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I.

TITLE: MISS PHATUPATZ AUTHOR: JUAN CRISOSTOMO SOTO

ABOUT THE AUTHOR: Juan Crisóstomo Caballa Soto (27 January 1867 – 12 July 1918) was a poet, dramatist, journalist and newspaperman. He was also known as Crissot, the “Father of Pampango Literature.” Soto was born in Santa Inés, Bacolor, Pampanga to Santiago Soto and Marciana Caballa. His father was from a middle-class family and owned rice fields while his mother was a seamstress. He had two younger siblings. His father worked as a clerk in the town tribunal and eventually became Bacolor’s alguacil mayor (head peace officer). At first, Soto was taught by private teachers Cirilo Hernández and a certain Ciano Sampaña. Later on, he enrolled in the school of Agapito Layog. At the age of 14, however, he was sent to San Fernando to attend the school of Vicente Quirino. After graduating, Soto enrolled in the Colegio de San Juan de Letrán and studied philosophy, Latin and theology. However, his passion for poetry and theatrical plays prohibited him from finishing with a degree. He went back to Bacolor before the school year was over and wrote a Pampango version of the Shakespeare play, Romeo and Juliet. His version was entitled “Ing Pamaquisawa ning Mete” (“The Marriage of the Dead”). Soto’s first attempt in producing a play failed. Yet, he did not go back to college as he fell in love with the girl who played Juliet in his play. His father did not approve of the relationship and instead he was wed to Julia Almaida in 1891. His next works were all Pampango adaptations from Spanish plays, namely: Ing Marino, Ding Mipalsinta Teruel, Fausto and I Neron Ampon Ding Gladiadores. Soto was obliged to work as a clerk and later on, as assistant warden of the

provincial prison to make ends meet. He was promoted warden after the former warden had been killed when the prisoners revolted. He held this position until the first months of the Revolution in 1896. It was Francisco Makabulos that introduced Soto to the Katipunan. Once in the organization, the poet worked with Maximino Hizón in building the organization’s chapter in Pampanga. Later on, he enlisted himself as a volunteer in the Spanish government’s forces to be able to score arms and ammunitions for the revolutionary movement. When the Spanish government learned about his secret mission and his safety was compromised, he left his chapter and joined the Katipunero force organized by Tomas Mascardo. Soto was active during the second stage of the Revolution and was shot twice in action, first in Porac then in Floridablanca. He was promoted to captain for his heroic work. Meanwhile, he contributed his writing skills to the revolutionary paper La Independencia when the said periodical was set up in San Fernando. He joined the guerilla forces at the time the Americans finally took over Pampanga but he was captured by American soldiers while visiting some relatives in Bacolor and was imprisoned in a convent in Guagua. It was during his imprisonment that he wrote Sigalut. After being released from prison, Soto continued to write plays while also writing for the periodicals El Liberal and La Publicidad. The playwright helped Luther Parker in writing An English-Spanish-Pampango Dictionary together with Modesto Joaquin. In 1906, he edited the Pampango publication Ing Imangabiran, where his only novel, Lidia, appeared serially. The said serial was published in book form but all of its copies were burned. The wealthy woman who bought all of the copies was believed to be the same woman being referred to in the novel. After Ing Imangabiran’s publication ended, he found himself editing the paper Ing Balen. Later on, he became editor of Ing Alipatpat, the publication he founded together with Pascual Gozún and Félix Galura. The paper’s first issue appeared on 3 November 1917. It was in this publication that his Pampango translation of José Rizal’s Noli Me Tangere appeared. However, the playwright died a year later, so the paper ceased publishing, leaving the translated work unfinished. Soto used the pen names Crissot, Rubí, Natis Balén, Lacan Batbat, Vitaliano in his verses and Julio Septiembre in his articles. Most of Soto’s works have remained unpublished and most of those that were preserved were written during the American period. Ing Pamaquisana ning Mete Ing Marino Ding Mipalsinta Teruel Fausto I Neron ampon ding Gladiadores Sigalut Balayan at Sinta Delia Ing Tulisan Alaya Rizal qng Capilla Ing Panim nang D. Roque Metum azerla qng Burac Julio Agoo Cabucas ing Culungan ding Mamulang Ing Paniurang Sitang Aduang Uma Putu at Panara Cacutud a Buac Ding Amazonas No. 10,000 Pelas, Zafiro, Rubi Alang Matatag qng Mayuyut Ing Apu ning Maclac Ing Culasisi nang Gari Ding Atlung P.P.P. Ing Sultana Alang Dios Angelita Azucena Ing Mestiza Ing Violetang Lili Ing Loro ning Gobernadora Ing Dalaga Ing Colegiala Fe, Esperanza, Caridad Ding Atlung Pagas Inmorteli Qng Labi na ning Talaga Puti’t Pula Ing Sundang ning Maluca Kiki-riki

