Ballet Manila unveils its adaptation of the literary classic Florante at Laura on October 12, 13 and 19 at Aliw Theater, with the choreography of Gerardo Francisco Jr. and Martin Lawrance, the music of National Artist Ryan Cayabyab and the artistic direction of Lisa Macuja Elizalde.

To usher in this world premiere, balletmanilaarchives.com is running a series of articles about the Francisco Balagtas masterpiece to give context to the story and its characters and to underscore its continuing relevance today, almost two centuries after it was first published. The series is written by Michael M. Coroza, PhD, who served as libretto consultant to the production. He is a full professor and former chair of the Department of Filipino, School of Humanities, Ateneo De Manila University, and is also chairman of the Unyon ng mga Manunulat sa Pilipinas (UMPIL).

By Michael M. Coroza

(Sixth of a series)

Looking back at the Four Revolts of Balagtas, which Lope K. Santos wrote about in 1955, the second revolt is on “anomalous faith.” Santos insists that for the poet Balagtas, loyalty among people does not spring from kinship, compatriotism, or shared religious beliefs but from recognizing and nurturing the inherent goodness in every individual. This emphasis on the universal goodness in people's hearts offers a hopeful perspective, uplifting us in the belief in the innate goodness of humanity. In his critique of the Spanish conquerors' teachings, Santos argues that Balagtas, through his masterpiece, challenges the notion that the pursuit of goodness is a monopoly of Christians. He says thus:

Sila’y para-para ngang mga Kristiyano, magkababayan, magkakamag-anak pa, at katutubong mga kaaway at kadigmaan ng mga Moro. Subali, sino ang nagligtas sa binyagang si Florante na ipinatapo’t ipinagapos ng kapwa niya binyagan at pinsang si Adolfo, nang sa pagkagapos ay darakmain na lamang ng dalawang halimaw (hayop na leong sagisag pa naman ng Espanya), sino nga ang nagligtas at nagyaman kay Florante upang panaulian ng hininga’t lakas? Isang Persianong Moro, ang mahigpit pa niyang kalabang si Prinsipe Aladin! At sino naman ang nagligtas ng puri at buhay ng binyagang Prinsesa Laura, nang oras na ginagahasa ng kapwa binyagang Konde Adolfo? Isa namang Mora, si Prinsesa Flerida, na siyang pumana at nakapatay sa gumagahasa!

(They are indeed Christians, compatriots, even relatives, and mortal enemies of the Moros. However, who saved the christened Florante, who was cast into the forest and tied to a tree by his compatriot and cousin Adolfo, when he was about to be devoured by two beasts (lions that are symbols of Spain)? Who saved and took care of Florante to regain breath and strength? A Persian Moro, his fiercest rival, Prince Aladin! And who saved the honor and life of the christened Princess Laura when the other christened Count Adolfo was sexually assaulting her? Another Moro, Princess Flerida, shot and killed the molester!)

This stance of Balagtas is apparent in Aladin’s statement after he rescues Florante. The Albanian warrior cannot believe his savior is a Persian, the mortal enemy of his race and faith. But, eventually, he is swayed by Aladin’s brilliant reasoning, which highlights the power of rational discourse in overcoming deep-seated prejudices:

Adolfo lacks this kind of acceptance of the “law of Heaven.” Thus, he disrespects and violates it. During their days as students in Atenas, Florante has already observed Adolfo’s pretentious attitude – always quiet and focused and not displaying anything that can perturb anyone, especially their teacher, Antenor. Florante describes him thus:

Adolfo’s hidden scheme is exposed when Florante outshines him as a student in Atenas. His inability to accept that someone could be better than him leads him to a drastic attempt to end Florante's life during the play they perform on the day of their school’s festivities. Instead of following the script, his eyes burning with fury, he recites: “Ikaw na umagaw ng kapurihan ko’y dapat kang mamatay!” (You who have stolen my pride, you must die!) This moment underscores the intense rivalry between the two characters. Thankfully, Menandro intervenes, saving Florante from Adolfo's blade.

On the one hand, it can be surmised that there is nothing wrong with Adolfo’s ardent desire to seek good for himself. Everyone has the right to do so. His efforts to show kindness to everyone are commendable and necessary to build a peaceful community. But, such an act is indeed wrong if it will serve only as a stepping stone to elevate oneself at the expense of others. Adolfo’s self-centeredness worsens when he usurps the throne from King Linceo. The townspeople he manipulates to rebel against the king are not keen enough to discern his deceitful scheme. Aware of all these, Florante resentfully laments:

Adolfo’s sin is the same sin committed by Sultan Ali-Adab of Persia, who did everything to steal Princess Flerida from his son, Aladin. His desire for good is selfish and egomaniacal, not mindful of whether others will be aggrieved or if everyone will benefit. Balagtas pointed this out in the context of the colonial Philippines where he lived. He undoubtedly learned well from humanity’s oral and written history. This sin is still committed by those who cling to and indulge in power today, perpetuating our real-life Albania in grief.