Tamudmud, Quiza S.
BSED-English 3A
Poem Analysis Entitled "Jolography" by Paolo Manalo
Prepared by: Quiza Tamudmud
I. POEM ANALYSIS
About the Author
Paolo Manalo is a Filipino poet who teaches at the College of Arts and Letters, University of the Philippines. He served as the literary editor of the Philippines Free Press. He was known for his piece or work entitled "JOLOGRAPHY"
Title Analysis
The title itself which is "Jolography" means "JOLOGS" in Filipino terms. In common words, it is known as "JEJEMON" in short it is a Filipino pejorative that is used to describe a "Baduy" person who doesn't have classy pronunciation the way he/she speaks and has a characteristic of a lower-class manner.
Background of the Poem
The Poet of the poem wanted to bend both English and Filipino languages in only one poem itself, where readers might feel confused, interested, and find the content unique based on his choices of words being applied in the context of the poem that showcases Filipino attitude or behaviors where in we usually merge or put-together two languages in our daily conversations towards other people.
Style of the Poem
The poem showcases a combination of the languages Filipino and English. And I believe, it is an author's strategy to catch his/her reader's attention and challenge them at the same time.
Imagery
As one of the readers of this Poem JOLOGRAPHY, collectedly, it doesn't have a specific nor concise picturesque in my mind, for the reason that mixing two different languages create the reader's random interpretation and imagination based on the characters, places, and other elements applied or involve in the poem.
Tone
The author's attitude as what I've observed based on the result f his work, he put emphasis on how these two languages emerge and are interconnected towards each other when they are mixed and put together in a sentence or lines in the poem. where in he interjects the outcome of his poem, the reader's reactions, and its structure when two languages are involved in his workpiece.
Mood
Simply reading the poem without further effort to understand each line. You might find it hilarious or weird, funny those feelings we might get if we are just simply reading its content, o the other side analyzing the deeper meaning of each line, perceiving it deliberately. Then we can find something extremely dominant part of each line. But of course, most readers find it hilarious and confusing.
Literary Device
It doesn't have distinct devices, because each line of the poem applied various devices depending on how readers interpret and analyze each message of the line in the poem. As we read the poem, we might be able to discover their alliteration, simile, metaphor, euphemism, and substantially more.
Theme
The Poem "JOLOGRAPHY" serves as an instrument on how to become patriotic in our own language. The importance of languages here is being highlighted, that in life no matter how our language is difficult to acquire we need to understand and embrace it until we finally get the main reason and the pivotal part in studying our own language/s.
II. REFLECTION FROM THE PEOM (by choosing one stanza)
This line fully catches my attention and blew my mind. I don't really get what's this line all about. Not unless I urge myself to understand it conscientiously. And here's my interpretation of this line of the poem JOLOGRAPHY. For me, this has something to do with the language. "Beautifuling as we speak-- in Cubao" hits differently, meaning we Filipinos are well-oriented when it comes to speaking the English language. On the other hand, "there is that same look: your crossing ibabaw" portrays that no matter how alluring we are in using and delivering other languages, we cannot deceive ourselves, our own identity triumphantly who and what we are. we cannot hide where we came from. "There is that same look" and that is our identity, we cannot deny the fact that we are a Filpino though " your crossing ibabaw" means we are crossing the line and forgetting our own language which serves as BLUEPRINT in our country which is the Philippines.
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