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Tagalog

said

English

pulvorista

Last Update: 2012-11-21
Subject: General
Usage Frequency: 1
Quality:

Tagalog

Said

English

Poverty

Last Update: 2013-07-24
Usage Frequency: 1
Quality:
Reference:

Tagalog

you said

English

sanabi mo

Last Update: 2013-05-28
Subject: General
Usage Frequency: 1
Quality:

Reference:

Tagalog

what he said /

English

progressful

Last Update: 2017-02-17
Subject: General
Usage Frequency: 1
Quality:

Reference:

Tagalog

Sophocles was an ancient Greek poet and one of three ancient Greek tragedians whose plays have survived. His plays belonged to the period after Aeschylus and earlier of Euripides. Based on the information provided by Suda, a 10th century encyclopedia, Sophocles wrote 123 plays during his lifetime, out of which only seven have survived in a complete form. These plays are Ajax, Antigone, Trachinian Women, Oedipus the King, Electra, Philoctetes and Oedipus at Colonus. It was believed that he remained the most celebrated playwright in the dramatic competitions of the city-state of Athens held during the religious festivals of the Lenaea and the Dionysia. Sophocles participated in thirty competitions, of which he won 24 and never went below second place in the rest. Among his plays, the two most famous tragedies, Oedipus and Antigone are generally known as the Theban plays, even though each play belonged to a part of a different tetralogy. Sophocles greatly influenced the drama. His main contribution was the addition of third actor which reduced the importance of the chorus in the presentation of the plot. A crater on the surface of Mercury has been after this ace Greek poet and playwright. Sophocles Childhood and Life Sophocles was the son of Sophilus, who was a rich member of the rural deme (small community) of Colonus Hippius. Sophocles was said to have been born in Attica. It is said that he was born few years before the Battle of Marathon in 490 BC, which is probably around 497/6 BC. Sophocles received his first artistic achievement in 468 BC, when he won first prize in the Dionysia theatre competition over the reigning master of Athenian drama, Aeschylus. According to Greek historian Plutarch, this victory was quite unusual. Unlike the usual custom of choosing judges by lot, the archon asked Cimon and the other strategoi present to decide the victor of the contest. According to him after being defeated, Aeschylus left for Sicily. “Triptolemus” was one amongst the plays that Sophocles presented at this festival. When Sophocles was sixteen, he was chosen to lead the paean, a choral chant to a God, celebrating the Greek victory over the Persians at the Battle of Salamis. He was one of the ten strategoi, high executive officials that commanded the armed forces and was the junior colleague of Pericles. In the beginning of his career, Sophocles received patronage from the politician Cimon. Even when Cimon was ostracized by Pericles (Cimon's rival) in 461 BC, Sophocles received no harm. In 443/ 442 he became one of the Hellenotamiai, or treasurers of Athena, and had the role to assist managing the finances of the city during the political ascendancy of Pericles. Based on the accounts of the Vita Sophoclis, he served as a general in the Athenian campaign against Samos in 441 BC. It was believed that Sophocles received this post because of his writing of Antigone. In 420 BC, when Asclepius was introduced to Athens, he welcomed it and set up an altar for the image of deity at his house. In 413, Sophocles was elected one of the commissioners who reacted to the catastrophic destruction of the Athenian expeditionary force in Sicily during the Peloponnesian War. Personal Life Sophocles first married to Nicostrata, with whom he had a son named Iophon. In the later life, he had relationship with a woman of Sicyon. She bore him a son called Ariston. It was believed that he had three more sons, but there is not much information about them. Death In the winter of 406/ 405 BC, Sophocles died at the age of ninety or ninety one. Like the other famous men from the ancient history, his death also inspired many apocryphal stories. One of the stories states that he died from the strain of trying to recite a long sentence from his play, “Antigone” without pausing to take a breath. Whereas the other story suggests that he choked to death while eating grapes at the Anthesteria festival in Athens. The third story accounts that he died due to excessive happiness over winning his final victory at the City Dionysia. Works The earliest contribution of Sophocles to the drama was the introduction of the third actor which immensely reduced the role of the chorus and created better opportunities for character development and conflict between characters. Even his competitor Aeschylus, who dominated Athenian playwrights during Sophocles' early career, accepted the new idea and adopted it into his own work towards the end of his life. Aristotle gave Sophocles the credit of the introduction of skenographia, or scenery-painting. After the death of Aeschylus in 456 BC, Sophocles became the celebrated playwright in Athens. He emerged victorious in different dramatic competitions, 18 at Dionysia and 6 at Lenaea festivals. Apart from making innovations in the dramatic structure, he was also known for his deeper development of characters than the earlier playwrights. His widespread reputation helped him to get invitation from foreign rulers to attend their courts, but unlike other playwrights Aeschylus who died in Sicily, or Euripides who spent time in Macedon, he never accepted any of these invitations. Sophocles works were influential and significant for the Greek culture. Two out of his seven plays can be estimated correctly to their exact dates, which namely are “Philoctetes” (409 BC) and “Oedipus at Colonus” (401 BC, staged after his death by his grandson). From the rest of his plays, “Electra” had striking similarities to these two plays which put forwards the fact that it was written in the later part of his literary career. Again based on the stylistic characteristics of “Oedipus the King” which came in his middle period, “Ajax”, “Antigone” and “The Trachiniae” belonged to his early days. Sophocles had also written three Theban plays namely, “Oedipus the King”, “Oedipus at Colonus” and “Antigone”. All these plays described the fate of Thebes during and after the reign of King Oedipus. These plays were sometimes even published under a single cover. Sophocles had written these plays in separate festival competitions with several years of difference between them. They cannot be called trilogy because of the presence of inconsistencies among them. Apart from these, Sophocles is supposed to have written few more Theban plays such as such as “The Progeny”, which survived in fragments. The majority of his plays depicted the undercurrent of early fatalism and the offset of Socratic logic being the keystone for the long tradition of Greek tragedy.

English

sophocles

Last Update: 2017-02-07
Subject: General
Usage Frequency: 1
Quality:

Reference:

