HARIBOL SURALISTA

HARIBOL SURALISTA
Pag-omawon an Kagurangnan, an pursang minabusol kan sakong pluma. Haribol.

BRINDABAN (Kaptol Parte 4, 5, buda 6)

Posted by Jai Jesus Uy Borlagdan Friday, October 10, 2008 comments (0)

4.

Diyos ko, pagnagrarani ako Saimo, nagrarayo an gabos sako.

Pasabat ako sa ruso kan mga pasiring sa kalot.

Nagkikipot an dalan sa pagmuklat kan sakong puso.

Nalilinigan ako pero sa mata ninda nagigi akong huba.

Sa sulog kan ribok

sagwan ko an Saimong ngaran

pasiring sa pampang na hihingaloan.

Dai mo ako paglingawan Madhava

ta wara na akong ibang rumdom

kundi Ika.

10/09/08 Tayhi.

5.

Krishna, dai nang natada sakuya kundi Ika.

Hinawan Mo na an gabos na ulang sa agihan.

Surugpunon Mo an sakuyang tulang

ta Ika an kusog kaan.

Govinda sa Saimong plawta

pasayawon Mo akong garo halas

na punawon sa pag-otob.

6.

Igwang kadlagan

kan kaitong panahon

na kinawatan kan Kagurangnan.

An banal kaining ngaran:

Brindabindam!

10/10/2008 Karangahan

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Brindaban

Posted by Jai Jesus Uy Borlagdan Tuesday, October 07, 2008 comments (0)

All Glories to Sri Guru and Gauranga

1.
“Krishna, Krishna” pero dai na su saiyang pighahanap. Sa walat na paros an parong na sana kan Kalatsutsi na ikinulintas niya sa lawas kaini. Arog sana kaito, nawara su saiyang padaba na kakugos kasubago. Arog sana kaan, napumpong su agawak kan saiyang kaogmahan. Dangan digdi sa hinulnakan nindang kadlagan, nagrambong an katábangan.

2.
Diyos ko, nuarin ko ititimak an hudyan kong lakad? Nuarin ko mamateon an hudyan na piltik kan daghan? Nuarin an hudyan na namit kan pagsawod kan Saimong ngaran? Mala Saimo an sakuyang bitis, mala Saimo an sakuyang puso, mala Saimo an kung ano man na pagkamuot na igwa ako, Ika sana an nakakaaram.
3.
Sa bitis kaining babaying nagngunguyngoy sa limpoy kan mga kahoy, ibabaw ko an sakuyang payo. Sa gabat kan lakad niya na minakalot sa mga awot ipalis ko an tubig kan sakuyang mundo. Ta binayaan Siya kan Saiyang Kagurangnan, buda an kamawotan kan Saiyang daghan na dai nang ibang kahagadan an mina bura sa kantidad kan dawa ano pa man.


Salin: Brindaban (Bahagi 1, 2, and 3)

1.
“Krishna, Krishna” ngunit wala na ang kanyang hinahanap. Sa iwan na simoy ang amoy na lamang ng Kalatsutsing ikinuwintas niya sa katawan nito. Ganun-ganun lang, nawala ang kanyang katipan na ka-akap kanina. Ganun-ganun lang, nahinto ang sulak ng kanyang ligaya. At dito sa nilaruan nilang kagubatan, lumago an katabangan.

2.
Diyos ko, kailan ko ilalapat ang huling yapak? Kailan ko dadanasin ang huling tibok ng dibdib? Kailan ang huling lasa ng pagsambit ng Iyong ngalan? Dahil Sa’yo ang aking paa, dahil Sa’yo ang aking puso, dahil Sa’yo ang kung ano man na pag-ibig na meron ako, Ikaw lang ang nakakaalam.

3.
Sa paa nitong babaing humahagulgol sa lilim ng mga kahoy, pinapatong ko ang aking ulo. Sa bigat ng kanyang yabag na humuhukay sa mga damo isinasalin ko ang tubig ng aking luksa. Dahil iniwan Siya ng Kanyang Panginuon, at ang pagnanasa sa kanyang dibdib, na wala nang ibang kagustuhan ang bumubura ng halaga sa kung ano pa man.

