https://www.litcharts.

com/lit/noli-me-tangere/characters/maria-clara
A woman well-regarded in San Diego for her high social station. Having grown up together as
childhood friends, María Clara and Ibarra are engaged to be married, though Father Dámaso—
her godfather—is displeased with this arrangement and does what he can to interfere. When
Ibarra is excommunicated after almost killing Dámaso at a dinner party, arrangements are made
for María Clara to marry a young Spanish man named Linares. She doesn’t speak up against
this idea because she doesn’t want to cross her father, Captain Tiago, a spineless socialite who
disavows Ibarra to stay in the good graces of friars like Father Dámaso. Later, María Clara
discovers that Captain Tiago isn’t her real father—rather, Father Dámaso impregnated her
mother, who died during childbirth. When Ibarra is put on trial after being framed as a
subversive by Father Salví, María Clara is blackmailed into providing the court with letters Ibarra
has sent her—letters his prosecutors unfairly use as evidence of malfeasance. She does so in
order to keep secret the fact that Dámaso is her biological father, since she doesn’t want to
disgrace her mother’s name or compromise Captain Tiago’s social standing. Still, she feels
intense remorse at having sold Ibarra out. When the newspapers eventually falsely report his
death, she calls off her marriage with Linares, instead deciding to enter a convent because she
can’t stand to exist in a world that doesn’t contain Ibarra.

María Clara Quotes in Noli Me Tangere

The Noli Me Tangere quotes below are all either spoken by María Clara or refer to María Clara.
For each quote, you can also see the other characters and themes related to it (each theme is
indicated by its own dot and icon, like this one:

). Note: all page numbers and citation info for the quotes below refer to the Penguin Books
edition of Noli Me Tangere published in 2006.
Chapter 42 Quotes
The servants all had to call them by their new titles and, as a result as well, the fringes, the
layers of rice powder, the ribbons, and the lace all increased in quantity. She looked with
increasing disfavor than ever before on her poor, less fortunate countrywomen, whose
husbands were of a different category from her own. Every day she felt more dignified and
elevated and, following this path at the end of a year she began to think of herself of divine
origin.

Nevertheless, these sublime thoughts did not keep her from getting older and more ridiculous
every day. Every time Captain Tiago ran into her and remembered that he had courted her in
vain, he would right away send a peso to the church for a mass of thanksgiving. Despite this,
Captain Tiago had great respect for her husband and his title “Specialist in All Types of
Diseases” and he would listen attentively to the few sentences his stuttering permitted him to
utter successfully. For this reason, and because he didn’t visit absolutely everyone like other
doctors did, Captain Tiago chose him to attend his daughter.
https://noli-me-tangere.fandom.com/wiki/Maria_Clara

https://en.wikibooks.org/wiki/Noli_Me_Tangere/Characters
María Clara de los Santos y Alba, is the most dominant yet weakest representation of women
in the setting. When thinking of Noli, the name of María Clara can be seen predominantly as the
image of the ideal Filipino woman. María Clara is the primary female character in the novel. She
is the daughter of Capitán Tiago and Doña Pía Alba. Doña Pía died while delivering Maria
Clara. The poor child grew under the guidance and supervision of Tíya Isabél, Capitán Tiago's
cousin.
María Clara is known to be Ibarra's lover since childhood. When Ibarra was away in Europe,
Capitán Tiago sent Maria Clara to the Beaterio de Santa Clara where she developed into a
lovely woman under the strict guidance of the religious nuns.
Later in the novel, María Clara discovers that her biological father is not Capitán Tiago, but San
Diego's former curate and her godfather Padre Dámaso. After hearing about Ibarra's death, she
went to Padre Damaso and persuaded him to accept her into a nunnery. She found out
everything she learned about the nunnery was a lie. And was later on raped by Padre Salvi.