Tagalog

All it took was a solar eclipse and five-car collision atop the Magnetic Hill for the souls of five individuals --- the virginal bride-to-be (Angelica Panganiban), her histrionically litigious godmother (Eugene Domingo), her ringbearer's destitute nanny (Tuesday Vargas), her husband-to-be's amorous grandfather (Jaime Fabregas), and her gay beautician (John Lapuz) --- to switch bodies. With the bride-to-be's soul transferring to the godmother's body; the godmother's soul transferring to the nanny's body; the nanny's soul transferring to the grandfather's body; the grandfather's soul transferring to the beautician's body; and the beautician's soul transferring to the bride-to-be's body, the dream beach wedding turns into a hilarious riot, where long-dormant passions are awakened, sexual fantasies are fulfilled, economic alleviation is achieved, and a chance at love is obtained. Let us get it out of the way. Chris Martinez's Here Comes the Bride is top-notch entertainment. Martinez was able to come up with everything most recent Filipino mainstream comedies lack: that no-nonsense singular objective of making people laugh. From the getgo to the post-credit extra scene, the film never stopped to be overtly pedantic or moralistic, a problem that most Filipino comedies have since there always seems to be this need to use cinema as replacement for Sunday school. For example, Wenn Deramas' Ang Tanging Ina (The True Mother, 2003), and its sequel and many offshoots, are always derailed by its insistence on teaching a lesson; even Joyce Bernal's Kimmy Dora (2009) is stalled by its apologetic dénouement that went too long and too serious. Never mind the forced logic to explain the illogic, the negligible business about solar eclipses and souls, the history and science behind the soul-swap, as authoritatively explained by television trivia-master Kim Atienza. Here Comes the Bride is deliriously funny nonsense all the way and it thankfully works. The film's success is not entirely surprising. After all, Martinez is arguably one of the Philippines' better screenwriters. His screenplays, from Bridal Shower (Jeffrey Jeturian, 2004), about three friends in search of love, to Caregiver (Chito Roño, 2008), about a mother who follows her husband to London in the hopes of earning enough to live comfortably, reflect his ability to articulate something as minute as the language to something as pertinent as the needs of the rapidly-changing Filipino society for mainstream appeal. 100 (2008), his directorial debut about a woman who is dying from cancer, is salvaged from being a run-of-the-mill melodrama by an abundance of relevant humor. Martinez understands the Filipino soul, that the very best way to tackle something as devastating as death is to treat it with levity, to make it familiar and therefore personal. That said, Martinez may very well be the most current of all actively working screenwriters, actively pursuing entertainment without being dumbed down by the demands of commercial accessibility. Despite its astounding technical polish, Here Comes the Bride is fundamentally closer to Joey Gosiengfiao's redeemed Temptation Island (1981), where a bunch of beauty queens and the men surrounding them are stranded in a deserted island, than the mechanically churned comedies Star Cinema has been producing the past recent years. Underneath the caricatures that Martinez connected by the conceit of the convenient soul-swap, underneath the blatant inanity of its carefully conceived proceedings, is a well-pronounced understanding that life, as it is, is unfair, that there are those who are born poor, those who live loveless, and those who inevitably grow old and inutile. In a twist of fate, cruel only to the bride-to-be who suddenly gets a first-hand experience of the inequity of living after a lifetime of being sheltered and protected, inabilities and deficiencies are cured, emphasizing in what essentially is a film created for no other reason than to be an escapist fantasy that the key to a happy life is as unrealistic and as incredible as swapping souls via rare natural phenomena. Like Temptation Island whose gay pageant director becomes the unwilling sacrificial lamb simply because he presumably has the least to lose among the other loved and loving survivors, the most fully realized character in Here Comes the Bride is the love-starved gay beautician whose fortune of being transported to the body of the beautiful and sexy bride-to-be is the most dramatic out of the five. As expected, it is mostly played for laughs and Panganiban does a brilliant job in emulating the fabulous larger-than-life gestures of Lapuz. After all, the very idea of a gay man suddenly and surprisingly getting everything he ever wanted, from the body parts he can only have in his wildest dreams to the straight men who he can only love and lust for from a safe distance, is in itself a hoot. The hilarity of the absurd situation, at that scene where the bride-to-be in the body of her godmother insists that the gay beautician return her body, unravels into a well-pronounced statement of gay angst and sentiment as he emotionally shouts "Hindi ninyo maiintindihan dahil hindi kayo bakla! (You will never understand because you are not gay!). At that moment, the film, notwithstanding the fact that it never stopped being funny, reflected a current fundamental truth, something that not even a mainstream film as self-promotedly queer as Olivia Lamasan's In My Life (2009) can have the guts to state as plainly and matter-of-factly as that. The gay man becomes a girl. The loveless godmother feels how it is to be loved. The amorous yet incapacitated grandfather relives the passion and the romance of his distant youth. The poor nanny turns into a millionaire. The innocent bride-to-be wallows in the realities of life's misfortune. Martinez fills the screen with realized desires at the expense of the bride-to-be, emphasizing the frailty of the human soul in the face of happiness. In the midst of the film's invaluable wit and humor that frequently pumps in rhythm with the Latin beats of the apt lively music score, the film's characters, ideally uncomplicated and stereotypical, are allowed to live their desires realized, concretizing in easy-to-understand cinematic terms the pleasures of escape, of living a fantasy even if it is only momentarily. I am very happy to say that Here Comes the Bride is as current and relevant as it is entertaining and hysterical. All it took was a solar eclipse and five-car collision atop the Magnetic Hill for the souls of five individuals --- the virginal bride-to-be (Angelica Panganiban), her histrionically litigious godmother (Eugene Domingo), her ringbearer's destitute nanny (Tuesday Vargas), her husband-to-be's amorous grandfather (Jaime Fabregas), and her gay beautician (John Lapuz) --- to switch bodies. With the bride-to-be's soul transferring to the godmother's body; the godmother's soul transferring to the nanny's body; the nanny's soul transferring to the grandfather's body; the grandfather's soul transferring to the beautician's body; and the beautician's soul transferring to the bride-to-be's body, the dream beach wedding turns into a hilarious riot, where long-dormant passions are awakened, sexual fantasies are fulfilled, economic alleviation is achieved, and a chance at love is obtained. Let us get it out of the way. Chris Martinez's Here Comes the Bride is top-notch entertainment. Martinez was able to come up with everything most recent Filipino mainstream comedies lack: that no-nonsense singular objective of making people laugh. From the getgo to the post-credit extra scene, the film never stopped to be overtly pedantic or moralistic, a problem that most Filipino comedies have since there always seems to be this need to use cinema as replacement for Sunday school. For example, Wenn Deramas' Ang Tanging Ina (The True Mother, 2003), and its sequel and many offshoots, are always derailed by its insistence on teaching a lesson; even Joyce Bernal's Kimmy Dora (2009) is stalled by its apologetic dénouement that went too long and too serious. Never mind the forced logic to explain the illogic, the negligible business about solar eclipses and souls, the history and science behind the soul-swap, as authoritatively explained by television trivia-master Kim Atienza. Here Comes the Bride is deliriously funny nonsense all the way and it thankfully works. The film's success is not entirely surprising. After all, Martinez is arguably one of the Philippines' better screenwriters. His screenplays, from Bridal Shower (Jeffrey Jeturian, 2004), about three friends in search of love, to Caregiver (Chito Roño, 2008), about a mother who follows her husband to London in the hopes of earning enough to live comfortably, reflect his ability to articulate something as minute as the language to something as pertinent as the needs of the rapidly-changing Filipino society for mainstream appeal. 100 (2008), his directorial debut about a woman who is dying from cancer, is salvaged from being a run-of-the-mill melodrama by an abundance of relevant humor. Martinez understands the Filipino soul, that the very best way to tackle something as devastating as death is to treat it with levity, to make it familiar and therefore personal. That said, Martinez may very well be the most current of all actively working screenwriters, actively pursuing entertainment without being dumbed down by the demands of commercial accessibility. Despite its astounding technical polish, Here Comes the Bride is fundamentally closer to Joey Gosiengfiao's redeemed Temptation Island (1981), where a bunch of beauty queens and the men surrounding them are stranded in a deserted island, than the mechanically churned comedies Star Cinema has been producing the past recent years. Underneath the caricatures that Martinez connected by the conceit of the convenient soul-swap, underneath the blatant inanity of its carefully conceived proceedings, is a well-pronounced understanding that life, as it is, is unfair, that there are those who are born poor, those who live loveless, and those who inevitably grow old and inutile. In a twist of fate, cruel only to the bride-to-be who suddenly gets a first-hand experience of the inequity of living after a lifetime of being sheltered and protected, inabilities and deficiencies are cured, emphasizing in what essentially is a film created for no other reason than to be an escapist fantasy that the key to a happy life is as unrealistic and as incredible as swapping souls via rare natural phenomena. Like Temptation Island whose gay pageant director becomes the unwilling sacrificial lamb simply because he presumably has the least to lose among the other loved and loving survivors, the most fully realized character in Here Comes the Bride is the love-starved gay beautician whose fortune of being transported to the body of the beautiful and sexy bride-to-be is the most dramatic out of the five. As expected, it is mostly played for laughs and Panganiban does a brilliant job in emulating the fabulous larger-than-life gestures of Lapuz. After all, the very idea of a gay man suddenly and surprisingly getting everything he ever wanted, from the body parts he can only have in his wildest dreams to the straight men who he can only love and lust for from a safe distance, is in itself a hoot. The hilarity of the absurd situation, at that scene where the bride-to-be in the body of her godmother insists that the gay beautician return her body, unravels into a well-pronounced statement of gay angst and sentiment as he emotionally shouts "Hindi ninyo maiintindihan dahil hindi kayo bakla! (You will never understand because you are not gay!). At that moment, the film, notwithstanding the fact that it never stopped being funny, reflected a current fundamental truth, something that not even a mainstream film as self-promotedly queer as Olivia Lamasan's In My Life (2009) can have the guts to state as plainly and matter-of-factly as that. The gay man becomes a girl. The loveless godmother feels how it is to be loved. The amorous yet incapacitated grandfather relives the passion and the romance of his distant youth. The poor nanny turns into a millionaire. The innocent bride-to-be wallows in the realities of life's misfortune. Martinez fills the screen with realized desires at the expense of the bride-to-be, emphasizing the frailty of the human soul in the face of happiness. In the midst of the film's invaluable wit and humor that frequently pumps in rhythm with the Latin beats of the apt lively music score, the film's characters, ideally uncomplicated and stereotypical, are allowed to live their desires realized, concretizing in easy-to-understand cinematic terms the pleasures of escape, of living a fantasy even if it is only momentarily. I am very happy to say that Here Comes the Bride is as current and relevant as it is entertaining and hysterical.

