Reflection Paper

To the Filipino Youth

The first line, "unfold, oh timid flower," implies that the youth is silent, maybe daunted, and
consequently has not yet gone into full bloom for whatever reason there is that may have silenced
them. In the beginning stanza, Rizal encourages the youth, by telling them to hold their heads high
for they possess talents and skills and abilities that would make their country proud.

The second verse can be rearranged in contemporary English to say: "Oh genius great, soar high;
and fill their mind with noble thoughts. May their virgin mind fly and find the honor's glorious seat
more rapidly than the wind." Here, Rizal calls to genious to fill young minds with noble thoughts
and hopes that as they release their thinking from the chains that bind, they may be able to soar
swiftly high where the joy of honor is.

Contrary to the second verse, which talked about ascending and soaring to the heights, this third
stanza now talks about descent, and a downward motion of the great genius to fill the earthly
strokes of art and science with their magnificent ideas. Again, Rizal calls them to break the chains
that bind their intellect. "Poetic genius" here does not necessarily pertain to the talent of writing
poetry. Instead, the term "poetic" is simply an adjective to describe genius, meaning that it is deep
and mystifying and heavy with meaning.

Rizal challenges the youth, that in their pursuit of knowledge and wisdom they may humble the
hand of Spain, whose proud chin did not look kindly upon the people whom they labelled as
"Indios" and whom they treated with contempt. He dreams that in their journey to intellectual
greatness they may humble even the proudest nations that look down on them and rightfully
deserve "a crown that shines, even where shadows stand."

izal calls the youth to seek the beauty of poetry and music, which he himself values greatly as
essentials in every manner of life. He claims that poetry is "more sweet than divine honey," and
that music can "dissipate man's sorrow's blight."

Speaking to the youth, Rizal says that by the very impulse of their mind, they are capable of
bringing to life or animating even someting as lifeless and unmoving as a hard rock. He continues
to say that the youth is able, to immortalize their thoughts and their words through the help of
great genius (as he has done himself. This stanza can be arranged in a more contemporary English
structure as follows: "You can animate the hard rock at the impulse of your mind; and transform,
with the great power of your mind, the pure memory of great genius into immortality."

Rizal here addresses the youth, comparing their abilities to a magic brush that can capture even
the most majestic views and the most glorious charms on a blank canvas.

The last stanza is a charge, urging the youth to run, for a glorious crown awaits them. The "sphere"
here pertains to the world, showing that Rizal believed the Filipino youth is as brilliant as those in
any other nation, and is able to contend with even the strongest powers if they only set their mind
to making most of what they already have.

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 Reflection Paper
Goodbye to Leonor

In this poem, Jose Rizal bids goodbye to Leonor Rivera for his departure to
Europe.

Leonor Rivera Kipping was the childhood sweetheart, first cousin and lover by
correspondence of Philippine National Hero Jose Rizal. Rivera was the greatest
Influence in preventing Rizal from falling in love with other women while Rizal was
travelling outside Philippines. Rivera’s romantic relationship with Rizal lasted for
eight years. She was immortalized by Rizal as the character Maria Clara in the
Spanish-language novel Noli Me Tangere. Her Original hometown was in
Camiling, Tarlac.

Rivera a native of Pangasinan, was the daughter of Antonio Rivera. Austin

Coates, Rizal’s European biographer described Rivera as a “pretty woman”
whose physical features included having a “high forehead”, a “soft and wavy
hair” a face that supported “almond eyes”, “small and pensive mouth”, and
“engaging dimples”. Furthermore, Rivera was a talented, mature, and intelligent
lady who played the piano.

Rivera and Rizal first met in Manila when Rivera was only 13 years old. When Rizal
left for Europe on May 3, 1882 Rivera was 15 years of age. From then, the
relationship between Rivera and Rizal became a love by correspondence, a
communication of letters with exchanges of photographs without personally
seeing each other again. Such correspondence began with the poem Rizal left
for Rivera saying farewell. The lover’s employed codes in their letters because
Rivera’s mother did not favor Rizal as a suitor for Rivera. Being, in love for the First
time, Rivera was greatly affected by Rizal’s departure. A letter from Mariano
Katigbak dated June 27, 1884 described Rivera’s condition to Rizal as Rizal’s
betrothed who became thin, deteriorated and pre-occupied. Rivera became
frequently sick because of insomnia. When Rizal returned to the Philippines on
August 5, 1887, Rivera was no longer living in Manila because she and her family
had moved back to Dagupan, Pangasinan.

