A Reflection on “Source Criticism: Maragtas and Kalantiaw Codes” By Foronda, Luis Bienvenido N., Essays (university) of History

An internal criticism on the source criticism "Maragtas and Kalantiaw Codes" by Luis Bienvenido Foronda

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2018/2019

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Consuegra, Hans Andrew D. Readings in Philippine History
BSME 2-1
A Reflection on “Source Criticism: Maragtas and Kalantiaw Codes”
By Foronda, Luis Bienvenido N.
The Maragtas is a Philippine Epic History, which includes the Code of Kalantiaw, which is a work by
Pedro Alcantara Monteclaro. The critic, Foronda, introduced the works as historical pieces which give light to
the social structure of Filipinos, centuries before the Hispanic colonization. His criticism began on the External
Criticism about the Code of Kalantiaw, as well as records concerning a Priest named Jose Maria Pavon.
At first glance, without thorough research and criticism, the Maragtas and Code of Kalantiaw would be
easily accepted as the actual reflection of the past societies and hierarchies in the Philippines before Spanish
Colonization, however, Foronda wrote that in fact, the epic has anachronisms which point towards a later date
than the ones written in the text.
These adds to the confusion whether the historical texts were actually windows of the actual past, or
works of fiction which at the very least, reflects the values and traditions of the portrayed past. In addition,
Foronda’s internal criticism stated the typescript formatting was inconsistent with its history. The formatting
was known to be first used on a 19th century manuscript. The Pavon account, as stated by Foronda, also contains
Bisayan alphabet, and the use of C rather than K, which is a sign of hispanization rather than Philippine
Syllabary. There was also a plothole regarding Pavon’s concern for the King of Spain during a time wherein
Spain has no ruler.
Reflecting upon these inconsistencies and errors regarding written history records and dates, it can be
assumed that the texts does not connect with written historical facts, but rather on the cultural attributes
connecting the epic to the pre-Colonial Philippines. Thus, making it a historical epic rather than an actual
artefact reflecting the past Social Construct of the Philippines, particularly in the Negros and Panay.
This is the essence of conducting both internal and external criticisms on artefacts of History. These
records may be legitimate while some of them point out to a different or erroneous history. It is important that
we cross-examine every bit of evidence in order to draw the lines around our past, making it crystal clear and
obvious. Erroneous facts, if not criticized and easily accepted to be true, might establish an erroneous history of
its origin and its reflection of that history. Foronda did an excellent job in linking facts with the errors and to
point out an acceptable conclusion which did not invalidate the reliability of the Codes but to conclude that it
reflects another angle of the Pre-Colonial Filipino society.

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Consuegra, Hans Andrew D. Readings in Philippine History BSME 2-

A Reflection on “Source Criticism: Maragtas and Kalantiaw Codes” By Foronda, Luis Bienvenido N.

The Maragtas is a Philippine Epic History, which includes the Code of Kalantiaw, which is a work by Pedro Alcantara Monteclaro. The critic, Foronda, introduced the works as historical pieces which give light to the social structure of Filipinos, centuries before the Hispanic colonization. His criticism began on the External Criticism about the Code of Kalantiaw, as well as records concerning a Priest named Jose Maria Pavon.

At first glance, without thorough research and criticism, the Maragtas and Code of Kalantiaw would be easily accepted as the actual reflection of the past societies and hierarchies in the Philippines before Spanish Colonization, however, Foronda wrote that in fact, the epic has anachronisms which point towards a later date than the ones written in the text.

These adds to the confusion whether the historical texts were actually windows of the actual past, or works of fiction which at the very least, reflects the values and traditions of the portrayed past. In addition, Foronda’s internal criticism stated the typescript formatting was inconsistent with its history. The formatting was known to be first used on a 19th^ century manuscript. The Pavon account, as stated by Foronda, also contains Bisayan alphabet, and the use of C rather than K, which is a sign of hispanization rather than Philippine Syllabary. There was also a plothole regarding Pavon’s concern for the King of Spain during a time wherein Spain has no ruler.

Reflecting upon these inconsistencies and errors regarding written history records and dates, it can be assumed that the texts does not connect with written historical facts, but rather on the cultural attributes connecting the epic to the pre-Colonial Philippines. Thus, making it a historical epic rather than an actual artefact reflecting the past Social Construct of the Philippines, particularly in the Negros and Panay.

This is the essence of conducting both internal and external criticisms on artefacts of History. These records may be legitimate while some of them point out to a different or erroneous history. It is important that we cross-examine every bit of evidence in order to draw the lines around our past, making it crystal clear and obvious. Erroneous facts, if not criticized and easily accepted to be true, might establish an erroneous history of its origin and its reflection of that history. Foronda did an excellent job in linking facts with the errors and to point out an acceptable conclusion which did not invalidate the reliability of the Codes but to conclude that it reflects another angle of the Pre-Colonial Filipino society.