Ang Paglilitis ni Mang Serapio Study PDF

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THE CHARACTER’S STATUS IN A SOCIALLY STRATEFIED WORLD: Paul Dumol’s Ang Paglilitis ni Mang Serapio Ma. Theresa P. Tatang [email protected] [email protected] Abstract – Inequalities structure social relationships and shape every aspect of life – social stratification. The study looks into the situations of “oppression” and Mang Serapio’s experiences in Paul Dumol’s ang Paglilitis ni Mang Serapio. Specifically, it studies the characterization of different characters from various social stratification, their behaviors in a socio-cultural milieu; and collective Filipino behavior. This research utilizes the qualitative research in datagathering, the content analysis of the literary text using the Marxist and Sociopsychological critical analyses for interpreting the data. The first phase is the characters, around whom the social situation revolves are analyzed in terms of their characterization. The second phase is the social and cultural milieu, where the behavior is shaped. The last phase summarizes the behavioral traits most frequently associated with class structure. It is concluded that Paul Dumol’s Ang Paglilitis ni Mang Serapio reveals situations of “oppression” in Mang Serapio’s experiences in Paul Dumol’s ang Paglilitis ni Mang Serapio. It is recommended that this literary piece should be taught in literature classes as it helps raise awareness in the battle of “oppression” happening in the lower class. I. INTRODUCTION. Inequalities structure social relationships and shape every aspect of life – social stratification. Social stratification involves the hierarchal arrangement and establishment of social categories – social groups, statuses, and their corresponding roles. It may also be viewed as a social process, as a social structure, and as a social problem (Panopio, 322). These inequalities are evident in most Filipino social plays. In the Philippines, social plays trace their beginnings from the Zarzuela and the Moro-moro. These artistic creations depicted contemporary problems, as well as the abuses of the officials in power. In fact, Yu (1) states that the history of social-protest drama will necessarily have to be the history of Philippine theater itself. The reason for this lies in the fact that the criticism of the social reality has been a central element in the tradition of Philippine theater ever since its awakening into selfconsciousness in the closing years of the nineteenth century. However quintessential the themes that are depicted from these plays, people, may of be a Filipino race, probably do not learn from the mistakes of its society. Change has become the motivation by inculcating social consciousness in dramas, like Paul Dumol’s Ang Paglilitis ni Mang Serapio. Despite being a play about a syndicate of beggars who have almost nothing, Ang Paglilitis seems a brand of experiential theater that is very in-your-face in every identifiable aspect. However, its allegory to corruption in its very essence became the basis of this

research. The blinding of Mang Serapio shows how powerful are those people with higher stands than a beggar. How those people contaminate their selves with vainglory pushing the weak just to save their faces. They could handicap another man and limit his or her actions symbolizing the blind man, where a person in the lower class is limited to see – the truth and eventually fight his or her right. This research could be a mouthpiece of the true ambiance of the structure of society, especially the masses who, for more than a century, have advocated for social reforms. Moreover, since some institutions often remain deaf to the troubles of these people who are unable to express themselves fully with their fellowmen because of the divisive social stratification, the commitment of the researcher remains viable. Karl Marx (248) believes that through class consciousness- an awareness of their true class identifies a revolutionary movement would likely emerge to eliminate class differences. This reason moves the researcher to pursue the study to hopefully inspire all teachers of literature to raise awareness and open their student’s eyes towards the on-going issue of social stratification in Philippine society.

II. THEORETICAL BACKGROUND OF THE STUDY The study looks into the situations of “oppression” in Mang Serapio’s experiences in Paul Domol’s ang Paglilitis ni Mang Serapio. Specifically, it studies the characterization of different characters from various social stratification, their behaviors in a socio-cultural milieu; and collective Filipino behavior. This is strongly supported by Marxism and Sociopsychological criticisms. In literary theory, Marxism views the assessment of the political 'tendency' of a literary work. It includes analyzing the class constructs demonstrated and the narrative of class struggle in a given text. Does the text serve to perpetuate the ruling class ideology; to subvert that ideology, such as William Morris's News from Nowhere; or to signify both a perpetuation and subversion of the dominant ideology, such as in the works of Charles Dickens with Hard Times being the novel that most openly textualizes such a double signification as it offers a damning criticism of capitalism while also and at the same time seeking a perpetuation of a class-structured society (Wikipedia, 1). After examining social organizations in an objective way, he perceived human history to have consisted of a series of struggles between classes – between the oppressed and the oppressing. Marx, et al. (61) further explained that Marxism aims to revolutionize the concept of work through creating a classless society built on control and ownership of the means of production. In such a society, the means of production are possessed in common by all people rather than being owned by an elite ruling class.

