Lesson1 Case Study 1 Place of The First Mass
Lesson1 Case Study 1 Place of The First Mass
Lesson1 Case Study 1 Place of The First Mass
PHILIPPINE HISTORY
MAKING SENSE OF THE
PAST: HISTORICAL
INTERPRETATION.
History is the study of the past, but a more contemporary
definition is centered on how it impacts the present through
its consequences. Geoffrey Barraclough defines history
as “the attempt to discover, on the basis of
fragmentary evidence, the significant things about the
past.” He also notes “the history we read, though
based on facts, is strictly speaking, not factual at all,
but a series of accepted judgments.” Such judgments of
historians on how the past should be seen make the
foundation of historical interpretation.
THE CODE OF KALANTIAW is a
mythical legal code in the epic history MARAGTAS. Before it was
revealed as a hoax, it was a source of pride for the people of Aklan.
In fact, a historical marker was installed in the town of BATAN, Aklan
in 1956, with the following text:
"CODE OF KALANTIAW. DATU BENDEHARA KALANTIAW, third Chief
of Panay, born in Aklan, established his government in the peninsula of BATANG, AKLAN
SAKUP. Considered the First Filipino Lawgiver, he promulgated in about 1433 a penal
code now known as CODE OF KALANTIAW containing 18 articles. DON MARCELINO ORILLA
OF ZARAGOZA, SPAIN, obtained the original manuscript from an old chief of Panay which
was later translated into Spanish by RAFAEL MURVIEDO YZAMANEY."
It was only in 1968 that it was proved a hoax, when William Henry Scott, then a
doctoral candidate at the University of Santo Tomas, defended his research on pre-
Hispanic sources in Philippine history. He attributed the code to a historical fiction
written in 1913 by Jose E. Marco titled LAS ANTIGUAS LEYENDAS DE LA ISLA DE
NEGROS. Marco attributed the code itself to a priest named JOSE MARIA PAVON.
Prominent Filipino historians did not dissent to Scott's findings, but there are still
some who would like to believe that the code is a legitimate document.
Historians utilize facts collected from primary sources of
history and then draw their own reading so that their
intended audience may understand historical events, a
process that, in essence, “makes sense of the past.” The
premise is that not all primary sources are accessible to a
general audience, and without the proper training and
background, a non-historian interpreting a primary source
may do more harm than good—a primary source may even
cause misunderstandings; sometimes, even resulting to
more problems.
Interpretations of the past, therefore, vary according to who
reads the primary source, when it was read, and how it was
read. As students of history, we must be well-equipped to
recognize different types of interpretations, why these may
differ from each other, and how to critically sift these
interpretations through historical evaluation. Interpretations
of historical events change over time; thus, it is an
important skill for a student of history to track these
changes in an attempt to understand the past.
“SA AKING MGA KABATA” is a poem purportedly written by Jose Rizal
when he was eight years old and is probably one of Rizal's most prominent works.
There is no evidence to support the claim that this poem, with the now immortalized
lines “ANG HINDI MAGMAHAL SA KANYANG
SALITA/MAHIGIT SA HAYOP AT MALANSANG ISDA” was
written by Rizal, and worse, the evidence against Rizal's authorship of the poem seems
all unassailable.
I. III.
Kapagka ang baya’y sadyang umiibig Ang hindi magmahal sa kanyang salita
Sa kanyang salitang kaloob ng langit, Mahigit sa hayop at malansang isda,
Sanlang kalayaan nasa ring masapit Kaya ang marapat pagyamaning kusa
Katulad ng ibong nasa himpapawid. Na tulad sa inang tunay na nagpala.
II. IV.
Pagka’t ang salita’y isang kahatulan Ang wikang Tagalog tulad din sa Latin
Sa bayan, sa nayo’t mga kaharian, Sa Ingles, Kastila at salitang anghel,
At ang isang tao’y katulad, kabagay Sapagka’t ang Poong maalam tumingin
Ng alin mang likha noong kalayaan. Ang siyang naggawad, nagbigay sa atin.
V.
Ang salita nati’y huwad din sa iba
Na may alfabeto at sariling letra,
Na kaya nawala’y dinatnan ng sigwa
Ang lunday sa lawa noong dakong una.
There exists no manuscript of the poem handwritten by Rizal. The poem was first
published in 1906, in a book by HERMENEGILDO CRUZ. Cruz said he received the
poem from GABRIEL BEATO FRANCISCO, who claimed to have received it in 1884
from Rizal's close friend, SATURNINO RASELIS. Rizal never mentioned writing this
poem anywhere in his writings, and more importantly, he never mentioned of having
a close friend by the person of RASELIS.