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 Reflection Paper
To the Young Women of Malolos
The message conveyed to the young women of Malolos centered on salient
points such as the denunciation of the abuse of the friars in exercising their spiritual
authority bestowed upon them by the church, traits Filipino mothers must have;
duties and obligations of Filipino mothers to their children, functions and errands
of a wife to her husband, and guidance to young women on their choice of a
lifetime partner. Rizal also expressed his philosophy of freedom and
independence that he believed was the key to the emancipation of humankind
from slavery, and the necessity for education as the fundamental source of
liberation. In the letter, Rizal enunciated his great desire for Filipino women to
enjoy the privileges in education along with men. Moreover, he appealed to
women to be heedful of their rights and not to be docile towards many injustices
forced upon them. Men and women are born equal. God did not create men
and women to be slaves, nor did he embellish them with reason only to be blinded
by others.

Perhaps having experienced firsthand the warmth of his mother’s love, he

defined in his letter the obligations and roles of the Filipino mothers to their
children. For Rizal, the youth is a flower-bed that is to bear fruit and must
accumulate wealth for its descendants. The mother must raise her children
according to the image of God and orient the mind towards pleasant ideas. A
mother must teach her children to prefer death with honor to life with dishonor.
Mothers should inculcate the following values to their children: love of honor;
sincere and firm character; clear mind; clear conduct; noble action; love for
one’s fellowmen; and respect for God. Ever patriotic in his views, he warned that
the country will never be free and flourishing as long as the children and the
women remain ignorant. With this, the education of the children should not be
limited to religious activities. He stressed obedience and reason as the highest
virtues that one must possess.

The school of the Women of Malolos was closed down in May 1889 but their
aspirations did not end. These women served their countrymen by supporting the
cause of the Revolution against Spain. Some of them became members of the
National Red Cross, while others became founding members of the Malolos
Committee of the Asociacion Feminista de Filipinas in 1906, a national women’s
organization aimed improving the welfare of women in all classes. It can be said
that the women of Malolos were the forerunners of the feminist movement in the
country for championing the cause of women’s right to education and equal
rights regardless of gender.

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 Reflection Paper
Kundiman
Not so much as a title as a form of Philippine music, the kundiman is a traditional
love song, particularly one that expresses devotion and longing for its romantic
object. Scholars propose that it was derived from the phrase, “kung hindi man,”
(“if it should not be so”), which was the theme of most of the songs in this form
during that time. This is indicative of the people’s faith in a Higher Power who is in
control of everything and who decides whether or not things “ought to be so,”
which is nested in his overall beliefs and notions of love and romance.
Jose Rizal wrote “Kundiman” in Tagalog in September 12,1891. This
particular kundiman, however, is not dedicated to a particular maiden but to
that one Maiden whom the hero fully dedicated his life – the Philippines.

Truly hushed today

Are my tongue and heart
Harm is discerned by love
And joy flies away,
'Cause the Country was
Vanquished and did yield
Through the negligence
Of the one who led.

The country at this time is in great peril. Rizal had just finished writing the El Fili in
March of that year, and he is in Europe, watching this scene from afar, noting
that “the one who led,” had failed in his duties to protect the nation’s freedom.

But the sun will return to dawn;

In spite of everything
Subdued people
Will be liberated;
The Filipino name
Will return perhaps
And again become
In vogue in the world.

Here he expresses optimism, that all hope is not lost, and that he remains in
anticipation of the day when the darkness shall lift and the country will take its
place of honor in the world.

We shall shed
Blood and it shall flood
Only to emancipate
The native land;
While the designated time
Does not come,
Love will rest
And anxiety will sleep.

Rizal expresses his belief in necessary sacrifice, even that of one’s own life, for
the freedom of the Filipino.

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 Reflection Paper
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).

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 college’s patroness.

From there, he wrote “Junto al Pasig” and it was staged during 1880’s 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

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?

The play’s theme revolves on Christianity, Innocence against Evil, and Paganism.
 Observance of the Virgin’s Feast  During Rizal’s 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 Rizal’s play during the procession.

According to Rafael Palma’s observation, Rizal’s means of conveying the disguise

of Satan (as a “diwata”) portrays Rizal’s 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.

