A la juventud filipina is a poem written in Spanish by Filipino writer and national hero Jos Rizal, first presented in 1879

in Manila, while he was studying at the University of Santo Tomas. "A la juventud filipina" was written by Rizal when he was only eighteen years old, and was dedicated to the Filipino Youth. SummaryIn the poem Rizal praises the benefits that Spain had bestowed upon the Philippines. Rizal had frequently depicted the renowned Spanish explorers, generals and kings in the most patriotic manner. He had pictured Education (brought to the Philippines by Spain) as "the breath of life instilling charming virtue". He had written of one of his Spanish teachers as having brought "the light of the eternal splendor". In this poem, however, it is the Filipino Youth who are the protagonists, whose "prodigious genius" making use of that education to build the future, was the "Bella esperanza de la Patria Mia!" (beautiful hope of the motherland). Spain, with "Pious and wise hand" offered a "crown's resplendent band, offers to the sons of this Indian land." The poem has been translated to Tagalog by several authors. Early in the 20th century, the American translator Charles Derbyshire (whose English translation of Rizals Mi Ultimo Adios is the most popular and most often recited version) translated the poem, but the translation contained flaws, as can be seen for example in the fifth line, where he translates "Bella esperanza de la Patria Mia!" as Fair hope of my fatherland! Alfredo S. Veloso made a translation of the poem into English. Philippine National Artist Nick Joaquin also translated the poem. Sa kabataang Pilipino Itaas ang iyong Malinis na noo Sa araw na ito, Kabataang Pilipino! Igilas mo na rin ang kumikinang mong Mayamang sanghaya Magandang pag-asa ng Bayan kong Mutya! Makapangyarihang waniy lumilipad, At binibigyang ka ng muning mataas, Na maitutulad ng ganap na lakas, Mabilis na hangin, sa kanyang paglipad, Malinis na diwa, sa likmuang hangad. Ikaw ay bumaba Na taglay ang ilaw Ng sining at agham Sa paglalabanan, Bunying kabataan, At iyong kalagiun ang gapos mong iyang Tanikalang bakal na kinatalian Ng matulain mong waning kinagisnan. Ikaw na lagi nang pataas nag lipad, Sa pakpak ng iyong Mayamang pangarap, Na iyong Makita sa Ilimpong ulap Ang lalong matamis Na mag tulaing pinakananais, Ng higit ang sarap Kaysa ambrosia at nectar na awagas

Ng mga bulaklak. Ikaw na may tinig Na buhat sa langit, Kaagaw sa tamis Na kay Filomenang Malinis na hiomig, Sa gabing tahimik Ay pinaparam mo ang sa taong sakit, Ikaw, na ang batong sukdulan ng tigas Sa lakas ng iyong diway nagagawad Ng buhay at gilas, At ang alaalang makislap Ay nabibigayan ng kamay mong masikap Ng buhay na walang masasabing wakes. At ikaw, na siyang Sa may ibat ibang Balani ni Febong kay Apelas mahal, Gayundin sa lambong ng katalagahan, Na siayng sa guhit ng pinsel mong tangay Nakapaglilipat sa kayong alinman; Hayo nay tumakbo! Sapagkat ang banal Na ningas ng waniy nais maputungan Kayong naglalamay, At maipamansag ng tambuling tangan, Saan man humanggan, Ang ngalan ng tao, sa di matulusang Lawak ng palibot na nakasasaklaw. Malwalhating araw, Ito, Pilipinas, sa lupang tuntungan! Ang Lumikhay dapat na pasalamatan, Dahilan sa kanyang mapagmahal, Na ikawy pahatdan. These are the exact words (albeit written in Spanish) which introduce the first stanza of Jose Rizal's famous poem, A la juventud Filipina To the Filipino Youth. A poem that's been used and re-used/quoted and re-quoted time and time again, it currently exists in a better known, watered down version which caters better to the current generation's modern taste: The youth is the hope of the nation. Rizal wrote this poem when he was but a child himself, yet he was far removed from his own time and his peers. In a time when his fellow youth were reeling and cowing under the harsh rods of their primitive-minded teachers, he had already learned how to look ahead and see bad things for the good that they might become. Even during his childhood, he had already been awakened to the harshness of his reality, and thus possessed a deep love of country which overshadowed the common concerns of the youth today: family, romance, friendship, pride, safety. To this effect, he exorted his fellow youth to cultivate a love of country that can resist abuse and lift the Philippines to a greater plane of existence as a result. You mean what our reaction is to Rizal's La Juventud Filipina? He says there that we, the youth, are capable of bringing changes for the betterment of our country; we are to serve the nation. He wrote this for the youth to realize that "they are the hope of the father land." Even though it was written in the context of Spanish colonization, it can be applied to our context. We are to serve

