The Works and

Writings of Rizal
Indroduction:

●José Rizal, in full José Protasio Rizal Mercado y Alonso Realonda,

(born June 19, 1861, Calamba, Philippines—died December 30, 1896,
Manila), patriot, physician, and man of letters who was an inspiration
to the Philippine nationalist movement.
●The son of a prosperous landowner, Rizal was educated in Manila
 and at the University of Madrid. A brilliant medical student, he soon
committed himself to the reform of Spanish rule in his home country,
though he never advocated Philippine independence. Most of his
writing was done in Europe, where he resided between 1882 and 1892
● In 1887 Rizal published his first novel, Noli me tangere (The Social Cancer), a
passionate exposure of the evils of Spanish rule in the Philippines. A sequel, El
filibusterismo (1891; The Reign of Greed), established his reputation as the leading
spokesman of the Philippine reform movement. He published an annotated edition
(1890; reprinted 1958) of Antonio Morga’s Sucesos de las Islas Filipinas, hoping to
show that the native people of the Philippines had a long history before the coming
of the Spaniards. He became the leader of the Propaganda Movement, contributing
numerous articles to its newspaper, La Solidaridad, published in Barcelona. Rizal’s
political program included integration of the Philippines as a province of Spain,
representation in the Cortes (the Spanish parliament), the replacement of Spanish
friars by Filipino priests, freedom of assembly and expression, and equality of
Filipinos and Spaniards before the law.
● Rizal returned to the Philippines in 1892. He founded a nonviolent-reform society,
the Liga Filipina, in Manila, and was deported to Dapitan in northwest Mindanao.
He remained in exile for the next four years. In 1896 the Katipunan, a Filipino
nationalist secret society, revolted against Spain. Although he had no connections
with that organization and he had had no part in the insurrection, Rizal was
arrested and tried for sedition by the military. Found guilty, he was publicly
executed by a firing squad in Manila. His martyrdom convinced Filipinos that there
was no alternative to independence from Spain. On the eve of his execution, while
confined in Fort Santiago, Rizal wrote “Último adiós” (“Last Farewell”), a
masterpiece of 19th-century Spanish verse.
The 8 Most Important Literary Works by Jose Rizal
 To the Filipino Youth.
 Goodbye to Leonor.
 To the Young Women of Malolos.
 Kundiman.
 Junto Al Pasig.
 Noli Me Tángere.
 El Filibusterismo.
 Mi último adios
 TO THE
YOUTH OF
FILIPINO
Rizal wrote this literary poem when he was still studying at the University
of Sto. Tomas (UST). Originally written in Spanish (A la juventud
filipina), Rizal submitted this piece for a poem contest organized for
Filipinos by the Manila Lyceum of Art and Literature. At the age of 18,
this work is beaming with strong messages to convince readers, the youth
in particular, that they are the hope of the nation. He also stresses the
importance of education to one’s future. Rizal won the first prize and was
rewarded with a feather-shaped silver pen and a diploma.
The poem “To the Filipino Youth” by Dr. Jose Rizal is a message primarily
to tell the importance of one’s love and appreciation to his dialect or
language, for it is the bridge and intermediary connecting people’s country
to each other. In the poem, Rizal praised the rising generation.
TO THE YOUTH OF
FILIPINO
Unfold, oh timid flower!

Lift up your radiant brow,

This day, Youth of my native strand!
Your abounding talents show
Resplendently and grand,
Fair hope of my Motherland!

Soar high, oh genius great,

And with noble thoughts fill their mind
The honor's glorious seat,
May their virgin mind fly and find
More rapidly than the wind.
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.
 Descend with the pleasing light
Of the arts and sciences to the plain,
Oh Youth, and break forthright
The links of the heavy chain
That your poetic genius enchain.