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 Reflection Paper
Noli Me Tangere
The Noli Me Tangere can be regarded s a historical novel, as it has mostly fictional
characters and historical persons. Rizal's description of the lavish fiesta showed the
comic antics at church and the ridiculous expense for one day of festivities.
Noli me tangere literally translated, the Latin words "noli me tangere"means,
"touch me not". Taken from John 20:17 when Mary Magdalene holds on to Jesus and he
tells her not to touch him. John 20:17 Jesus said to her: "Stop cling to me. For I have not
yet ascended to the Father. But be on your way to my brothers and say to them, 'I am
ascending to my Father and to your Father and to my God and your God.'
Theme as an element of fiction is the idea that runs through the whole novel,
repeated again and again in various forms and way. The theme of Noli me Tangere
comes from the Gospel of John. The Noli me Tangere is a similar theme of longing and
unfulfillment. There is no more tragic love and of course no greater love than the two
beings unable to reach each other, since such love eternally remains unblemished. It
persistently unmasks contemporary Spaniards in the Philippines of every kind. Rizal
exposes corruption and brutality of the civil guards which drive good men to crime and
banditry. He focuses on an administration crawling with self-seekers, out to make their
fortune at the expense of the Filipinos, so that the few officials who are honest and
sincere are unable to overcome the treacherous workings of the system, and their
efforts to help the country often end up in frustration or in self-ruin. Noli me TAngere
exposé of corrupt friars who have made the Catholic religion an instrument for
enriching and perpetuating themselves in power by seeking to mire ignorant Filipinos in
fanaticism and superstition. Instead of teaching Filipinos true Catholicism, they control
the government by opposing all progress and persecuting members of the ilustrado
unless they make themselves their servile flatterers.
Rizal does not, however, spare his fellow countrymen. The superstitious and
hypocritical fanaticism of many who consider themselves religious people; the
ignorance, corruption, and brutality of the Filipino civil guards; the passion for gambling
unchecked by the thought of duty and responsibility; the servility of the wealthy Filipino
towards rirs and government officials; the ridiculous efforts of Filipinos to dissociate
themselves from their fellowmen or to lord it over them--all these are ridiculed and
disclosed.
Rizal nevertheless balances the national portrait by highlighting the virtues and
good qualities of his unspoiled countryman: the modesty and devotion of the Filipina,
the unstinting hospitality of the Filipino family, the devotion of parents to their children
and children to their parents, the deep sense of gratitude, and the solid common sense
of untutored peasant. Iy calls on the Filipino to recover his self-confidence, to
appreciate his own worth, to return to the heritage of his ancestors, and to assert
himself as the equal of the Spaniard. It insists on the need of education, of dedication
to the country, and of absorbing aspects of foreign cultures that would enhance the
native traditions.
Rizal creates other memorable characters whose lives manifest the poisonous
effects of religious and colonial oppression. Capitan Tiago; the social climber Doña
Victorina Espadaña and her toothless Spanish husband., the Guardia Civil head and his
harridan wife; the sorority of devout women; the disaffected peasants forced to
become outlaws; in sum, a microcosm of Philippine society. In the afflictions that
plague them, Rizl paints a harrowing picture of his beloved but suffering country in a
work that speaks eloquently not just to Filipinos but to all who have endured
or witnessed oppression.

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 Reflection Paper
El Filibusterismo

The message of the novel is clear: the present system of governing the
Philippines through corrupt and self-seeking officials, dominated by the friars
and being submissive to their interests in one fashion or another, can only
lead to disaster for Spain. By its nature and operation the system without
doubt drives all intelligent, generous, hard-working, courageous, and loyal
citizens, even those most devoted to Spain, into opposition, crime, and
subversion. The government is subjective, cruel, completely lacking in a sense
of justice or of responsibility, and without interest or trust in the people it
governs. The friars are painted in even harsher colors than in the Noli: they
abuse their power to satisfy vile lusts; to rob men of their lands; to preserve
their monopoly of education; always seeking their own interests rather than
those of the country, or even of Spain.

Yet in this harsh picture there are bright spots: the high official who opposes
the governor-general over his subjective proceedings, and who sympathizes
with and defends the Filipino people; and the open-minded Dominican, Father
Fernandez, who favors the petition of the students for a Spanish academy,
and is willing to discuss with the student Isagani on equal terms what the
students expect from the friars.

Rizal sees little hope that Spain will rule on the basis of justice rather than
prestige, and though he must record the rays of hope that still remain, he is
essentially pessimistic.