the nation and the Filipino people, to bring progress in our country as well as our economy. Through the poem, Rizal reminds me of my responsibility as a Filipino youth. Noli me tangaere Noli Me Tangere Summary Having completed his studies in Europe, young Juan Crisstomo Ibarra y Magsalin comes back to the Philippines after a 7-year absence. In his honor, Don Santiago de los Santos, a family friend commonly known as Captain Tiago, threw a get-together party, which was attended by friars and other prominent figures. One of the guests, former San Diego curate Fray Dmaso Vardolagas belittled and slandered Ibarra. Ibarra brushed off the insults and took no offense; he instead politely excused himself and left the party because of an allegedly important task. The next day, Ibarra visits Mara Clara, his betrothed, the beautiful daughter of Captain Tiago and affluent resident of Binondo. Their long-standing love was clearly manifested in this meeting, and Mara Clara cannot help but reread the letters her sweetheart had written her before he went to Europe. Before Ibarra left for San Diego, Lieutenant Guevara, a Civil Guard, reveals to him the incidents preceding the death of his father, Don Rafael Ibarra, a rich hacendero of the town. According to Guevara, Don Rafael was unjustly accused of being a heretic, in addition to being a subservient an allegation brought forth by Dmaso because of Don Rafael's non-participation in the Sacraments, such as Confession and Mass. Dmaso's animosity against Ibarra's father is aggravated by another incident when Don Rafael helped out on a fight between a tax collector and a child fighting, and the former's death was blamed on him, although it was not deliberate. Suddenly, all of those who thought ill of him surfaced with additional complaints. He was imprisoned, and just when the matter was almost settled, he died of sickness in jail. Still not content with what he had done, Dmaso arranged for Don Rafael's corpse to be dug up from the Catholic church and brought to a Chinese cemetery, because he thought it inappropriate to allow a heretic a Catholic burial ground. Unfortunately, it was raining and because of the bothersome weight of the body, the undertakers decide to throw the corpse into a nearby lake.[1] Revenge was not in Ibarra's plans, instead he carried through his father's plan of putting up a school, since he believed that education would pave the way to his country's progress (all over the novel the author refers to both Spain and the Philippines as two different countries as part of a same nation or family, with Spain seen as the mother and the Philippines as the daughter). During the inauguration of the school, Ibarra would have been killed in a sabotage had Elas a mysterious man who had warned Ibarra earlier of a plot to assassinate him not saved him. Instead the hired killer met an unfortunate incident and died. The sequence of events proved to be too traumatic for Mara Clara who got seriously ill but was luckily cured by the medicine Ibarra sent. After the inauguration, Ibarra hosted a luncheon during which Dmaso, gate-crashing the luncheon, again insulted him. Ibarra ignored the priest's insolence, but when the latter slandered the memory of his dead father, he was no longer able to restrain himself and lunged at Dmaso, prepared to stab him for his impudence. As a consequence, Dmaso excommunicated Ibarra, taking this opportunity to persuade the already-hesitant Tiago to forbid his daughter from marrying Ibarra. The friar wished Mara Clara to marry Linares, a Peninsular who had just arrived from Spain. With the help of the Governor-General, Ibarra's excommunication was nullified and the Archbishop decided to accept him as a member of the Church once again. But, as fate would have it, some incident of which Ibarra had known nothing about was blamed on him, and he is wrongly arrested and imprisoned. The accusation against him was then overruled because during the litigation that followed, nobody could testify that he was indeed involved. Unfortunately, his letter to Mara Clara somehow got into the hands of the jury and is manipulated such that it then became evidence against him by the parish priest, Fray Salv. With Machiavellian precision, Salv framed Ibarra and ruined his life just so he could stop him from marrying Mara Clara and making the latter his concubine.