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.
 See that in the ardent zone,
The Spaniard, where shadows stand,
hand
To the son of this Indian lan
Doth offer a shining crown,
With wise and merciful d.
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."
 You, who heavenward riseOn wings of your rich
fantasy,
Seek in the Olympian skies
The tenderest poesy,
More sweet than divine honey;

You of heavenly harmony,

On a calm unperturbed night,
Philomel's match in melody,
That in varied symphony
Dissipate man's sorrow's blight;

In these two stanzas, Rizal 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."
 You at th' impulse of your mind
The hard rock animate
And your mind with great pow'r consigned
Transformedinto immortal state
The pure mem'ry of genius great;

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."
 And you, who with magic brush
On canvas plain capture
The varied charm of Phoebus,
Loved by the divine Apelles,
And the mantle of Nature;

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
 Run ! For genius' sacred flame
Awaits the artist's crowning
Spreading far and wide the fame
Throughout the sphere proclaiming
With trumpet the mortal's name
Oh, joyful, joyful day,
The Almighty blessed be
Who, with loving eagerness
Sends you luck and happiness

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.
GOODBYE TO
LEONOR
 ● “Goodbye to Leonor” was written by Rizal for his childhood
sweetheart, Leonor Rivera, when she married Henry Kipping, a British
railway engineer.

● Goodbye to Leonor” was written by Rizal for his childhood sweetheart,

Leonor Rivera — who was only 13 years old when they met in Dagupan.
Despite the distance between them, they tried to stay in touch by sending
letters and photographs to one another. But their love affair was strongly
disapproved by Leonor’s parents.
● Later on, Leonor (who was Rizal’s sweetheart for 11 years) married
Henry Kipping, a British railway engineer, who helped build the Manila-
Dagupan Railway system in 1890. This deeply saddened Rizal, thus this
melancholic poem for Leonor.
 And so it has arrived — the fatal instant,
the dismal injunction of my cruel fate;
so it has come at last — the moment, the date,
when I must separate myself from you.

Goodbye, Leonor, goodbye! I take my leave,

leaving behind with you my lover’s heart!
Goodbye, Leonor: from here I now depart.
O Melancholy absence! Ah, what pain!
To the Young Women
of Malolos
To the Young Women of Malolos: Summary and Analysis

Jose Rizal’s legacy to Filipino women is

embodied in his famous essay entitled, “To the
Young Women of Malolos,” where he addresses all
kinds of women – mothers, wives, the unmarried, etc.
and expresses everything that he wishes them to keep
in mind. 
SUMMARY
“To the Women of Malolos” was originally written in Tagalog.  Rizal penned this writing when he
was in London, in response to the request of Marcelo H. del Pilar.  The salient points contained
in this letter are as follows:

1. The rejection of the spiritual authority of the friars – not all of the priests in the country that
time embodied the true spirit of Christ and His Church.  Most of them were corrupted by
worldly desires and used worldly methods to effect change and force discipline among the
people.
2. The defense of private judgment
3. Qualities Filipino mothers need to possess – as evidenced by this portion of his letter, Rizal
is greatly concerned of the welfare of the Filipino children and the homes they grow up in.
4. Duties and responsibilities of Filipino mothers to their children
5. Duties and responsibilities of a wife to her husband – Filipino women are known to be
submissive, tender, and loving.  Rizal states in this portion of his letter how Filipino women
ought to be as wives, in order to preserve the identity of the race.
6. Counsel to young women on their choice of a lifetime partner
RIZAL’S MESSAGE TO FILIPINO WOMEN
●Jose Rizal was greatly impressed by the fighting spirit that the young
women of Malolos had shown.  In his letter, he expresses great joy
and satisfaction over the battle they had fought.  In this portion of
Rizal’s letter, it is obvious that his ultimate desire was for women to
be offered the same opportunities as those received by men in terms of
education.  During those days young girls were not sent to school
because of the universal notion that they would soon only be taken as
wives and stay at home with the children.  Rizal, however, emphasizes
on freedom of thought and the right to education, which must be
granted to both boys and girls alike.
THE RESPONSIBILITIES OF FILIPINO MOTHERS TO
THEIR CHILDREN

Rizal stipulates a number of important points in this

portion of his letter to the young women of Malolos.  The
central idea here, however, is that whatever a mother shows to
her children is what the children will become also.  If the
mother is always kissing the hand of the friars in submission,
then her children will grow up to be sycophants and mindless
fools who do nothing but do as they are told, even if the very
nature of the task would violate their rights as individuals.
QUALITIES MOTHERS HAVE TO POSSESS

Rizal enumerates the qualities Filipino mothers have to possess:

