7L9
is uttering” (105). Puns, therefore, are evidently incongruous because “speakers 0//23( *#0* /03( A)+ /$3$%0+E /)2'1/ /#)2%1 80++, *#( /03( 3(0'$'./ 0'1 *#0* *#(+(7)+(5 $7 *:) /*+$'./ /)2'1 *#( /03(5 $* $/ %(.$*$30*( *) 6+$'. *).(*#(+ *#($+ two meanings, as puns do” (106). Punning, too, exhibits “wit5” which very generally is related to a “quick inventiveness in language” and a facility with %$6(+*$(/ *0;(' :$*# 3(0'$'gs (Stott 55). Feingold and Mazzella have “defined :$**$'(// 0/ *#( 06$%$*, *) &(+8($=( $' 0' $'.('$)2/%, #23)+)2/ 30''(+ *#( +(%0*$)'/#$& 8+1;++4 6++354$#) 542"4$%0"06 1(54$6 ” (in Ruch 45; my italics). Q#( )'(T/$1(1 &(+)+0*$)' $' *#( &)(3 30, ')* 3(0' 0',*#$'. *) 2/5 0.0$' 6(802/( )7 *#( 8)'*$'2)2/ /%$&&0.( )7 *#( %0'.20.(5 62* $' 708* *#$/ provides the tenor of the poem‟s more philosophical concern, that while “the truth” is the aim of all one‟s relationships, language is as much an obstacle in 08#$(=$'. *#$/ *+2*# 0/ $* $/ *#( 8)'12$* *) 077$+3 *#$/> Q#( &)(3 &)$'*/ *) *#( $3&)//$6$%$*, )7 *+0'/%0*$'. 3(0'$'. 6(802/( *#( &(+/)'0 .+0&&%(/ :$*# *#$/ 8(+*0$'*, *#0* %0'.20.( /#)2%1 &+)=$1(> F2* %0'.20.( $'/*(01 6(*+0,/ #$3J#(+] when s/he says, “… for you I‟ =( 8+)//(1J *#( 6+(0;$'. &)$'* 0'1 *#(' 6(%$(/ *#$/ 077$+30*$)' 6, $'*(+*(4*20%%, +(7(++$'. *) 0 30+;(+ )7 72*$%$*, – “the number you dialed…5” which comes from the repetitive “the number you dialed is not yet in service” that one hears when one is unsucce //72% $' 8)'*08*$'. 0')*#(+ &0+*, $' *#( "#$%$&&$'(/. “For you I thought I died” is a &%0, )' *#( ?$%$&$') +(<)$'1(+ A 3&%&354$ 4&3&3&1&) 6& &:&#& E 301( :#(' &()&%( 0+( %$*(+0%%, &+)=(' *) 6( :+)'. A:#(' ?$%$&$')/ &+(708( /*0*(3('*/ with “ =:&#& :"…5” meaning “I *#)2.#*5” “I assumed/presumed…5” some /30+*0%(8; 2/20%%, /'0&/ 608; :$*#5 “a lot of people die because they thought/ 0//23(1 [wrong] things”] (cf. @0'0%) WBE> Q#( &(+/)'0 08;'):%(1.(/ *#$/ 0%$('0*$)' 7+)3 *+2*# 0'1 %0'.20.( :#(' #( 8%0$3/ *#$/ ('(+=0*$)' 6, %0'.20.( A “walang gana5” no appetite, “losing drive, faith, energy… [ @0'0%) WB\E5 %(01$'. *) $'8)3&+(#('/$6$%$*, A “forgetting *#( &0/* *('/( 72*2+(5” “What am I saying?” “„I cannot get past the pronouns‟” E 0'1 *#( $3&)//$6$%$*, )7 0++$=$'. 