Meanwhile, in Capitan Tiago's residence, a party was being held to announce the upcoming wedding of Mara Clara and Linares. Ibarra, with the help of Elas, took this opportunity to escape from prison. Before leaving, Ibarra spoke to Mara Clara and accused her of betraying him, thinking that she gave the letter he wrote her to the jury. Mara Clara explained that she would never conspire against him, but that she was forced to surrender Ibarra's letter to Father Salvi, in exchange for the letters written by her mother even before she, Mara Clara, was born. The letters were from her mother, Pa Alba, to Dmaso alluding to their unborn child; and that Mara Clara was therefore not Captain Tiago's biological daughter, but Dmaso's. Afterwards, Ibarra and Elas fled by boat. Elas instructed Ibarra to lie down, covering him with grass to conceal his presence. As luck would have it, they were spotted by their enemies. Elas, thinking he could outsmart them, jumped into the water. The guards rained shots on him, all the while not knowing that they were aiming at the wrong man. Mara Clara, thinking that Ibarra had been killed in the shooting incident, was greatly overcome with grief. Robbed of hope and severely disillusioned, she asked Dmaso to confine her into a nunnery. Dmaso reluctantly agreed when she threatened to take her own life, demanding, "the nunnery or death!" [2] Unbeknownst to her, Ibarra was still alive and able to escape. It was Elas who had taken the shots. It was Christmas Eve when Elas woke up in the forest fatally wounded, as it is here where he instructed Ibarra to meet him. Instead, Elas found the altar boy Basilio cradling his already-dead mother, Sisa. The latter lost her mind when she learned that her two sons, Crispn and Basilio, were chased out of the convent by the sacristan mayor on suspicions of stealing sacred objects. (The truth is that, it was the sacristan mayor who stole the objects and only pinned the blame on the two boys. The said sacristan mayor actually killed Crispn while interrogating him on the supposed location of the sacred objects. It was implied that the body was never found and the incident was coveredup by Salv). Elas, convinced that he would die soon, instructs Basilio to build a funeral pyre and burn his and Sisa's bodies to ashes. He tells Basilio that, if nobody reaches the place, he come back later on and dig for he will find gold. He also tells him (Basilio) to take the gold he finds and go to school. In his dying breath, he instructed Basilio to continue dreaming about freedom for his motherland with the words: I shall die without seeing the dawn break upon my homeland. You, who shall see it, salute it! Do not forget those who have fallen during the night."

Elas died thereafter. In the epilogue, it was explained that Tiago became addicted to opium and was seen to frequent the opium house in Binondo to satiate his addiction. Mara Clara became a nun where Salv, who has lusted over her from the beginning of the novel, regularly used her to fulfill his lust. One stormy evening, a beautiful crazy woman was seen at the top of the convent crying and cursing the heavens for the fate it has handed her. While the woman was never identified, it is suggested that the said woman was Mara Clara. Major characters Ibarra Juan Crisstomo Ibarra y Magsalin, commonly referred to the novel as Ibarra or Crisstomo, is the protagonist in the story. Son of a Filipino businessman, Don Rafael Ibarra, he studied in Europe for seven years.[6] Ibarra is also Mara Clara's fianc. Several sources claim that Ibarra is also Rizal's reflection: both studied in Europe and both persons believe in the same ideas. Upon his return, Ibarra requested the local government of San Diego to construct a public school to promote education in the town.[7]