1. Be a noble wife.
2. Rear her children in the service of the state – here
Rizal gives reference to the women of Sparta who
embody this quality
3. Set standards of behavior for men around her.
RIZAL’S ADVICE TO UNMARRIED MEN AND
WOMEN
Jose Rizal points out to unmarried women that they should not be
easily taken by appearances and looks, because these can be very
deceiving.  Instead, they should take heed of men’s firmness of
character and lofty ideas.  Rizal further adds that there are three things
that a young woman must look for a man she intends to be her
husband:
1. A noble and honored name
2. A manly heart
3. A high spirit incapable of being satisfied with engendering slaves.
ANALYSIS

“To the Women of Malolos” centers around five salient points (Zaide &Zaide,
1999):
1. Filipino mothers should teach their children love of God, country and
fellowmen.
2. Filipino mothers should be glad and honored, like Spartan mothers, to
offer their sons in defense of their country.
3. Filipino women should know how to protect their dignity and honor.
4. Filipino women should educate themselves aside from retaining their
good racial values.
5. Faith is not merely reciting prayers and wearing religious pictures. It is
living the real Christian way with good morals and manners.
●In recent times, it seems that these qualities are gradually lost in the
way Filipino women conduct themselves.  There are oftentimes
moments where mothers forget their roles in rearing their children
because of the overriding idea of having to earn for the family to
supplement their husband’s income.  Although there is nothing
negative about working hard for the welfare of the family, there must
always be balance in the way people go through life.  Failure in the
home cannot be compensated for by any amount of wealth or fame.

SOURCE: http://thelifeandworksofrizal.blogspot.com/2011/08/to-
young-women-of-malolos-summary-and.html
KUNDIMAN
 A kundiman traditionally refers to a love song where a man serenades the
woman he loves. For scholars, this word was derived from the Tagalog
phrase “Kung Hindi man” (if it should not be so) which suggests that people
put their faith in a Higher Being who decides whether or not something is
meant for them.
But in Rizal’s literary work, he wrote a kundiman to profess his intense
love for his motherland. This piece reflects his high hopes that one day, the
Philippines would be free from treachery and injustice. At the time, the
country faced great threats while he was in Europe. And, through this work,
he voices his hopeful thoughts despite being far away from the country.
 
  
Kundiman
 
Tunay ngayong umid
By: Dr. Joseyaring
Rizal dila’t puso
Sinta’y umiilag, tuwa’y lumalayo,
Bayan palibhasa’y lupig at sumuko
Sa kapabayaan ng nagturong puno.
 
Datapuwa’t muling sisikat ang araw,
Pilit maliligtas ang inaping bayan,
Magbabalik mandin at muling iiral
Ang ngalang Tagalog sa sandaigdigan.
 
Ibubuhos namin ang dugo’t babaha
Matubos nga lamang ang sa amang lupa
Habang di ninilang panahong tadhana,
Sinta’y tatahimik, iidlip ang nasa
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:
 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?
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 Virgin’s 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 devil’s 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 Satan’s 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 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
RIZAL’S NATIONALISM

● 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.
NOLI ME TANGERE
• One of the most sought-after books in 
Philippine literature until today, is Rizal’s
famous novel titled Noli Me Tángere (Touch
Me Not). Driven by his undying love for his
country, Rizal wrote the novel to expose the
ills of Philippine society during the Spanish
colonial era.
• written when he was in Madrid, Paris, and
Germany.
• was published in Berlin on Match 21, 1887
Noli Me Tangere Summary
The young and idealistic Juan Crisostomo Ibarra returns home after seven years in Europe.
The wealthy meztizo, like his father Don Rafael endeavors for reform primarily in the area of
education in order to eliminate poverty and improve the lives of his countrymen. Upon learning
about his father’s demise and the denial of a Catholic burial for his father Ibarra was provoked to
hit Padre Damaso which eventually lead to his excommunication. The excommunication was
later rescinded upon the intervention of the Governor General.

