Below is the full script of Florante at Laura, presented in its entirety:
Doon din namaslang, ang dalagang si Laura, Anak ng hari't reyna ng Albanya, Ang kanyang ganda, ay wala nang katuwang, Sa buong mundo'y siya'y tanging tanyag.
Moved by Florante’s tale, Aladin reveals his own story. He is a Persian prince who was exiled by his own father, Sultan Ali-Adab, because he fell in love with a woman named Flerida. Ironically, Aladin is the enemy soldier Florante fought against in the war, yet here they are, two princes betrayed by fate.
"Florante at Laura" is set against the backdrop of 18th-century Philippines, a period marked by Spanish colonial rule and the rise of nationalism. The poem tells the story of the star-crossed lovers, Florante and Laura, who navigate the complexities of love, loyalty, and identity amidst the tumultuous landscape of war, politics, and social change. Balagtas' work not only reflects the historical context of his time but also critiques the social and political ills of his era, showcasing his mastery of the narrative form.
Nabihag si Laura, at ang reynang ina, Dala ng kaaway, sa kanilang kaharian, Si Florante nama'y, wala sa hukbo, Nang ang mga ito'y, mangyari sa kanila. Florante At Laura Full Script
In Albania's capital, a grand fiesta was held, To celebrate the prince's coming of age, with feasts and tales to be told. Florante, with his parents, King Alvero and Queen Floresca, did dwell, In a palace grand, with nobles and guards, in a story to compel.
This script is a must-read for fans of classic literature, Philippine culture, and epic storytelling. It is suitable for readers of all ages, but particularly recommended for those interested in exploring the rich heritage of the Philippines.
The poem takes a dramatic turn as Florante and Laura face numerous challenges, including battles, imprisonment, and betrayal. Throughout the story, the characters exhibit courage, honor, and loyalty, showcasing the values of chivalry and romance.
Florante at Laura is a renowned 19th-century Tagalog awit by Francisco Balagtas, functioning as both a romantic tale and a critical socio-political commentary. The full text, consisting of 399 stanzas, covers the tragic experiences of Florante, his rescue by Aladin, and the ultimate triumph of justice over tyranny. Below is the full script of Florante at
SI FLORANTE (20s), BUGTONG ANAK NINA DUKE BRISEO AT PRINSESA FLORESCA, AY NAKAGAPOS DITO. MATAGAL NA SIYANG NAKATAYO AT HABOL ANG KANYANG HININGA.
The poem follows the two lovers as they navigate the challenges of their star-crossed love, facing obstacles such as family feuds, wars, and personal struggles. Along the way, they encounter various characters, including Florante's best friend, Aladin, and Laura's confidante, Flerida, who aid or hinder their progress.
Galit na galit, si Floranting mabait, Hinamon niya si Adolfo sa away, Ngunit si Adolpo, ay mandirigma, Sa esgrima siya'y lubhang bihasa.
"Florante at Laura" is a 19th-century awit (a Tagalog epic poem) written by Francisco Balagtas in 1838 while he was imprisoned. Set in the fictional kingdoms of Albania and Persia, it's a rich allegory about love, betrayal, and the Filipino struggle against oppression. The work is structured into stanzas with a consistent meter and rhyme scheme, considered one of the Philippines' greatest literary treasures. Ironically, Aladin is the enemy soldier Florante fought
They told the story of Albanya like a map folded into a coin—small enough to fit in the palm, heavy enough to silence a room. In the market alleys under the citadel’s shadow, old women spat the names with the familiarity of prayer: Florante, Laura, Adolfo, Flerida. But in the afternoons when the light thinned and the city remembered its sorrows, a different version moved through the streets—one threaded with questions the old names could not answer.
However, a script is meant to be performed. For generations, Florante at Laura was brought to life not on a proscenium stage, but in community gatherings, town plazas, and during wakes. The komedya (or moro-moro ) tradition adapted the poem into lavish, all-day spectacles filled with choreographed battles between Christians and Muslims (a simplification Balagtas himself subverts with the character of the noble Muslim, Aladin). These performances had no fixed script in our modern sense; they relied on sultana (plot summaries) and battles (choreographed fights), with actors improvising the balagtasan -like verse. The "full script" for these productions was a fluid, communal document, adjusted for local audiences, available talent, and the length of the fiesta.
To help you find the right script for your needs, here is a summary of key resources mentioned in this guide.