Rizals Last Farewell

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Spanish English Tagalog

"Mi último adiós" "My Last Farewell" "Pahimakas ni Dr. José Rizal"
original version by José Rizal translation by Encarnacion Alzona & Isidro Escare Abeto translation by Andrés Bonifacio

Adiós, Patria adorada, región del sol querida, Farewell, my adored Land, region of the sun caressed, Pinipintuho kong Bayan ay paalam,
Perla del mar de oriente, nuestro perdido Edén! Pearl of the Orient Sea, our Eden lost, lupang iniirog ñg sikat ñg araw,
A darte voy alegre la triste mustia vida, With gladness I give you my life, sad and repressed; mutiang mahalaga sa dagat Silañgan,
Y fuera más brillante, más fresca, más florida, And were it more brilliant, more fresh and at its best, kalualhatiang sa ami'y pumanaw.
También por ti la diera, la diera por tu bien. I would still give it to you for your welfare at most.
Masayang sa iyo'y aking idudulot
En campos de batalla, luchando con delirio, On the fields of battle, in the fury of fight, ang lanta kong buhay na lubhang malungkot;
Otros te dan sus vidas sin dudas, sin pesar; Others give you their lives without pain or hesitancy, maging mariñgal man at labis alindog
El sitio nada importa, ciprés, laurel o lirio, The place does not matter: cypress, laurel, lily white; sa kagaliñgan mo ay akin ding handog.
Cadalso o campo abierto, combate o cruel martirio, Scaffold, open field, conflict or martyrdom's site,
Lo mismo es si lo piden la patria y el hogar. It is the same if asked by the home and country. Sa pakikidigma at pamimiyapis
ang alay ñg iba'y ang buhay na kipkip,
Yo muero cuando veo que el cielo se colora I die as I see tints on the sky b'gin to show walang agam-agam, maluag sa dibdib,
Y al fin anuncia el día tras lóbrego capuz; And at last announce the day, after a gloomy night; matamis sa puso at di ikahapis.
si grana necesitas para teñir tu aurora, If you need a hue to dye your matutinal glow,
Vierte la sangre mía, derrámala en buen hora Pour my blood and at the right moment spread it so, Saan man mautas ay di kailañgan,
Y dórela un reflejo de su naciente luz. And gild it with a reflection of your nascent light cípres ó laurel, lirio ma'y patuñgan
pakikipaghamok, at ang bibitayan,
Mis sueños cuando apenas muchacho adolescente, My dreams, when scarcely a lad adolescent, yaon ay gayon din kung hiling ñg Bayan.
Mis sueños cuando joven ya lleno de vigor, My dreams when already a youth, full of vigor to attain,
Fueron el verte un día, joya del mar de oriente, Were to see you, Gem of the Sea of the Orient, Ako'y mamatay, ñgayong namamalas
Secos los negros ojos, alta la tersa frente, Your dark eyes dry, smooth brow held to a high plane, na sa silañganan ay namamanaag
Sin ceño, sin arrugas, sin manchas de rubor Without frown, without wrinkles and of shame without stain. yaong maligayang araw na sisikat
sa likod ñg luksang nagtabing na ulap.
Ensueño de mi vida, mi ardiente vivo anhelo, My life's fancy, my ardent, passionate desire,
¡Salud te grita el alma que pronto va a partir! Hail! Cries out the soul to you, that will soon part from thee; Ang kulay na pula kung kinakailañgan
¡Salud! Ah, que es hermoso caer por darte vuelo, Hail! How sweet 'tis to fall that fullness you may acquire; na maitim sa iyong liway-way,
Morir por darte vida, morir bajo tu cielo, To die to give you life, 'neath your skies to expire, dugo ko'y isabog at siyang ikinang
Y en tu encantada tierra la eternidad dormir. And in thy mystic land to sleep through eternity! ñg kislap ñg iyong maningning na ilaw.