Padre Salvi, Ibarra’s mortal enemy accused Ibarra of insurrection. Ibarra’s letter to his
beloved Maria Clara was used against him. Later in the story, Maria Clara will tell Ibarra that she
did not conspire to indict him. She was compelled to give Ibarra’s letter in exchange for the
letters of her mother before she was born. Maria Clara found out that the letters of her mother
were addressed to Padre Damaso about their unborn child which means that she is the biological
daughter of the priest and not of her father, Capitan Tiago.
 Meanwhile, Ibarra was able to escape the prison with Elias, who
also experienced injustice with the authorities. Ibarra was able to speak
with Maria Clara about the letters and thereafter forgave her. Ibarra and
Elias flee to the lake and were chased by the Guardia Civil. One was
shot and the other survives. Upon hearing the news, Maria Clara
believed that Ibarra was dead; she entered the nunnery instead of
marrying Alfonso Linares.
The fatally wounded Elias found the child Basilio and his dead
mother Sisa. The latter was driven to insanity when she learned that her
children were implicated for theft by the sacristan mayor. Elias
instructed Basilio to dig for his and Sisa’s graves and there is a buried
treasure which he can use for his education.
Noli Me Tangere brilliantly described Philippine society with its
memorable characters. The melancholic fate of Maria Clara and the
insanity of Sisa characterized the country’s pitiful state, which was
once beautiful, turned miserable. Reading Noli Me Tangere will open
one’s mind about oppression and tyranny
● At the time, the Spaniards prohibited the Filipinos from reading the
controversial book because of the unlawful acts depicted in the
novel. Yet they were not able to ban it completely and as more
Filipinos read the book, it opened their eyes to the truth that they
were being manhandled by the friars. In this revolutionary book,
you’ll learn the story of Crisostomo Ibarra, how he dealt with
Spanish authorities, and how he prepared for his revenge, as told in
Rizal’s second book, El Filibusterismo.
 El
Filibusterismo
 
 Jose Rizal, El Filibusterismo (Reign of Greed), written in Spanish and a sequel to Noli Me
Tangere, was published in Ghent, Belgium. Rizal, who began writing El Filibusterismo in October
1887 in Calamba, Laguna, revised some chapters while he was in London and completed the book on
March 29, 1891.
The word "filibustero" wrote Rizal to his friend, Ferdinand Blumentritt, is very little known in the
Philippines. The masses do not know it yet. Rizal wrote El Filibusterismo in dedication to the three
martyred priests Mariano Gomez, Jose Burgos, and Jacinto Zamora, expressing conviction that their
treatment and deaths at the hands of the Spanish authorities was unjust.
 
Jose Alejandro, one of the new Filipinos who had been quite intimate with Rizal, said, "in
writing the Noli Rizal signed his own death warrant." Subsequent events, after the fate of the Noli
was sealed by the Spanish authorities, prompted Rizal to write the continuation of his first novel. He
confessed, however, that regretted very much having killed Elias instead of Ibarra, reasoning that
when he published the Noli his health was very much broken, and was very unsure of being able to
write the continuation and speak of a revolution.
 Explaining to Marcelo H. del Pilar his inability to contribute articles to the La
Solidaridad, Rizal said that he was haunted by certain sad presentiments, and that he had been
dreaming almost every night of dead relatives and friends a few days before his 29th birthday,
that is why he wanted to finish the second part of the Noli at all costs. Consequently, as
expected of a determined character, Rizal apparently went in writing, for to his friend,
Blumentritt, he wrote on March 29, 1891:
To a Filipino friend in Hong Kong, Jose Basa, Rizal likewise eagerly announced the
completion of his second novel. Having moved to Ghent to have the book published at cheaper
cost, Rizal once more wrote his friend, Basa, in Hongkong on July 9, 1891:
"I am not sailing at once, because I am now printing the second part of the Noli here, as
you may see from the enclosed pages. I prefer to publish it in some other way before leaving
Europe, for it seemed to me a pity not to do so. For the past three months I have not received a
single centavo, so I have pawned all that I have in order to publish this book. I will continue
publishing it as long as I can; and when there is nothing to pawn I will stop and return to be at
your side."
Inevitably, Rizal’s next letter to Basa contained the tragic news of the suspension of the
printing of the sequel to his first novel due to lack of funds, forcing him to stop and leave
the book half-way. "It is a pity," he wrote Basa, "because it seems to me that this second
part is more important than the first, and if I do not finish it here, it will never be
finished."
Fortunately, Rizal was not to remain in despair for long. A compatriot, Valentin
Ventura, learned of Rizal’s predicament. He offered him financial assistance. Even then
Rizal’s was forced to shorten the novel quite drastically, leaving only thirty-eight chapters
compared to the sixty-four chapters of the first novel.
  Rizal moved to Ghent, and writes Jose Alejandro. The sequel to Rizal’s Noli came
off the press by the middle of September, 1891.On the 18th he sent Basa two copies, and
Valentin Ventura the original manuscript and an autographed printed copy.
 