Further criticism of the poem reveals more about the
wrongful attribution of the poem to Rizal. The poem was written
in Tagalog and referred to the word “KALAYAAN.”
However, in his recent book Rizal: Makata, National Artist for Literature Virgilio Almario clarifies that
the poem was not by Rizal. Almario provides pieces of evidence to prove his point, and one of these
is a letter Rizal wrote his brother Paciano in 1886. In the letter, Rizal admitted to finding it difficult to
translate into Filipino the German word freiheit, or the Spanish word libertad (freedom or liberty in
English), which Rizal found in the story of William Tell.
It was in Marcelo H. Del Pilar’s translation of Rizal’s article, El Amor Patrio (Ang Pag-Ibig sa
Tinubuang Lupa), that Rizal saw the word “malaya” or “kalayaan” as the Tagalog equivalent of the
word “libertad.”
According to Almario, since Rizal only discovered the Tagalog word kalayaan when del Pilar
translated El Amor Patrio in 1882, it was unlikely that Rizal wrote Sa Aking mga Kabata, which uses
the word kalayaan, in 1869.
Nonetheless, the poem delivers a very patriotic message, particularly about the use of one’s native
language as a way of expressing love for one’s own country. This poem was later set to music by
Pedro Gatmaitan Santos, a composer from Bulacan.
But it was documented in Rizal's letters that he first encountered the word through a
Marcelo H. del Pilar's translation of Rizal's essay “EL AMOR PATRIO," where it was
spelled as “KALAYAHAN." While Rizal's native tongue was Tagalog, he was educated
in Spanish, starting from his mother, Teodora Alonso. Later on, he would express
disappointment in his difficulty in expressing himself in his native tongue.
The poem's spelling is also suspect--the use of letters "k" and "w"
to replace "c" and "u," respectively was suggested by Rizal as an
adult. If the poem was indeed written during his time, it should use
the original Spanish orthography that was prevalent in his time.
Many of the things we accepted as “true” about the past might not be
the case anymore; just because these were taught to us as “facts”
when we were younger does not mean that it is set in stone—history
is, after all, a construct. And as a construct, it is open for
interpretation. There might be conflicting and competing accounts of
the past that need one’s attention, and can impact the way we view
our country’s history and identity. It is important, therefore, to subject
to evaluation not only the primary source, but also the historical
interpretation of the same, to ensure that the current interpretation is
reliable to support our acceptance of events of the past.
MULTIPERSPECTIVITY
With several possibilities of interpreting the past,
another important concept that we must note is
multiperspectivity. This can be defined as a way of
looking at historical events, personalities,
developments, cultures, and societies from different
perspectives. This means that there is a multitude of
ways by which we can view the world, and each could
be equally valid, and at the same time, equally partial
as well.
Dr Robert Stradling defines multiperspectivity as “a way of viewing,
and a predisposition to view, historical events, personalities,
developments, cultures and societies from different perspectives
through drawing on procedures and processes which are
fundamental to history as a discipline”
6. The people of that island of Mazava were very good. There the
Spaniards planted a cross upon a mountain-top. and from there they
were shown three islands to the west and southwest, where they
were told there was much gold. “They showed us how the gold was
gathered, which came in small pieces like peas and lentils.”
7. From Mazava they sailed northwards again towards Seilani. They
followed the coast of Seilani in a northwesterly direction, ascending
up to 10 degrees of latitude where they saw three small islands.
8. From there they sailed westwards some ten leagues, and there
they saw three islets, where they dropped anchor for the night. In
the morning they sailed southwest some 12 leagues, down to a
latitude of 10 and one-third degree. There they entered a channel
between two islands, one of which was called “Matan” and the other
“Subu.”
9. They sailed down that channel and then turned westward and
anchored at the town (la villa) of Subu where they stayed many days
and obtained provisions and entered into a peace-pact with the local
king,
10. The town of Subu was on an east-west direction with the islands
of Suluan and Mazava. But between Mazava and Subu. there where
so many shallows that the boats could not go westward directly but
has to go (as they did) in a round-about way.
It must be noted that in Albo’s account, the location
of Mazava fits the location of the Island of Limasawa,
at southern tip of Leyte ,9°54’N. Also, Albo does not
mention the first Mass, but only the planting of the
cross upon a mountain-top from which could be seen
three islands to the west and southwest, which also
fits the southern end of Limasawa.
PRIMARY SOURCE: PIGAFETTA’S
TESTIMONY ON THE ROUTE OF
MAGELLAN’S EXPEDITION
1. Saturday, 16 March 1521-Magellan’s expedition sighted a
“highland” named “ Zamal ” which was some 300 leagues
westward of Ladrones(now the Marianas) Island.