Part 8

Abierto, abre (open) for Binucsan, inucáb, bucás ucáb. Adorno (adornment) ,, Dayan, rayandayan Agua (used to mean perfume) ,, Talamhot Aguanta (wait suffer) ,, Ílob, hulát Alisto (from listo) ,, Andam Amigo (friend) ,, Sángcay Apique (close) ,, Sóoc Apura, apurado (hurry) ,, Dagmit, cadagmitan Atrever, atrevido (bold) ,, Paggahúm, gamhánan Aver (for “give me”) ,, Icadí Aver pa (God grant) ,, Mangad pa Bajado, Bajar (low) ,, Habobó, obós Bancó (bench) ,, Pongcóan, lincoran, pápag Bando (edict) ,, Pahamatngon Batido (for “experienced”) ,, Lasgud, hiara Bote (for boat) ,, Sacayan Cada usá (each one) ,, Tágsa Calabozo (jail) ,, Bilangóan Calculo (calculus) ,, Igoigo Calle (street) ,, Dalan Campana (bell) ,, Linganay Canta (sing) ,, Laygay, laylay Cantodes (from “cantores”) ,, Paralaygay Carcel (jail) ,, Bi1angóan Cargo (for “debt”) ,, Útang Carne (flesh meat) ,, Unód Capaz (able) ,, Sadang, angay, tacús Castigo (punishment) ,, Siroc Cocina (kitchen) ,, Lotoán Coger ,, Pagdacóp pacasacób Colá (from “colar”) ,, Bacá Color (color) ,, Tina, samay, culay Comósta (from “como está” how are you) ,, Matiónan-o ca Común (common) ,, Casahirác Convida (invite) ,, Áabiabi, sabi Contra (against) ,, Tipa, patoe, caauay Cortina (curtain) ,, Biráy Cuarta (money) ,, Salapí Cuarto (room) ,, Solód Cuerdas (strings) ,, Dolós Cuello (collar) ,, Balióg Cuenta (account) ,, Iháp, ísip De balde (unusefully) ,, Cáuaug De buenas (fortunate) ,, Paláran Decir (for “ask”) ,, Siring hingyap Defecto (defect) ,, Casaquihán, carát’an De malas (unfortunate) ,, Uaráy palad Derecho (right) ,, Tádong, dáyon, catadung̃an Descanso (rest) ,, Pahúuay Despedida (farewell) ,, Panamilit Dibujo (drawing) ,, Badlis, Baguis Diferencia (difference) ,, Guincalainan, guicaíbban Dilatar (for delay) ,, Pag-uláng, pagpahalawig Disgusto (unlikeness) ,, Cangalas Dispensa (excuse) ,, Pasaylo, paguará Diversion (amusement) ,, Caliáuan, liáoliáo Dulce (sweet candy) ,, Matam’is Empezar (to commence) ,, Pagticáng Entra (for “to make love”) ,, Pangasáua Entremés (joke) ,, Tíao Escuela (school) ,, Liborán Espejo (glass) ,, Salamíng Esquina (corner) ,, Casóngnan Estampa (image) ,, Ladáuan Fino (fine) ,, Gamay, pilí Firme (for always) ,, Agsub, ónob Fuerza (strength) ,, Cusóg Fuerte (strong) ,, Macusóg, mabácod Fusil (gun) ,, Lutbang Ganancia (gain) ,, Polós, tubo Gracia (grace, favor) ,, Parábul Gratis (used for “payment”) ,, Himúdlay Gusto (wish) ,, Caruyag Hasta (until) ,, Tubtub, ngadá Hechura (shape) ,, Daguay Interes (interest) ,, Guinsisiring, guinlalánat Jardin (garden) ,, Tanáman La mesa (table) ,, Dulang Latigo (whip) ,, Latós Lavá (from “lavar”, to wash) ,, Búnac Lavandero, a (launderer, laundress) ,, Magburunác Licencia, pag (to take leave) ,, Sárit, panamilit Limós (from “limosna”, alms) ,, Calóoy, hatag Limpio (clean) ,, Mahínis Lóa (praise) ,, Dáyao Lugar (for “near” or “almost”) ,, Dapit, ma Macetas (flower-pot) ,, Tinanóm, taranman Maestro (teacher) ,, Magtorótdo Manteca (butter) ,, Pinahagas Mantel (tablecloth) ,, Basnig ha dulang