TRANSLATION AND ADAPTATION Translation is the rendition of a ...

From Slavery Under the Philistines), 1879, is a retelling of the life of Samson.
Translation of prose narratives of the religious sort did not cease to be made after
the Spanish period. In the 20th century, Epifanio Alfafara translated Jose Palles’
La pasion del redentor into Cebuano as Kasakitan sa Manunubos (The
Sufferings of the Redeemer), and Elpidio Fegi translated Martir sa Golgota from
Tagalog into Cebuano. Although they were not consciously translated to
proselytize, as the conduct books had been, these translations reinforced the
religious, specifically Catholic, orientation of the local folks.
In the 1800s, translations of secular prose narratives slowly caught up with
translations of religious materials. Such were Jose Rizal’s translation of five of
Hans Christian Andersen’s stories for children, and Hermenegildo Flores’
translation of Antonio de Trueba’s El angel y el diablo into Filipino as Ang
Anghel at ang Diablo (The Angel and the Devil), 1882, which appeared in
Diariong Tagalog.
The American period saw the rise of translation of Western short stories, which
Filipino translators read in English or in Spanish translation. Westernized
education led to many local writers’ acquaintance with acknowledged masters of
fiction and to their imitation of these masters. The chief figure was Edgar Allan
Poe from whom Filipino fictionists learned “unity of effect” and the classic
dramatic arch. Translations of Edgar Allan Poe include Pascual de Leon’s “Pusong
Mapagsuplong,” 1914, and Teodoro Agoncillo’s “Pitlag ng Puso” 1937, both of
which were based on “The Telltale Heart.”
Other examples of translated short stories include “Ang Tatlong Pag-ibig” (The
Three Loves), 1904, Gonzalo G.M. Adriano’s translation of a Russian story by
Maria Krysinla; “Noon Ay Pasko” (It Was Christmas Then), 1910, Sofronio
Calderon’s translation of a French story; “Zorahayda,” 1913, Deogracias A.
Rosario’s translation of Washington Irving’s “The Rose of Alhambra”; “Ang
Wastong Pag-ibig” (The Right Love), 1919, S.D. Crisostomo’s adaptation of the
story “No Danger to a Girl Like This” by Harvey S. McGowan; “Kung
Magnakaw ang Patay” (When the Dead Steal), 1921, Roberto S. Teodoro’s
translation of a detective story of A. Conan Doyle; “Ang Impierno’y Muling
Itinayo ng Simbahan” (Hell Was Rebuilt by the Church), 1922, a translation by
Huling Lingap (pseud.) of Leo Tolstoy’s story; “Ang Kwintas” (The Necklace),
1929, Baltazar Villanueva’s translation of Guy de Maupassant’s “The Necklace”;
“Isang Isdang Kapok” (The Cotton Fish), 1931, S.D. Crisostomo’s translation of
W. Somerset Maugham’s “The Human Element”; “Ang Kamay ng Tadhana” (The
Hand of Fate), 1936, N.S. Asistio’s translation of Mark Hellinger’s short story;
and “Maria Concepcion,” Arturo Valencia’s translation of Katherine Anne
Porter’s story with the same title.
Translations of longer works include Ang Diwa ng Pasko (The Christmas Spirit),
1932, Jacinto R. de Leon’s translation of Charles Dickens’ A Christmas Carol;