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Mar xi sm

Soci opsychol ogi calCr i t i ci sm

Ps y c heoft he Char ac t e r s

Soc i aland Cul t ur al Mi l i e uoft he Char ac t e r s

So c i al St r a t i fic a t i o n Fi l i pi no Be ha v i o ri na Soc i al l y St r a t i fie d St r uc t ur e

Figure 1. Schematic Diagram of the Theoretical Background of the Study Siegel (47) pointed out that in Marx’s Capital, 'the mode of production of material life determines altogether the social, political, and intellectual life process. It is not the consciousness of men that determines their being, but on the contrary their social being, that determines their consciousness.' Put simply, the social situation of the author determines the types of characters that will develop, the political ideas displayed, and the economical statements developed in the text.’ According to psychologist Schultz (35), social psychology is a discipline that uses scientific methods "to understand and explain how the thoughts, feelings, and behavior of individuals are influenced by the actual, imagined, or implied presence of other human beings." Essentially, social psychology is all about understanding how each person's individual behavior is influenced by the social environment in which that behavior takes place. The decisions a person make and the behaviors they exhibit might depend on not only how many

people are present but exactly who they are around with. For example, someone is likely to behave much differently when he or she is around a group of close friends than he or she would be around a group of colleagues or supervisors from work. It is important to note that sociopsychological criticism is not just about looking at social influences. Social perception and social interaction are also vital to understanding a social behavior. The way that one sees other people and the way he or she think they see other people can play a powerful role in a wide variety of actions and decisions. According to Wikipedia (1), social psychologists examine factors that cause behaviors to unfold in a given way in the presence of others. They study conditions under which certain behavior, actions, and feelings occur. Social psychology is concerned with the way these feelings, thoughts, beliefs, intentions, and goals are cognitively constructed and how these mental representations, in turn, influence our interactions with others. Hence, Marxism and Sociopsychological Criticism are very relevant in the study of Paul Dumol’s Ang Paglilitis ni Mang Serapio as these serve as underpinning theories to strengthen the conduct of this research. III. OBJECTIVE OF THE STUDY The study looks into the situations of “oppression” in Mang Serapio’s experiences in Paul Domol’s ang Paglilitis ni Mang Serapio. Specifically, it studies the characterization of different characters from various social stratification, their behaviors in a socio-cultural milieu; and collective Filipino behavior. IV. RESEARCH METHODOLOGY This research utilizes the qualitative research in data-gathering, the content analysis of the literary text using the marxist and sociopsychological critical analyses for interpreting the data. It focuses on analyzing situations of “oppression” the social stratification revealed in the following: a) characterization of different characters from various social stratification; b) their behaviors in a socio-cultural milieu; and, (3) collective Filipino behavior. The masterpiece of Paul Dumol entitled Ang Paglilitis ni Mang Serapio is studied in this research as it depicts the society, along with all its squalors that signals one to reflect on life in the nakedness of life itself. V. RESULTS AND DISCUSSION Phase One: Characterization of the Characters from Various Social Stratification The first phase is the characters, around whom the social situation revolves are analyzed in terms of their characterization. Thus, delineating the characters and their role, their image, and their character traits – the complete manifestation of character involved in a class struggle. Table 1. Characterization of the different Characters from Various Social Stratification

Name of the Character Mang Serapio Dalawang Tagapagtanong Hukom Saksi Dalawang Bantay Mga Pilay

Role

Image

Character Traits

Beggar

oppressed

illiterate, powerless

Interrogators

oppressor

deceptive, foolish

Adjudicator Witnesses Guards

oppressor oppressor oppressor

The Limps

oppressed

gullible, powerful fraud, gossipmongers complicit, subservient obsequiously submissive