Si sobre mi sepulcro vieres brotar un día If over my tomb some day, you would see blow, Ang aking adhika sapul magkaisip
Entre la espesa yerba sencilla, humilde flor, A simple humble flow'r amidst thick grasses, ñg kasalukuyang bata pang maliit,
Acércala a tus labios y besa al alma mía, Bring it up to your lips and kiss my soul so, ay ang tanghaling ka at minsan masilip
Y sienta yo en mi frente bajo la tumba fría, And under the cold tomb, I may feel on my brow, sa dagat Silañgan hiyas na marikit.
De tu ternura el soplo, de tu hálito el calor. Warmth of your breath, a whiff of thy tenderness.
Natuyo ang luhang sa mata'y nunukal,
Deja a la luna verme con luz tranquila y suave, Let the moon with soft, gentle light me descry, taas na ang noo't walang kapootan,
Deja que el alba envíe su resplandor fugaz, Let the dawn send forth its fleeting, brilliant light, walang bakás kunot ñg kapighatian
Deja gemir al viento con su murmullo grave, In murmurs grave allow the wind to sigh, gabahid man duñgis niyong kahihiyan.
Y si desciende y posa sobre mi cruz un ave, And should a bird descend on my cross and alight,
Deja que el ave entone su cántico de paz. Let the bird intone a song of peace o'er my site. Sa kabuhayang ko ang laging gunita
maniñgas na aking ninanasa-nasa
Deja que el sol, ardiendo, las lluvias evapore Let the burning sun the raindrops vaporize ay guminhawa ka ang hiyaw ñg diwa
Y al cielo tornen puras, con mi clamor en pos; And with my clamor behind return pure to the sky; pag hiñgang papanaw ñgayong biglang-bigla.
Deja que un ser amigo mi fin temprano llore Let a friend shed tears over my early demise;
Y en las serenas tardes cuando por mí alguien ore, And on quiet afternoons when one prays for me on high, Ikaw'y guminhawa laking kagandahang
¡Ora también, oh Patria, por mi descanso a Dios! Pray too, oh, my Motherland, that in God may rest I. ako'y malugmok, at ikaw ay matanghal,
hiniñga'y malagot, mabuhay ka lamang
Ora por todos cuantos murieron sin ventura, Pray thee for all the hapless who have died, bangkay ko'y masilong sa iyong Kalañgitan.
Por cuantos padecieron tormentos sin igual, For all those who unequalled torments have undergone;
Por nuestras pobres madres que gimen su amargura; For our poor mothers who in bitterness have cried; Kung sa libiñgang ko'y tumubong mamalas
Por huérfanos y viudas, por presos en tortura For orphans, widows and captives to tortures were shied, sa malagong damo mahinhing bulaklak,
Y ora por ti que veas tu redención final. And pray too that you may see your own redemption. sa mañga labi mo'y mangyaring ílapat,
sa kaluluwa ko halik ay igawad.
Y cuando en noche oscura se envuelva el cementerio And when the dark night wraps the cemet'ry
Y solos sólo muertos queden velando allí, And only the dead to vigil there are left alone, At sa aking noo nawa'y iparamdam,
No turbes su reposo, no turbes el misterio, Don't disturb their repose, disturb not the mystery: sa lamig ñg lupa ñg aking libiñgan,
Tal vez accordes oigas de cítara o salterio, If thou hear the sounds of cithern or psaltery, ang init ñg iyong pag hiñgang dalisay
Soy yo, querida Patria, yo que te canto a ti. It is I, dear Country, who, a song t'you intone. at simoy ñg iyong pag giliw na tunay.