English

All it took was a solar eclipse and five-car collision atop the Magnetic Hill for the souls of five individuals --- the virginal bride-to-be (Angelica Panganiban), her histrionically litigious godmother (Eugene Domingo), her ringbearer's destitute nanny (Tuesday Vargas), her husband-to-be's amorous grandfather (Jaime Fabregas), and her gay beautician (John Lapuz) --- to switch bodies. With the bride-to-be's soul transferring to the godmother's body; the godmother's soul transferring to the nanny's body; the nanny's soul transferring to the grandfather's body; the grandfather's soul transferring to the beautician's body; and the beautician's soul transferring to the bride-to-be's body, the dream beach wedding turns into a hilarious riot, where long-dormant passions are awakened, sexual fantasies are fulfilled, economic alleviation is achieved, and a chance at love is obtained. Let us get it out of the way. Chris Martinez's Here Comes the Bride is top-notch entertainment. Martinez was able to come up with everything most recent Filipino mainstream comedies lack: that no-nonsense singular objective of making people laugh. From the getgo to the post-credit extra scene, the film never stopped to be overtly pedantic or moralistic, a problem that most Filipino comedies have since there always seems to be this need to use cinema as replacement for Sunday school. For example, Wenn Deramas' Ang Tanging Ina (The True Mother, 2003), and its sequel and many offshoots, are always derailed by its insistence on teaching a lesson; even Joyce Bernal's Kimmy Dora (2009) is stalled by its apologetic dénouement that went too long and too serious. Never mind the forced logic to explain the illogic, the negligible business about solar eclipses and souls, the history and science behind the soul-swap, as authoritatively explained by television trivia-master Kim Atienza. Here Comes the Bride is deliriously funny nonsense all the way and it thankfully works. The film's success is not entirely surprising. After all, Martinez is arguably one of the Philippines' better screenwriters. His screenplays, from Bridal Shower (Jeffrey Jeturian, 2004), about three friends in search of love, to Caregiver (Chito Roño, 2008), about a mother who follows her husband to London in the hopes of earning enough to live comfortably, reflect his ability to articulate something as minute as the language to something as pertinent as the needs of the rapidly-changing Filipino society for mainstream appeal. 100 (2008), his directorial debut about a woman who is dying from cancer, is salvaged from being a run-of-the-mill melodrama by an abundance of relevant humor. Martinez understands the Filipino soul, that the very best way to tackle something as devastating as death is to treat it with levity, to make it familiar and therefore personal. That said, Martinez may very well be the most current of all actively working screenwriters, actively pursuing entertainment without being dumbed down by the demands of commercial accessibility. Despite its astounding technical polish, Here Comes the Bride is fundamentally closer to Joey Gosiengfiao's redeemed Temptation Island (1981), where a bunch of beauty queens and the men surrounding them are stranded in a deserted island, than the mechanically churned comedies Star Cinema has been producing the past recent years. Underneath the caricatures that Martinez connected by the conceit of the convenient soul-swap, underneath the blatant inanity of its carefully conceived proceedings, is a well-pronounced understanding that life, as it is, is unfair, that there are those who are born poor, those who live loveless, and those who inevitably grow old and inutile. In a twist of fate, cruel only to the bride-to-be who suddenly gets a first-hand experience of the inequity of living after a lifetime of being sheltered and protected, inabilities and deficiencies are cured, emphasizing in what essentially is a film created for no other reason than to be an escapist fantasy that the key to a happy life is as unrealistic and as incredible as swapping souls via rare natural phenomena. Like Temptation Island whose gay pageant director becomes the unwilling sacrificial lamb simply because he presumably has the least to lose among the other loved and loving survivors, the most fully realized character in Here Comes the Bride is the love-starved gay beautician whose fortune of being transported to the body of the beautiful and sexy bride-to-be is the most dramatic out of the five. As expected, it is mostly played for laughs and Panganiban does a brilliant job in emulating the fabulous larger-than-life gestures of Lapuz. After all, the very idea of a gay man suddenly and surprisingly getting everything he ever wanted, from the body parts he can only have in his wildest dreams to the straight men who he can only love and lust for from a safe distance, is in itself a hoot. The hilarity of the absurd situation, at that scene where the bride-to-be in the body of her godmother insists that the gay beautician return her body, unravels into a well-pronounced statement of gay angst and sentiment as he emotionally shouts "Hindi ninyo maiintindihan dahil hindi kayo bakla! (You will never understand because you are not gay!). At that moment, the film, notwithstanding the fact that it never stopped being funny, reflected a current fundamental truth, something that not even a mainstream film as self-promotedly queer as Olivia Lamasan's In My Life (2009) can have the guts to state as plainly and matter-of-factly as that. The gay man becomes a girl. The loveless godmother feels how it is to be loved. The amorous yet incapacitated grandfather relives the passion and the romance of his distant youth. The poor nanny turns into a millionaire. The innocent bride-to-be wallows in the realities of life's misfortune. Martinez fills the screen with realized desires at the expense of the bride-to-be, emphasizing the frailty of the human soul in the face of happiness. In the midst of the film's invaluable wit and humor that frequently pumps in rhythm with the Latin beats of the apt lively music score, the film's characters, ideally uncomplicated and stereotypical, are allowed to live their desires realized, concretizing in easy-to-understand cinematic terms the pleasures of escape, of living a fantasy even if it is only momentarily. I am very happy to say that Here Comes the Bride is as current and relevant as it is entertaining and hysterical.

Last Update: 2016-12-05
Subject: General
Usage Frequency: 1
Quality:

Reference:
Warning: Contains invisible HTML formatting

Tagalog

All it took was a solar eclipse and five-car collision atop the Magnetic Hill for the souls of five individuals --- the virginal bride-to-be (Angelica Panganiban), her histrionically litigious godmother (Eugene Domingo), her ringbearer's destitute nanny (Tuesday Vargas), her husband-to-be's amorous grandfather (Jaime Fabregas), and her gay beautician (John Lapuz) --- to switch bodies. With the bride-to-be's soul transferring to the godmother's body; the godmother's soul transferring to the nanny's body; the nanny's soul transferring to the grandfather's body; the grandfather's soul transferring to the beautician's body; and the beautician's soul transferring to the bride-to-be's body, the dream beach wedding turns into a hilarious riot, where long-dormant passions are awakened, sexual fantasies are fulfilled, economic alleviation is achieved, and a chance at love is obtained. Let us get it out of the way. Chris Martinez's Here Comes the Bride is top-notch entertainment. Martinez was able to come up with everything most recent Filipino mainstream comedies lack: that no-nonsense singular objective of making people laugh. From the getgo to the post-credit extra scene, the film never stopped to be overtly pedantic or moralistic, a problem that most Filipino comedies have since there always seems to be this need to use cinema as replacement for Sunday school. For example, Wenn Deramas' Ang Tanging Ina (The True Mother, 2003), and its sequel and many offshoots, are always derailed by its insistence on teaching a lesson; even Joyce Bernal's Kimmy Dora (2009) is stalled by its apologetic dénouement that went too long and too serious. Never mind the forced logic to explain the illogic, the negligible business about solar eclipses and souls, the history and science behind the soul-swap, as authoritatively explained by television trivia-master Kim Atienza. Here Comes the Bride is deliriously funny nonsense all the way and it thankfully works. The film's success is not entirely surprising. After all, Martinez is arguably one of the Philippines' better screenwriters. His screenplays, from Bridal Shower (Jeffrey Jeturian, 2004), about three friends in search of love, to Caregiver (Chito Roño, 2008), about a mother who follows her husband to London in the hopes of earning enough to live comfortably, reflect his ability to articulate something as minute as the language to something as pertinent as the needs of the rapidly-changing Filipino society for mainstream appeal. 100 (2008), his directorial debut about a woman who is dying from cancer, is salvaged from being a run-of-the-mill melodrama by an abundance of relevant humor. Martinez understands the Filipino soul, that the very best way to tackle something as devastating as death is to treat it with levity, to make it familiar and therefore personal. That said, Martinez may very well be the most current of all actively working screenwriters, actively pursuing entertainment without being dumbed down by the demands of commercial accessibility. Despite its astounding technical polish, Here Comes the Bride is fundamentally closer to Joey Gosiengfiao's redeemed Temptation Island (1981), where a bunch of beauty queens and the men surrounding them are stranded in a deserted island, than the mechanically churned comedies Star Cinema has been producing the past recent years. Underneath the caricatures that Martinez connected by the conceit of the convenient soul-swap, underneath the blatant inanity of its carefully conceived proceedings, is a well-pronounced understanding that life, as it is, is unfair, that there are those who are born poor, those who live loveless, and those who inevitably grow old and inutile. In a twist of fate, cruel only to the bride-to-be who suddenly gets a first-hand experience of the inequity of living after a lifetime of being sheltered and protected, inabilities and deficiencies are cured, emphasizing in what essentially is a film created for no other reason than to be an escapist fantasy that the key to a happy life is as unrealistic and as incredible as swapping souls via rare natural phenomena. Like Temptation Island whose gay pageant director becomes the unwilling sacrificial lamb simply because he presumably has the least to lose among the other loved and loving survivors, the most fully realized character in Here Comes the Bride is the love-starved gay beautician whose fortune of being transported to the body of the beautiful and sexy bride-to-be is the most dramatic out of the five. As expected, it is mostly played for laughs and Panganiban does a brilliant job in emulating the fabulous larger-than-life gestures of Lapuz. After all, the very idea of a gay man suddenly and surprisingly getting everything he ever wanted, from the body parts he can only have in his wildest dreams to the straight men who he can only love and lust for from a safe distance, is in itself a hoot. The hilarity of the absurd situation, at that scene where the bride-to-be in the body of her godmother insists that the gay beautician return her body, unravels into a well-pronounced statement of gay angst and sentiment as he emotionally shouts "Hindi ninyo maiintindihan dahil hindi kayo bakla! (You will never understand because you are not gay!). At that moment, the film, notwithstanding the fact that it never stopped being funny, reflected a current fundamental truth, something that not even a mainstream film as self-promotedly queer as Olivia Lamasan's In My Life (2009) can have the guts to state as plainly and matter-of-factly as that. The gay man becomes a girl. The loveless godmother feels how it is to be loved. The amorous yet incapacitated grandfather relives the passion and the romance of his distant youth. The poor nanny turns into a millionaire. The innocent bride-to-be wallows in the realities of life's misfortune. Martinez fills the screen with realized desires at the expense of the bride-to-be, emphasizing the frailty of the human soul in the face of happiness. In the midst of the film's invaluable wit and humor that frequently pumps in rhythm with the Latin beats of the apt lively music score, the film's characters, ideally uncomplicated and stereotypical, are allowed to live their desires realized, concretizing in easy-to-understand cinematic terms the pleasures of escape, of living a fantasy even if it is only momentarily. I am very happy to say that Here Comes the Bride is as current and relevant as it is entertaining and hysterical.