https://dreamhersblog.wordpress.com/2014/02/03/maria-clara-a-character-sketch/
Maria Clara has become a powerful icon, a fictitious name and character that figured
prominently in two of Jose Rizal’s great novels “ Noli Me Tangere” and “El Filibusterismo”.She
shot to fame when the readers associated her to an icon, a Filipina girl icon.cLet me dissect the
character of Rizal’s Maria Clara and how she is one of us.First, a daughter. She is lovable but
resilient. Her traits are a result of the fusion of two races. She is doomed from the start. Her
lineage is the culprit. Many envied her for her wealth and place in society.She is not to be
envied though, for her sufferings originated from her parents, the illicit liaison between a
Spanish friar (Padre Damaso) who is the parish priest of San Diego at that time and a beautiful
but married woman in Pia Alba.Her origins is the root of all the complications of the fairy tale like
existence we like to believe she has.As a person, I adore Maria Clara for her classic
representation of beauty inside and out.>Her demeanor and her character is worth
emulating. But I pity her for being branded illegitimate (a big deal at that time) despite her two
fathers attempt to shelter her from pain. Thanks to Tia Isabel for loving her, she is molded into
a prim and proper lady she is expected to become. She is lavished with so much love and
protection.A a fiancee, her lovelife is colorful for being bethrothed to Crisostomo Ibarra, the
protagonist in Noli. Her fiance is such an adoring young man. Their love story is tragic, true love
is, anyway. It is obvious she is not a legitimate daughter because of her skin and features, but
her buena familia upbringing (thanks to Kapitan Tiago’s revered status) and protection (thanks
to the influence of her real father, and the common knowledge of the friars of her true
existence), Maria Clara is so well adored and loved, she is sheltered from the pain of knowing.I
believe she is intelligent and not as gullible as we think. She knows her father is the arrogant
and superior Padre Damaso, a kind-hearted and doting friar when it comes to her daughter. She
is strong and capable to self-sacrifice.She took her own life, by jumping to her death, a act only
the desperate but a strong willed one could muster doing.This strength, now matter how
negative the connotation, is admirable. Nobody in her right mind will inflict pain on herself
except the masochist. My admiration for her guts is ill advised but admiring does not necessarily
mean condoning her act of taking away her precious life.To distant observers like us, we can
offer but pity.Pity the lady for she suffers but does not deserve to suffer. Are we the one the one
to judge who should suffer then? Maria Clara is caring (she cares for Ibarra in more ways she
alone could show ) but also cunning (she betrayed him with the letters in exchange for the
letters of her mother, Pia Alba). She is sweet (how do we define sweet in her case).I will do so
in moments she was with Ibarra and she puts a fan when she smiles or giggles.She is strong-
willed (taking against the advise of her real father, Fr. Damaso from going to the nunnery, and
or in stopping Ibarra from using the knife in stabbing her father).She is compassionate and
generous (she gives a locket to a leper victim).She has a voice, a silent worker, a good
influential partner (to aspiring and ambitious politician).She is a very beautiful ornament, a “to
die for connection”, a good stock material, and has the bearings in the mold of Imelda
Marcos. But the comparison stops there for inside she is much like a Cory Aquino, that rich girl
which has the silent strength we did not imagine she did possess. That Maria Clara represents
the epitome of a typical Filipina is both a boon and a bane.She can represent all woman of
different races.Her stubbornness and level headedness at the same time is distinctly worth
emulating. Maria Clara represents all stereotyped and real Filipinas. She can be a student, a
maid, a kid of OFWs, some working mom, a great singer in Leah Salonga or Charice
Pempengco. She can be a gymnast, a petite lady president, or even an elite one. She can be
an artist known for her craft, a prostitute who also good at her craft. She can be a commoner, a
princess, a queen to be, a graceful Lady Di and her unmet daughter in law in Kate Middleton,
the divorcee in Katy Perry, the controversial twerkie in Miley Cyrus, an LGBT , a beauty queen
of which we have lots, a socialite, a social climber, an innocent face, a sister, a daughter in the
mold of a Barreto. She can be a scorned but a beautiful woman, a presidential daughter or a
sister, a kept woman, the other woman, a mistress, or your husband’s lover. She be a schemer,
a deceit, an Eve, a serpent, a Goddess of Beauty even a sex goddless, or a sex object. She
can be a Juno, a Venus, a Minerva, a Gabriela, a Dona Teodora, or a Tandang Sora. She can
be as beautiful, an attempted rape victim, or even an actual rape victim just like a a Deniece
Cornejo. She represents all of us , is one of us, no matter what race or origin.And just like us,
who act on different motivation. She is such a pathetic figure that existed in the novel and even
real life.

http://www.kuasu.cpier.kyoto-u.ac.jp/wp-content/uploads/2015/12/JN-Sanchez-Paper.pdf

https://www.scribd.com/document/231936028/Maria-Clara-3

https://preen.inquirer.net/99184/maria-clara-is-not-always-the-best-definition-of-filipinas
http://wwwcreativeminds-cfwestley.blogspot.com/2011/10/modern-maria-clara.html
- Useful background of Maria Clara
The Modern Maria Clara