Y cuando ya mi tumba de todos olvidada And when my grave by all is no more remembered, Bayaang ang buwan sa aki'y ititig
No tenga cruz ni piedra que marquen su lugar, With neither cross nor stone to mark its place, ang liwanag niyang lamlám at tahimik,
Deja que la are el hombre, la esparza con la azada, Let it be plowed by man, with spade let it be scattered liwayway bayaang sa aki'y ihatid
Y mis cenizas, antes que vuelvan a la nada, And my ashes ere to nothingness are restored, magalaw na sinag at hañging hagibis.
El polvo de tu alfombra que vayan a formar. Let them turn to dust to cover thy earthly space.
Kung sakasakaling bumabang humantong
Entonces nada importa me pongas en olvido. Then it doesn't matter that you should forget me: sa cruz ko'y dumapo kahi't isang ibon
Tu atmósfera, tu espacio, tus valles cruzaré. Your atmosphere, your skies, your vales I'll sweep; doon ay bayan humuning hinahon
Vibrante y limpia nota seré para tu oído, Vibrant and clear note to your ears I shall be: at dalitin niya payapang panahon.
Aroma, luz, colores, rumor, canto, gemido, Aroma, light, hues, murmur, song, moanings deep,
Constante repitiendo la esencia de mi fe. Constantly repeating the essence of the faith I keep. Bayaan ang niñgas ñg sikat ñg araw
ula'y pasiñgawin noong kainitan,
Mi patria idolatrada, dolor de mis dolores, My idolized Country, for whom I most gravely pine, magbalik sa lañgit ñg boong dalisay
Querida Filipinas, oye el postrer adiós. Dear Philippines, to my last goodbye, oh, harken kalakip ñg aking pagdaing na hiyaw.
Ahí te dejo todo, mis padres, mis amores. There I leave all: my parents, loves of mine,
Voy donde no hay esclavos, verdugos ni opresores, I'll go where there are no slaves, tyrants or hangmen Bayaang sino man sa katotong giliw
Donde la fe no mata, donde el que reina es Dios. Where faith does not kill and where God alone does reign. tañgisang maagang sa buhay pagkitil:
kung tungkol sa akin ay may manalañgin
Adiós, padres y hermanos, trozos del alma mía, Farewell, parents, brothers, beloved by me, idalañgin Báyan yaring pagka himbing.
Amigos de la infancia en el perdido hogar, Friends of my childhood, in the home distressed;
Dar gracias que descanso del fatigoso día; Give thanks that now I rest from the wearisome day; Idalañging lahat yaong nañgamatay,
Adiós, dulce extranjera, mi amiga, mi alegría, Farewell, sweet stranger, my friend, who brightened my way; nañgagtiis hirap na walang kapantay;
Adiós, queridos seres, morir es descansar. m̃ga iná naming walang kapalaran
Farewell to all I love; to die is to rest. na inahihibik ay kapighatian.

Ang m̃ga bao't pinapañgulila,


ang m̃ga bilangong nagsisipag dusa:
dalañginin namang kanilang mákita
ang kalayaan mong, ikagiginhawa.

At kung ang madilim na gabing mapanglaw


ay lumaganap na doon sa libiñgan't,
tañging m̃ga patay ang nañgag lalamay,
huwag bagabagin ang katahimikan.
Ang kanyang hiwaga'y huwag gambalain:
kaipala'y mariñgig doon ang taginting,
tunog ñg gitara't salterio'y mag saliw,
ako. Báyan, yao't, kita'y aawitin.

Kung ang libiñgan ko'y limót na ñg lahat


at wala ñg kruz at batóng mábakas,
bayang lina~gin ñg taong masipag,
lupa'y asarolin at kanyang ikalat.

At m̃ga buto ko ay bago matunaw


máowi sa wala at kusang maparam,
alabók ñg iyong latag ay bayaang
siya ang babalang doo'y makipisan.

Kung magka gayon na'y aalintanahin


na ako sa limot iyong ihabilin
pagka't himpapawid at ang pañganorin
m̃ga lansañgan mo'y aking lilibutin.

Matining na tunóg ako sa diñgig mo,


ilaw, m̃ga kulay, masamyong pabañgó,
ang úgong at awit, pag hibik sa iyo,
pag asang dalisay ñg pananalig ko.

Báyang iniirog, sákit niyaring hirap,


Katagalugang kong pinakaliliyag,
dingin mo ang aking pagpapahimakas:
diya'y iiwan ko sa iyo ang lahat.

Ako'y patutuñgo sa walang busabos,


walang umiinis at verdugong hayop:
pananalig doo'y di nakasasalot,
si Bathala lamang doo'y haring lubos.

Paalam, magulang at m̃ga kapatid


kapilas ñg aking kaluluwa't dibdib
m̃ga kaibigan bata pang maliit
sa aking tahanan di na masisilip.

Pag pasalamatan at napahiñga rin,


paalam estrañgerang kasuyo ko't aliw.
paalam sa inyo m̃ga ginigiliw:
¡mamatay ay siyang pagkagupiling!