Translation: Vrindavan

1.
"Krishna, Krishna" but He's no longer there. Left in the breeze was the scent of the Frangipani She garlanded His body. Just like that, Her lover, embraced a while ago, vanished. Just like that, Her searing happiness ceased. And in this forest where they frolicked, bloomed blandness.

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Karangahan Online

Karangahan Online
Karangahan: Pagranga sa Panurat Bikolnon. Kagibo: Jimple Borlagdan. Pinduton an ritrato para makaduman sa Karangahan

On Borlagdan's Poetry


A Rush of Metaphors, Tremor of Cadences, and Sad Subversions
By Tito Genova Valiente
titovaliente@yahoo.com

The first time I read the poems of Jesus Jaime Borlagdan, Jimple to those who know him, I felt immediately the seething movement of the words. There was a rush of metaphors in his works. I immediately liked the feeling that the rhythm caused in one’s reading for poetry, in my book, should always be read aloud. I was hearing the voice. It was a voice that happened to sound from afar and it was struggling to link up with a present that would not easily appear.

It was heartbreaking to feel the form. I felt the lines constricting. I saw the phrases dangling to tease, breaking the code of straight talk and inverting them to seduce the mind to think beyond the words. Somewhere, the poems were reverting back to direct sentences, weakening the art of poetry with its universe of ellipses and nuances, but then as suddenly as the words lightened up, the poems then dipped back into a silent retreat, into a cave, to lick its own wounds from the confrontation that it dared to initiate.

For this column, I decide to share parts of the longer paper I am writing about this poet.

In Karangahan, the poet begins with: Bulebard, ikang muymuyon na salog/ki gatas buda patenteng nakahungko,/ako ngonian kahurona. Borlagdan translates this into:Boulevard, you forlorn river/ of milk and downcast lights/ speak to me now. Savor the translation, for in Bikol that which is a dialog has become an entreaty.)

The poet is always talking to someone but in An istorya ninda, an osipon ta, he talks about a the fruits of some narrative: Ta sa dara nindang korona kita an hadi/ sa krus, kita su may nakatadok na espada./Naitaram na ninda an saindang istorya./Punan ta na man su satong osipon./This I translate as: For in the crown they bear we are the King/ on the cross, with the embedded sword./ Marvel at this construction, as the poet cuts at the word “hadi” and begins the next line with “krus” and the “espada.” Marvel, too, at how he looks at conversion and faith, a process that made us special but also wounded us with ourselves stuck with the sword.

Finally, the poet says those lines of the true believer: They have already spoken their story, now let us begin with our tale. The poet does not have a translation but will the istorya in this line be “history” and osipon be “myth.” Shall these last four lines in the first stanza be both a subversion of our faith embedded in a foreign culture or a celebration of what we are not, and what we have not become?
Puni na an paghidaw. Puni na an pagluwas/hali sa kwartong pano ki luha, puni na/an paghiling sa luwas kan bintana./Puni na an paghidaw para sa binayaan./Puni na an pagsulit sa daluging tinimakan./Puni na an paghidaw sa mga sinugbang utoban. Terrifying lines as the poet calls us to begin the remembering and also begin the moving out from the room full of tears. In the poet’s mind, the lacrimarum vale or valley of tears had become an intimate area for instigating his own release.

The rhythm is there as in a prayer. But it is no prayer. There is the repetition but it is not a plea. There is the self but it is one that has turned away from itself into something else. That self is one that shall face the recollection of the faith that has been burned.

And yet the poet, resolute when he wants to, loves to sing and hint of fear and anxiety. Even when he is merely observing children playing in the rains, he summons images of terrible beauty. The skies become diklom na pinandon na “may luho” (with hole). From this hole, comes the sarong pisi ki sildang/ tisuhon na buminulos. The poet stays with this metaphor with such intensity that the silken thread coming from the hole justifiably becomes luhang garo hipidon na busay/paluwas sa mata/kan dagom. Dark wit and a penchant for the horrifying are tandem graces in these lines.

This is the poet who can, without self-consciousness, tell us of the …haya/kan mga ayam na namimibi/nakakapabuskad ki barahibo/nakakaulakit ki lungsi. He whispers of “halas na rimuranon, malamti/sa hapiyap kan mga bituon.”
This is a startling universe, where dogs pray (and bay), and where fears bloom and paleness afflicts and infects, and serpents are caressed by the stars.





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