0* *#$/ =(+$*, A “impossible to translate the *)3)++): /(8)'1/ Z “bukas, makalawa”] of my lifespan”)> Q#( )'2/ $/ %0$1 )' the addressee, “which is why )"0 #0=( *)J #$+$* 0.0$'” A a play on “hear it5” but “(5%51 ” 0%/) means “to go for something 5” or to 30;( 0' (77)+* *) 1) /)3(*#$'.E, and “sing it” ( 0 *+2%, #)&(72%5 8(%(6+0*)+, :0, *) 0=(+ *#( *+2*# )' *#( 011+(/see‟s part). T#$/ ('1/ 2& 6($'. 0 #$%0+$)2/5 *)'.2( $' 8#((; +(3$'1(+5 as “sing it” really reads “sing T$*5” which in Tagalog may mean an innocuous verb “to in/(+*5” or to the almost taboo, “singit5” roughly meaning “groin>” Again, in *#( 3$1/* )7 0' 0%3)/* %,+$80%J&#$%)/)&#$80% *)'(5 @0'0%) 6+$'./ 2/ 608; *) *#( challenge of treating language as structurally unstable because “language use in *#( "#$%$&&$'(/ $/ ')* )'%, 8#0+08*(+$G(1 6, *#( 8)3&%(4 $'*(+/(8*$)' )7 0'1 )=(+%0&&$'. )7 1$77(+('* %0'.20.(/5 62* (4#$6$*/ $'*(+'0% 1,'03$/3 0'1 variation” (Hau 59). Raymond Williams avers as much, when he states in his essay “Introduction to >+);"%96 ” that !"#$%#&' "#$% &' (#% )' *+,+-.+/ )012
N)
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… $* $/ '(8(//0+, *) $'/$/* *#0* *#( 3)/* 08*$=( &+)6%(3/ )7 3(0'$'. 0+( 0%:0,/ (36(11(1 $' 08*20% +(%0*$)'/#$&/5 0'1 *#0* 6)*# 3(0'$'./ 0'1 *#( +(%0*$)'/#$&/ 0+( *,&$80%%, 1$=(+/( 0'1 =0+$06%(5 :$*#$' *#( /*+28*2+(/ )7 &0+*$82%0+ /)8$0% )+1(+/ 0'1 *#( &+)8(//(/ )7 social and historical change… /)8$0% 0'1 #$/*)+$80% &+)8(//(/ )882+ ;51(54 %0'.20.(5 $' :0,/ :#$8# $'1$80*( #): $'*(.+0% *#( &+)6%(3/ )7 3(0'$'. 0'1 )7 +(%0*$)'/#$&/ +(0%%, 0+(> AVIE
Williams looks at ways by which these new relationships and “new ways )7 seeing existing relationships” are made evident in language, and whether by *#( $'=('*$)' )7 '(: *(+3/ A80&$*0%$/3E5 $' *#( 010&*0*$)'5 0%*(+0*$)'5 )+ +(=(+/0% )7 )%1(+ *(+3/ A/)8$(*, )+ $'1$=$120%E5 6, (4*('/$)' A$'*(+(/*E )+ transfer (exploitation)… /28# 8#0'.(/ 0+( ')* 0%:0,/ /$3&%( )+ 7$'0%> -0+%$(+ 0'1 %0*(+ /('/(/ 8)(4$/*5 )+ 6(8)3( 08*20% 0%*(+'0*$=(/ $' :#$8# &+)6%(3/ )7 8)'*(3&)+0+, 6(%$(7 0'1 077$%$0*$)' 0+( 8)'*(/*(1> AVIE