Ing Pitaca nang D. Blas Ing Singsing a Bacal Ing Anac ning Katipunan D. Pascual Conting Terac Ing Caviteña Nanutang Male Cu Ing Chateau Margaux Lidia – a novel Mimilagro tin angina unay a Ladawan ni Ntra. Sra. De Lourdes – religious writing Soto married twice. By his first wife Julia Amaida, who died in 1903, he had six children. He remarried on 24 January 1910, this time to Rosario Palma, with whom he had four children. Soto’s maternal grandfather, Sixto Caballa, was also a local poet who participated in poetical debates known as karagatan. The debate is now called Crissotan in Soto's honor.

SYNPOSIS/SUMMARY: Yeyeng was came from rural areas and poor that he sells bread, Yeyeng was full of make ups on her face.Yeyeng met an American who always bought her kakanin but because yeyeng doesn’t understand English language and she speaks kapampamngan they don’t understand each other. The American teacher was encouraged yeyeng to study English. After learning for 8 months yeyeng was already good in English speaking. She never speak Kapampangan anymore because she had really forgotten that’s she said it’s tough on the tongue. For this reason he classified as Miss Phathupats, due to the size of her waist and squeezed like kakanin on leaf more consistently ridiculed her as well as she’s putting lipstick on her face just to fit his actions. One day, there is an occasion in Country X, which was attended by Miss Phathupats and there it whispered in public that she was not intelligent to speak in kapampangan anymore. Eventually everyone’s laughed at her and because she was so upset she spoke bad words in Kapampangan. And everone knew that she was really one of the Kapampangan and those who heard laughed so hard. Miss Phathupats cried and and when she wiped her face, her natural color revealed caused more laughter of those who had seen him.

II.

CHARACTERS: 



Yeyeng / Miss Phatupats 

Daughter of Aling Atang



Kapampangan



sell cooked food to earn



pretends she has forgotten to speak her native tongue, Pampang

American Soldier 

III.

encourage Yeyeng to study how to speak English

SETTING: 

Pampanga

IV.

AUTHORS POINT OF VIEW 1st Person Point of View

V.

SYMBOLS 

VI.

VII.

“Patupat” – tightly wrapped in banana leaf

THEME: 

"Ang karunungan ay hindi para sa mga kalalakihan lamang."



"Kahanga hanga ang matapang ba babae."

CONFLICT Man vs. Society

VIII.

PLOT: Exposition: The face of a young woman named Miss Yeyeng is full of lipstick and make-up. They say his parents were born in the remote part of Pampanga, in its smallest town. Thus, Miss Yeyeng is a Filipina from head to toe, and even the extremity of her hair, she is a Kapampangan.Because of poverty, they sell cooked food to earn a living. Miss Yeyeng could be seen with a load in her head some “ginataan” or “bitso-bitso” or donut in the gambling dens. She turned into a young lady with no chance to change her life’s condition. Rising Action: Miss Yeyeng, happened to have a regular costumer who is a soldier. She was enticed by the soldier to attend his class so that they would be able to communicate better. In their conversation, the soldier speaks English while Miss Yeyeng speaks Kapampangan, so she was forced to study. Climax: The face of a young woman named Miss Yeyeng is full of lipstick and make-up. They say his parents were born in the remote part of Pampanga, in its smallest town. Thus, Miss Yeyeng is a Filipina from head to toe, and even the extremity of her hair, she is a Kapampangan. Because of poverty, they sell cooked food to earn a living. Miss Yeyeng could be seen with a load in her head some “ginataan” or “bitso-bitso” or donut in the gambling dens. She turned into a young lady with no chance to change her life’s condition.

Denouement: In a festival or entertainment program in town , wherein Miss Phathupats attended,she came close to the reader of the newspaper, but when she saw that it is written in Kapampangan, she pouted slightly, and said, "I do not understand Kapampangan.”

"In fact, I really find difficulty to speak in Kapampangan especially when I read it." With these few words she uttered came all different vulgar words from English, Spanish. Tagalog that she mixed without meaning. Those who heard her had not prevented themselves: they laughed out loud. Moral Lesson: Don’t forget where you came from.

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