Along with his warning to Spain, Rizal conveys to his countrymen the action to
be taken if Spain does not heed his warning. If Rizal is ruthless in denouncing
Spanish corruption, greed, exploitation, and injustice, he is no less hard in
condemning Filipino corruption, greed, self-righteousness, hypocrisy, and
cowardice, which share in, or permit Spanish abuses. The Filipina, Doña
Victorina, ashamed of her race; the cowardly, time-serving Filipino lawyer,
Señor Pasta; the brutalized civil guard, cruelest of all of their own
countrymen; the corrupt municipal officials --- to name a few.

Moreover, he criticized weak-willed students who lack self-respect and courage

to fight a dampening system of education; the silliness of Paulita, who chooses
the cowardly but wealthy braggart Pelaez over Isagani whose bravery and
patriotism have gotten him into trouble with the authorities; the superstition
and fanaticism of the women of San Diego.

He proclaims the unstable and presumably irreversible status of Spanish

sovereignty in the Philippines. Yet he never urges revolution. Not only does he
condemn an independence won by immoral means, like Simoun's; he does not
even want immediate independence, which could only mean a new slavery.
The task for the Filipinos is to prepare themselves, to make themselves
worthy of freedom, and then God will grant the means, be it revolution or
peaceful separation from Spain.

Education, decent lives, and willingness to sacrifice for one's convictions, even
to suffer martyrdom - this is the road to freedom that Rizal would have his
countrymen travel.

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 Reflection Paper
Mi Ultimo Adios
My Last Farewell written by Dr. José Rizal was his last ever written piece of literature.
Reading the poem shows the author’s adieu to the world. Reading the poem shows the
author’s love for his country. And reading the poem shows the author’s feelings to his
friends, his country, and to the world as he marks his disappearance. No matter how
many times one interprets the poem, it was a magnificently written piece of farewell.

However, those change when knowing the author. When scrutinizing about the great
Dr. José Rizal, your perspective of the value of the poem changes, and your knowledge
about the author magnifies the value of the poem even more.
As we all know, Dr. José Rizal is the national hero of the Philippines. One of those who
fought for the independence of the country, for the sake of the country, under the
Spaniard’s callous rule. Dr. José Rizal fought not with spears or swords, but with his pen.
He is a key member of the Filipino Propaganda Movement which upheld political
reforms for the Philippines under Spain. Instead of bloodshed, Rizal used censures to
fight with the injustice of the Spaniards. Dr. José Rizal studied medicine and became an
ophthalmologist because of his blind mother. Upon returning to the Philippines, Rizal
also helped building a school, a hospital, a water supply system and in agriculture as
well. This proves and shows Rizal’s love for the people.

In the first stanza of the poem, Rizal bids farewell and offers his life although sad and
repressed. This is because Rizal’s life, although meaningful, was full of hardships. Rizal
was hardworking due to their situation. Prior to this, he wrote two novels which heavily
criticized the Spaniard’s rule in an attempt to awaken and ignite the hearts of the
Filipinos for a revolution against inequity in their own land and was chased by the
government. Rizal issued a manifesto disavowing the current revolution in its present
state, at his time, and declaring that the education of Filipinos and their achievement
of a national identity were prerequisites to freedom. In the third stanza, he depicts that
if to attain independence is for him to die, then he shall die. He was imprisoned many
times, and in those many times were many chances to escape.

However, he is fine as he can fight and support as long as he can hold a pen and a
paper. His last resort was to be a martyr in order for the Filipinos to awake to the reality
that they shall not hold back anymore as the Spaniards are willing to shed blood in
order to get their way. The fourth stanza was flashbacks from his youth, his younger
days. He saw injustice at an early age due to the martyrdom of GomBurZa. In the sixth
stanza, Dr. José Rizal asks not for monuments but only for flowers just, so he’s not
forgotten, the grass mentioned symbolizes the growth of the Philippines. The seventh
stanza shows Rizal’s insights into the future. The moon shone over his tomb represents a
clear sky, a country without oppressors. And the bird singing a song of peace over his
tomb site means harmony after his death, and peace in his death. In the ninth stanza,
Rizal wanted everyone to pray for each other, for those who have suffered and fallen,
for those who are helpless and tortured, for the mothers and the captives, and for
independence. In the eleventh stanza, Rizal does not care anymore if he is forgotten,
as long as the message, the lessons, the knowledge, his thoughts, his words and his
philosophy were spread. This is because Rizal knew and have trust that education will
lead the Philippines to success. What use is independence if the Filipinos cannot
maintain the order in the country. In the thirteenth stanza, Rizal bids farewell as he
leaves his parents and his loved ones. Rizal is going to heaven, a place where being
faithful is not wrong and only God is right, the One Who have right to judge the others.

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