I am using two of Isabela Banzon‟s poems, one from each of her 8)%%(8*$)'/ – “Sushi” from her earlier book of poems entitled *&'+% -&$+ AHIWVE5 0'1 7+)3 #(+ '(:(+ 8)%%(8*$)' ."#& -"/0+1& (2009), “DH Sunday, Hongkong >” While the collections touch on varied topics, Banzon‟s play of language in these *:) &)(3/ 7)82/(/ )' *#( (4&(+$('8(/ )7 ?$%$&$'0 )=(+/(0/ :)+;(+/5 0'1 :#$%( 2'1(+%,$'. *#(/( :)+;/ $/ 0 &)$.'0'* +(0%$/0*$)' )7 0%$('0*$)' 0'1 +($7$80*$)'5 *#( poetic object in “Sushi” and the speaking persona in “DH Sunday” carry comic identities “found in a sense of division )+ $'8)3&%(*('(//> Q#$/ 80' 30'$7(/* $*/(%7 0/ 0 8)'7%$8* 6(*:((' 0%*(+'0*$=( :)+%1 =$(:/5 6(*:((' 0&&(0+0'8( 0'1 +(0%$*, )+ 6(*:((' /(%7Timage and public perception” (Stott 60). This is particularly evident in “DH Sunday, Hongkong 5” which Banzon 30/*(+72%%, 8+07*/ 0/ 0 =$%%0'(%%(5 :#$8# 30;(/ *#( +(&(*$*$)' )7 %$'(/ ')* <2/* 0 7)+30% $3&(+0*$=(5 62* :#$8# &2+/2(/ *#( *#(/$/ F0'G)' #0/ $' 3$'1> I‟m not ashame to be Pinoy: My contract‟s not expire F2* 9 :0'* 0 %$**%( *) ('<),> I no stop working but „2'..), ‟ Or „&%(0/(‟ *#(, '(=(+ /0, *) 3(Y Well, I‟m not ashame to be Pinoy. S) &%0, )' 10,T)775 ') *), U$*# %$7* *#0* .) 2&1):'5 ') /)++, *)) 62* 9 :0'* 0 %$**%( *) ('<),> 9 7$4 "$'), 7))1/5 #)* %$;( 60*8#),5
!"#$%#&' "#$% &' (#% )' *+,+-.+/ )012
NO
8+?@#=A7BC/7=B >9+ D6=BC6B+ #A E7> 6=: FC-#C/ 7= @#=>+-G#/6/H I7$7G7=# J#+>/H 7= K=B$7L9
=(+, '(0+ *) X)%%$6((> U#, 9 0/#03( *) 6( "$'),e Jewelries, pants, you like, „Noy? Ma‟am, you pay? I take your money „cause I want a little to enjoy. 9 0%/) 62,5 62* 8#(0& )'%,5 #),5 &0/0%26)'. 7)+ 3, 703$%,> I‟m not ashame to be Pinoy. 9 :0'* /) %$**%( *) ('<),>
Q#( &)(3 0&&(0+/ *) 6( 0 /*+0$.#*7)+:0+1 1(&$8*$)' )7 #): 0 ?$%$&$'0 1)3(/*$8 worker in Hongkong would likely spend her Sunday, stereotypically her “day T )775” and in six stanzas she delineates this leisure day that ends up being another day of “work 5” only it is not now in the household / 7)+ :#$8# /#( $/ &0$1 *) 8%(0'5 )+ :$*# &()&%( 7)+ :#)3 /#( $/ #$+(1 *) 80+(5 /#( /&('1/ $* /(%%$'. *#$'./5 8));$'. 7))1 *#0* )*#(+ &()&%( :)2%1 62,5 $' )+1(+ *) 02.3('* #(+ $'8)3( *) 6( 06%( *) /('1 3)+( 3)'(, *) #(+ 703$%, 608; $' *#( "#$%$&&$'(/> Q#( /8+$&* $/ /*(+()*,&$80% (')2.#5 0'1 7)%%):$'. M0/;$'5 *#( )&&)/$*$)' $/ 6(*:((' *#( unexpected “work 5” and the expected “leisure>” This may be one incongruity *#0* :( /(( #(+(5 62* *#0* $' $*/(%7 $/ ')* 72'',5 2'*$% :( 8)2&%( $* :$*# *#( 6+(0;0.( )7 -'.%$/h traditionally expected of “uneducated” lower class folk. In :+$*$'. 