 Inspired by what the word filibustero connoted in relation to the
circumstances obtaining in his time, and his spirits dampened by the tragic
execution of the three martyred priests, Rizal aptly titled the second part of the
Noli Me Tangere, El Filibusterismo. In veneration of the three priests, he
dedicated the book to them.
  "To the memory of the priests, Don Mariano Gomez (85 years old), Don
Jose Burgos (30 years old), and Don Jacinto Zamora (35 years old). Executed
in the Bagumbayan Field on the 28th of February, 1872.“
"The church, by refusing to degrade you, has placed in doubt the crime
that has been imputed to you; the Government, by surrounding your trials
with mystery and shadows causes the belief that there was some error,
committed in fatal moments; and all the Philippines, by worshipping your
memory and calling you martyrs, in no sense recognizes your culpability.
 In so far, therefore, as your complicity in the Cavite Mutiny is not
clearly proved, as you may or may not have been patriots, and as you may
or may not cherished sentiments for justice and for liberty, I have the right
to dedicate my work to you as victims of the evil which I undertake to
combat. And while we await expectantly upon Spain some day to restore
your good name and cease to be answerable for your death, let these pages
serve as a tardy wreath of dried leaves over one who without clear proofs
attacks your memory stains his hands in your blood."
 
Rizal’s memory seemed to have failed him, though, for Father Gomez
was then 73 not 85, Father Burgos 35 not 30 Father Zamora 37 not 35; and
the date of execution 17th not 28th.
The FOREWORD of the Fili was addressed to his beloved
countrymen, thus:
 
"TO THE FILIPINO PEOPLE AND THEIR GOVERNMENT"
 
Objectives of Rizal in writing the novel:
1. To defend Filipino people from foreign accusations of
foolishness and lack of knowledge
2. To show how the Filipino people live during Spanish colonial
period and the cries and woes of his countrymen against
abusive officials.
3. To discuss what religion and belief cab really do to everyday
lives.
4. To expose the cruelness, grave and corruption of the false
government and honesty show the wrong doings of Filipinos
that led to further failure.
  
Comparison between Noli Me Tangere and El
Filibusterismo
Noli Me Tangere El  Filibusterismo