English

Tagalog word for here comes the bride

Last Update: 2016-12-05
Subject: General
Usage Frequency: 1
Quality:

Reference:
Warning: Contains invisible HTML formatting

Tagalog

i said sa aking mga pasyente ibinukod higit pa sa hinaharap

English

i said my patients single more future

Last Update: 2016-03-06
Subject: General
Usage Frequency: 1
Quality:

Reference:

Tagalog

Just like any other towns in the province of Bulacan, the town got its name from a tree called "Bukawe" found in abundance during that time in the said place. Bocaue was just a mere barrio of the town of Meycauayan until 1606 when it was made into a town with Reverend Padre Delos Santos as the first parish priest and administrator. Fire destroyed a large part of the town in 1818, but was later rehabilitated gradually during the American regime. In 1908-1910, some members of the municipal council headed by Guillermo Puatu unsuccessfully tried to change the name of this town to Balagtas in honor of the Tagalog poet. Francisco "Balagtas" Baltazar. (Bigaa, being the birthplace of the hero merited the name of Balagtas in 1966). The history of Bocaue is not complete without citing the legend of the Holy Cross of Wawa which has a great significance to the residents of this town as to its founding. The celebration of the feast in honor of the Holy Cross has been made a tradition and a yearly affair. The legend says those centuries ago, a woman was saved miraculously fro drowning by an image of the big wooden cross floating along the flooded river in barrio Wawa this town. The woman, the story goes, was about to sink when she caught a glimpse of the image of the cross. She tried to take hold of it but it moved farther. The woman followed the image until she clung to it and then was able to reach safely the riverbank. Every year, every 1st Sunday of July, the residents of Bocaue greeted the visitors with the traditional river festival in honor of the said Holy Cross. Today, Bocaue is thriving with cottage industries and many factories billow with smoke. Once, some foreigners visited this place, and they found out that every home is virtually a busy place. Each home turns out goods and many other products, which contribute greatly to the economy of the town. Religious and industrious, the Bocaue people always look up to the great promise of the future.

English

Just like any other towns in the province of Bulacan, the town got its name from a tree called "Bukawe" found in abundance during that time in the said place. Bocaue was just a mere barrio of the town of Meycauayan until 1606 when it was made into a town with Reverend Padre Delos Santos as the first parish priest and administrator. Fire destroyed a large part of the town in 1818, but was later rehabilitated gradually during the American r

Last Update: 2016-02-04
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Tagalog

The Rizal Monument in Luneta was not the work of a Filipino but a Swiss sculptor named Richard Kissling. Furthermore, Kissling was only the second placer in the international art competition held between 1905 – 1907 for the monument design. The first-prize winner was Professor Carlos Nicoli of Carrara, Italy. His scaled plaster model titled “Al Martir de Bagumbayan” (To the Martyr of Bagumbayan) bested 40 other accepted entries. Among his plans were the use of marble from Italy (in contrast to the unpolished granite now at Luneta) and the incorporation of more elaborate figurative elements. Many accounts explained that the contract was awarded to Dr. Richard Kissling of Zurich, Switzerland for his “Motto Stella” (Guiding Star) because of Nicoli’s inability to post the required performance bond of P20,000 for the duration of the monument’s construction. Some sources say that Nicoli failed to show up at the designated date for the signing of the job contract. Another narrative declared, “parenthetically, the contract was awarded to Richard Kissling because his quotation was lower that that of Prof. Nicoli’s.” A complaint was reportedly filed by Nicoli through the courts of justice. Some of the local press lambasted Kissling’s model. It was satirized in a cartoon and labeled vulgar y tosco, meaning “lousy.” The constituents of the Jury of Awards – all Americans and none of whom were artists, architects nor engineers –were also questioned. (Then Governor James F. Smith headed the jury.) There were plans for the famous Filipino painter Felix Resurreccion Hidalgo to inspect and modify the design. However, the latter was ultimately left “as it is” since the bronze of the statues had already been cast in Switzerland. During Rizal’s (birth) centenary year in 1961, a controversial stainless steel shaft/pylon was superimposed over the granite obelisk. This increased the height of the structure from 12.7 meters to 30. 5 meters. The said remodeling undertaken by the Jose Rizal National Centennial Commission (JRNCC) was widely criticized. It drew derisive remarks of it being “carnivalistic,” “nightmarish,” “commercialized,” “pseudo modern,” “hodgepodge of classic and Hollywood modern,” “fintailed monstrosity,” and “like a futuristic rocket ship about to take off for interstellar space,” to cite some. Many found the gleaming modernistic steel shaft incompatible with the somber granite base. Moreover, the latter seemed to dwarf the much smaller Rizal figure. Others simply dislike the idea of tampering with a popular and traditional image which was already immortalized in stamps, paper currency, books and souvenirs, among others. The designer of the remodeling was Juan F. Nakpil – later to become the country’s first National Artist for Architecture. He quoted former Secretary of Education and JRNCC chair Manuel Lim as the one who “envisioned it as a part of obelisk that will jut out to serve as a convenient guide for incoming boats and ships and for the people lost in their way around the city.” The P145,000 shaft was eventually removed two years later under the request of Secretary of Education Alejandro Roces and Director of Public Libraries Carlos Quirino. It was dismantled during the Holy Week “reportedly to prevent any court injunction from restraining them as government offices were closed during holidays. Until a few years ago, the pylon stood on Roxas Boulevard to mark the Pasay-Parañaque boundary. Its present whereabouts are uncertain.

English

correct grammar on translations

Last Update: 2015-11-20
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Tagalog

One day Monki and Makil carried out a plan. Makil let his wife place a piece of white cloth over his body, cry a kandidiagao (a cry of grief), and say, "Why did Makil die? He was very good to all the people! He planted sweet fruits and plenty of sugarcane." When the monkeys heard Monki's cry, they decided to help her. The leader of the monkeys said, "We shall help Monki, because it is really true that Makil was a good man. He always planted fruits for us." So all the monkeys went to the house of Monki. The leader of the monkeys asked her, "What can we do? Can we help you? Please tell us how we can help you!" Monki replied, "Oh, my friends, Makil will not die if you help him sit up." So they helped Makil sit up. The leader asked, "Can you tell us what else we can do to help you?" "Oh, my friend monkeys, you are very good to me!" continued Monki. "Makil will not die if you help him stand up." So they helped him stand up. "What else can we do, Monki?" asked the leader of the monkeys. "Oh, my friend monkeys, if you give this kampilan (long combat sword) to Makil, I promise you that we shall plant more sugarcane just for you," said Monki. When Amomantaragaga saw the kampilan he became wary and went out of the house. As soon as Makil received the kampilan, Monki closed the door and Makil killed all the monkeys in the house. Only Amomantaragaga escaped. One day Makil and Monki had another good idea. They made a litag (bamboo trap) in order to catch Amomantaragaga. Early in the morning, they went out to see if the trap had caught the monkey. In fact it had caught an animal, but it did not look like a monkey. They were annoyed when they came near and found out that the animal was a heron. This heron was called Tatalaonga. "Why are you here, Tatalaonga?" asked Makil. "I'll kill you because you are the reason why I did not catch Amomantaragaga." "Oh, datu, please don't kill me," pleaded the heron. "If you set me free, I'll go and kill Amomantaragaga myself!" So Makil set the heron free. Tatalaonga asked Makil to make a raft from pieces of sugarcane. When the raft was finished, Makil brought it to the river, and Tatalaonga perched on it. Drifting along, Tatalaonga passed Amomantaragaga by the banks of the river and invited the monkey to go rafting with him. The two continued down the river on the raft. Tatalaonga took a piece of sugarcane to use as a pole to move the raft, and then he took another one and gave it to Amomantaragaga, who greedily ate the pole. The monkey ate one cane after another, until only one piece was left. At that instance, Tatalaonga flew away and left Amomantaragaga to drown in the river. Monki and Makil and the sultan of Agamaniyog and his people were happy to be rid of the pestering monkeys.