06)2* *#( /288(// )7 0 "#$%$&&$'( 7$%3 8)3(1$0'5 f)%&#,5 9 #0=( 0+.2(1 *#0* $' 2/$'. 2'.+0330*$80%5 6+);(' -'.%$/#5 0* *#( 608;.+)2'1 )7 *#(/( (48#0'.(/ $/ *#( &)+*+0,0% *)) )7 *#( 06')+30%$*, )7 K20/$T(1280*$)'5 0'1 *#( =0%)+$G0*$)' )7 0 8%0//T('.('1(+$'. necessity… it points rather savagely to the reality that one‟s ineptness in using English underscores the equation of this ineptness with dumbness…> Q#( 8)3$8 :#) 70$%/ *) /#): *#0* #( ;'):/ -'.%$/#5 )+ :#) ('1/ 2& 30'.%$'. *#0* %0'.20.( $+)'$80%%, (=);(/ 3)+( %02.#*(+5 7$+/* 12( *) #$/ 8+(0*$)' )7 ')'/('/$80% %0'.20.(5 62* 0%/) 12( *) #$/ %08; )7 /)&#$/*$80*$)'> Q#( &(+/)' :#) ;'):/ -'.%$/# $/ *#(+(7)+( /2&(+$)+ 6(802/( )7 *#( 0//23&*$)' *#0* #( $/ /8#))%(1 – “3&) '54&$?&%&#&4 ” – =$/TgT=$/ *#( 8)3$8 who “destroys” the language, doing so presumably because he is a fool, and therefore “;&#&4$?'54&$?&%&#&4 >” As this is an issue that confronts the 30<)+$*, )7 Z?$%$&$')/\5 0'1 )'( *#0* %$(/ 0* *#( #(0+* )7 ?$%$&$') 8%0// #$(+0+8#$G0*$)' 6(802/( $* $/ $'*(+:)=(' :$*# $//2(/ )7 (8)')3$8 $'1(&('1('8(5 0'1 %$7(T=0%2(/ #(%1 6, ?$%$&$')/5 Z*#$/ ;$'1 )7\ %0'.20.( humor… end up allying the audience with Dolphy, who see in him the 2'(1280*(1 1)%* :#) +$/(/ *) 6(0* *#( )&&+(//)+ 0* #$/ ):' .03(Y #):(=(+5 *#(, 0%/) ('1 2& &0//$=(%, :0*8#$'. *#($+ ):' %08; )7 (1280*$)' 0'1 )&&)+*2'$*$(/ 6($'. +(&%0,(1 7)+ *#($+ ):' ('<),3('*5 :$*# ') +(0% )+ &+08*$806%( /)%2*$)' 6($'. )77(+(1 *) 0%%(=$0*( *#(/(> AL'8#(*0 WITICE !"#$%#&' "#$% &' (#% )' *+,+-.+/ )012
N4
56/76 89#:#/6 ;% <=,9+>6
This is the very humor we find in Banzon‟s poem, and when she begins her poem with the assertion “I‟m not ashame to be Pinoy 5” she deploys an apparent %0'.20.( )7 &+$1( *#0* /(*/ *#$/ 0.0$'/* 0' (4&(8*0*$)' )7 70$%2+(5 .$=(' *#( /$.' )7 70$%2+( *#0* *#( %0'.20.( (=$'8(/> Q#( 1(%$6(+0*( 2/( )7 $'8)++(8* &0+*$8$&$0% 7)+3/ A0/#03( 7)+ 0/#03(15 (4&$+( 7)+ (4&$+(1E mark the speaker as the “DH” $' *#( *$*%( A7)+ 1)3(/*$8 #(%&(+E5 62* *#( *+0'/%$*(+0*(1 ?$%$&$') (4&+(//$)'/ 1) so even more convincingly; “so pity” is a translation of th ( 2'*+0'/%0*06%( ?$%$&$') *(+3Jconcept “6&)&4$ 5” “I want a little to enjoy” and “I want to buy” A:$*# ') )6<(8*E5 “...62* 8#(0& )'%, ”. All these, :#$%( 2'1(+/*0'106%(5 2/( ?