• A romantic novel • A political novel

• A book of heart • A work of head

• A book of feeling • A book of thought

• It haw freshness, color, humor • Contains bitterness, hatred, pain,

and intelligence violence and sorrow

• Contains 64 chapters • Contains 38 chapter

MI ULTIMO
ADIOS
 First stanza of “Mi Ultimo Adiós”, by Jose Rizal, written before his
execution on December 30, 1896. The poem was untitled, but this is the
most common name it is known by.
“Mi último adiós” (English; “My Last Farewell”) is a poem written by Dr.
José Rizal before his execution by firing squad on December 30, 1896. His
martyrdom ignited the Filipino fervor to revolt against the Spaniards.
While Rizal was traveling on his way to Spain, he was captured in the
boat where he was sailing, and upon arrival in Barcelona, he was sent back
to the Philippines. Although he had no connections with the Katipunan who
led an insurrection against Spain, he was arrested for sedition by the
military. On his arrival in Manila, Rizal was imprisoned at Fort Santiago.
When he appeared in the military court, he was sentenced to be executed by
firing squad in Bagumbayan.
 On the afternoon of December 29, 1896, a day before his execution, Dr. José Rizal
was visited by his mother, Teodora Alonzo, sisters Lucia, Josefa, Trinidád, Maria and
Narcisa, and two nephews. When they took their leave, Rizal told Trinidád in English
that there was something in the small alcohol stove (cocinilla) which was intended to
provide cover for the transportation of the text. The stove was given to Narcisa by the
guard when the party was about to board their carriage in the courtyard. At home, the
Rizal ladies recovered from the stove a folded paper. On it was written an unsigned,
untitled and undated poem of 14 five-line stanzas, a masterpiece of 19th century Spanish
verse full of excellent thoughts and feelings. The Rizals reproduced copies of the poem
and sent them to Rizal’s friends in the country and abroad. In 1897, Mariano Ponce, a
friend and fellow reformist in Hong Kong, had the poem printed with the title “Mi
Ultimo Pensamiento” (“My Last Thought”) but the title did not catch on. Fr. Mariano
Dacanay, who received a copy of the poem while a prisoner in Bilibid (jail), published it
in the first issue of La Independencia on Sept. 25, 1898 with the title “Ultimo Adios”.
MI ULTIMO ADIOS
 HULING PAALAM ni Rizal
This is a Tagalog translation by Andres Bonifacio of the
poem Mi Último Adios (My Last Farewell) originally
written in Spanish by Filipino national hero Jose Rizal.
Pinipintuho kong Bayan ay paalam,
Lupang iniirog ng sikat ng araw,
mutyang mahalaga sa dagat Silangan,
kaluwalhatiang sa ami’y pumanaw.
Masayang sa iyo’y aking idudulot
ang lanta kong buhay na lubhang malungkot;
maging maringal man at labis ang alindog
sa kagalingan mo ay akin ding handog.
Sa pakikidigma at pamimiyapis
ang alay ng iba’y ang buhay na kipkip,
walang agam-agam, maluwag sa dibdib,
matamis sa puso at di ikahahapis.
 Saan man mautas ay di kailangan,
cipres o laurel, lirio ma’y patungan
pakikipaghamok, at ang bibitayan,
yaon ay gayon din kung hiling ng Bayan.
Ako’y mamamatay, ngayong namamalas
na sa Silanganan ay namamanaag
yaong maligayang araw na sisikat
sa likod ng luksang nagtabing na ulap.
Ang kulay na pula kung kinakailangan
na maitina sa iyong liwayway,
dugo ko’y isaboy at siyang ikikinang
ng kislap ng iyong maningning na ilaw.
Ang aking adhika sapul magkaisip
noong kasalukuyang bata pang maliit,
ay ang tanghaling ka at minsang masilip
sa dagat Silangan hiyas na marikit.
 taas na ang noo’t walang kapootan,
walang bakas kunot ng kapighatian
gabahid man dungis niyong kahihiyan.
Sa kabuhayan ko ang laging gunita
maningas na aking ninanasa-nasa
ay guminhawa ka ang hiyas ng diwa
paghingang papanaw ngayong biglang-bigla.
Ikaw’y guminhawa laking kagandahang
akoy malugmok, at ikaw ay matanghal,
hininga’y malagot, mabuhay ka lamang
bangkay ko’y maisilong sa iyong Kalangitan.
Kung sa libingan ko’y tumubong mamalas
sa malagong damo mahinhing bulaklak,
sa mga labi mo’y mangyayaring ilapat,
sa kaluluwa ko halik ay igawad.
 At sa aking noo nawa’y iparamdam,
sa lamig ng lupa ng aking libingan,
ang init ng iyong paghingang dalisay
at simoy ng iyong paggiliw na tunay.
Bayaang ang buwan sa aki’y ititig
ang liwanag niyang lamlam at tahimik,
liwayway bayaang sa aki’y ihatid
magalaw na sinag at hanging hagibis.
Kung sakasakaling bumabang humantong
sa krus ko’y dumapo kahit isang ibon,
doon ay bayaan humuning hinahon
at dalitin niya payapang panahon.
Bayaan ang ningas ng sikat ng araw
ula’y pasingawin noong kainitan,
magbalik sa langit ng buong dalisay