Background
On the afternoon of Dec. 29, 1896, a day before his execution, Dr. José Rizal was visited by his mother, Teodora Alonzo; sisters Lucia, Josefa, Trinidád, Maria and
Narcisa; and two nephews. When they took their leave, Rizal told Trinidád in English that there was something in the small alcohol stove (cocinilla), as opposed to
saying coconut oil lamp (lamparilla), which was intended provide cover for the transportation of the text. The stove was given to Narcisa by the guard when the
party was about to board their carriage in the courtyard. At home, the Rizal ladies recovered a folded paper from the stove. On it was written an unsigned, untitled
and undated poem of 14 five-line stanzas. The Rizals reproduced copies of the poem and sent them to Rizal's friends in the country and abroad. In 1897, Mariano
Ponce in Hong Kong had the poem printed with the title "Mí último pensamiento". Fr. Mariano Dacanay, who received a copy of the poem while a prisoner in
Bilibid (jail), published it in the first issue of La Independencia on September 25, 1898 with the title 'Ultimo Adios'.
Interpretation: Mi Ultimo Adios (My Last Farewell)

Farewell, my adored Land, region of the sun caressed,


Pearl of the Orient Sea, our Eden lost,
With gladness I give you my Life, sad and repressed;
And were it more brilliant, more fresh and at its best,
I would still give it to you for your welfare at most.

These are the words of one about to die for his country. He expresses no regret but only gladness, knowing that in giving his life, he is giving his country the
greatest gift any citizen could offer.

On the fields of battle, in the fury of fight,


Others give you their lives without pain or hesitancy,
The place does not matter: cypress laurel, lily white,
Scaffold, open field, conflict or martyrdom's site,
It is the same if asked by home and Country.

Here Rizal says that it does not matter where one dies, but why one dies and to what purpose. Whether it’s “scaffold, open field, conflict or martyrdom’s site,” all
death hold the same honor if given for home and Country.

I die as I see tints on the sky b'gin to show


And at last announce the day, after a gloomy night;
If you need a hue to dye your matutinal glow,
Pour my blood and at the right moment spread it so,
And gild it with a reflection of your nascent light!

Rizal’s execution was set at sunrise, thus the meaning of the first and second lines. He employs the visual senses in his poetic use of color, and then in the third and
fourth lines, adds the bright red tint of his blood to the scene, and gilds it with golden sunlight. The use of these devices ignites passion in the reader, as it is felt – a
hundred times more so – in the writer, even without explicit use of words signifying feeling.

My dreams, when scarcely a lad adolescent,


My dreams when already a youth, full of vigor to attain,
Were to see you, gem of the sea of the Orient,
Your dark eyes dry, smooth brow held to a high plane
Without frown, without wrinkles and of shame without stain.

Since his childhood, even as other children dreamed of childish things, Rizal dreamed of seeing his country free, esteemed, and with head held high.

My life's fancy, my ardent, passionate desire,


Hail! Cries out the soul to you, that will soon part from thee;
Hail! How sweet 'tis to fall that fullness you may acquire;
To die to give you life, 'neath your skies to expire,
And in your mystic land to sleep through eternity!

Here, he showers her with praise. He is his life’s fancy, his ardent and passionate desire. He shouts “Hail!” as many would to their God. He says in the third line that
it is sweet to fall so that his country may acquire fullness, and then continues on in the succeeding lines, “to die to give you life.” But his joy does not end in the act
of dying, but continues beyond the grave, where he shall sleep in his country’s mystic land through eternity. As one dies for God, Rizal dies for country. And as one
looks forward to heaven, Rizal’s heaven – in these lines, at least – lies in being buried in the land of his ancestors.

If over my tomb some day, you would see blow,


A simple humble flow'r amidst thick grasses,
Bring it up to your lips and kiss my soul so,
And under the cold tomb, I may feel on my brow,
Warmth of your breath, a whiff of your tenderness.

In this stanza, Rizal likens his soul to that of “a simple humble flower amidst thick grasses.” The use of this comparison says a lot about how Rizal sees himself –
timid, simple, humble, surrounded by the unrelenting forces of society. He imagines that after his death, he will live on in the bosom of his motherland, and never
cease to enjoy her love, which he begs her to express with a kiss.