In the sequel of Noli, El filibusterismo, Ibarra returned with different character and name: he called himself as Simoun, the English mestizo. Mara Clara

A crayon sketch of Leonor RiveraKipping by Rizal. Mara Clara de los Santos y Alba, commonly referred to as Mara Clara, is Ibarra's fiance. She was raised by Capitn Tiago, San Diego's cabeza de barangay and is the most beautiful and widely celebrated girl in San Diego.[8] In the later parts of the novel, Mara Clara's identity was revealed as an illegitimate daughter of Father Dmaso, former parish curate of the town, and Doa Pa Alba, wife of Capitn Tiago.[9] In the end she entered local covenant for nuns Beaterio de Santa Clara. In the epilogue dealing with the fate of the characters, Rizal stated that it is unknown if Mara Clara is still living within the walls of the covenant or she is already dead. [10] The character of Mara Clara was patterned after Leonor Rivera, Rizal's first cousin and childhood sweetheart.[11] Capitn Tiago Don Santiago de los Santos, known by his nickname Tiago and political title Capitn Tiago is a Filipino businessman and the cabeza de barangay or head of barangay of the town of San Diego. He is also the known father of Mara Clara.[8] In the novel, it is said that Capitn Tiago is the richest man in the region of Binondo and he possessed real properties in Pampanga and Laguna de Bay. He is also said to be a good Catholic, friend of the Spanish government and was considered as a Spanish by colonialists. Capitn Tiago never attended school, so he became a domestic helper of a Dominican friar who taught him informal education. He married Pa Alba from Santa Cruz.[8] Padre Dmaso Dmaso Verdolagas, or Padre Dmaso is a Franciscan friar and the former parish curate of San Diego. He is best known as a notorious character who speaks with harsh words and has been a cruel priest during his stay in the town.[12] He is the real father of Mara Clara and an enemy of Crisstomo's father, Rafael Ibarra. [9] Later, he and Mara Clara had bitter arguments whether she would marry Alfonso Linares or go to a convent. [13] At the end of the novel, he is again re-assigned to a distant town and is found dead one day. [10] In popular culture, when a priest was said to be like Padre Dmaso, it means that he is a cruel but respectable individual. When one says a child is "anak ni Padre Damaso" (child of Padre Dmaso), it means that the child's father's identity is unknown. Elas Elas is Ibarra's mysterious friend and ally. Elas made his first appearance as a pilot during a picnic of Ibarra and Mara Clara and her friends.[14] He wants to revolutionize the country and to be freed from Spanish oppression. [15] The 50th chapter of the novel explores the past of Elas and history of his family. In the past, Ibarra's greatgrandfather condemned Elas' grandfather of burning a warehouse which led into misfortune for Elas' family. His father was refused to be married by his mother because his father's past and family lineage was discovered by his mother's family. In the long run, Elas and his twin sister was raised by their maternal grandfather. When they were teenagers, their distant relatives called them hijos de bastardo or illegitimate children. One day, his sister