The Characters and their role. The names of the important characters who play vital roles that are significant as each gives progress to the story. The characters are part of a federation who are classified as the following: (1) Mang Serapio is a beggar and a member of a federation and was accused because of breaking their rules; (2) The dalawang tagapagtanong (Interrogators) are the two people who insist that Mang Serapio committed a crime; (3) Hukom (Adjudicator) who is higher compare to all the beggars in the federation and he decides whoever wins in every court hearing; (4) The three Saksi (Witnesses) are three witness who wanted Mang Serapio to be punished; (5) The dalawang tagabantay (Guards) are the ones who are liable in handling Mang Serapio during the trials, to not escape; and, (6) The two pilays (Limps) are the beggars who the judge asked to get Mang Serapio’s Baul. The baul or the treasure chest is the most important role in Mang Serapio’s life. Image. According to Marxists (Abrams, 150), literature reflects class struggle and materialism: think how often the quest for wealth and power traditionally defines characters being the oppressor or the oppressed. In this study, the characters whose image is viewed as the oppressor are the following: (1) Dalawang Tagapagtanong (Two Interrogators). They were cruel to Mang Serapio. They think that they are powerful than any of the other members of the federation. (2) Hukom (Adjudicator). He thinks highly of himself but was easily fooled by lying informants. (3) Saksi (Witness). They were liars who kept on insisting false claims about Mang Serapio. And, (4) Dalawang Bantay (Guards). They were prepared to obey the council unquestioningly. They’ve also helped the federation in blinding Mang Serapio. On the other hand, the characters whose image is viewed as the oppressed are the following: (1) Mga Pilay (The Limps). They were ready to conform to the authority due to fear of power. Although they’re part of the reason why Mang Serapio was blinded, they are still part of the oppressed because they think that they are slaves to the federation. Their motive for their actions simply means that they don’t want to get punished. And, (2) Mang Serapio. He was a powerless beggar, an ordinary beggar who was misjudged and wronged by the aforementioned characters. Character Traits. Traits are formed by a person’s behavior and attitude to others. These traits may be good or bad depending on their social situation. Social psychologists

assert that an individual’s thoughts, feelings, and behaviors are very much influenced by social situations (LumenLearning.com (1). Most of the traits found in the study are bad as perceived in a standard community. These are the following: deceptive, foolish, gullible, complicit, fraud and gossipmongers. Other traits are neutral in nature (meaning it may be good or bad depending on how it is shown in the situation) namely: illiterate, powerless, powerful, subservient, and obsequiously submissive. These traits have been common in the society as it is observed in the Philippines. Although, these negative traits do not diminish the fact that Filipinos are good people, it is undeniable that as a human, one reacts to its environment. In general, people in different social classes have distinct characteristics to each other and would clearly imply that most of the people who have the power and with higher position has more chance of oppressing those of the lower class. Phase Two. Behaviors Social and Cultural Milieu. The second phase is the social and cultural milieu, where the behavior is shaped. It is believed in this study that the customs, beliefs, and practices found in dialogues are factors of affecting the milieu of the drama. The table below seek to establish these factors. The sociocultural context or milieu refers to the immediate physical and social setting in which people live or in which something happens or develops. It includes the culture that the individual was educated or lives in, and the people and institutions with whom they interact. On this case, social and cultural milieu can be identified from the customs, beliefs, and practices of the characters found from the dialogues in the drama. Beliefs. According Meriam Webster Dictionary, belief is something that is accepted, considered as true. It was found that there are six (6) beliefs in the drama. (1) The belief that anyone who’s illiterate is disrespectful, and anyone who’s literate is respectful: 1TAG: “(Sa mga manonood) Patawarin ho ninyo siya. Ganito talaga ang mga walang kapangyarihang tulad niya: mangmang at iyan nga ang suliranin ng mga may kapangyarihang katulad namin.”; (2) The belief that beggars are like lowlife animals who have small brains: 1TAG: “Wala ka bang utak?” 2TAG: “Tandaan mo kung sino ka!” 1TAG: “Isaang pulubi! Hamak! Kulisap!” (3) The belief that corporal punishments are good and that it gives the federation a good business: Table 2. Behaviors in a Social and Cultural Milieu.

Factors affecting the Social and Cultural Milieu

Behavior

Beliefs

The belief that anyone who’s illiterate is disrespectful, and anyone who’s literate is respectful. The belief that beggars are like lowlife animals who have small brains. The belief that corporal punishments are good and that it gives the federation a good business. The belief that a beggar cannot be trusted by his words. The belief that the lower class should not have dreams, that having dreams can destroy an established corrupt system A belief that people in the lower class are helpless – no matter what they do, whoever they ask for help with, and wherever they go – they will remain helpless.

