Summer Solstice Essay Example

only experienced professionals can master. It appears that even the Palanca juries were influenced by this tactic. In terms of storytelling, the writer employs techniques akin to those used in films during their time period, particularly in post-war era movies. Just like these films, the writer utilizes capitalized words to indicate shifts between scenes—an approach that aids less knowledgeable viewers' understanding of the narrative progression. The text implies that comprehending both the storyline and its purpose may be challenging for slower readers. Therefore, it is essential to carefully analyze each section of the story to fully grasp its contents. The writer identifies six specific scenes or passages within the text—the first passage sets up the timeframe by mentioning horse-drawn carriages as props while introducing Dona Lupeng as a conservative mother living a privileged lifestyleThe text suggests that there is a sense of pride and exclusivity within Dona Lupeng's social circle. The introduction of Don Paeng and Entoy, the driver, is not as enthusiastic as the introductions of Dona or Amada. The upcoming St. John's festival becomes an important element in the story and provides familiarity for local readers. In this festival, Dona Lupeng becomes curious about how it will disrupt societal norms and wonders how a male patron saint can be revered. However, unlike the first scene which advocates for femininity, the second scene portrays a more masculine atmosphere. The writer uses provocative descriptions of performers and even depicts Dona Lupeng resisting her husband's orders. The third scene takes place at the grandfather's house where a social gathering is held. Guido's character is introduced to create turmoil for Dona Lupeng. In this scene, Guido expresses

his belief that women should be adored and cared for like delicate China wares, highlighting Dona Lupeng's political stance on gender issues and conveying the idea that femininity is just as powerful as masculinity. This aligns with feminist beliefs that one is not born but rather becomes a woman, which Guido stands out for in his time when patriarchal society prevails. Don Paeng notices this anomaly.The fourth scene represents the culmination of Lupeng's exploration of gender-political issuesThe text highlights that Lupeng's husband's mood reflects a newfound understanding, possibly influenced by his earlier conversation with Guido. This newfound understanding allows Lupeng to see a brighter future beyond uncertainty. Guido's unconventional views on women further fascinate Lupeng and fuel her interest in the Tatarin ritual. Despite Don's resistance, she manages to persuade him to let her attend the festival. The phrase "THE CULT OF THE TATARIN" introduces the fifth scene, which briefly describes the three-day festival starting with St.John's feast followed by two days of celebrating femininity in a male-dominated environment. This scene aims to create a more festive atmosphere compared to the main feast itself. The Jaro Fiesta cockfight is highly anticipated and surpasses other popular celebrations such as The Blessed Mother of Candles mass and Ati-atihan festival for Santo Nino. In this scene, the transfiguration of women in the Tatarin feast is the most significant ritual, with St.John serving as their mascot. The ritual is chaotic, resembling a feeding frenzy of sharks. Don Paeng becomes a victim when he protests his wife's independent behavior and decision to join the dance crowd. In this sea of female hormones, testosterone holds no power. The sixth scene takes

place at Don and Dona Paeng's home - symbolizing the ultimate battleground between genders and representing the 12th round of gender combatDon Paeng and Dona Lupeng, representing Adam and Eve respectively, engage in a Venus vs. Apollo showdown. The fight begins with Dona Lupeng questioning Don Paeng's intentions, to which he responds by threatening to give her a whipping. This exchange of verbal blows and punches continues until Dona Lupeng emerges as the victorious champion with a resounding knockout. In defeat, Don Paeng surrenders his male pride and crawls like a lizard to kiss Dona Lupeng's feet, showcasing femininity as the reigning champion.

This captivating short story by Nick Joaquin concludes with an ending that leaves a lasting impression. As someone who appreciates Joaquin's work, I have come to expect such euphoric elixirs of storytelling from him. To truly understand his narrative, it is necessary for me to immerse myself in the exhilarating activities he portrays.

In this story, St.Michael serves as the setting where St.John's portrayal diverts our attention from his saintly nature. Sadly, Nick Joaquin passed away some years ago. As my tribute to him, I hope that reading one of his stories brings him happiness wherever he may be now – perhaps in a place filled with wine, whiskey, beer...and hopefully milk when it is my turn to join him there.