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Francisco Arcellana, poet, essayist, critic, teacher, was never my teacher in college. I was never enrolled in his English class since I took another course-foreign service-outside of the realm of humanities. My quest for the logic of international affairs skirted the nuance of literary expression. But not quite. For right in my department was Sir Franz's muse-now UP professor emeritus of Political Science Emerenciana Arcellana-who indirectly oriented us into some literary styles to render sublime otherwise presumptive and bland political discourse. But the essence of teaching is not confined within the four walls of a classroom. It is in this sense that National Artist Francisco Arcellana rose to the role of being a great teacher. An eminent writer whose skillful and delicate use of the English language is lyrical and effective. His literary works of all genres, have made the rounds of high schools and colleges in the country that respect and appreciate homegrown creative genius. His designation as National Artist for literature in 1990 clinched his hold on the Filipino literary public. He stands tall among the other Filipino geniuses in arts and culture. This despite the parsimony of their treatment by the government. In other countries like South Korea and Taiwan, special categories are created to refer to their "national living treasures." Everyone takes pride in them though their choice may continue to baffle the outsiders. But no one can question the cultural basis for the outcome. Cultural icons are worlds apart from the glitzy world of pop singers and rap artists. When they die, the latter makes the nation suffer in deceptive hysteria. The loss of cultural icons, on the other hand, truly diminishes the nation. Better still, Sir Franz (as I was wont to address him) was a mentor looking for the meaning and simple truth in life. His recent short story, "The Mats," reflects this and has already been widely translated worldwide. Its sparse words but elegant tone makes it the best Filipino short story in recent times according to Alfredo Roces. I'm not so much into literary analysis (except for my own consumption) but Arcellana's works have to be experienced, not just understood. In fact, Sir Franz believed the less said, the more meaning there is in his writing. It is in such context that the Japanese haiku has served as my link to his world of literary self-expression. Sir Franz had many causes in his lifetime and he fiercely battled for those he held close to heart. But to my knowledge, he did not engage in banner-waving or go to the barricades for them. His protest is within the realm of reason and pro-active expression of truth. In 1986, he was in the review board of a book project (Ateneo de Manila University Press) that came out as a volume titled Versus. Philippine Protest Poetry 1983-1986 (edited by the late Alfredo Navarro Salanga and Esther Pacheco). I submitted two haikus (on battling the Marcos regime) that became part of the volume. I tried to learn the haiku's simple yet intricate structure and style while on a Monbusho grant in Japan. The casual and breezy style of Sir Franz complements this austere but elegant oriental poetry. My entry into the world of literary self-expression couldn't have been more opportune with Sir Franz acting as the "poetic midwife." I only regret that hard political writing subsumed all else in the career I now practice. But a creative moment energizes the doer, clarifies some darkened notions, or dissipates human pain and anger. The Chinese legalists frowned on poets and literary people for not being able to contribute to the material base of wealth in society. Fortunately, for the modern world, the role of the literati is now properly acknowledged, identified and compensated though much still needs to be done. The nationalist and diplomat Salvador P. Lopez once expressed the "mirror effect" of literature on society. It can reflect and influence the values held by responsible and intelligent leaders and citizens as part of liberal education. The message and the medium matter and Sir Franz was a most ardent proponent. The medium however presents challenges now such as its dissemination as part of standard textbooks for Philippine schools. The worsening state of the English language in the country may not do much justice to Arcellana's writings. Its translation into other Philippine dialects can capture the essence of his work but not his genius in writing in English. Modern bureaucracy has an apt phrase for it-"intellectual property." Indeed if "national artists" are the living treasures of Philippine society, it follows that their body of works must be protected from being misused, mistranslated, neglected and ignored. It is equal to a form of national betrayal for ideas of natives with the spark of genius to be warped by unknowing hands and not be allowed to live. These can inspire the values for progress and prosperity pursued with enthusiasm and will. The works of Sir Franz Arcellana are living proof that life is simple but complicated, too. The message must be constantly discovered and redefined in the national psyche if need be. ***** The bard sleeps still now Eternal lines of fragrance Joyful heavens bow. Natalia M.L.M. Morales is professor of Political Science and International Studies at the University of the Philippines, Diliman.
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