A Stylistic Analysis of Jose Maria Sison’s Poems

Submitted to

Dr. Claribel C. Concepcion

Submitted by

Simel M. Nano

A Stylistic Analysis of Jose Maria Sison’s Poems

I- INTRODUCTION

A. The need of doing a stylistic analysis of the author and of his works

In this stylistic analysis, Jose Maria’ s poems entitled “ The Bladed

Poem”, “ The Guerilla is Like a Poet”, and “Sometimes the Heart Yearns for

Mangoes” will be analyzed. Being the best-known radical poet who became

a political prisoner of the Marcos regime, his works are in need of stylistic

analysis. It is because his works show the literacy of Filipino in English,

show his revolutionary ideas and deeds, and are snapshots of his life as a

Filipino.

Jose Maria Sison’s works show that Filipinos are literate of the

English language and know how to use it effectively. This is evident when

he won the Southeast Asia WRITE Award in 1986 in Thailand. This is why

choosing his works for stylistic analysis will make the Filipinos proud.

Being an English instructor before in the University of the Philippines and

having produced a whole volume of poems which was much later set to

music, Jose Maria Sison is worthy for a salute. His effective use of English is

evident in his works that is why I chose his poems for a stylistic analysis.

Doing a stylistic analysis of Jose Maria Sison’s works will tell the world that

Filipinos should not be undermined in terms of using the English language

because even before, Filipinos like Jose Maria Sison have excelled in using

English.

Furthermore, his works show his revolutionary ideas and deeds.

During the martial law years, he used his works to show his disapproval to

what is happening to the Philippines. Therefore, his works should be

analyzed so that readers will gain a deeper understanding of the history of

the Philippines. Being the chairman of the CPP Military Commission that

founded the New People’s Army on March 29, 1969 and being the co-

founder of the National Democratic Front of the Philippines on April 24,

1973 as an underground united front organization against the Marcos

fascist dictatorship, readers will be able to grasp the significance of his

works during the martial law years.

The works of Jose Maria Sison are also snapshots of his life. The years

of his struggle during the martial law years, his imprisonment, and his life

abroad are evident in the poems that he created. Through these poems, his

life became visible to us. Through his works, his life became an open book

for his works are expressions of his struggle as a Filipino. This is why his

works like his poems should be analyzed in light of stylistics so that the

readers will be guided in understanding his works.

In the long run, Maria Jose Sison’s poems are chosen for my stylistic

analysis because his works show that Filipinos before were effective users

of English, show his revolutionary ideas and deeds, and are snapshots of his

life as a Filipino.

B. Gaps and Problems

The poems that I chose for the stylistic analysis are created by Jose

Maria Sison in different years and in different situations. Having this gap

between years, it caused a problem in my stylistic analysis because the style

of the author in the three poems differs. To bridge the gaps between the

three poems, I will be using different approaches in analyzing the different

poems. I will also connect the poems in the history of the Philippines

especially during the martial law years and the life of Jose Maria Sison.

C. Linguistic Models or Devices to be Used in Analyzing the Literary

Works

In analyzing the poems of the Jose Maria Sison, I will be using the

meter of the poem, sound symbolism, figure of speech, and symbols.

D. Research Questions

To guide my stylistic analysis of the three poems by Jose Maria Sison,

my research questions are:

1. What is the style used the author in every poem?

2. What is the meaning of each poem?

3. What is the connection of the poet’s poem to the significant events

in the years that they were created?

E. Practical Benefits or Significance of my Stylistic Analysis

Having the works of a Filipino poet analyzed, my stylistic analysis will

benefit the students studying stylistics and literature and the Filipino

authors. This stylistic analysis will make the students studying stylistics and

literature to appreciate the works of the Filipino poets and do their own

stylistic analysis of other Filipino poets. Moreover, this stylistic analysis

will also help the Filipino poets to be known and for thir works to be

appreciated.

II- METHODOLOGY

In the poem “The Guerilla is Like a Poet”, the meter and the sound symbolism of the poem will be analyzed. Using the meter of the lines of each stanza, I will see how the author organizad his poem and link its organization to the guerillla described in the poem. This poem is created by the Jose Maria Sison in 1968 and looking back at the history of the Philippines, this poem is a snapshot of the situation of the Philppines before. In using the sound symbolism, I wil analyze the meaning of the poem using its sound symbolism. The figures of speech in the poem will also be analyzed to gain the deeper meaning of the poem. In the end, these findings will be collated for the conclusion.

In the poem “ Sometimes the Heart yearns for Mangoes”, the figure of speech used by the poet and the symbols used in the poem to represent something will also be analyzed. The sound symbolism present in the poem will also be the basis in arriving at the meaning of the poem. In the end, the findings will also be collated for the conclusion.

The poem “ The Bladed Poem” will be analyzed through the use sound symbolism. After the analysis, the findings will be collated for the conclusion.

A. THE GUERRILLA IS LIKE A POET

1. x x / x x / x / x The guerrilla is like a poet anapestic dimeter / x x / x x / Keen to the rustle of leaves dactylic dimeter X / x / The break of twigs iambic dimeter x / x / x / x The ripples of the river iambic trimeter X / x / The smell of fire iambic dimeter X x / x x x / x And the ashes of departure anapestic dimeter

2. x x / x x / x / x The guerrilla is like a poet. anapestic dimeter x x / x x /He has merged with the trees anapestic dimeter x / x / x / The bushes and the rocks iambic trimeter x / x / x / Ambiguous but precise iambic trimeter / x / x / x / x Well-versed on the law of motion trochaic tetrameter x / x x / x / x xAnd master of myriad images. iambic trimeter

3. x x / x x / x / xThe guerrilla is like a poet. anapestic dimeter x / x / x Enrhymed with nature iambic dimeter x / x / x x The subtle greenery iambic dimeter

x / x / x x / x / x xThe inner silence, the outer innocence iambic tetrameter x x / x x / The steel tensile in-grace anapestic dimeter x x / x / x xThat ensnares the enemy. anapestic monometer

4. X x / x x / x / xThe guerrilla is like a poet. anapestic dimeter X / x x / x / x xHe moves with the green brown multitude iambic trimeter x x / x x / / xIn bush burning with red flowers anapestic dimeter x / x / x / That crown and hearten all iambic trimeter / x x / x / x x Swarming the terrain as a flood dactylic dimeter / x x / x / x / xMarching at last against the stronghold. trochaic tetrameter

5. x / x / x x /An endless movement of strength iambic trimeter x / x x / x /Behold the protracted theme: iambic trimeter x / x / x x / x / The people’s epic, the people’s war. Iambic tetrameter

Simile- The guerrilla is like a poet

The dominant sounds in the first stanza are:

Voiced /l/ and /r/- referred as ‘liquids’ and associated with the flowing , ripping qualities of water

Voiceless fricatives /s/ and /∫/- soft hissing sounds Plosives /g/, /b/, /d/, /p/, /t/- percussive sounds

The dominant sounds in the second stanza are:

Voiced /l/ and /r/ - referred as ‘liquids’ and associated with the flowing , rippling qualities of water

Voiceless fricative /s/- soft hissing sound

The dominant sounds in the third stanza are

Voiceless fricatives /s/ - soft hissing sound Plosive /t/ and /t/- percussive sounds

The dominant sounds in the fourth stanza are:

plosives /b/, /g/, and /d/-percussive sounds

The dominant sounds in the fifth stanza are:

plosives /b/, /p/, and /d/

B. Sometimes, the Heart Yearns for Mangoes

1.Sometimes, the heart yearnsFor mangoes where there are apples,For orchids where there are tulips,For warmth, where it is cold,For mountainous islands,Where there is flatland.2.Far less than the home,And the flow of kith and kin,Unfamiliar and now familiarThings and places triggerThe pain of sundered relations,Of losses by delays and default.3.Direct dialing, fax machines,Computer discs and video casettesAnd visitors on supersonic jets,Fail to close the gapBetween rehearsed appearancesAnd the unrehearsed life at home.4.There are colleagues and friendsThat make a strange land loveable.But they have their routines,Their own lives to live,Beyond the comprehensionAnd pertinence of the stranger.5.Those who seek to rob the exileOf home, kith and kin,Of life, limb and libertyAre the loudest to mock at him

Who is helplessly at sea,Uprooted from his soil.6.The well-purposed exile continuesTo fight for his motherlandAgainst those who banished him,The unwelcomed exploiters of his people,And is certain that he is at homeIn his own country and the world.

Personification- “ Sometimes the heart yearns”Alliterations

kith and kin (2nd stanza) delays and default (2nd stanza) direct dialing (3rd stanza) lives to live (4th stanza) land lovable (4th stanza) Of life, limb and liberty (5th stanza)

The symbols used in representation of the Philippines:

Mangoes, Apples, Orchids, Warmth, Mountainous Islands

The symbols used in representation of Netherlands:

Apples, Tulips, Cold, Flatlands

The dominant sounds in the first stanza are:

Fricatives /f/ and /s/- light friction of wind and breath

The dominant sounds in the second stanza are:

Fricatives /f/ and /s/- light friction of wind and breath Liquids /l/ and /r/- associated with the flowing , rippling qualities

of water

The dominant sounds in the third stanza are:

Plosives /d/ and /k/- tapping, soft percussive sounds Fricatives /f/ and /s/- light friction of wind and breath

Liquids /l/ and /r/- associated with the flowing , rippling qualities of water

The dominant sounds in the fourth stanza are:

Fricative /s/- light friction of wind and breath Liquids /l/ and /r/- associated with the flowing , rippling qualities

of water

The dominant sound in the fifth stanza are:

Liquids /l/ and /r/- associated with th flowing , rippling qualities of water

The dominant sound in the sixth stanza are:

Fricative /s/- light friction of wind and breath Liquids /r/ and /l/ - associated with the flowing , rippling

qualities of water.