Maria Clara as we all know is the female heroine in Noli Me Tangere and El Filibusterismo
novels written by our national hero Dr. Jose Rizal. Her full name is Maria Clara delos Santos y
Alba. She is the childhood sweetheart and fiancée of Noli Me Tangere’s hero, Juan Crisostomo
Ibarra y Magsalin, the son of Don Rafael Ibarra. She was raised by San Diego’s cabeza de
Barangay, Capitan Tiago. In the novels, Maria Clara is the most beautiful and famous girl in San
Diego. It was discovered at the latter part of the story that she was an unlawful daughter of Father
Damaso, former parish curate, and Doña Pia y Alba, wife of Capitan Tiago. Both Doña Pia and
Capitan Tiago are native Filipinos however; Maria Clara is a mestiza girl for the fact that his father
was Father Damaso, a Spanish friar. She never saw her mother because Doña Pia died during
the delivery. She grew under the guidance of Tia Isabel, the cousin of Capitan Tiago. Her father
sent her to the convent of Beaterio de Santa Clara while her boyfriend was travelling in Europe.
At the end of the novel, she chose to become a monk and it is not clearly stated if she is still living
in the convent or she is already dead.

Accordingly, Rizal described her as “Inang Pilipinas” (Mother Philippines). Rizal patterned her
character after his first cousin and childhood sweetheart, Leonor Rivera. Maria Clara is
considered to be the most beautiful lady in the town as mentioned. She is also promoted by Rizal
as the ideal image of a Filipino woman who should be honored by males. It is for the fact that she
is “very religious, the epitome of virtue, demure and self-effacing and endowed with beauty, grace,
and charm.” Maria Clara’s name has also become famous in the Philippine fashion in which it
became the eponym for the female Filipino national dress popularly known as the “Maria Clara
Gown”. This attire is very symbolic in nature because it was made after the character of Maria
Clara in the novels who is a maiden with “delicate, feminine, self-assured, conservative, and with
sense of identity.” It is usually wore during “Buwan ng Wika”, national events, etc.

We Filipinos have been looking up with this Maria Clara’s famous traits wherein they define a
real Filipina based on her traits. Definitely, some of our teachers since grade school taught us
that we Filipino women are conservative in nature and where did they get this idea? It was
patterned after the character of Maria Clara whom Rizal considered the real image of a Filipina.
As a matter of fact, Filipinos observed Filipino women who possess Maria Clara’s characters
especially in provinces and only few in urban areas. Nevertheless, there is a controversial issue
about considering Maria Clara as the epitome of a genuine Filipina. Some people agree for it but
some disagree for the reason that Maria Clara is not a pure Filipina meaning she is a half Filipino
and half Spanish. On the other hand, she is also exposed to Spanish culture and her physical
appearance really looks like a mestiza. Have you ever saw or knew of an epitome who is not a
pure blood? Perhaps, there would be some around the world but it is commonly known to be a
pure blood like a pure Filipino blood. However, in my own opinion, I agree that Maria Clara fits
the ideal image of a Filipino woman and Rizal gives a lot of reasons for it as described in the first
part. Perhaps, another reason also is that Maria Clara became an inspiration to Filipino women
during the Spanish colonization to bring an uprising like Gregoria de Jesus and Gabriela Silang
especially when their husbands died. Perhaps, they realized how Maria Clara was abused in the
novel wherein she has no right to choose who she will marry as well all her actions are strictly
watched by Father Damaso therefore controlling and deciding for her. These realities in the two
novels led Filipino women before to fight for their rights and fight for their lost loved ones.

Moreover, one of the distinguishing traits of Maria Clara is being conservative in nature that is
still seen today with the Filipino women. I truly admire Gregoria de Jesus and Gabriela Silang for
they spoke up and rise against the Spaniards. This only shows that from being conservative
women, they turned out to be feministic, motivated to fight for their freedom and rights. In this
connection, I believe that the original definition of a Maria Clara woman has been changed already
because we have now modern Maria Claras. I strongly believe that modern Maria Claras
nowadays are still conservative but already know of their rights and where they stand in the
society. It is a good thing that women are honored and treated equally with men though still with
limitations but it is no longer the same on how women like Maria Clara treated in the novel even
though they are still respected. I think this is the impact of bringing the feministic perspective in
the society like being the first country in Asia to have a female president. We Filipino women are
more sophisticated people and we have the rights for freedom and to decide in our own pace.
Maria Clara is still the icon of a Filipina whom is a strong, honorable, loyal, and dignified and a
principled person for she never followed Father Damaso but rather enter the wall of the convent
to show her undying love for Crisosotomo Ibarra [shows she is strategic]. This is the manifestation
of a real feminism and an ideal image of a Filipina.

