by Connie C. Triggiano
Pabasa may be considered a literature/cultural phenomenon for the incredible intensity alone of the rhythm of chanted words, narrating the passion of Christ and the amazing challenges of the depth of ancient Tagalog used in the story. The source of this celebratory account of Jesus’ life on earth, revered by Filipinos all over, is aptly called “Pasiong Mahal.”
“Pasyon” during Pabasa is chanted, a marathon of meditative singing from dawn-to-dawn in one 24-hour sitting or over three days of epic-like celebration during Holy Week, detailing Jesus’ life, ministry and death in the most comprehensive details yet outside of the bible. Jesus’ public life are etched in sequential narratives in aesthetic language that evokes profound emotion and sound symbolism.
The power of liturgy running over expressive tones in the “Pasyon” testifies to the Filipinos’ strong religious fervor. Rene Javellana, S.J. of Ateneo’s Philippine Studies points to Jesuit’s master printer, Gaspar Aquino de Belen as “the original author who in 1703 published 980-verse narrative, Mahal na Passion ni Jesuchristong Panginoon Natin na Tola.”
An inquirer.net story (“Pasyon written 202 years ago by Bulacan priest,” March 24, 2016, Carmela Reyes-Estrope, ) attributes the first widely published “Pasyon” to have been written in 1814 by Mariano Pilapil, a doctor of theology from Bulacan. His version was the book used in Rizal Center’s “Pabasa” last March 23rd.
Folks devoted to keeping Pabasa tradition alive mounted this year’s annual Lenten event in Rizal Center. They assembled in two groups alternately chronicling Jesus’ life and painful trek to Calvary in stanzas of riveting color while keeping the fundamentals of epic poetry: eight syllables each line, 5 lines of rhythmic phrase for each group of singers. Chanting in high and low tones began early that Saturday morning of March 23, nonstop, as other people joined in at various hours, sustaining the mournful story in shifts. The devotees concluded retelling the saga at dawn the following day, on Palm Sunday.
The language of the “Pasyong Mahal ng Ating Panginoong Jesucristo” is steeped in dolorous fluidity, even if the textual properties and meaning can be drawn chiefly from context.
By today’s usage, Tagalog words in the “Pasyon” would sound weird or even gross, considering that passages are sung, hence the resulting strains may ring distasteful or offensive.
King Herod, for instance, is “sukaban,” the devil is “demonyong lilo,” and the Virgin Mary is “Birheng Inang tibobos.” By all accounts, anyone reading the “Pasyon” can be both challenged and amazed at how Tagalog has evolved and yet still evokes the same lexical sentiments and mystique as the original even absent full comprehension of the material.
Jesus performed his first miracle changing water into wine at a wedding in Cana to save the host from embarrassment. The “Pasyon” describes it as “kinulang ang alak dito, kahihiya’y mago’t mago…ang tubig ay alipala naging alak na mistula.” Jesus’ response to Martha’s complaint about housework: “Ang dapat mong ikagulo, ikabahala ng puso mo…ay tanang mga aral ko.”
Context is heavily called upon, such as this passage when Jesus instructed Peter and John to prepare to enter Jerusalem on this first Palm Sunday: ”…kayo ay may daratnang humentang na napupugal, kasiping ang humentilya, kalagin (ninyo) at dalhin dito.”
During Jesus’ 40-day fasting in the desert, the devil taunted Jesus to assuage his hunger: ”…ang wika ko, na inoola sa iyo, gawin mo maging tinapay ang bato at nang may makain tayo.” After praying in Gethsemani, Jesus found his disciples asleep and was dismayed: “katoto ko at alagad, dili kayo nakagagad sa akin nang pagpupuyat kahima’t isang oras!” Upon Jesus’ recruitment of Batholomew as a disciple, the new apostle was amazed: “Anak ng Diyos kang tambing.” Before Jesus cured an invalid, “pariseos” jeered at Jesus and mocked him: “Saka iyang taong uslak mangangahas magpatawad.” and at another incident, “”marami ang upasala niyong mga aliktiya.”
The Pasyon does not pass up any chances of using Jesus’ story into calls for prayers and repentance. It even includes passages in Latin for dramatic effect. In “Aral” following Judas Escariot’s suicide, the “Pasyon” prods restitution for man’s soul: “Kahima’t salang puyapos kung nagbabalik ang loob at tumatawag sa Diyos pangako niyang tibosbos patatawarin din lubos.”
And think about what makes these lines very true — from “Dapat Ituro sa Paaralan — Bahagi ng Aral ng Pasyon” — “Ang tao hanggang mayaman marami ang kaibigan; Kung mahirap na ang buhay masalubong man sa daan di na batii’t titigan.”
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