$%$&$') /,'*08*$8 0++0'.(3('*/ $'/*(01 )7 *#( -'.%$sh “I want to enjoy a little5” prepositional misuse in “very near %- X)%%$6((5” )+ :+)'. ')3$'0% 7)+30*$)'/ A “jewelries” $'/*(01 )7 *#( 3)+( 8)++(8* <(:(%%(+,E> L8*20% 8)%%)K2$0% ?$%$&$') :)+1/ 0'1 &+08*$8(/ 0%/) $'/(+* *#( 703$%$0+ #(+(5 0/ $' *#( 2/( )7 “Pinoy” for ?$%$&$')5 )+ “‟Noy 5” which is a kinder way of calling a Filipino mal( 8)3&0*+$)*5 usually of one‟s 0.( )+ ,)2'.(+5 )+ *#( 6+$'.$'. )7 '&6"4$ )+ *+(0*/ *#0* 0+( 6+)2.#* 7)+ *#)/( %(7* 608; #)3(> Q#( 7$+/* *#+(( /*0'G0/ 30, 6( +(01 0/ 0' 0%3)/* 6%0*0'* &0+)1, )7 /(+ vility: “I no stop working but „2'..), ‟/ O+ „&%(0/(‟ *#(, '(=(+ /0, *) 3(5” :#$8# 8)2%1 3(0' *#0* *#(, A')'T?$%$&$')/5 #(+ (3&%),(+/E $' *#( .2$/( )7 70$+'(// 0'1 (K20%$*,5 1) ')* 80%% #(+ 3)';(, A “unggoy”)5 62* '($*#(+ 1) *#(, /0y “please” to her. This is belied by the next stanza‟s lines “no play on dayoff, ') *), :$*# %$7* *#0* .) 2&1):'5 ') /)++, *))5” in which the lines take on the .2$/( )7 7+08*2+(1 /('*('8( 7)+3/ *#0* 3$3$8 *#( 82%*2+0% 0'1 %$'.2$/*$8 $'70'*$%$/0*$)' *#0* $/ $'#(+('* $' *#( ?$%$&$'0 0/ 0%$('> Q# e repetition of “I‟m not 0/#03( to be Pinoy” in the first three stanzas <24*0&)/(/ #(+ 0&&0+('* &+$1( $' 6($'. ?$%$&$') 0.0$'/* 0' 0%3)/* &0*#(*$8 8$+823/*0'8( )7 &0//$=$*, 0'1 %08; A:0$*$'. 7)+ #(+ 8)'*+08* *) (4&$+( /) /#( 8)2%1 .) #)3(5 0'1 *0;$'. &+$1( $' *#( 708* *#0* /#( $/ 0 %(.$*$30*( 0%$('5 0'1 ')* 0' $%%(.0% )'(5 ')* 6($'. *#( +(8$&$('* )7 +(/&(8* ')+ 1(+$sion in “I no stop working but „2'..), ‟/ Or „&%(0/(‟ *#(, '(=(+ /0, *) 3(5” ')* &%0,$'.J('<),$'. #(+/(%7 )' #(+ 7+(( 10,5 1(/&$*( #(+ desire “a little to enjoy”)> 9' *#( %0/* *#+(( /*0'G0/5 :( 7$'1 0' $+)'$8 +(=(+/0% )7 states in that while the speaker has changed her statement of pride “I‟m not ashame…5” which now reads “Why I ashame to be Pinoy?5” we find th$/ <24*0&)/(1 0.0$'/* =(+, 703$%$0+ (=(+,10, %$7( &+08*$8(/ /28# 0/ 8));$'. #(0+*, /)2& A60*8#),E5 /(%%$'. *#$/ '(0+ 0 703$%$0+ ?$%$&$') 70/* 7))1 /*)+( AX)%%$6((E5 *0;$'. )' (4*+0 <)6/ /28# 0/ /(%%$'. 8%)*#$'. 0'1 088(//)+$(/ $' )+1(+ *) 80+( 7)+ 703$%, 608; #)3( A/('1$'. '&6"4$ E> Q#( ?$%$&$') +(01(+ )7 *#$/ &)(3 :$%% follow this narrative and will find the last stanza‟s “I‟m not ashame to be "$'),5” despite this being repeated throughout the text, ringing truer, given not just the speaking persona‟s d(&$8*$)' )7 #(+)$8 *08*$8/ 7)+ /2+=$=0% $' 0 /*+0'.( 8)2'*+,5 62* 0%/) the assumed lack in one‟s native land. We follow Andrew