Customs

Practices

A beggar that is part of the federation, is not allowed to marry a husband or wife nor bear and care for a child because it is not a good business for them. A custom that the inferior class cannot interfere with the decision of their superiors, even if it’s their lives that are at risk. A custom that if the accused is proven guilty, his properties and 10% of his profit will be given to the witness. The working class should give back to its government. Don’t talk to someone in authority if the reply is not asked. A broker of rule will be sanctioned according to the magnitude of his or her crime. Beggars should talk politely to those people in authority or in power. The practice of people meddling with the lives of others. The practice of eavesdropping. The practice of those in authority who believes in someone who’s in favor of him or her even if it doesn’t have enough basis.

Name of the Character

Tagapagtanon g (Interrogator)

Hukom (Adjudicator) Tagapagtanon g (Interrogator)

Hukom (Adjudicator)

Tagapagtanon g (Interrogator)

Mga Saksi (Witnesses)

2TAG: “Humahanga ako sa parusa ng federacion: ubod ng karanungan at pag-unawa, sapagkat sa katotohanan ay pagkakawanggawa ang mga parusa. Halimbawa, ang pagpipi, o ang pagpilay kaya. (Maglalapag ng bareta sa mesa) Ipalagay nating bulag ang criminal at nakikinabang dahil sa pagkabulag niya, hindi ba tataas ang kita niya kung pilay rin siya? Bulag na, pilay pa. O, at di lang siya makikinabang. Ang federacion din, sapagkat tataas ang

kaniyang abuloy sa federacion. ‘Yan ang tinawatawag kong maunwaing parusa: ang pinarurusahan at ang nagpaparusa ay kapwa nakikinabang. Ito ho ang icepick.” (4) The belief that a beggar cannot be trusted by his words: SER: Tatlong taon nang patay. Sinagasaan ng dyip. Patay na siya. Patay. 1TAG: Tunay na malungkot ang iyong kwento. Pinipiga mo an gaming puso. 2TAG: Walang alinlangang mahusay ka sa sining ng pambobola. SER: Patay na siya! 1TAG: Magsalaysay ka sana ng kwentong higit na kapani-paniwala kaysa diyan (5) A belief that people in the lower class are helpless – no matter what they do, whoever they ask for help with, and wherever they go – they will remain helpless; HUK: “(Sa mga PULUBI) Tandaan ninyo ‘yan! May kuwarenta pesos kayong dapat ibigay sa federacion araw-araw. At ibibigay n’yo ang perang iyan sa amin. At kapag hindi, kung kayo’y nakakakita, pipitasin naming ang inyong mga mata; kung kayo ay nakapagsasalita, puputulin naming ang inyong dila, at kung kayo’y nakakalakad, babasagin naming ang inyong mga buto; at kung hindi pa rin ninyo susundin ang batas na itom ang bawat daliri ninyo’y isa-isang tatanggalin. Malungkot nga ang buhay sa federaciong ito, ngunit kasapi na kayo hanggang kamatayan. Kamatayan lamang ang makakapagligtas sa’yo kapag sumali ka sa federaciong ito. Buksan ang baul! (Patuloy na naman ang pagmamartilyo habang nagsasalita si SERAPIO. Dapat lunurin ng mga hampas ng martilyo ang karamihan sa mga salita ng dialogo ni SERAPIO.)” And, (6) The belief that the lower class should not have dreams, that having dreams can destroy an established corrupt system: 1TAG: “(Sa mga manonood) Umaasa kami na nauunawaan ninyo kung bakit kami napilitang parusahan si Serapio. Tinuturuan niya ang mga kasaping magkaroon ng mga haraya, ang mga pangarap, na di naman matutupad at dadagdag lamang sa kanilang lumbay. Ang ginawa niya’y nakasisira sa mga kasapi nitong federacion. Ang ano mang federacion ay nangangailangan ng mga kaayusan, ng mga batas. Ang maninira nitong kaayusan ay mapanganib. Ang ginawa ni Mang Serapio’y salungat saming mga batas. Ang ginawa niya’y pulos malisya. Ipinagtanggol lang naming ang aming kapwa tao. Ito’y dapat ninyong lubos na maunawaan. (Katahimikan.).” Customs. Cus...