Let the moon with soft, gentle light me descry,


Let the dawn send forth its fleeting, brilliant light,
In murmurs grave allow the wind to sigh,
And should a bird descend on my cross and alight,
Let the bird intone a song of peace o'er my site.
Rizal’s love for nature is again depicted in these next four lines. It is interesting that he enumerates the moon, the dawn, the wind, and a bird to pay homage to his
grave, yet does not mention close friends or specific people. Perhaps it is a simple image of his reunion with nature that he wants to bring to mind; perhaps it is also
an expression of the loneliness and isolation that he has felt and continues to feel in his fight for freedom.

Let the burning sun the raindrops vaporize


And with my clamor behind return pure to the sky;
Let a friend shed tears over my early demise;
And on quiet afternoons when one prays for me on high,
Pray too, oh, my Motherland, that in God may rest I.

The mention here, of a friend, is the closest he gets to company. And the mention of God in the fourth line is the closest he gets to praying for a spiritual heaven.
That Rizal beseeches his country to pray that his soul may rest in God is in line with the Roman Catholic belief that all men are sinners and that salvation is to be
earned and cannot be determined before the grave.

Pray thee for all the hapless who have died,


For all those who unequalled torments have undergone;
For our poor mothers who in bitterness have cried;
For orphans, widows and captives to tortures were shied,
And pray too that you may see your own redemption.

In these four lines he gives his motherland a list of the things he wishes her to pray for. He remembers all of the martyrs who have suffered the same fate as he will,
who have died for their country; the mothers, wives, and children they have left behind who suffer no less for being abandoned. He also, in a hopeful closing note,
asks her to pray for herself.

And when the dark night wraps the cemet'ry


And only the dead to vigil there are left alone,
Don't disturb their repose, don't disturb the mystery:
If you hear the sounds of cittern or psaltery,
It is I, dear Country, who, a song t'you intone.

Clearly Rizal has not imagined that a monument would eventually be built over his grave and has pictured his final resting place as a humble cemetery where he
shall, even after death, sing a song of devotion for his motherland.
And when my grave by all is no more remembered,
With neither cross nor stone to mark its place,
Let it be plowed by man, with spade let it be scattered
And my ashes ere to nothingness are restored,
Let them turn to dust to cover your earthly space.

In this next stanza, Rizal wishes to then be “plowed by man” when his grave is no longer remembered, and be scattered as he returns to be part of the dust that
covers the land he had died for. What actually happens in real life, though, is an uncanny parallel. On December 30, 1896, on the day of his execution, Rizal’s
remains were buried in an unmarked grave in the Paco Cemetery. Years later, however, his remains were exhumed and on December 30, 1912, they were brought to
their final resting place in the base of the monument at Luneta.

Then it doesn't matter that you should forget me:


Your atmosphere, your skies, your vales I'll sweep;
Vibrant and clear note to your ears I shall be:
Aroma, light, hues, murmur, song, moanings deep,
Constantly repeating the essence of the faith I keep.

The first line in this stanza begins following the assumption that our hero’s ashes have now been spread over the land. Rizal envisions that once he has returned to
her in this manner, it will no longer matter if the country forgets him because he will be with her, everywhere, as dust in the atmosphere, blowing in the skies, in the
wind, and still singing songs and murmuring words of devotion.

My idolized Country, for whom I most gravely pine,


Dear Philippines, to my last goodbye, oh, hearken
There I leave all: my parents, loves of mine,
I'll go where there are no slaves, tyrants or hangmen
Where faith does not kill and where God alone does reign.

Here we come to a more submissive yet hopeful tone. Rizal bids farewell to his one great love – his country – and yet looks forward to being with God, where there
are no slaves, tyrants or hangmen.

Farewell, parents, brothers, beloved by me,


Friends of my childhood, in the home distressed;
Give thanks that now I rest from the wearisome day;
Farewell, sweet stranger, my friend, who brightened my way;
Farewell, to all I love. To die is to rest.

To close, Rizal now finally mentions specific people: parents, brothers, friends of his childhood. In other translations, the fourth line reads, “Adios sweet-tender
foreigner—my friend, my happiness,” which historians have interpreted to allude to Josephine Bracken, the daughter of an Anglo-Saxon father and a Chinese
mother, whom many believe – although it is frequently challenged – he secretly married an hour before his death.

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