C. THE BLADED POEM

1. Behold the bladed poemTensile and razor-sharpCold and glinting silverIn the light or dark.

2. See how the blackbirdOf a hilt fliesBedecked with pearlsOn the firm mobile hand.3.Look at each faceOn the leaf of steel,The virile subtle flames,Images of incised gold.

In the third stanza

4. On one face are toilersVaried with pike and ore, Crucible, hammer and anvil,Water and whetstone.

5.Plow and carabao on soil,The oyster in the sea,Carving and etching tools,Bowl of acid on a table.

6.On the other faceAre the same workmen massedUpright and poised to fightBehind the radiant flag.

7.The uprising completesThe figures of laborAnd urges another surgeWith the well-versed weapon.

8. Grasp well the bladed poemAnd let it sing in your hands.This kampilan is a talismanOf the people in red headbands.

The dominant sound in the first stanza are: Plosives /b/, /k/, and /d/-percussive sounds

The dominant sound in the second stanza are: Plosives /b/, /k/, and /d/-percussive sounds

The dominant sound in the third stanza are:

The dominant sound in the fourth stanza are:

The dominant sound in the fifth stanza are:

The dominant sound in the sixth stanza are:

The dominant sound in the seventh stanza are:

The dominant sound in the eighth stanza are:

III- RESULTS AND DISCUSSION

A. The Guerrilla is Like a Poet

In the poem “The Guerilla is Like a Poet”, we can see that the poem has five stanzas. Each stanza consists of six lines except for the fifth stanza where there are only three lines. The meter of the poem in each line varies except in the first line of the each stanza wherein the meter is the same. However, the first line of the fifth stanza is not the same to the other stanza.

Seeing the disorganization of the meter of each line, we can conclude that during the time that the poem was written, the country is not also organized. The presence of guerrillas in the poem serves as a clue that there are disagreements between the government and the people. That is why the meter also of each line disagrees with each other. This is true because the time that this poem was written, Ferdinand Marcos was elected as the preseident of the Philippines and many opposed on his administration.

The repetition of the line “ The guerrilla is like a poet” in each stanza except in the fifth stanza is an emphasis of the comparison between a guerrilla and a poet. The figure of speech used is simile. The position of the line which is in the first line in each stanza shows that the line is given importance because it is the central idea of the

poem. The rest of the lines in the stanzas are descriptions of the similarity between a guerrilla and a poet.

In the first stanza, the dominant sounds /l/ and /r/ are liquids which are suggestive of the sounds of the flowing river described in the poem. The river is a clue that the setting is in the forest where the guerrilla resides. The plosives in the first stanza suggest the sound of the breaking of twigs and the rustling of the leaves. The voiceless fricatives /s/ and /∫/ are suggestive of the hissing sound produced when someone wants silence. It matches the description of the guerrilla and the poet as a keen observer. The guerrilla who needs silence to be able to sense the rustling of twigs and the breaking of twigs done by the enemy in the forest. On the other hand, the poet is also a keen observer of the poem he/ she is making.

In the second stanza, the poet and the guerrilla were again compared using the figure of speech which is simile. The presence of the voiced liquids and the voiceless fricatives which is present also in the first stanza suggest that the guerrilla is on the same environment which is the forest. In this stanza, the guerrilla is similar to the poet of his ability to hide. The guerrilla in the forest is a master of the forest and knows where to hide when the enemy comes. Just like a poet who writes a poem about his protest and hides the meaning of the poem so that the enemy won’t be able to comprehend easily. This is maybe true to Jose Maria Sison who writes poems that are not easily comprehendable by the enemy.

In the third stanza, the poet and the guerrilla were again compared using the figure of speech which is simile. The voiceless fricative /s/ is suggestive of the silence of the guerrilla as he hides in the forest. In this stanza, the guerrilla is said to have enrhymed with nature where there is silence. The coming of the plosives in this stanza suggest of the impact of that silence to the enemy where they fall into trap. The guerrilla is the same to the poet whose poems are known to be so silent and light but the hidden meaning has a great impact to the enemy.

