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The first poem by Hernando Maramag describes the beauty of moonlight reflecting on the waves of Manila Bay. The light of the moon paints the sea with a silvery glow and casts a magical spell. The second poem by Jose Garcia Villa defines the qualities of a magical poem, saying it must have beauty, music, secrets, wisdom, and the ability to see like a dove or deer. The third poem by Tita Lacambra-Ayala is about a cactus growing on a windowsill that has adapted to survive with only sunlight and sand, and the fourth poem by Conrado V. Pedroche provides an impressionistic description of a carabao in the field.
The first poem by Hernando Maramag describes the beauty of moonlight reflecting on the waves of Manila Bay. The light of the moon paints the sea with a silvery glow and casts a magical spell. The second poem by Jose Garcia Villa defines the qualities of a magical poem, saying it must have beauty, music, secrets, wisdom, and the ability to see like a dove or deer. The third poem by Tita Lacambra-Ayala is about a cactus growing on a windowsill that has adapted to survive with only sunlight and sand, and the fourth poem by Conrado V. Pedroche provides an impressionistic description of a carabao in the field.
The first poem by Hernando Maramag describes the beauty of moonlight reflecting on the waves of Manila Bay. The light of the moon paints the sea with a silvery glow and casts a magical spell. The second poem by Jose Garcia Villa defines the qualities of a magical poem, saying it must have beauty, music, secrets, wisdom, and the ability to see like a dove or deer. The third poem by Tita Lacambra-Ayala is about a cactus growing on a windowsill that has adapted to survive with only sunlight and sand, and the fourth poem by Conrado V. Pedroche provides an impressionistic description of a carabao in the field.
Moonlight on Manila Bay First, A Poem Must Be Magical
Hernando Maramag Jose Garcia Villa
A light serene, ethereal glory, rests First, a poem must be magical,
Its beams effulgent on each cresting wave; Then musical as a seagull. The silver touches of the moonlight lave It must be a brightness moving The deep's bare bosom that the breeze molests; And hold secret a bird’s flowering While lingering whispers deepen as the wavy crests It must be slender as a bell, Roll with weird rhythm, now gay, now gently grave; And it must hold fire as well. And floods of lambent light appear the sea to pave It must have the wisdom of bows All cast a spell that heeds not time's behests. And it must kneel like a rose. Not always such the scene: The din of fight It must be able to hear Has swelled the murmur of the Peaceful air; The luminance of dove and deer. Here east and west have oft displayed their might; It must be able to hide Dark battle clouds have dimmed this scene so fair; What it seeks, like a bride. Here bold Olympia, one historic night, And over all I would like to hover Presaging freedom, claimed a people's care. God, smiling from the poem’s cover.
Cactus Carabao: Impressionistic
Tita Lacambra-Ayala Conrado V. Pedroche
Excuse the cactus This is a Carabao, horns, hide and hoofs,
thirsting on the sill a huge hemispherical belly well-filled and pampered; excuse it's quills a long tapering tail ending in a tuft of hair stuck out : heavy with caked mud whipping the sides they're only an attempt right and left, right and left; at self-defense. tongue sticky licking wet fly-infested nostrils in and out, in and out; See how it bleeds eyes wide and hairy, to fossils the old sand neck furrowed and rough, itself looking to be such the chant of chewing jaws, a fussy fossil. the slow unvarying motion of grinding teeth, the quiet of shifting cud; Not quite futile. a bird poised for flight upon the back – suspended grace of wings, unuttered loveliness song: It should require this –this a marvelous statue in live bronze strong, some sort of guile majestic and more wonderful far some genius than all the ways of Gods and fools. to subsist on suns ome lake of sand (have both for free!) and come out looking freshly green, (juicy even)