Junto al Pasig

Junto al Pasig (Beside the Pasig), a one-act zarzuela in Spanish written by the Philippine national hero, Jose
Rizal, was staged by the Academy of Spanish Literature members on December 8, 1880. Rizal wrote it to
honor Nuestra Senora dela Paz y Buenviaje de Antipolo (Our Lady of Peace and Good Voyage).

Background
Even when Rizal already graduated from the Ateneo, and while he is already studying medicine in the
University of Santo Tomas (U.S.T.), he remained close to the Jesuits. As president of the Academy of Spanish
Literature and through his skills in writing he was asked to contribute to the celebration of the feast of the
Immaculate Conception, the colleges patroness.
From there, he wrote Junto al Pasig and it was staged during 1880s feast. A Spanish professor, Blas
Echegoyen, wrote the music for the choruses while the members of the academy (mentioned below) played the
following characters:

Leonido Isidro Perez

Candido Antoni Fuentes

Pascual Aquiles R. de Luzulaga

Satan Julio Llorente

An Angel Pedro Carranceja

Summary
The play basically poses questions related with what Christians believe. Through Leonido, the main character,
a teenager, Rizal portrayed another perspective of Satan and the Virgin Mary. He centers on thoughts such as:
Who is the real redeemer of mankind? Who should really be adored? Who should one believe? Does one have
to believe?
Hence, the play starts when Candido, Pascual and other children were waiting for the coming of Virgin Mary
(through the procession). The children boasted on who has the best present for the Virgin. The first boy proudly
states about his bird cage at home; the second boy boasts of flowers; the third one wants firecrackers.
Meanwhile, Pascual tells that he has a flute. Before they end up in a fight, Candido, barged in their
conversation and suggested that they all help one another in setting up a banca (dugout canoe) with colorful
pennants and banners and paddle slowly into the river. He then asked each to bring his own present for the
Lady (flute, bird cage, flowers, and firecrackers). The rest of the children agreed. However, sometime later, they
realized that their leader Leonido is missing. Thus, they searched for him.

The second scene starts through a monologue by Satan, asking about the possibility that those who once
adored him could be saved. He guesses that it must be the Woman who cast him out of the heavenly seat who
caused such redemption.
Satan also condemns his own suffering but comes to endure it. He accepts how the Conqueror loves the good,
while he loves evil. He proclaims Him as his mortal enemy and so promises to conquer the world by waiting for
an unwary Christian until he falls into his hands.
On the third scene, Leonido enters and wonders where his friends could be. He remembered Pascual telling
him to meet them as they wait for the Immaculate Virgin to pass. Thus, he thought of looking for them.
As Leonido was about to leave (came the next scene), Satan enters (disguised as a diwata). Satan asked
where he will be going, but Leonido questioned who he is. Satan replied, stating that he is the god of the
Filipinos. From what he heard, Leonido opposed; he told Satan that as far as he knows, there is only one true
God, the God who created man and the whole world. From there, Satan debated on by stressing how he can
give everything Leonido desires if he just adores him. Leonido did not falter for he contested Satan through the
Virgins power over him. Leonido continued defending his faith and finally asked Satan to unwrap himself.
True enough, the devil revealed his true appearance in a devils dress and revealed who he really was. He
introduced himself as the angel who vanquished in hopeless defeat. Yet, he still believes that he is stronger and
that if Leonido wishes to live, he should serve him. Yet, Leonido stands strong. He defends his faith and
emphasizes how the devil shall never frighten the Christian child. From here on, Satan declared a battle
against Leonido unless the Christian claims defeat. The debate went on again through the fifth scene, with
Leonido never surrendering.
Finally, amidst the battle came an angel who countered Satan and the other devils surrounding him. The angel
was so happy with Leonido as he constantly professed his faith despite Satans evil urges. He also told Leonido
that the Virgin mercifully saved him from the clutches of hell. The sixth scene ended as Leonido and the angel
bid farewell.
The last scene then started as Candido and the other children found Leonido already. Together, they saluted
the Virgin Mary with a chorus.

Theme
The plays theme revolves on Christianity, Innocence against Evil, and Paganism.
Observance of the Virgins Feast
During Rizals time, the townsfolk were used to carry the image of the Virgin of Antipolo during a solemn
procession through the Pasig River. Thus, in 1904, as Wenceslao Retana notes, students from Ateneo sung
the last chorus from Rizals play during the procession.

Rizals Nationalism
According to Rafael Palmas observation, Rizals means of conveying the disguise of Satan (as a diwata)
portrays Rizals nationalism. This is in line with the selection of a Filipino setting, cast, and even the selection of
a native representation of the Virgin Mother in the Philippines (Our Lady of Peace and Good Voyage), the
concept of the diwata likewise depicts an equally native means of paganism.

Two Schools of Thought from Palma and Retana

Wenceslao Retana and Rafael Palma both have their schools of thought concerning Junto al Pasig. First,
Retana points out that Rizal was silently battling Spain, that around ten years after, through the annotations to
the history of the Philippines by Morga, Rizal attempted to convey that Filipinos had a high level of prosperity
and culture which the Spaniards tore down.
On the other hand, Palma points out that Rizal was very young at that time when he wrote the play to show
nationalism. He then reiterated that Rizal was indeed devoted to Catholicism.

Translations
Patricio Mariano translated the play in Tagalog while the Spanish original was published in the La Patria.
Meanwhile, Nick Joaquin translated it in English and included it in the Complete Poems and Plays of Rizal
(1976).