By Rudy A. Fernandez
The Philippine Star 03/23/2005

The first Tagalog version of the pasyon was written three centuries ago by a priest from Batangas and became a bestseller long before the advent of videoke, literary scholars said.
Father Gaspar Aquilino de Belen of Rosario town composed and sang the first local version of this narrative poem that tells the story of Christ from birth to crucifixion.
Padre de Belen’s literary rendition is contained in "Manga Panalangin Nagtatagubilin sa Calolowa Nang Taong Naghihingalo," as chronicled by literary historians Teofilo del Castillo and Buenaventura Medina, in their book titled "Philippine Literature from Ancient to the Present."
The Batangas priest’s pasyon first saw print in Manila in 1704 after it was granted a Church permit. By 1750, it had already been reissued five times, making it perhaps the first bestseller in these islands.
Encouraged by Padre de Belen’s success, others followed in his footsteps.
Among the works that came about was "Guian’s Pasyon" written by Don Luis Guian in 1750.
Fathers Manuel Grejalva and Jose Segui also co-authored "Pasyong Mahal ni Jesucristong Panginoon Natin."
In the 19th century, attempts were made to perfect the pasyon.
At the forefront of this movement was Fr. Mariano Pilapil of Tondo, Manila, who was known throughout Luzon for his literary talent. His work was printed in 1814.
Father Pilapil innovated by including illustrations in his pasyon, with every chapter punctuated by an appropriate sermon or counsel, making the book popular even to this day.
A Baliwag, Bulacan priest, Fr. Aniceto de la Merced composed the "La Pasyon de Nuestro Jesucristo," which was considered as one of the "landmarks of Tagalog poetry." Written in 1856-1858, it was characterized by its "lyrical exuberance and by the accuracy of its versification," as described by Del Castillo and Medina.
Up north in Ilocandia, a singer, Leona delos Reyes, made a mark for herself in a musical version of the pasyon. Two other Ilocano versifiers, Fathers Antonio Mejia and Manuel Gerriz, produced two other versions of the pasyon.
In Central Luzon, two Pampango writers composed another version of the pasyon in the 19th century. They were Felix Galura, who wrote "Pasyon y Muerto de Jesucristo," and Cornelio Pabalan Biron, who wrote "Pasyon ning Guinu Tang Jesucristo."
So far, noted Del Castillo and Medina, these are the only known pasyon in the country.
"Efforts at new renditions have, since then, not been made by other Philippine writers," they wrote. "All they did was to translate the outstanding pasyon current in their days into their respective dialects."
The pasyon is used for devotional purposes as well as for intellectual enjoyment. As such, the Church gives it high endorsement.
Over the years, two institutions have evolved from the reading and reenactment of Christ’s life during the Holy Week.
The first has come to be known as pabasa, or chanting of the pasyon. The second is the cenaculo or penitencia, a dramatic re-enactment of the life of Christ on a stage or in an open field.
The appeal of this religious piece lies in its substance and form. As Del Castillo and Medina point out:
"The life of Christ is in itself an absorbing story, beautifully recounted by Saints Luke, Mark, John and Matthew. The combined stories of the Old and New Testaments in the pasyon, commencing with the Genesis and ending with the Resurrection, readily became an article of faith for the people. On the other hand, the pasyon has been written in excellent verse."