Mantilla (mantilla) ,, Taóng Masiado (from “demasiado”, too) ,, Uraura Masque (from “por más que”, although) ,, Bisan Medio (half) ,, Catunga, bagá Mismo (self-same) ,, Ngábao, gud Muchacho (for servant) ,, Surogóon Número (number) ,, Iháp O bien (or) ,, O cun, ó, lugúd Oración (prayer) ,, Pangadye, paugamuyo Orden (order) ,, Sugo Pabyon (from “pabellón”) ,, Biráy Paciencia (patience) ,, Pag-ilub Pago (for “debt”) ,, Utang Palati (from “palatico”, from “práctico”) ,, Mag-oróna Paño (cloth) ,, Panapton, pudóng Pañolito (handkerchief) ,, Modongpódong Para (for, halt) ,, Basi, ngada, hulat, ocóy, toróoc Parecer (opinion) ,, Sagbang Parejo (equal) ,, Sáma, sandag Paseada (from “paseo”) ,, Lacatlácat Peligro (danger) ,, Cataragman Pensar (for talent) ,, Talíno Perdona (from “perdonar”) ,, Pasaylo Pero (but) ,, Cundi Pertina (for “pretina”, waistband) ,, Háuac Pierde (from “perder” to lose) ,, Lupig, nara Pintar (to paint) ,, Dum-it, díhog Pintura (paint) ,, Idirihóg Plato (plate) ,, Pingan Platito (a little dish) ,, Lampay Pliegues (plaits) ,, Lopi Pobre (poor) ,, Cablas Polvo (powder) ,, Bócboc Posta (from “apuesta” bet) ,, Butáng Precio (price) ,, Pulít Preparar (to prepare) ,, Pag-andam, pagtíma Preso (prisoner) ,, Binilangá. Probar (to taste) ,, Tilao, sari Propecto (from “perfecto,” perfect) ,, Guinóod Prueba (proof, evidence) ,, Paacamatóod Principal (chief, capital) ,, Labáo, pohonan Provecho (profit) ,, Polós Puerta (door) ,, Ganghaán Pulido (neat) ,, Hag-id, mahamis Puro (pure) ,, Putli, lonlon, sandag, sáhid Queja (complaint) ,, Sumbong Querido (dear) ,, Hinigugma, pinalanga Que ver (for “to do”) ,, Láhot Quinolá (from colar) ,, Bináchan Rabenque (from “rebenque”, whipe) ,, Latob, latos Recibi (from “recibir”) ,, Carauat Reclamo (claim) ,, Paglánat Redondo (round) ,, Lipóron, malídong Regalo (present) ,, Higugma, hatag, bucad Regular (regular) ,, Igó, socol Relo, relos (from “reloj” watch, clock) ,, Orasán [107] Remo (oar) ,, Gaód Renuncio (from “renunciar”, to renounce) ,, Pagdiri, pagdiuara Reventa (from “reventar” to explode) ,, Pagbotó Rico (rich) ,, Mangáran Rugal (from “lugar”, spot) ,, Caraanan, tuna, umá Saco (sack) ,, Sopót Sadá (from “cierra”, close) ,, Locób Sala (hall) ,, Ruáng Saya (skirt) ,, Tampí, Talapí Seguro (for “probably”) ,, Mahámoe, angay la Señor (Sir, Mister) ,, Guinoo Sirve (from “servir” to serve) ,, Pagmangno pag-ágad Suerte (for “talk”) ,, Himangrao Sustento (maintenance) ,, Pagbubi, iburuhi, cabuhian Tabla (board) ,, Bugha Tachar (for “contempt”) ,, Yúbit, támay Taza (cup) ,, Yahóng Tiempo (time) ,, Adlao, túig Tienda (merchandise, store) ,, Baligya, baligyáan Tieso (stiff) ,, Dángag, tadóng Tocar (to play) ,, Pagtonóg Tocador (for glass) ,, Salamíng Tonto (fool) ,, Lórong, palinqui, pádlas Trabajo (work) ,, Buhat Tranea (cross-bar) ,, Síol, Balabág Tumba (to tumble) ,, Púcan Vacio (empty) ,, Lungág Ventana (window) ,, Tambóan Verde (green) ,, Saguindáhon Vicio (vice) ,, Casaquihán Virtud (for “power”) ,, Gahúm Zurce (for “zurcir” to darn) ,, Pagtábing,