Hello, I'm currently studying Maria Clara and I found your writings very helpful. Although I must
say, I do not agree on the part that Maria Clara is the epitome of a Filipina. For one, I think
Maria Clara symbolized the oppression women get during her times and up to today. Rizal
made a box, a stereotype that in order to fit his idealism, a Filipina should be 'conservative,
delicate, soft spoken, religious and very lady like'. I believe as a Filipina, I am more than just a
lady, because I am a lady who speaks her mind, not like Maria Clara who became a victim of
patriarchy. I am a modern day FILIPINA, I would rather be a Sisa than a Maria Clara. I am not
conservative, I am a self made woman who has her own mind but still listens. I am more than
what I wear or how I speak because beneath all the profanities I mutter, I am dignified and
honorable. What I do is irrelevant to how I speak, so excuse my mouth for not being qualified to
this country's double standard morals. I am a Filipina because I am strong not because I am the
'wifey' material but because I can stand up for myself, with or without a man. Lastly, I will fight
for my love until the end instead of accepting defeat as I sulk on a convent devoting my life to
God, because I would rather die with the one I love than live accepting there's no hope. I hope I
made a point. If you disagree, we can talk about it and I'll gladly listen to your thoughts.

https://preen.inquirer.net/99184/maria-clara-is-not-always-the-best-definition-of-filipinas
https://therizalinerepublic.weebly.com/maria-clara.html

The death of Ibarra’s father, Don Rafael, prior to his homecoming, and the refusal of a Catholic
burial by Padre Damaso, the parish priest, provokes Ibarra into hitting the priest, for which
Ibarra is excommunicated. The decree is rescinded, however, when the governor general
intervenes. The friar and his successor, Padre Salvi, embody the rotten state of the clergy. Their
tangled feelings—one paternal, the other carnal—for Maria Clara, Ibarra’s sweetheart and rich
Capitan Tiago’s beautiful daughter, steel their determination to spoil Ibarra’s plans for a school.
The town philosopher Tasio wryly notes similar past attempts have failed, and his sage
commentary makes clear that all colonial masters fear that an enlightened people will throw off
the yoke of oppression.
Precisely how to accomplish this is the novel’s central question, and one which Ibarra debates
with the mysterious Elias, with whose life his is intertwined. The privileged Ibarra favors peaceful
means, while Elias, who has suffered injustice at the hands of the authorities, believes violence
is the only option.
Ibarra’s enemies, particularly Salvi, implicate him in a fake insurrection, though the evidence
against him is weak. Then Maria Clara betrays him to protect a dark family secret, public
exposure of which would be ruinous. Ibarra escapes from prison with Elias’s help and confronts
her. She explains why, Ibarra forgives her, and he and Elias flee to the lake. But chased by the
Guardia Civil, one dies while the other survives. Convinced Ibarra’s dead, Maria Clara enters
the nunnery, refusing a marriage arranged by Padre Damaso. Her unhappy fate and that of the
more memorable Sisa, driven mad by the fate of her sons, symbolize the country’s condition, at
once beautiful and miserable.

https://prezi.com/q67afzrbofrl/noli-me-tangere-characters-and-symbolism-copied/
  She does not impose her will except when she refused being married off to Linares

 Maria Clara symbolizes the purity and innocence of a sheltered native woman during the
time of Spanish occupation. She does not value material things that were abundantly
bestowed upon her by admirers and family alike but holds in high esteem her parents’
honor and the prose she had given to her sweetheart.