English

One day Monki and Makil carried out a plan. Makil let his wife place a piece of white cloth over his body, cry a kandidiagao (a cry of grief), and say, "Why did Makil die? He was very good to all the people! He planted sweet fruits and plenty of sugarcane." When the monkeys heard Monki's cry, they decided to help her. The leader of the monkeys said, "We shall help Monki, because it is really true that Makil was a good man. He always planted fruits for us." So all the monkeys went to the house of Monki. The leader of the monkeys asked her, "What can we do? Can we help you? Please tell us how we can help you!" Monki replied, "Oh, my friends, Makil will not die if you help him sit up." So they helped Makil sit up. The leader asked, "Can you tell us what else we can do to help you?" "Oh, my friend monkeys, you are very good to me!" continued Monki. "Makil will not die if you help him stand up." So they helped him stand up. "What else can we do, Monki?" asked the leader of the monkeys. "Oh, my friend monkeys, if you give this kampilan (long combat sword) to Makil, I promise you that we shall plant more sugarcane just for you," said Monki. When Amomantaragaga saw the kampilan he became wary and went out of the house. As soon as Makil received the kampilan, Monki closed the door and Makil killed all the monkeys in the house. Only Amomantaragaga escaped. One day Makil and Monki had another good idea. They made a litag (bamboo trap) in order to catch Amomantaragaga. Early in the morning, they went out to see if the trap had caught the monkey. In fact it had caught an animal, but it did not look like a monkey. They were annoyed when they came near and found out that the animal was a heron. This heron was called Tatalaonga. "Why are you here, Tatalaonga?" asked Makil. "I'll kill you because you are the reason why I did not catch Amomantaragaga." "Oh, datu, please don't kill me," pleaded the heron. "If you set me free, I'll go and kill Amomantaragaga myself!" So Makil set the heron free. Tatalaonga asked Makil to make a raft from pieces of sugarcane. When the raft was finished, Makil brought it to the river, and Tatalaonga perched on it. Drifting along, Tatalaonga passed Amomantaragaga by the banks of the river and invited the monkey to go rafting with him. The two continued down the river on the raft. Tatalaonga took a piece of sugarcane to use as a pole to move the raft, and then he took another one and gave it to Amomantaragaga, who greedily ate the pole. The monkey ate one cane after another, until only one piece was left. At that instance, Tatalaonga flew away and left Amomantaragaga to drown in the river. Monki and Makil and the sultan of Agamaniyog and his people were happy to be rid of the pestering monkeys.

Last Update: 2015-09-06
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Tagalog

HISTORY OF CAGAYAN DE ORO CITY By ATTY. "TOMMY" C. PACANA CHAIRMAN, HISTORICAL COMMISSION Two thousand years ago, there were already ancient Kagay-anons living around the vicinity of Hulaga, Himologan and Tagbalitang caves around 8 kilometers south of Cagayan de Oro City. Fr. Francisco Demetrio, S.J., noted archeologist and Filipino folklorist of Xavier University had collected tools, implements, potteries and shards from these areas and subjected these to the Carbon dating process at the Philippine Historical Museum to determine their age. It was found that these tools and implements were already used by the ancient Kagay-anons during the Neolithic Age. This shows how old Cagayan de Oro is before the coming of the Spanish "conquistadors" to the Philippines in march 1521. There were three great Sultanates of Mindanao and Sulu. These were Sultanates of Sulu under Sheriff Aljaluddin, the Sultanate of Maguindanao under Sheriff Mawi, and Tagoloan under Sheriff Mohammed Kabungsuwan. The Sultanate of Tagoloan extended from Baloi, Lanao del Sur, to Butuan, Cagayan de Oro (or Kalambaguhan, by which name it was then known), was merely a passageway from Baloi to Butuan, which was already a great trading center like Zugbu, Panay and Manila. Kalambaguhan has a small settlement of Bukidnons who lived along the riverbanks of the Kalambaguhan River. This river (now the Cagayan River) was so known because of the "Lambago" trees that grew profusely along its banks. During this time, however, the Cachel Corralat (Sultan Kudarat) marauding warriors attacked such places as Manticao, Tagnipa, (El Salvador), Iligan and Kalambaguhan to bring these places with their domain. They captured the women, children and working animals of the inhabitants in these places and brought them to their Sultanate. Because of these constant raids, the Bukidnons along the river fled to the hills of Hulaga led by their ruler, Datu Salangsang. Sometime in 1622, long after the Spaniards had established themselves at Butuan, Spanish friars under Fray Agustin de San Pedro known as "El Padre Capitan" went to see Datu Salangsang and sought to invite him and his people to come down to their told settlement at Kalambaguhan under the protection of the Spaniards. Datu Salangsang's aunt, a Christianized woman of influence whose name was Magdalena Bacuya. With a messenger from El Padre Capitan reiterated his offer to Datu Salangsang and convinced him to come down to their ancient settlement of Kalambaguhan. To protect the Bukidnons from the constant raids of the Muslim from Cachel Corralat, El Padre Capitan built a fortification around the settlement, which is now Gaston Park. Several raids of the Maguindanao warriors were repulsed by the courageous El Padre Capitan that the Muslims never returned again to the settlement. It was from this small settlement that the present Cagayan de Oro originated. A small church was built on the site, which later became the present San Agustin Cathedral. Thereby, the fame of El Padre Capitan as an able military strategist, spread far and wide. He vanquished the Muslims around Lake Lanao. The people of Cagayan de Oro come from a blend of two cultures those of the Muslims and Bukidnons. These were the native people that had settled in the region long before the coming of the Spaniards in fact, the first Christians among these natives were the Muslims from Lanao who were the descendants of the Samporna clan. They were the first to be baptized along with the Bato-Batos, the Wagas, Abas, Dagumbals and several families. HOW DID CAGAYAN DE ORO GOT ITS NAME? Pre-War folks said that Cagayan came from "Cagaycay, " an ancient Bukidnon word meaning to rake in the earth either with one's bare hands or with a piece of wood. It also means rocks gathered from the river or ores raked in from the hillside or streams. Gold have always been abundant in the Cagayan River gold ores are still found in the nearby of Cagayan as Tumpagon, Pigsag-an, Tuburan, Taglimao and other nearby places. Before the Spaniards came to Cagayan (or Kalambaguhan), there were already places where on could rake in the earth. ANOTHER VERSION IS MORE ROMANTIC Another version of how Cagayan de Oro got its name is told in of that story of a Bukidnon chieftain on the eastern side of Cagayan River (whose name according to old folks was Mansicampo), once had a quarrel with a Muslim Datu across the river (now the RER Subdivision), his name was Bagongsalibo. The quarrel became intense that the Bukidnon chieftain wanted it settled by war. However, the Muslim Datu across the river wanted to live in peace with his people in that part of Cagayan. Mansicampo then called on all his followers and relatives from the Bukidnon tribes of Daan Lunsod, gathered on the eastern side of the river ready for combat then Mansicampo ordered his son, the Bagani, to go and see Datu Bagongsalibo and arranged for a council of war. Therefore, the young prince went to see the Muslim Datu and confirmed with him. During the conference, however the young prince noted that there was a beautiful young woman who kept on peeping from behind a door looking at him. She was so beautiful that the young prince was immediately captivated and forgot his main purpose in the council. The young prince immediately proposed his intentions to the Muslim Datu who was only too willing to accept his land in marriage as he was not very keen about going to war against a neighbor. When the Bukidnon chieftain heard about his son proposing marriage to the daughter of his enemy. His warriors bid goodbye and left to live near the hills of Lumbia vowing never return to his former settlement which he now call "Kagayha-an" (or in Bukidnon, a place of shame). Since then, Cagayan de Oro has grown into one of the most peaceful and progressive cities in the entire Philippines.

