The body of the letter is usually as follows:
Uaray lain ng̃a objeto hini ng̃a acon surat, sino an damo ng̃a mg̃a pangomosta ha iyo ngatanán, cay cun camí in iyo ipaquiána, calooy sa Dyos, uaray ano man ng̃a novedad. [[123]]
Y de consiguiente, tatay, isusunod co liuat; cun uaray mo inconveniente, gusto co cunta comadá pag vacacion; pero como guinadvertir mo man aco han nacadi ca ng̃a mag procurar acó hin pag obtener anay han titulo, por eso amo iní ng̃a dirí aco na atrever pag guican mientras dirí paca aco macacarauát han imo contestation ng̃a pag hatag hin permiso, bisan cun sobra y basta gud an acon mg̃a deseos pag visita ha iyo. etc.
POETIC FORMS
Of the three main classes of poetry, epic, lyric and dramatic, the lyric is the only one preserved in Bisayan in the form of popular songs. The dramatic form is found at present mainly in the translations of Tagalog and Spanish dramas, usually employed as plays on the Patron’s days in the towns.
VERSIFICATION
Rhythm and rhyme are observed in Bisayan poems.
The rhyme is not so perfect as that of the Spanish verses. Consonant words or with similar sounding endings are employed in Bisayan.
Kinds of meter. There are two kinds of meter most used in Bisayan poetry: verses of six syllables, verses of eight syllables, and verses of twelve syllables divided in two fragments of six syllables each.
Examples: