Translation & Analysis of Cichon's Poems

Translation of Cichon's poems from Akeanon to English and their analysis

1. TRANSLATION AND SOCIOCULTURAL ANALYSIS OF SELECTED POEMS OF MELCHOR F. CICHON JONELL SEGADOR GREGORIO MAT-ENGLISH

2. PROBLEM #1 What are the historical underpinnings of Akeanon Literature ? Akeanon literature is primarily oral in tradition . The three most popular forms of oral literature in Aklan are luwa , patugmahanon , and hueobaton . The dearth of Akeanon writers writing in Akeanon is one reason Akeanon Literature has not flourished over the past decades. Melchor F. Cichon is the only critically acclaimed Akeanon poet, who has published books of binaeaybay. His book “Ham-at Madueom Ro Gabii ,” is a collection of his binaeaybay.

3. Problem #2: What are the issues and problems in translating the selected poems of Melchor Cichon from Akeanon to English? One of the issues that emerged is the lack of formal equivalent for some Akeanon terms in English Sentence structures differ in Akeanon and English languages There is no gender in Akeanon pronouns Cultural contexts differ in Akeanon and English

4. Problem #3: What are the techniques and strategies that can be employed in translating the selected poems of Melchor Cichon from Akeanon to English? Literal translation was the most common and the most applicable technique of translation. Literal translation was used in 15 out of the 20 selected poems. Transposition was also ideal to be used in translating poems, especially those that required rearrangement of word structures.

5. Problem #3 : (continuation) Reformulation technique was also used in a number of the poems that needed a completely different expression to transmit the same reality. Through this technique, names of institutions, interjections, idioms or proverbs were able to be translated. Adaptation was used to translate words or expressions that need cultural context. There are cases also of borrowing words from the source language to the target language because the words could not be translated any other way. Modulation technique was used in instances where there was need to change the semantic structure of the word, say from verb to adjective.

6. Problem #4:What are the social, political, religious and gender views of the selected the poems? T hemes under the social perspective are poverty, unemployment, violence, killings, rebellion, Filipino diaspora, prostitution, hunger, mendicancy, child labor , natural and man-made disasters and social movements. Main themes on political views are dissatisfaction with the administration, armed conflicts with government forces and rebel groups, ineptitude of the government to address social issues and corruption and abuse of power .

7. Problem #4: (continuation) The poems revealed several attitudes towards religion. Some poems showed the persona having great faith in God, while some have resigned to their fate. A handful of the poems questioned the morality of the people. There were also poems that have not tackled religion as one of its subjects. Many of the poems treated women as emotional, powerless and helpless, and their bodies are taken as a commodity to escape poverty. Men, on the hand, were portrayed as either brave and courageous or greedy and exploitative

8. Summary of Poems and Translation Techniques Used Poems Translation Techniques Used 1. Mga Baye it Antique   Literal Transposition 2. Emmanuel Lacaba   Transposition Adaptation Reformulation   3. Sumunod Ka Kakon   Literal Transposition Borrowing Reformulation Adaption 4. Itay, Ham-at Pirme Nga May Baearilan? Literal Translation Transposition   5. Ay, Saeamat   Reformulation Borrowing Literal Translation

9. 6. Magdalena   Reformulation Literal Translation Adaptation   7. Emergency Room   Literal Translation Borrowing 8. Inay   Literal Translation Transposition Reformulation 9. Basura ag Lapad   Literal Translation Transposition   10. Ham-at Madueom ro Gabii, Inay?   Literal Transposition Reformulation Adaptation Borrowing  

10. 11. Eskwater     Transposition Reformulation   12. Naghiyum-hiyum Ka   Modulation   13. Relip   Modulation 14. Angel   Literal Translation Transposition   15. Pagtueod it Gabii Modulation Reformulation  

11. 16. Sangka Sueat     Literal Translation Reformulation   17. Ay Pangabuhi   Literal translation Adaptation   18. Sa Pilapil it Tangke   Literal Translation Transposition Adaptation Reformulation 19. Nagahugot nga Nagahugot   Reformulation Transposition   20. Hakita Mo Baea Ro Mga Tawo sa Bangketa? Literal translation Modulation Reformulation