English

zzzzzzzz

Last Update: 2015-08-27
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Tagalog

ang lobo at ang tagakA Wolf had been feasting too greedily, and a bone had stuck crosswise in his throat. He could get it neither up nor down, and of course he could not eat a thing. Naturally that was an awful state of affairs for a greedy Wolf. So away he hurried to the Crane. He was sure that she, with her long neck and bill, would easily be able to reach the bone and pull it out. “I will reward you very handsomely,” said the Wolf, “if you pull that bone out for me.” The Crane, as you can imagine, was very uneasy about putting her head in a Wolf’s throat. But she was grasping in nature, so she did what the Wolf asked her to do. When the Wolf felt that the bone was gone, he started to walk away. “But what about my reward!” called the Crane anxiously. “What!” snarled the Wolf, whirling around. “Haven’t you got it? Isn’t it enough that I let you take your head out of my mouth without snapping it off?” Moral

English

A Wolf had been feasting too greedily, and a bone had stuck crosswise in his throat. He could get it neither up nor down, and of course he could not eat a thing. Naturally that was an awful state of affairs for a greedy Wolf. So away he hurried to the Crane. He was sure that she, with her long neck and bill, would easily be able to reach the bone and pull it out. “I will reward you very handsomely,” said the Wolf, “if you pull that bone out for me.” The Crane, as you can imagine, was very uneasy about putting her head in a Wolf’s throat. But she was grasping in nature, so she did what the Wolf asked her to do. When the Wolf felt that the bone was gone, he started to walk away. “But what about my reward!” called the Crane anxiously. “What!” snarled the Wolf, whirling around. “Haven’t you got it? Isn’t it enough that I let you take your head out of my mouth without snapping it off?” Moralthe wolf and the crane

Last Update: 2015-07-23
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Tagalog

Investigation conducted revealed that on or about 3:10 P.M. of this date at said place of occurrence, both vehicles were travelling in same direction heading north (Brgy; Mabini at this City) the Nissan Almera ahead to Mitsubishi Montero and the Nissan Almera was temporarily stopped due, to traffic condition it was accidentally bumped/hit on its rear portion.

English

Pagsisiyasat isinasagawa nagsiwalat na sa o tungkol sa 3:10 ng petsa na ito sa sinabi lugar ng pangyayari, ang parehong mga sasakyan ay naglalakbay sa parehong direksyon heading hilaga (Brgy; Mabini sa ito City) ang Nissan Almera mauna na Mitsubishi Montero at ang Nissan Almera ay pansamantalang huminto dahil, sa kondisyon ng trapiko ito ay aksidenteng Uusog / hit sa kanyang likod na bahagi.

Last Update: 2015-07-22
Subject: Legal and Notarial
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Tagalog

and said that he didn't mean anything

English

and said that he did not mean anything

Last Update: 2015-04-13
Subject: General
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Tagalog

Hi Couze Yes her gf befor ... yn yn in manila ... naman.hikan.nadaw alleged yn c brix after having .. Opt na na ponta relative lng kc father died .. I said you almost 2years mkaantay kau pg not .. I dont think sooo

English

Kya iniwasan.nya babae.... Para anu pa ba Bahala cya couze. Oy.. I.love namn sakin hehe Visaya couz brix

Last Update: 2015-01-19
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Tagalog

It happened in the town of Dueñas, Iloilo. There’s this guy they called “Tiniente Gimo” (Lieutenant Gimo). He was addressed as Tiniente (Lieutenant) because he’s some sort of a captain (a chief) of a baranggay (Barangay, is native term for a village) of the said town. It was all also said that he’s also referred Tiniente because he’s also a chief of his clan, a clan of aswangs.

English

english to hiligaynon

Last Update: 2015-01-12
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Tagalog

Joseph Rudyard Kipling (/ˈrʌdjərd ˈkɪplɪŋ/ RUD-yəd KIP-ling; 30 December 1865 – 18 January 1936)[1] was an English short-story writer, poet, and novelist. He wrote tales and poems of British soldiers in India and stories for children. He was born in Bombay, in the Bombay Presidency of British India, and was taken by his family to England when he was five years old.[2] Kipling's works of fiction include The Jungle Book (1894), Kim (1901), and many short stories, including "The Man Who Would Be King" (1888).[3] His poems include "Mandalay" (1890), "Gunga Din" (1890), "The Gods of the Copybook Headings" (1919), "The White Man's Burden" (1899), and "If—" (1910). He is regarded as a major innovator in the art of the short story;[4] his children's books are enduring classics of children's literature; and one critic described his work as exhibiting "a versatile and luminous narrative gift".[5][6] Kipling was one of the most popular writers in England, in both prose and verse, in the late 19th and early 20th centuries.[4] Henry James said: "Kipling strikes me personally as the most complete man of genius (as distinct from fine intelligence) that I have ever known."[4] In 1907, he was awarded the Nobel Prize in Literature, making him the first English-language writer to receive the prize, and its youngest recipient to date.[7] Among other honours, he was sounded out for the British Poet Laureateship and on several occasions for a knighthood, all of which he declined.[8] Kipling's subsequent reputation has changed according to the political and social climate of the age[9][10] and the resulting contrasting views about him continued for much of the 20th century.[11][12] George Orwell called him a "prophet of British imperialism".[13] Literary critic Douglas Kerr wrote: "He [Kipling] is still an author who can inspire passionate disagreement and his place in literary and cultural history is far from settled. But as the age of the European empires recedes, he is recognised as an incomparable, if controversial, interpreter of how empire was experienced. That, and an increasing recognition of his extraordinary narrative gifts, make him a force to be reckoned with."[14]pamatnubay

English

Joseph Rudyard Kipling (/ˈrʌdjərd ˈkɪplɪŋ/ RUD-yəd KIP-ling; 30 December 1865 – 18 January 1936)[1] was an English short-story writer, poet, and novelist. He wrote tales and poems of British soldiers in India and stories for children. He was born in Bombay, in the Bombay Presidency of British India, and was taken by his family to England when he was five years old.[2] Kipling's works of fiction include The Jungle Book (1894), Kim (1901), and many short stories, including "The Man Who Would Be King" (1888).[3] His poems include "Mandalay" (1890), "Gunga Din" (1890), "The Gods of the Copybook Headings" (1919), "The White Man's Burden" (1899), and "If—" (1910). He is regarded as a major innovator in the art of the short story;[4] his children's books are enduring classics of children's literature; and one critic described his work as exhibiting "a versatile and luminous narrative gift".[5][6] Kipling was one of the most popular writers in England, in both prose and verse, in the late 19th and early 20th centuries.[4] Henry James said: "Kipling strikes me personally as the most complete man of genius (as distinct from fine intelligence) that I have ever known."[4] In 1907, he was awarded the Nobel Prize in Literature, making him the first English-language writer to receive the prize, and its youngest recipient to date.[7] Among other honours, he was sounded out for the British Poet Laureateship and on several occasions for a knighthood, all of which he declined.[8] Kipling's subsequent reputation has changed according to the political and social climate of the age[9][10] and the resulting contrasting views about him continued for much of the 20th century.[11][12] George Orwell called him a "prophet of British imperialism".[13] Literary critic Douglas Kerr wrote: "He [Kipling] is still an author who can inspire passionate disagreement and his place in literary and cultural history is far from settled. But as the age of the European empires recedes, he is recognised as an incomparable, if controversial, interpreter of how empire was experienced. That, and an increasing recognition of his extraordinary narrative gifts, make him a force to be reckoned with."[14]