!"#$%#&' "#$% &' (#% )' *+,+-.+/ )012
N2
8+?@#=A7BC/7=B >9+ D6=BC6B+ #A E7> 6=: FC-#C/ 7= @#=>+-G#/6/H I7$7G7=# J#+>/H 7= K=B$7L9
Stott‟s earlier definition of “dividedness” as a delineation of comic identity, and *#$/ :( /(( /) &0%&06%, $' *#( /&(0;$'. &(+/ona of “DH Sunday, Hongkong >” I think the last poem “Sushi” more potently, and more cunningly, encapsulates this alien experience, and while the persona in “DH Sunday” is 1+0:' 0%3)/* =)%26%, $' *#0* &)(35 *#( (8)')3, :$*# :#$8# *#( &)(*$8 )6<(8* $/ &+(/('*(1 *) 2/ $' *#$/ &)(3 /2+&+$/(/ 2/ 0'1 *#(' /:$7*%, /#)8;/ 2/ :$*# $*/ '(0*5 ,(* 2'7)+.$=$'. 1(&$8*$)' )7 *#( 7(30%( )=(+/(0/ :)+;(+ :#) ('1/ 2& :)+;$'. $' X0&0'> R2/#$] L%/) 80%%(1 "#$+$&&$'( 3(0*> ^ R2G,>
“Sushi” becomes a structural parody of a #0$;25 $' :#$8# 2%*$30*(%, :( 7$'1 *#0* “sushi5” now defined as “Phirippine meat5” 0%/) &0+)1$(/ /&((8# &0**(+'/ )7 *#( /*(+()*,&$80% X0&0'(/( /&(0;(+5 )+ 0* %(0/* )'( 0/ 0 ?$%$&$') :)2%1 1(&$8* #$3 )+ her. We find too that “sushi” is a mispronunciation of the Filipina worker‟s name, “Suzy 5” which turns what would have been a simple word play, a sample )7 :$* #(+(5 *) 0 :)+%1 )7 .+$/%, &)//$6$%$*$(/5 0/ *#( &)(*$8 1$8*$)' &%0,/ :$*# $30.(/ )7 8)'/23&*$)' 0'1 1(=)2+$'.5 )' *#( )'( #0'15 2'1(+/*0'106%, 0%%,$'. *#$/ :$*# :)+; $' *#( 7%(/# *+01( A/$.'0%%ed by “phirippine meat” and again, /*(+()*,&$80%%, (4&(8*(1 *) 6( *#( /*0'16, )7 30', ,)2'. ?$%$&$'0/ :#) :)+; $' X0&0'E5 62* 0%/) :$*# *#( 3)+( 2'(4&(8*(1 *2+' :#$8# 30;(/ )7 ,)2'. ?$%$&$'0/ %$*(+0%5 82*T2& 3(0*5 .$=(' *#( /&0*( )7 #0+1 %28; /*)+$(/ *#0* 8#+)'$8%( *#($+ &#,/$80% 062/( 0* *#( #0'1/ )7 (3&%),(+/ 0'1 8%$('*/ A')*( *#( /&0*( )7 &)&2%0+ “massacre” films in the 1990‟s *#0* 1(&$8*(1 *#$/ =(+, =$8*$3$/0*$)'5 $' :#$8# ?