And many others.

CHINESE [108] WORDS

Bochang (for sow) for Cablas Buísit (unfortunate) ,, Uaray pálad Camsya (for “thank”) ,, Salámat Gonggong (foolish) ,, Uaray salabótan Lamloc (dear, fat) ,, Matamboc Laotuy (old) ,, Lagás, gurang Syâ (for eat) ,, Cáon Sinqui (new) ,, Bag-o Tampuâ (excess, present) ,, Táuad, labis Uchang (rich) ,, Mangáran Uísit (fortunate) ,, Paláran.

and some others.

ENGLISH WORDS

Haló (halloo) for Ohó Miting (“meeting”) ,, Catirócan Háyc (“hike”) ,, Paglacát, sódoy Moning (for “money”) ,, Salapí Sausau (chow-chow) ,, Pagcáon, caraonón

And others.

NOTE.—At present, among the students it is frequent to hear “¿háin an ac dyografi (geography), an ac arismitic (arithmetic)?” “¿aada ca ha fif (fifth) greyd (grade)?” “maaram na acó mag espeling (spelling)”—Why do they not talk in English?

OBSERVATION. There are some Tagalog words and constructions used in Bisayan; but we do not consider their use as a barbarism, because Tagalog and Bisayan are both dialects of a common tongue, and because such use may help the formation of a possible Filipino language.

FOREIGN CONSTRUCTIONS

Among others, the following is a barbarism in the construction: “maoroopay iní QUE hitón”, (this is better than that). The use of the QUE (which is Spanish meaning “than”) is entirely Spanish and is not necessary in Bisayan, as the mentioned sentence is expressed simply and with the same strength and more purity and correctness: “maooropáy iní hitón”.

FOREIGN WORDS NECESSARILY ADOPTED IN BISAYAN

But there are many words now in use in Bisayan the adoption of which enriches rather then destroys the language. We refer to those words that have been necessarily imported from other languages to express ideas not represented by any word, or whose corresponding words are lost in Bisayan.

We do not consider their use as a barbarism, as it is not considered us such in English, Spanish, French and other European languages the adoption of Greek and Latin words. We not only do not criticize such adoption in the Filipino dialects but rather desire and encourage it, because it will undoubtedly enable our dialects to be used in all kinds of scientific and artistic expressions.

Among the foreign words already adopted, the following may be counted:

Dyos (from the Spanish Dios). It is true that we have the Tagálog Bathala which refers to the omnipotency, and the Bisayan Laón which refers to the eternity. But in view of the fact that the word Dyos derived from the Latin Deus, from the Greek Zeus which means Divinite, Supreme Being, has been so much used in Bisayan, and it represent another phase of the attributes of God, we think that the said word DYOS ought to be adopted in Bisayan, adapting its form to the inflections of our dialect.

Oras (from the Spanish hora “hour”).—We have to adopt this word, as there is no corresponding expression known in Bisayan. By its adoption we have a way to avoid the use of reloj, with the derivative orasan already used.

Bapor (from the Spanish “vapor” steamboat). It has no corresponding in Bisayan. We have sacayán (boat), but it does not include the idea of the “steam.”

Papel (from the Spanish “papel”).—It has no corresponding in Bisayan.

The Spanish names of the days of the week, and of the months of the year, which must be written in Bisayan form, as: LUNES, MARTES, MYERKOLES, HWEBES, BYERNES, SABADO, DOMINGO, ENERO, PEBRERO, MARSO, ABRIL, MAYO, JUNYO, HULYO, AGOSTO, SEPTYEMBRE, OKTUBRE, NOBYEMBRE, DISYEMBRE.

Arorú (from the English “arrow-root”). A plant. And many others.

APPENDIX

NOTES ON BISAYAN RHETORIC AND POETICS

FIGURES OF SPEECH

Simile. This figure is one of the most used in Bisayan, even in ordinary conversations.

Examples:

1. Bagá an násirong ng̃a dila.

Applied to a person or thing intended to be kept out of the rain, but which becomes wet, like the tongue (dila) which is always wet in the mouth.

2. Canogon pa dao la—san imo catindog maópay si báyhon—maráot an bántog igpapananglit co—bayábas ng̃a hinóg, maópay an panit—olóron an onód

(A popular song,)

Where the resemblance is between “maopay si bayhon” and “maopay an panit”, and also between “maráot an bantog” and “olóron an onód”.

Metaphor. It is also used, especially in poetry.

Example:

1. Cáhoy ca ng̃a linauáan sa búquid nanauantáuan cun canan Dyos ca pagbut-an matopóng sa ulasiman.

(A popular song)

Applied to one who is in a high position in life, like “cahoy ng̃a linauáan”, the “lauáan” tree being one of the tallest trees.

Allegory. It is also found in Bisayan.

Example:

Ugá ng̃a cáhoy si láuas, patáy na, layâ si dáhon nanaringsing sin casáquit namúng̃a sin camatáyon

(A popular song)

Here the life or body (láuas) is called a dry tree (ugá ng̃a cáhoy), already dead (patáy na), whose leaves are withered (laya si dahon), and which sprouted sorrow (nanaringsing sin casáquit), and gave as fruit, the death (namúng̃a sin camatáyon).