disappeared which led him to search for her. His search led him into different places, and finally, he became a fugitive and subversive.[16] Filosofo Tacio Filosofo Tacio, known by his Filipinized name Pilosopo Tasyo is another major character in the story. Seeking for reforms from the government, he expresses his ideals in paper written in a cryptographic alphabet similar from hieroglyphs and Coptic figures[17] hoping "that the future generations may be able to decipher it" and realized the abuse and oppression done by the conquerors. [18] His full name is only known as Don Anastacio. The educated inhabitants of San Diego labeled him as Filosofo Tacio (Tacio the Sage) while others called him as Tacio el Loco (Insane Tacio) due to his exceptional talent for reasoning. Doa Victorina Doa Victorina de Espadaa, commonly known as Doa Victorina, is an ambitious Filipina who classifies herself as a Spanish and mimics Spanish ladies by putting on heavy make-up.[12] The novel narrates Doa Victorina's younger days: she had lots of admirers, but she didn't choose any of them because nobody was a Spaniard. Later on, she met and married Don Tiburcio de Espadaa, an official of the customs bureau who is about ten years her junior.[19] However, their marriage is childless. Her husband assumes the title of medical doctor even though he never attended medical school; using fake documents and certificates, Tiburcio practices illegal medicine. Tiburcio's usage of the title Dr. consequently makes Victorina assume the title Dra. (doctora, female doctor).[19] Apparently, she uses the whole name Doa Victorina de los Reyes de de Espadaa, with double de to emphasize her marriage surname.[19] She seems to feel that this awkward titling makes her more "sophisticated." Sisa, Crispin, and BasilioSisa, Crispin, and Basilio represent a Filipino family persecuted by the Spanish authorities. Narcisa or Sisa is the deranged mother of Basilio and Crispin. Described as beautiful and young, although she loves her children very much, she can not protect them from the beatings of her husband, Pedro. Crispn is Sisa's 7-year-old son. An altar boy, he was unjustly accused of stealing money from the church. After failing to force Crispn to return the money he allegedly stole, Father Salv and the head sacristan killed him. Although it was not directly written that he was killed, the way that Rizal carried the novel out, such as the dream of Basilio suggests that he died during his encounter with Padre Salvi and his minion. Meanwhile, Basilio is Sisa's 10-year-old son. An acolyte tasked to ring the church bells for the Angelus, he faced the dread of losing his younger brother and falling of his mother into insanity. At the end of the novel, Elas wished Basilio to bury him by burning in exchange of chest of gold located on his death ground. He will later play a major role in El filibusterismo. Due to their tragic but endearing story, these characters are often parodied in modern Filipino popular culture. Other characters There are a number of secondary and minor characters in Noli Me Tangere. Items indicated inside the parenthesis are the standard Filipinization of the Spanish names in the novel. Padre Hernando de la Sibyla a Dominican friar. He is described as short and has fair skin. He is instructed by an old priest in his order to watch Crisstomo Ibarra. Padre Bernardo Salv the Franciscan curate of San Diego, secretly harboring lust for Mara Clara. He is described to be very thin and sickly. It is also hinted that his last name, "Salvi" is the shorter form of "Salvi"

meaning Salvation, or "Salvi" is short for "Salvaje" meaning bad hinting to the fact that he is willing to kill an innocent child, Crispin, just to get his money back, though there was not enough evidence that it was Crispin who has stolen his 2 onzas. El Alfrez or Alperes chief of the Guardia Civil. Mortal enemy of the priests for power in San Diego and husband of Doa Consolacion. Doa Consolacon wife of the Alfrez, nicknamed as la musa de los guardias civiles (The muse of the Civil Guards) or la Alfreza, was a former laundrywoman who passes herself as a Peninsular; best remembered for her abusive treatment of Sisa. Don Tiburcio de Espadaa Spanish Quack Doctor who is limp and submissive to his wife, Doa Victorina. Teniente Guevara - a close friend of Don Rafael Ibarra. He reveals to Crisstomo how Don Rafael Ibarra's death came about. Alfonso Linares A distant nephew of Tiburcio de Espanada, the would-be fianc of Mara Clara. Although he presented himself as a practitioner of law, it was later revealed that he, just like Don Tiburcio, is a fraud. He later died due to given medications of Don Tiburcio. Ta Isabel - Capitn Tiago's cousin, who raised Maria Clara. Governor General (Gobernador Heneral) Unnamed person in the novel, he is the most powerful official in the Philippines. He has great disdains against the friars and corrupt officials, and sympathizes Ibarra. Don Filipo Lino vice mayor of the town of San Diego, leader of the liberals. Padre Manuel Martn - he is the linguistic curate of a nearby town, who says the sermon during San Diego's fiesta. Don Rafael Ibarra - father of Crisstomo Ibarra. Though he is the richest man in San Diego, he is also the most virtuous and generous. Dona Pa Alba - wife of Capitan Tiago and mother of Mara Clara. She died giving birth to her. In reality, she was raped by Dmaso so she could bear a child.