In the fourth stanza, the guerrilla and the poet where again compared. The presence of the plosives /b/, /g/, and /d/ are suggestive of the percussive sounds produced by the guerrillas as they marched in the terrain until they reach to a safe place. As they marched, they make sure that they were not noticed. This is also true to a poet who writes a poem carefully using good usage of language to hide the true meaning of his poem.

In the last stanza, the guerrilla and the poet were no longer compared. However, the aim of the guerrilla and the poet were emphasized in this stanza. The presence of the plosives /b/, /p/, and /d/ in the stanza is an emphasis of the long-lasting theme about fighting the enemy which is the government.

B. Sometimes the Heart Yearns for Mangoes

This poem was written by Jose Maria Sison on the 3oth of March 1994. This is the time of Sison’s life were he was recognized as a political refugee by the highest Dutch administrative court in Netherlands. The poem “Sometimes the Heart Yearns for Mangoes” is his expression of how he missed the Philippines. The poem consists of six stanzas with six lines having different meter.

In the first stanza, the author uses personification in the line “Sometimes, the heart yearns”. He also uses symbols to represent the two countries which is the Philippines and Netherlands. In representation of the Philippines he uses mango, orchids, warmth, and mountainous islands which are seen in the Philippines. On the other hand, he also uses symbols that are found in Netherlands like apples, tulips, cold, and flatlands to represent the place which is strange to him. Having the word “sometimes” and phrase “where there are”, the poet is telling us that living away from our own country is not easy. It is telling us that even though there are things that will substitute to what we are familiar of, we will still miss those things. The dominant sound in the first stanza which is the voiceless fricatives /s/ and /f/ which suggest light friction of wind and breath sets the tone of the first stanza which is loneliness. The fricatives /f/ and /s/ is also suggests the sound of the sigh of the poet while writing the poem.

In the second stanza, the presence of the fricatives /f/ and /s/ suggests the continuous tone of the poem which is loneliness. The liquids /l/ and /r/ is suggestive of the sea that separates his homeland and Netherlands. The alliteration of “kith and kin” is an emphasis of the poet’s sadness because his family is away from him. It is followed by another alliteration “delays and default” which is also an emphasis of the result of being away which caused him pain.

In the third stanza, the presence of the fricatives /f/ and /s/ which suggest light friction of wind and breath tells us that the tone of the poem is still sad because of the fricatives suggest the sound of the sigh of the poet. The liqiuds /r/ and /l/ are still present because it suggest the sea that separates the poet’s homeland and Netherlands. In this stanza the alliteration “direct dialing” is an emphasis of the things that the poet did to connect to his family. This is why the plosives /d/ and /k/ are dominant because it suggest the percussive sound produced by dialing the telephone. However, the things he did fail to close the gap because at home the life is unrehearsed.

In the fourth stanza, the poet explains why he loves the people in his homeland. In this stanza, the poet tells us that he also met friends and colleagues in Netherland which makes him love the new land. This is emphsized in the alliteration “land lovable”. However, dominant sound which is the fricative /s/ still creates sadness in the tone of the poem because it suggest the sound produced in the sigh of the poet. The reason for this sadness is because the author noticed that they have their own lives. This is emphasized in the alliteration “lives to live”. This is the reason why he loves more the people in his homeland.

In the fifth stanza, the alliterations “Of life, limb and liberty” and “ kith and kin” is an emphasis of the poets sadness because of being away from his country and of the deprivation of his freedom. This is why he said that one should not seek to be away of his country because just like him, he felt helpless for being away of his homeland.

The last stanza is teaching us of the loftiness of doing one’s best to serve one’s native land even from faraway shores. This is what Jose Maria Sison did while he is in Netherlands because he felt that he is in the Philippines if he will do things for his homeland.

C. The Bladed Poem

This poem is organized into eighth stanzas with four lines. It was written by Jose Maria Sison in the year 1982 while he is i prison.

In the firt stanza, the poem is described by the author as bladed. Being bladed, it was further described as having a sharp razor with

cold and glinting silver. The blade can be found in a weapon and a symbolic importance is often attached to it. The weapon is a symbol of strength therefore a poem is also a weapon which is the strength of the poet.The plosives /b/,/k/, and /d/ is suggestive of the perscussive sound produced when the blade is sharpened. In the case of the poem, it is also sharpened through careful use of the language.

In the second stanza, the poem as a weapon is described as having a hilt decorated with pearls. The pearls in this stanza is a symbolism of the Philippines being the “ Pearl of the Orient Seas. This only mean that the bladed oem described by the poet is abput the Philipppines.

CONCLUSION, IMPLICATIONS, AND RECOMMENDATIONS

Form your conclusion and end with implications on the literary, research, pedagogical, and linguistic point of view.Five some recommendations for future studies on the works of either the same author or the same genre.