Personification. One of the most frequent cases of personification in Bisayan is that consisting in applying to things and objects the personal article si.

Example:

Nagtitinang̃is si tucmo cay tiarábut an bagyo.

(A popular song)

Where the turtle-dove, (tucmo) is personifed by si. The expression would lose much of its charm if the article an is employed instead of si.

Antithesis. We have this figure in Bisayan.

Example:

Canógon pa dao la—san imo catindog maópay si bayhon—maráot an bantog, etc.

Where “maopay” (good) and “maraot” (bad), “bayhon” (face) and “bántog” (fame) are contrasted.

Epigram. This figure, in its modern meaning, is used in Bisayan.

Example:

Gumhúlat pa an naghínay. an nagdagmit, uaráy.

Which literally means: he who went slow was awaited for; he who hastened was not waited for. Its point is equivalent to that of the English “slow, but sure.” “Guinhulat” (was awaited for) “uaráy” (was not), “naghínay” (went slow) and “nagdágmit” (hastened) are contrasted.

Metonymy. It is also found in Bisayan.

Example:

An patay palang̃it, an buhi pacauít.

Literally: let the dead go to heaven; let the living go to the “cauít” (a bamboo where the tubâ wine is ordinarily placed). The figure consists in this word “cauít,” container, for “tuba wine,” the thing contained.

Synecdoche.

Example:

Pag árog hin damò nga bugás cay damo camí ng̃a babà.

Literally it means: “Prepare much rice because we are many mouths.” Here the mouths (baba) a part, is used for person, the whole.

Apostrophe. We have it also in Bisayan.

Example:

Ohoy mg̃a lang̃it—mga cahatas’an. tabang̃i, buligui—adin may pinas’an an iní nga pálad—con diri mabáui nouontan dao adá—sinin quinabuhi

(A popular song)

Literally: Heavens, altitudes, protect, help this who suffers something; if this fate is not averted, it will undoubtedly affect the life.

Exclamation.

Example:

¡Pastilán bidíday,—bididay ca man la ng̃a nacacalucmay—sinin hunahuna! ... ¡ayáo pag saquita!—¡ayáo pagbidóa, cay mag titinangis—canugon san luha! ...

(A popular song)

Interrogation.

Example:

Mg̃a langit, mg̃a langit; ¿háin dao dapit an sáquit? ...

sa calibutan uaráy man: sabali sa panomdoman.

(A popular song)

Hyperbole. It is frequent in Bisayan.

Examples:

1. Macapánas hin buquid. (Man able to level a mountain) 2. Macasagpo bin bahá. (Man able to suspend a flood)

2. Cun totóo, intoy—ng̃a imo tinguha pag biling la anay—sílot ng̃a may bóa.

(A popular song)

Literally: If your love is true, look for a “silot” (a young fruit of cocoanut) which has “bua” (the bulb of the old cocoanut fruit when it is old enough to be used as a seed).

Climax

Example:

¡ ............ nanaringsing sin masáquit, namúnga sin camatáyon.

Irony.

Example:

¡Camaopay mo! uaray ca gud pag tuman han imo pólong̃.

Literally: How good are you! you did not keep your word.

Asyndeton.

Example:

Ohoy mg̃a lang̃it—mg̃a cahatas’an tabang̃i, buligui, inín may pinas’an, etc.

(A popular song)

Repetition.

Examples:

1. Dirì co cay yubit—diri co cay dáyao pamahonpáhon mo—baga may parayao; etc.

(A popular song)

2. Pastilán, bididay—bididay ca man la ng̃a nacacalúcmay—sinín hunahuña, etc.

(A popular song)

Concatenation.

Example:

Pastilán ca curi—cacuri capinan capin ca mabide—san bido sa dughan, dughan co pagílob—ilob calauasan, láuas co naponò—pono casaquitan.

(A polular song).

PROSE

Of the three universal important forms in prose, i.e., description, narration, and exposition nothing in general needs be observed.

LETTERS

At present, one of the forms most generally employed in Bisayan prose is that belonging to the class of narration, the letter.

Nothing special needs be observed about letters, at present times, apart from their external forms and the tendency to innovation prominently shown in them, more than anywhere else, by frequent barbarisms.

As to the external forms of the Bisayan letters, it is to be observed that a routinary introduction is almost universally followed. We refer to the ordinary introduction consisting in the following ideas and order: “This letter has no other purpose” 2) “but to ask how you are” 3) “because as to me” 4) “I am in a good health”.