Non-recurring characters These characters were mentioned in the novel, appeared once, mentioned many times or have no major contribution to the storyline. Don Pedro Eibarramendia - the great-grandfather of Crisstomo Ibarra who came from the Basque area of Spain. He started the misfortunes of Elias' family. His descendants abbreviated their surname to Ibarra. He died of unknown reasons, but was seen as a decaying corpse on a Balite Tree. Don Saturnino Ibarra - the son of Don Pedro, father of Don Rafael and grandfather of Crisstomo Ibarra. He was the one who developed the town of San Diego. He was described as a cruel man but was very clever. Salom - Elas' sweetheart. She lives in a little house by the lake, and though Elas would like to marry her, he tells her that it would do her or their children no good to be related to a fugitive like himself. In the original publication of Noli, the chapter that explores the identity of Elas and Salom was omitted, classifying her as a total non-existing character. This chapter, entitled Elas y Salom was probably the 25th chapter of the novel. However, recent editions and translations of Noli provides the inclusion of this chapter, either on the appendix or renamed as Chapter X (Ex). Sinang - Maria Clara's friend. Because Crisstomo Ibarra offered half of the school he was building to Sinang, he gained Capitan Basilio's support. Iday, Andeng and Victoria - Maria Clara's other friends. Capitn Basilio - Sinang's father, leader of the conservatives. Pedro the abusive husband of Sisa who loves cockfighting. Tandng Pablo The leader of the tulisanes (bandits), whose family was destroyed because of the Spaniard

Mga Paraan ng Paggamit ng mga Senyas na Di-Berbal 1. Ang mga senyas na di-berbal ay kapupunan ng komunikasyong berbal. Kalimitan, inuulit ng mga kumpas o ng mga aksiyon ang mga ideyang ipinahahayag sa pamamagitan ng wika. Halimbawa maaari nating sabayan ng kumpas na naglalarawan ang pangungusap na, Ganito nang kataas ang aking bunsong kapatid. O kaya naman ay maaaring sabayan ng ngiti ang pangungusap na, Nasisiyahan ako sa nakuha kong marka sa pagsusulit. Kung kumplementaryo ang gamit ng mga senyas na di-berbal at ng wika, nagsisilbing patibay ang una sa isinasaad ng wika. 2. Ang mga senyas na di-berbal ay maaaring gamitin sa halip na wika. Sa ating kultura, ang pagtango ng ulo ay ginagamit na panghalili sa salitang oo, ang pag-iling ng ulo ay ginagamit na panghalili sa salitang hindi. Matapos ang isang laro ng basketball, halimbawa, hindi na kailangang gumamit ng wika ang mga manlalaro upang ipahayag kung nanalo sila o natalo. Naipapahiwatig ang kanilang kasiyahan sa pagkapanalo o kaya nama'y kalungkutan sa pagkatalo sa pamamagitan ng galaw ng kanilang katawan. 3. Maaaring pabulaanan ng mga senyas na di-berbal ang isinasad ng wika. Alam na nating higit na ginagamit ng tao ang kanyang paningin kaysa pandinig. Sa mga senyas na di-berbal at ng wika, higit na pinaniniwalaan ng tagapakinig ang ipinahihiwatig ng una. Halimbawa, kung ang kasabay ng pangungusap na Masaya naman ako ay malamlam na mga mata at pilit na ngiti, dalwang mensaheng magkasalungat ang ikinukumunika. Nagiging suliranin ng tagapakinig kung alin sa dalawang mensahe ang dapat bigyan ng reaksiyon. 4. Upang ayusin ang daloy ng komunikasyon. Halimbawa nito ay ang paghipo sa braso upang itulak ang isang kalahok sa talakayan na magsalita. Ayon sa pananaliksik ni Patricio, nakatutulong ang ganitong senyas sa daloy ng talakayan.