kalakip ng aking pagdaing na hiyaw.
 Bayaang sino man sa katotong giliw
tangisang maagang sa buhay pagkitil;
kung tungkol sa akin ay may manalangin
idalangin, Bayan, yaring pagkahimbing.
Idalanging lahat yaong nangamatay,
Nangag-tiis hirap na walang kapantay;
mga ina naming walang kapalaran
na inihihibik ay kapighatian.
Ang mga balo’t pinapangulila,
ang mga bilanggong nagsisipagdusa;
dalanginin namang kanilang makita
ang kalayaan mong ikagiginhawa.
At kung ang madilim na gabing mapanglaw
ay lumaganap na doon sa libinga’t
tanging mga patay ang nangaglalamay,
huwag bagabagin ang katahimikan.
Ang kanyang hiwaga’y huwag gambalain;
kaipala’y marinig doon ang taginting,
tunog ng gitara’t salterio’y magsaliw,
ako, Bayan yao’t kita’y aawitan.
Kung ang libingan ko’y limot na ng lahat
at wala ng kurus at batong mabakas,
bayaang linangin ng taong masipag,
lupa’y asarolin at kahuya’y ikalat.
Ang mga buto ko ay bago matunaw,
mauwi sa wala at kusang maparam,
alabok na iyong latag ay bayaang
siya ang babalang doo’y makipisan.
Kung magkagayon ma’y, alintanahin
na ako sa limot iyong ihabilin,
pagka’t himpapawid at ang panganorin,
mga lansangan mo’y aking lilibutin.
 Matining na tunog ako sa dinig mo,
ilaw, mga kulay, masamyong pabango,
ang ugong at awit, paghibik ko sa iyo,
pag-asang dalisay ng pananalig ko.
Bayang iniirog, sakit niyaring hirap,
Katagalugan kong pinakaliliyag,
dinggin mo ang aking pagpapahimakas;
diya’y iiwan ko sa iyo ang lahat.
Ako’y patutungo sa walang busabos,
walang umiinis at berdugong hayop;
pananalig doo’y di nakasasalot,
si Bathala lamang doo’y haring lubos.
Paalam, magulang at mga kapatid
kapilas ng aking kaluluwa’t dibdib
mga kaibigan, bata pang maliit,
sa aking tahanan di na masisilip.
Pag-papasalamat at napahinga rin,
paalam estranherang kasuyo ko’t aliw,
paalam sa inyo, mga ginigiliw;
mamatay ay siyang pagkakagupiling!
Complete Works
of Rizal
 Novels
and Essays
• Noli Me Tángere, novel, 1887
• El Filibusterismo, (novel, 1891), sequel to Noli Me Tángere
• Alin Mang Lahi (“Whate’er the Race”), a Kundiman attributed to Dr. Jose Rizal
• The Friars and the Filipinos (Unfinished)
• Toast to Juan Luna and Felix Hidalgo (Speech, 1884), given at Restaurante Ingles,
Madrid
• The Diaries of José Rizal
• Rizal’s Letters is a compendium of Dr. Jose Rizal’s letters to his family members,
Blumentritt, Fr. Pablo Pastells and other reformers
“Come se gobiernan las Filipinas” (Governing the Philippine islands)
• Filipinas dentro de cien años essay, 1889–90 (The Philippines a Century Hence)
• La Indolencia de los Filipinos, essay, 1890 (The indolence of Filipinos)[51]
• Makamisa unfinished novel
• Sa Mga Kababaihang Taga Malolos, essay, 1889, To the Young Women of Malolos
• Annotations to Antonio de Moragas, Sucesos de las Islas Filipinas (essay, 1889,
Events in the Philippine Islands)
Poetry
• A La Juventud Filipina (English translation: To The Philippine Youth)
• El Canto Del Viajero (English translation: Song of the Wanderer)
• Briayle Crismarl
• Canto de María Clara (English translation: Song of Maria Clara)
• Himno Al Trabajo (Dalit sa Paggawa)
• Felicitación [Felicitation (English Translation)]
• Kundiman (Tagalog) [Kundiman (English Translation)]
• Me Piden Versos (English translation: They Ask Me for Verses!)
• Mi Primera Inspiracion
• Mi Retiro (English translation: My Retreat)
• Mi Ultimo Adiós (English translation: My Last Farewell)
• Por La Educación (Recibe Lustre La Patria) (English translation: 
Education Gives Luster to Motherland
• Sa Sanggol na si Jesus (English translation: Child Jesus)
• A Mi Musa (English translation: To My Muse)
• Un Recuerdo A Mi Pueblo (English translation: Memories of My Town)
• A Man in Dapitan
Plays
• El Consejo de los Dioses (The Council of Gods)
• Junto Al Pasig (Along the Pasig)
• San Euistaquio, Mártyr (Saint Eustache, the Martyr)
Sculptures
● The Triumph of Science over Death
Paintings
• Saturnina Rizal in oil now being displayed in Rizal Shrine in Fort
Santiago
• Dapitan church curtains in oil made in Dapitan in 1984.
• An oil painting on a pair of mother-of-pearl shells painted in Dapitan
and given as a token to Doña Leonor Valenzuela and later passed on to
Doña Margarita Valenzuela
• Water color painting of the Spanish coat of arms done during San Rafael
fiesta in Calamba in 1867
• Allegory on a pair of porcelain bases of the new year celebration in oil
painted in Berlin in 1886
• Crayon painting of Christ crucified done in 1875
• Crayon painting of Immaculate Conception made in Manila, 1974
• Crayon painting of Portrait of Morayta made in Barcelona, 1885
THANK YOU
FOR
LISTENING!!