And after such an invariable introduction, the writer goes on in a paragraph apart; “And I shall add that”, etc.

Example:

Uaráy láin ng̃a tuyó hiní ng̃a acon surat cúndi an damo ng̃a mg̃a pang̃omósta co ha imo, cay cun acó in ipaquiána, calooy sa Dyos maópay.

Ng̃an isonouod co liuát, etc.

This is the introduction generally adopted. We do not hesitate to state that more than fifty per cent of the letters written in our Bisayan commence with these or equivalent ideas and in the same order.

As to the barbarisms, they are employed thruout the entire letter.

On the heading it is usually written:

Tacloban, á 2 de Octubre de 1908.

instead of:

Tacloban, ica 2 han Octubre han 1908.

On the introduction it ordinarily appears

Sr. D ........................................

or

Sra. D.a ........................................

Mi estimado amigo:

or

Muy estimada Señora:

The body of the letter is usually as follows:

Uaray lain ng̃a objeto hini ng̃a acon surat, sino an damo ng̃a mg̃a pangomosta ha iyo ngatanán, cay cun camí in iyo ipaquiána, calooy sa Dyos, uaray ano man ng̃a novedad.

Y de consiguiente, tatay, isusunod co liuat; cun uaray mo inconveniente, gusto co cunta comadá pag vacacion; pero como guinadvertir mo man aco han nacadi ca ng̃a mag procurar acó hin pag obtener anay han titulo, por eso amo iní ng̃a dirí aco na atrever pag guican mientras dirí paca aco macacarauát han imo contestation ng̃a pag hatag hin permiso, bisan cun sobra y basta gud an acon mg̃a deseos pag visita ha iyo. etc.

POETIC FORMS

Of the three main classes of poetry, epic, lyric and dramatic, the lyric is the only one preserved in Bisayan in the form of popular songs. The dramatic form is found at present mainly in the translations of Tagalog and Spanish dramas, usually employed as plays on the Patron’s days in the towns.

VERSIFICATION

Rhythm and rhyme are observed in Bisayan poems.

The rhyme is not so perfect as that of the Spanish verses. Consonant words or with similar sounding endings are employed in Bisayan.

Kinds of meter. There are two kinds of meter most used in Bisayan poetry: verses of six syllables, verses of eight syllables, and verses of twelve syllables divided in two fragments of six syllables each.

Examples:

Verses of six syllables:

¿Háin ca na, punay?... cadí na panambo, tambo madalíay, liaua si casbo; basi humalayhay

inín saquit, bido nga asay tiónay san casingcasing co.

Verses of eight sy11ab1es:

Acó iní sugadsugad san bánua nga tarotánglad, bisan cun diín italad mabubuhi cun may palad,

Verses of twelve syllables:

Togon co sa imo,—mahal nga inógay di ca gud padará—san damo nga sangcay; an paglacát nime—gabay magmahinay, nga diri hatócso,—lumiscad san látay.

Note.—The verses of twelve syllables are really verses of six, the odd verses not being rhymed.

Combinations. As seen in the preceding examples the combinations are the following:

The verses of six syllables are grouped in four verses, the even verses being rhymed.

The verses of eight syllables are grouped also in four verses all rhymed.

The verses of twelve syllables are also grouped in four rhymed verses.

COLLECTION OF SOME BISAYAN SONGS

NOTE—In transcribing the following songs, we shall use, the orthography proposed in the note of the first page of this book using only three vowels: a, i, o.

MORAL POETRY

Si nanay, si tatay di ko babayuán kay damò ng̃a dogô an akon naotag̃ kun pag-ilsipon an siyam ka botan. g̃a pag-inókoy ko sa kan nanay riyán.

Togon ko sa imo, mahal g̃a inógay: di ka god padará san damò g̃a sangkay; an paglakat nímo gabáy mag mahinay, g̃a dirí katokao, lomiskad san látay.

Kamakaroroyag sa matá pagkit’on sinin mag-asawa g̃a waray sin limbog, kon daw naabot na ira kamatayon náboká an lang̃it bási nira sadlon.

Ayaw gani kahihilig ayaw karirikandikan, kay di man bagyo an toig, di man kikilá an bolan.

PHILOSOPHIC POETRY

Mg̃a bitoón sa lag̃it may mapawà, may mag̃itg̃it, con sa tawo igpanag̃lit, may malípay, may masákit.

Kahoy ka g̃a linawaán sa bokid nanawantawan, kon kanan Dyos ka pagbot’an matopóg̃ sa olasiman.

Di ko ginkakasorok’an an salapí, an bolawan; say ko ginkikinahag̃lan maopay g̃a ginawian.