$%$&$'0 :)+;(+/ $' X0&0' :(+( 1(&$8*(1 0/ 30//08+(5 )+ 32+1(+ =$8*$3/5 0'1 :#)/( 2**(+ 3$/7)+*2'( $/ $' 6($'. +(*2+'(1 *) *#( "#$%$&&$'(/ 0/ 1(01 80+80//(/E> 9 2/(1 *#( *(+3 reification earlier on to refer to many “Suzys5” and I 03 ')* 70+ :+)'.5 $' *#0* *#( (K20*$)' :$*# /2/#$ &2*/ *#(3 )' =$(: 0'1 7)+ 8)'*(3&%0*$)'5 $' 328# *#( /03( :0, *#0* /2/#$ :)2%1 6( 013$+(1 ')* <2/* 0/ 7))1 62* 0/ 0 :(%%T&+(&0+(1 X0&0'(/( 1$/#> 9' /28# 0 /#)+* &)(35 F0'G)' $/ 06%( *) ('80&/2%0*( *#( #)++)+ )7 *#$/ (4&(+$('8( 6, :0, )7 0' 0%3)/* 3)8;$'. *)'( $' *#( &oem. Using Kronenberger‟s view, we can see this both as “wit5” and as “humor”: U#(+( :$* $/ 0 7)+3 )7 8+$*$8$/3 )+ 3)8;(+,5 #23)+ $'8%21(/ 0' (%(3('* )7 /(%7T8+$*$8$/3 )+ /(%7T3)8;(+,Y :#(+( :$* *('1/ *) &+)8%0$3 $3&(+7(8*$)'5 humor wryly acknowledges it…> L* $*/ 6(/*5 #23)+ /$32%*0'()2/%, #2+*/ 0'1 #(0%/5 30;(/ )'( %0+.(+ 7+)3 0 :$%%$'.'(// *) 30;( )'(/(%7 %(//> 9* #0/ !"#$%#&' "#$% &' (#% )' *+,+-.+/ )012
NM
56/76 89#:#/6 ;% <=,9+>6
(//('*$0%%, 3)+( 6+(01*# *#0' :$*5 7+)3 6($'. 328# 3)+( 2'$=(+/0% $' 0&&(0% 0'1 #230' $' (77(8*> 97 #0+1(+ *) *+0'/%0*( )+ (4&%0$'5 $* )7*(' '((1 ')* 6( (4&%0$'(1 )+ *+0'/%0*(1 0* 0%%5 +(=(0%$'. $*/(%7 $' 0 /211(' .(/*2+(5 0 happy juxtaposition. We speak constantly of the „humor of the situation‟, 0%3)/* '(=(+ )7 :$*Y <2/* /)5 =$+*20%%, (=(+,*#$'. *#0* $/ 70+8$80% )+ 72'', 1(+$=(/ 7+)3 #23)+ .)'( 0 6$* :$%1 Af0=$/ PhVE>
U#$%( F0'G)' 0'1 @0'0%) 1) 2/( /$3$%0+ *08*$8/ )7 %$'.2$/*$8 &%0,5 F0'G)' 3)+( 1$+(8*%, 011+(//(/ 0 =(+, 8)'*(3&)+0+, ?$%$&$') 8)'8(+' $' *#(/( *:) &)(3/5 *#( *+077$85 8)'/8$)2/ )+ 7)+8(15 )7 ?$%$&$') :)3(' $' *#( )=(+/(0/ :)+;&%08(> @0'0%) &2/#(/ -'.%$/# *) *#( 6+$'; )7 $'8)3&+(#('/$6$%$*, $' )+1(+ *) 6$+*# 0 new consciousness about how English and Filipino, to borrow Hau‟s &#+0/(5 “constitute a matrix” ( 0'1 &(+#0&/ ')* <2/* *#(/( *:) %0'.20.(/ $' *#( 72*2+(E $' :#$8# *#( /&(8$7$8$*, )7 "#$%$&&$'( (4&(+$('8( “is identified as „common‟ or „different‟ from the experience of other cultures”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potencies of the region‟s local humo2+ ')* <2/* 0/ 0 .('(+0*)+ )7 $'/2%0+ %02.#*(+5 62* 0/ ('*+$(/ $'*) 0:0+('(//(/ 0'1 2'1(+/*0'1$'./ )7 &/,8#$80%5 82%*2+0% 0'1 '0*$)'0% 1(%$'(0*$)'/ )7 $1('*$*$(/> 6-3D* ,&%)7