Last Update: 2015-01-08
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Tagalog

kombertidorWhile still in the grade school, his mother used to tell him to be a priest, to dignify and ameliorate their state of life; but the father would vehemently counter, no, he should be a lawyer. As always during the eve of the fiesta, Celedonio G. Aguilar earnestly desire to watch the parade with deep interest and enthusiasm especially when the platoon of soldiers march by and roiled in his mind the well-mannered discipline and dignity of mien of the soldiers, that someday, he thought and figured himself to be one of them. So when he enrolled at the Albay High School, after his academic classes, posthaste he would scurry out to his custodial concern, joined the formation of the preparatory military training activities. Through the years he rose from the ranks to become battalion commander. It was October, during his senior year in school that he hide down to the military camp to take the Philippine Military Academy Examination, but the Japanese Imperial forces landed at legazpi on December 14, 1941 thus throwing his ambition to be a soldier to the winds. However during the Japanese occupation, he joined the guerilla movement (NOMETA) Noli Me Tangere Guerilla as 2nd Lieutenant. He was enraptured with much interest when the American Force landed at legazpi on april 1, 1945. And NOMETA unit became 1st. Battalion of Sandico’s 52nd Division Guerilla Unit was re – entrenched to a company and merge to first Regiment Bicol Brigade that include him in the activated regular force of the Philippine Army as First class Private. Utterly disgusted he resigned from the army and applied to teach in the District of camalig as a substitute teacher. After a year of teaching, he became a temporary teacher and was appointed head teacher at Del Rosario Public School. Three years after classroom work, he resigned to pursue a degree in education and Graduated in 1951 at the National University, Manila. He first taught at Libon Private High School, after a year, transferred to St. John’s Academy in Camalig where his former student, Mrs. Minda Grageda Muñoz in their St. John’s Academy Golden Anniversary Souvenir booklet, In Retrospect elucidated; “Mr. Aguilar is a tall respectable man, eloquent and dedicated English instructor. We were all eyes and ears for him when he’s in front of the class, listening intently and spellbound to his interesting lecture. He was forthright and his dignified stature demanded respect.” In the same booklet, Reminiscing Our High School days with our Mentors, Mrs. Josefina Nuas Ramos averred, “Mr. Aguilar was our English teacher. He spoke English fluently. He developed our interest in reading literature and novels. He is a writer. Some of his books are: Shaken Shadows, Time and Sunken Sun, This Season and Night, Pink Sun and Neutral Dust, Readings in Philippine Literature, Speaking and Writing English, Critiques on Poetry, Understanding Poetry through imagery, Thesis Writing Made Easy, Functional Research Techniques, Dimensions in Reading, and Before the Tide Sets In.” Then the Civil Sevice Commission, in a letter, ordered him to report to Marcial O. Rañola Memorial School to teach English, non – compliance will be tantamount to scrapping out his civil service eligibility. Banners in The Quill, student publication of Marcial O. Rañola Memorial School, that new teacher added to MORMS Teaching Force,”one of them was MR. Aguilar of Camalig, Albay who had his first feel of teaching in 1945 when he accepted a teaching position in a barrio elementary school in the District of Camalig. But three years teaching in the elementary, resigned to enroll at National University, where in 1951 obtained his Bachelor of Science degree in Educational major in English and minor in history. He taught for five years at St. John’s Academy. During summer enrolled at U.P. for masteral degree.” He enjoyed immensely his secondary teaching adventure. Especially his literature teaching which spurred in him for more writing for publication in the national magazines: This Week Magazine, Free Press, Sunday Times Magazine, Graphic, Solidarity, etc. Through the suggestion of Bienvenido N. Santos, he organized Albay Writers with membership officials as: Dr. Rodrigo Salazar, Valdemar Olaguer, Jose Ravalo, Vic O. Ballesfin, and 15 other budding writers of Albay with Celedonio G. Aguilar as President and Bienvinido Santos as Adviser. At one instance, through Santos, N.V.M. Gonzales was guest speaker of the group along with Hilario Francia and Petronilo Daroy. To cap it all, he was elected President of the Albay Secondary Teachers Association which perhaps paved the way for his selection for the Master of Art in Teaching Reading Scholarship at the University of the Philippines. In the Class 76 reunion at MORMS of which Dr. Susan Princesa Mallonga was the President presented to him a certificate, which states: “Class 76”presents this certificate of Appreciation to Mr. Celedonio G. Aguilar for his demonstrated patience, hard work and dedication in molding our young minds in the pursuit of our secondary education, most of all, giving us the foundation in academic excellence, and teaching us values of honesty, diligence, sincerity and humility,” After enjoying the DECS scholarships, he was promoted to Junior College Instructor and assigned to School for Philippine a Craftsmen, Polangui, Albay. In The Craftlet official student publication of School for Philippine Craftsmen, in Campus Tidbits by June Ailes where she spot lighted and enunciated campus personalities, she articulated on Mr. Aguilar as “our beloved English instructor and his being very energetic to drill us in writing as if he was ink in his veins, for he has several collection of poetry which he considers his vice: together with his scholarships at U.P. and Silliman University. Indeed how lucky we are to be our instructor.” On School visitation of the Regional Director at SPC observing teachers, he spotted Mr. Aguilar for promotion to Regional General Education Supervisor, at which instance, he devoted his time after office hours to teaching at Bicol College and then to Divine Word College of Legazpi. Then retired from the government service. Outrightly, Bicol College took him to be Dean of the College of Education with only secondary teaching as the course offered. So he formalized the opening of the elementary grades in preparation for the opening of Bachelor of Science in Elementary Education (BSEed). At point and time, Mr. Manuel T. Javier, Bicol College Faculty and Adviser of Bicol Collegian, Student Publication of the School, wrote a feature which said: If the Colossus of Rhodes has been one wonders of the world in the days of antiquity, it has its equal in our present time at our school at that. We are referring to Dr. Celedonio G. Aguilar as the mighty colossus. Aside from being Dean of the College of Education, he is also Secretary of the Graduate School, twin positions enough to stymie the most intrepid of men, but not this titan. He savors these burdens with gusto. His student is the living witness to his pedagogical virtuosity. They would swear to high heaven how this man could change adrab classroom into exciting arena of intellectual combat where educational myths and heresies are blasted and intellectual pursuits are probed and defend.” Eventually a year after, he became the Dean of the Graduated School. As Dean of the Graduate School, he worked for the opening of the doctoral program subsequently a year later, through the help of his friend in the Higher Education Division, Manila, its recognition, a help exerted to boost Bicol College’s headway to educational permanence. But resigned later on when University of Santo Thomas called him for interview in connection to his application to teach at that school. But Fr. Reyes, President of Divine Word College of Legazpi and was to be promoted to higher position in Manila, sweet talked him to teach rather the King Seminary in Quezon City, which he accepted. He only taught half – day at the Seminary which gave him ample time for research, and call to mind, the dearth of specific books for the subject he taught in college, such as Philippine Literature, so Readings in Philippines Literature was written, Grammar and Composition, for Speaking and writing English, literary Criticism, for Critiques on Poetry, Poetry and Drama, for Understanding Poetry through Imagery, and for Graduate Students, Thesis Writing Made Easy, and Functional Research Techniques, for teacher and would be teacher, Dimension in Reading and Before the Tide Sets In. He also included in foreign and local anthologies: World Poetry by Kim Young Sam (Korea), East – West Voices by Dr. V.S. Skanda Prasad, (Mangalore, India), Edicao Commemorativo by Wilson Oliviera Jasa, (Sao Paulo, Brazil), and National Library of Poetry: Walk Through Paradise 1995, Portraits of Life 1996, Owing Mills, Maryland, USA, Bicol Voice Anthology by Merito B. Espinas, Bicol of the Philippines by Lilia Realubit, Ani by Cultural Center of the Philippines, Palihan by U.P. Creative Writing Center. On the outset of June, a letter from Mayor’s Office, requested all occupational pursuits an Camalig to submit their Bio – Data emphasizing their significant accomplishments in their chosen job career, such as: Civic Action Movement, business enterprises, inventions, constructions, mentors to take from classroom teacher, principals, (district, division, regional) supervisors, college professors, and Deans of schools who are legitimate Camaligueños. In view of his teaching feat, scholarship, written books that benefited college and graduates students throughout the country and his Doctor of Education degree from Bicol University, prompted the award as outstanding Camaligueños in the field of EDUCATION (along with other professional pursuits) June 24, 2005 camalig’s town fiesta by the Camalig Council on Arts, Culture and Tourism to Dr. Celedonio G. Aguilar. Apathetically he muttered, if only there is a school who would avail of his expertise on the subjects corresponding to his written books, he is still willing to teach, for teaching to him is a life time endeavor, not anymore for remuneration, with life and Comfort, but to deciminate and share the knowledge he has learned from his scholarships by the DECS in Master of Arts in Teaching Reading at U.P. Diliman, QC, Master of fine Art in Creative Writing a Silliman University under the Tiempos (Edilberto and Edith) and William Sweet, Master of Arts in Educational Management.

