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Kambal ne ning kulturang Kapampangan ing kekatamung amanung siswan o ing amanu tamu mitmu yang sangkap ning kulturang Cabalen. Metung keng didinan ta'ng pansin keni Poesia-Kapampangan deng sulat da reng ninumang ating buring iagpang keng literaturang Kapampangan - kakaluguran, kamag-anak, istudyante, linguists, at aliwa pa.
Nung bisa kang mipaisip bagya o mipakaili, oini ing metung kareng obra maestra ng Ponciano S. Medina, metung kareng masugid tamung taga-gawang poesia. (By Editor)
KAYADUANAN NING ANAK PAWAS
(Ponciano S. Medina)
Matas kayu sweldu, manawa ta bili,
Ing piblas mabanglu, dakal ta paniali;
Lenad lang piyalben, libri kang mamili,
King mabanding bansa nung nu yu ku tiki.
Anting kekong ibpa, menusig kung mine,
Ban akalinguan ku ing bie king marangle;
Dapot king pusu ku't pandamdam a tune,
Pilit kung pa'ntunan ing maluka kung bie.
Panintunan ku'ng abak a maranun,
Dulung ku marangle, makiupa kung sarul;
At potang muli ku magdala kung kangkung,
Ban atin ilaga at ulam ta'ng mapun.
Paninintunan ku ing makipamalut,
At makiunus mu king paleng melulut;
Halus patingapun ing babad ka gulut,
King tutulung pawas a alang patugut
Wa, panintunan ku ing bie king sabana,
Mamutput sinabud angiang alang upa;
Nung ating pamangan peka-pakawasa,
'Ya namu ing tula at kekang ligaya.
Kakung paniabikan ing tyup na ning angin,
Banayad mumuma neng bandang sisilim;
Buri kong lalawen ding maslag a batwin,
Neng babaltangan ko ring berding pilapil.
Eku na agawa itang milabasan,
Uling ining bie ku dane neng albugan;
Nung e pangabala, kakung kaduyanan,
Bisa kung milibing king lugal kung tibuan.
Ilibing yu ku sa siping nang indu yu,
King tula at lungkut kaku mekisulu;
Eku panintunan libing a magarbu,
Ikutkut yu ku mu king bariung tibuan ku.
* * *
(Author Medina made this poesia available on social media
on Sept. 10, 2020. All rights of the author reserved.)
From The Editor
This poesia is introspective, depicting the longing of the writer to go back to his former rural life now that he is in his sunset years. His is a wish. The last stanzas become more sentimental as the desire to be buried in his village beside a loved one is emphasized. In terms of form, this poem is mono-rhythmic (AAAA) and is dodeca-syllabic, each line consisting of 12 syllables, reflecting the format of Atin Cu Pung Singsing, which I believe is dodeca-syllabic, but over a period of time, popularization divided each line into two. Thus, instead of having 12-syllable lines, the beloved Kapampangan folk song eventually became known more as a 6-syllable work. I'd like to theorize, therefore, that the folk song was composed of two stanzas of dodeca-syllabic lines.