L6015 N(3$')5 (1> @(+ .5:(&&4 =41("#"$) "A *(5#5''54+ .51+%&10%+B CDEE 1" 1(+ *%+6+41 > i2(G)' _$*,5 "#$%$&&$'(/] j'$=(+/$*, )7 *#( "#$%$&&$'(/ "+(//5 HIIW> Ancheta, Maria Rhodora G. “The „d$'. ‟ )7 "#$%$&&$'( _)3(1,] R)3( S)*(/ )' f)%&#, 0'1 *#( ?2'8*$)'/ )7 "#$%$&&$'( _$'(30*$8 c23)+ 0/ f$/8)2+/(> ” F03&4515+6 G5#53&4 AX2%,Tf(8(36(+ BCCOJX0'20+,TX2'( BCCVE] VhTHHV> L**0rdo, Salvatore. “A "+$3(+ 7)+ *#( b$'.2$/*$8/ )7 c23)+>” @(+ *%53+% "A F03"% H+6+&%2( > -1> a$8*)+ M2/;$'> F(+%$'] @)2*)' 1( N+2,*(+5 BCCW> HCHT PO> F0'G)'5 9/06(%0> ."#& -"/0+1& > i2(G)' _$*,5 "#$%$&&$'(/] j'$=(+/$*, )7 *#( "#$%$&&$'(/ "+(//5 BCCI> !"#$%#&' "#$% &' (#% )' *+,+-.+/ )012
N3
8+?@#=A7BC/7=B >9+ D6=BC6B+ #A E7> 6=: FC-#C/ 7= @#=>+-G#/6/H I7$7G7=# J#+>/H 7= K=B$7L9
TTT> *&'+% -&$+ > "#$%$&&$'(/] Q#( @06)%) N+)2&5 HIWV> Davis, Dineh. “Communication and c23)+>” @(+ *%53+% "A F03"% H+6+&%2( > -1> a$8*)+ M2/;$'> F(+%$'] @)2*)' 1( N+2,*(+5 BCCW> PhDTOW> Haskell, Dennis. “„we… head back to English‟: Anglophone Lyric in Hong d)'.5 Ringapore and the Philippines.” =65&152B IIJK !"0%4&# "A L4$#56( .&4$0&$+ &49 .51+%&10%+ I>H AX2'( BCHPE] HhOTPI> U(6> Hau, Caroline S. “The „Cultural‟ and „Linguistic‟ Q2+'/ $' "#$%$&&$'( R8#)%0+/#$&>” H0'10%+6 &49 G+'&%10%+6B .&4$0&$+ &49 -0#10%+ 54 M"01(+&61 =65& > -1/> _)+0G)' f> a$%%0+(0% (* 0%> i2(G)' _$*,5 "#$%$&&$'(/] f(&0+*3('* )7 -'.%$/# 0'1 _)3&0+0*$=( b$*(+0*2+(5 BCCB> DOTVC> @0'0%)5 "0)%)> !"#"$%&'() > i2(G)' _$*,5 "#$%$&&$'(/] j'$=(+/$*, )7 *#( "#$%$&&$'(/ "+(//5 BCCD> Pennycook, Alastair. “Ruptures, f(&0+*2+(/ 0'1 L&&+)&+$0*$)'/] ")/*8)%)'$0% _#0%%('.(/ *) b0'.20.( f(=(%)&3('*>” H0'10%+6 &49 G+'&%10%+6B .&4$0&$+ &49 -0#10%+ 54 M"01(+&61 =65& > -1/> _)+0G)' f> a$%%0+(0% (* 0%> i2(G)' _$*,5 "#$%$&&$'(/] f(&0+*3('* )7 -'.%$/# 0'1 _)3&0+0*$=( b$*(+0*2+(5 BCCB> BHBT hH> M0/;$'5 a$8*)+5 (1> @(+ *%53+% "A F03"% H+6+&%2( > F(+%$'] @)2*)' 1( N+2,*(+5 BCCW> Ruch, Willibald. “Psychology of c23)+>” @(+ *%53+% "A F03"% H+6+&%2( > -1> a$8*)+ M2/;$'> F(+%$'] @)2*)' 1( N+2,*(+5 BCCW> HVTHCC> R*)**5 L'1+(:> -"3+9) > S`] M)2*%(1.(5 BCCP> Triezenberg, Katrina E. “ Humor in b$*(+0*2+(>” @(+ *%53+% "A F03"% H+6+&%2( > -1> a$8*)+ M2/;$'> F(+%$'] @)2*)' 1( N+2,*(+5 BCCW> PBCThB> a$%%0+(0%5 _)+0G)' f> (* 0%>5 (1/> H0'10%+6 &49 G+'&%10%+6B .&4$0&$+ &49 -0#10%+ 54 M"01(+&61 =65& > i2(G)' _$*,5 "#$%$&&$'(/] f(&0+*3('* )7 -'.%$/# 0'1 _)3&0+0*$=( b$*(+0*2+(5 BCCB> Williams, Raymond. “Introduction to >+);"%96 >” @(+ H"01#+9$+ .&4$0&$+ &49 -0#10%&# @(+"%) H+&9+% > -1/> b28, F2+;( (* 0%> b)'1)'] M)2*%(1.(5 BCCC> VhT WH>
!"#$%#&' "#$% &' (#% )' *+,+-.+/ )012
NN