English

While still in the grade school, his mother used to tell him to be a priest, to dignify and ameliorate their state of life; but the father would vehemently counter, no, he should be a lawyer. As always during the eve of the fiesta, Celedonio G. Aguilar earnestly desire to watch the parade with deep interest and enthusiasm especially when the platoon of soldiers march by and roiled in his mind the well-mannered discipline and dignity of mien of the soldiers, that someday, he thought and figured himself to be one of them. So when he enrolled at the Albay High School, after his academic classes, posthaste he would scurry out to his custodial concern, joined the formation of the preparatory military training activities. Through the years he rose from the ranks to become battalion commander. It was October, during his senior year in school that he hide down to the military camp to take the Philippine Military Academy Examination, but the Japanese Imperial forces landed at legazpi on December 14, 1941 thus throwing his ambition to be a soldier to the winds. However during the Japanese occupation, he joined the guerilla movement (NOMETA) Noli Me Tangere Guerilla as 2nd Lieutenant. He was enraptured with much interest when the American Force landed at legazpi on april 1, 1945. And NOMETA unit became 1st. Battalion of Sandico’s 52nd Division Guerilla Unit was re – entrenched to a company and merge to first Regiment Bicol Brigade that include him in the activated regular force of the Philippine Army as First class Private. Utterly disgusted he resigned from the army and applied to teach in the District of camalig as a substitute teacher. After a year of teaching, he became a temporary teacher and was appointed head teacher at Del Rosario Public School. Three years after classroom work, he resigned to pursue a degree in education and Graduated in 1951 at the National University, Manila. He first taught at Libon Private High School, after a year, transferred to St. John’s Academy in Camalig where his former student, Mrs. Minda Grageda Muñoz in their St. John’s Academy Golden Anniversary Souvenir booklet, In Retrospect elucidated; “Mr. Aguilar is a tall respectable man, eloquent and dedicated English instructor. We were all eyes and ears for him when he’s in front of the class, listening intently and spellbound to his interesting lecture. He was forthright and his dignified stature demanded respect.” In the same booklet, Reminiscing Our High School days with our Mentors, Mrs. Josefina Nuas Ramos averred, “Mr. Aguilar was our English teacher. He spoke English fluently. He developed our interest in reading literature and novels. He is a writer. Some of his books are: Shaken Shadows, Time and Sunken Sun, This Season and Night, Pink Sun and Neutral Dust, Readings in Philippine Literature, Speaking and Writing English, Critiques on Poetry, Understanding Poetry through imagery, Thesis Writing Made Easy, Functional Research Techniques, Dimensions in Reading, and Before the Tide Sets In.” Then the Civil Sevice Commission, in a letter, ordered him to report to Marcial O. Rañola Memorial School to teach English, non – compliance will be tantamount to scrapping out his civil service eligibility. Banners in The Quill, student publication of Marcial O. Rañola Memorial School, that new teacher added to MORMS Teaching Force,”one of them was MR. Aguilar of Camalig, Albay who had his first feel of teaching in 1945 when he accepted a teaching position in a barrio elementary school in the District of Camalig. But three years teaching in the elementary, resigned to enroll at National University, where in 1951 obtained his Bachelor of Science degree in Educational major in English and minor in history. He taught for five years at St. John’s Academy. During summer enrolled at U.P. for masteral degree.” He enjoyed immensely his secondary teaching adventure. Especially his literature teaching which spurred in him for more writing for publication in the national magazines: This Week Magazine, Free Press, Sunday Times Magazine, Graphic, Solidarity, etc. Through the suggestion of Bienvenido N. Santos, he organized Albay Writers with membership officials as: Dr. Rodrigo Salazar, Valdemar Olaguer, Jose Ravalo, Vic O. Ballesfin, and 15 other budding writers of Albay with Celedonio G. Aguilar as President and Bienvinido Santos as Adviser. At one instance, through Santos, N.V.M. Gonzales was guest speaker of the group along with Hilario Francia and Petronilo Daroy. To cap it all, he was elected President of the Albay Secondary Teachers Association which perhaps paved the way for his selection for the Master of Art in Teaching Reading Scholarship at the University of the Philippines. In the Class 76 reunion at MORMS of which Dr. Susan Princesa Mallonga was the President presented to him a certificate, which states: “Class 76”presents this certificate of Appreciation to Mr. Celedonio G. Aguilar for his demonstrated patience, hard work and dedication in molding our young minds in the pursuit of our secondary education, most of all, giving us the foundation in academic excellence, and teaching us values of honesty, diligence, sincerity and humility,” After enjoying the DECS scholarships, he was promoted to Junior College Instructor and assigned to School for Philippine a Craftsmen, Polangui, Albay. In The Craftlet official student publication of School for Philippine Craftsmen, in Campus Tidbits by June Ailes where she spot lighted and enunciated campus personalities, she articulated on Mr. Aguilar as “our beloved English instructor and his being very energetic to drill us in writing as if he was ink in his veins, for he has several collection of poetry which he considers his vice: together with his scholarships at U.P. and Silliman University. Indeed how lucky we are to be our instructor.” On School visitation of the Regional Director at SPC observing teachers, he spotted Mr. Aguilar for promotion to Regional General Education Supervisor, at which instance, he devoted his time after office hours to teaching at Bicol College and then to Divine Word College of Legazpi. Then retired from the government service. Outrightly, Bicol College took him to be Dean of the College of Education with only secondary teaching as the course offered. So he formalized the opening of the elementary grades in preparation for the opening of Bachelor of Science in Elementary Education (BSEed). At point and time, Mr. Manuel T. Javier, Bicol College Faculty and Adviser of Bicol Collegian, Student Publication of the School, wrote a feature which said: If the Colossus of Rhodes has been one wonders of the world in the days of antiquity, it has its equal in our present time at our school at that. We are referring to Dr. Celedonio G. Aguilar as the mighty colossus. Aside from being Dean of the College of Education, he is also Secretary of the Graduate School, twin positions enough to stymie the most intrepid of men, but not this titan. He savors these burdens with gusto. His student is the living witness to his pedagogical virtuosity. They would swear to high heaven how this man could change adrab classroom into exciting arena of intellectual combat where educational myths and heresies are blasted and intellectual pursuits are probed and defend.” Eventually a year after, he became the Dean of the Graduated School. As Dean of the Graduate School, he worked for the opening of the doctoral program subsequently a year later, through the help of his friend in the Higher Education Division, Manila, its recognition, a help exerted to boost Bicol College’s headway to educational permanence. But resigned later on when University of Santo Thomas called him for interview in connection to his application to teach at that school. But Fr. Reyes, President of Divine Word College of Legazpi and was to be promoted to higher position in Manila, sweet talked him to teach rather the King Seminary in Quezon City, which he accepted. He only taught half – day at the Seminary which gave him ample time for research, and call to mind, the dearth of specific books for the subject he taught in college, such as Philippine Literature, so Readings in Philippines Literature was written, Grammar and Composition, for Speaking and writing English, literary Criticism, for Critiques on Poetry, Poetry and Drama, for Understanding Poetry through Imagery, and for Graduate Students, Thesis Writing Made Easy, and Functional Research Techniques, for teacher and would be teacher, Dimension in Reading and Before the Tide Sets In. He also included in foreign and local anthologies: World Poetry by Kim Young Sam (Korea), East – West Voices by Dr. V.S. Skanda Prasad, (Mangalore, India), Edicao Commemorativo by Wilson Oliviera Jasa, (Sao Paulo, Brazil), and National Library of Poetry: Walk Through Paradise 1995, Portraits of Life 1996, Owing Mills, Maryland, USA, Bicol Voice Anthology by Merito B. Espinas, Bicol of the Philippines by Lilia Realubit, Ani by Cultural Center of the Philippines, Palihan by U.P. Creative Writing Center. On the outset of June, a letter from Mayor’s Office, requested all occupational pursuits an Camalig to submit their Bio – Data emphasizing their significant accomplishments in their chosen job career, such as: Civic Action Movement, business enterprises, inventions, constructions, mentors to take from classroom teacher, principals, (district, division, regional) supervisors, college professors, and Deans of schools who are legitimate Camaligueños. In view of his teaching feat, scholarship, written books that benefited college and graduates students throughout the country and his Doctor of Education degree from Bicol University, prompted the award as outstanding Camaligueños in the field of EDUCATION (along with other professional pursuits) June 24, 2005 camalig’s town fiesta by the Camalig Council on Arts, Culture and Tourism to Dr. Celedonio G. Aguilar. Apathetically he muttered, if only there is a school who would avail of his expertise on the subjects corresponding to his written books, he is still willing to teach, for teaching to him is a life time endeavor, not anymore for remuneration, with life and Comfort, but to deciminate and share the knowledge he has learned from his scholarships by the DECS in Master of Arts in Teaching Reading at U.P. Diliman, QC, Master of fine Art in Creative Writing a Silliman University under the Tiempos (Edilberto and Edith) and William Sweet, Master of Arts in Educational Management.

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Tagalog

the character of elderly men-men who are past their prime-may be said to be formed for the most part of elements that are the contrary of all these.

English

the children in the park are playing

Last Update: 2014-08-31
Subject: General
Usage Frequency: 1
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