12. Examples of Translated Poems MGA BAYE IT ANTIQUE Ayaw eon’t tangis Mga baye it Antique. Ro inyong euha indi makapabangon Ku natumbang tawo Sa plasa o sa tarmak .   Indi eon magpatueo’t euha Mga baye it Antique. Ro natumbang baganihan Sa plasa Paris it eaki Sa tarmak Hay buko’t Kristo .     Indi eon magpatueo’t euha Mga baye it Antique. Bangon Ag magmartsa Kontra sa nagakaupos nga kahayag Sa madueom nga gabii Hasta sa pagbuteak It pangtanan nga kaaganhon .   WOMEN OF ANTIQUE Don’t cry anymore Women of Antique. Your tears could not raise The fallen At the plaza or tarmac.   Don’t shed a tear Women of Antique. The fallen hero At the plaza Like the man At the tarmac Is not Christ.   Don’t shed tears anymore Women of Antique Rise And march Against the fadingLight In the dark night Until the breaking Of the universal dawn  

13. HAM-AT MADUEOM RO GABII, INAY?   Inay , ham-at madueom ro gabii ? May buean , Toto, ugaling may galipud nga gae -um. Inay , ham-at madueom ro gabii ? May bombilya ro mga poste’t Akelco , Ugaling may brown-out. Inay , ham-at madueom ro gabii ? Ginsinindihan ko ro atong kingke , Ugaling ginapinaeong it hangin . Inay , ham-at madueom ro gabii ? Toto, matueog ka eon lang Ay basi hin-aga temprano pa Magsilak ro adlaw . Indi, ‘Nay ah! Sindihan ko’t uman ro atong kingke .     WHY IS THE NIGHT DARK, INAY?   Inay , why is the night dark ? There’s the moon, Toto, but the sky is overcast. Inay , why is the night dark ? The lamp posts of Akelco have bulbs, But it’s brown-out. Inay , why is the night dark ? I lit our kerosene lamp But the wind is blowing it out. Inay , why is the night dark ? Toto, go to sleep Perhaps the sun will rise early tomorrow. No, ‘Nay ah! I’ll light the kerosene lamp Again.

14. SUMUNOD KA KAKON Sumunod ka kakon sa Japan O sa Brunei man. May trabaho Nga gahueat kimo igto .   Ano ring hueaton riya ? Lahar ? Pabay-i ro bibig Ni Manong Ernie. Eaway man lang Ra mabarato kimo Ka anang bonansya .   Ano ring hueaton riya ? Pasma ? Igto may yen o dolyar ka ! Owa ka man it oeubrahon ; Kanta-kantahan O saut-saotan mo eang Si Prinsipe o si Yakuza, Tama eon . FOLLOW ME Follow me to Japan Or even to Brunei. There’s job Waiting for you there.   What are you waiting here for? Lahar? Don’t mind the words Of Manong Ernie. He only has his saliva As your treat For his bonuses.   What are you waiting here for? Pasma ? There you’ll have yen or Dollar! You have nothing else to do: Just sing Or dance For the Prince or the Yakuza, That’s it . Ano ro eabot ni Manong Ernie Kon eunang ring ginaagyan nga karsada ? May bank to bank ka man Nga inogpadaea Para ring manghod hay makaeskuyla Ag ro inyong eanas nga ginprenda Hay maeukat it ensigida ! Iya espalto ring daean nga ginaagyan , Pero naganipis ring dueonggan .   Imo eon lang ring Prinsipe ag Yakuza! Iya eon lang ako magduedoe It pighoe sa atong banwa !   Sige pa ra tindog kang bandera !   What does Manong Ernie care If the road you passed by Is mud? You send money bank to bank anyway So your sibling Can go to school And the pawned ricefield Can be redeemed anon! Here, the road you pass Is asphalted But your ears are thinning.   Take your prince and Yakuza with you! I’ll stay here and subsist on Leftover rice in our town.   My flag remains raised!

15. Thank you! SOLI DEO GLORIA