http://library.usc.edu.ph/Filipiniana/pdf/Literature/Camins.pdf
- Not sure kung nandito si Maria Clara
https://bookriot.com/2017/03/09/madonna-madwoman-women-jose-rizals-classic-noli-tangere/
MADONNA AND THE MADWOMAN: ON THE WOMEN OF JOSE RIZAL’S CLASSIC NOLI
ME TANGERE
The Philippines has always been a country of contradictions, a place held between the
lauded traditions of the Spanish Catholic church and the hidden scars of colonialism. To this
day, the tension continues to influence Filipino society. It’s not difficult to find churches next to
billboards advertising the next new skin whitening treatment, both aimed at Filipino women. This
insidious contradiction of vanity and faith is on full display in the seminal Filipino novel, Noli Me
Tangere by Jose Rizal.
Written just before the Filipino Revolution, and credited with sparking the flame of said
Revolution, Noli is an exploration of Philippine society at the height of Spanish power. Rizal
touches on the Church, forbidden romance, and social ills in the country with a wry, almost
painfully conscious voice. His protagonist, Don Crisostomo Ibarra, returns from years in Europe
to a country whipped into the Catholic faith. But things aren’t that bad for our Ibarra, at least not
at first: he visits his fiancé and her father, Maria Clara and Capitan Tiago, and begins work on a
school before outside forces and his own naivety condemn many of the characters to sad fates.
The men of Noli are numerous and loud, dominating most chapters effortlessly. Much of the
“intelligent” discourse is also granted to them by Rizal. But it’s the women that have fascinated
me since I first read Noli at 15, a class requirement and a challenge to my poor Tagalog skills.
It’s Maria Clara and Sisa, probably the two most memorable women in Filipino literature, and
their lives, their fates, that influences my discomfort with my culture’s treatment of femininity.
Said fates, while certainly headed in opposite directions in the novel, are inextricably tied
together, and are a bellwether for what a Filipino woman is expected to be, poor or not.
The first few women we see in the novel hint at the kind of women prized in this colonial society:
soft-spoken (if they speak at all), devout attendees at mass, subservient.
The room is almost full, the men separated from the women like in Catholic churches and
synagogues. The women’s group is composed of a few young ladies, Filipinas and Spaniards:
they open their mouths to stifle a yawn, but then immediately cover them with their fans; they
barely whisper a few words, and any ventured conversation dies in monosyllables, like the
nocturnal sounds of mice and lizards one hears in a house.
Rizal’s descriptions of these women might seem like a lighthearted poke, but it is when Maria
Clara comes into view that we see just how Rizal himself values these same qualities. Maria
Clara is an angel or a saint or both, an almost unreal presence in the novel, with a handful of
lines. Rizal’s first description of her comes in Chapter 5, “A Star in the Dark Night”:
Ibarra would have seen a young, extraordinarily beautiful woman, slender, dressed in the
picturesque costume of the daughters of the Philippines…
This hint at her beauty is meant to whet readers’ appetites for the full force of it in a later
paragraph:
She was white, perhaps too white. Her eyes, which were almost always cast down, when she
raised them testified to the purest of souls, and when she smiled, revealing her small, white
teeth, one might be tempted to say that a rose is merely a plant, and ivory just an elephant’s
tusk. Among the transparent lace around her white and sculpted neck fluttered, as the Tagalogs
say, the sparkling eyes of a necklace made up of precious stones.
It’s Maria Clara’s beauty that defines her for almost the entire novel, her purity and innocence a
close second. Always, she is in white or wearing white accents, pale against the lacy fabrics of
her gowns. The reader is reminded of her pious nature several times over:
Earlier that morning Aunt Isabel and Maria Clara had gone to mass. The latter was elegantly
dressed, with a rosary of blue beads worn almost like a bracelet, the former with spectacles to
read her “Anchor of Salvation” during the Holy Sacrifice.
There can be no closer approximation of virginal beauty and filial piety for Filipinos than Maria
Clara. She is praised endlessly, for her white skin, her devotion to God and the saints, her quiet
demeanour–the list goes on. Even her reactions to Ibarra, her own fiancé, are dutifully meek
and innocent:
Maria Clara dropped the work she had been holding. She wanted to move, but found herself
unable to do so. A nervous trembling enveloped her. She heard steps on the stairs, and then a
fresh, masculine voice. As if that voice had had magic powers, the young woman gave in to her
emotions and began to run, hiding in the chapel with the saints.
…
Pale and breathing hard, the girl calmed her heaving breast and tried to listen. She heard that
voice, that beloved voice that for so long she had heard only in her dreams. It asked about her.
Mad with joy she kissed the closest saint at hand, San Antonio Abad, happy saint, in life and in
wood always with such beautiful temptations.
In stark contrast to Maria Clara’s aristocratic, fragile portrayal is Sisa, poor mother of Basilio and
Crispin. Where Maria Clara’s thoughts are portrayed as unknowable, fragile, Sisa’s are painfully
“common.” She is not granted the rapturous descriptions given to Maria Clara. Instead we learn
of her through what she has been through:
She was young then and must have been beautiful and charming. Her eyes, which her soul
bestowed on her sons, were handsome and deep, with long lashes. Her nose was straight, her
pale lips like a beautiful drawing, as the Tagalogs say, kayumanging-kaligatan, which means
brown, but a clean, pure shade. Despite her youth, her cheeks were drawn, from hardship and
hunger perhaps. Her abundant hair in other times enhanced her elegance and beauty. Now if it
stays combed it is less from coquetry than habit: a simple bun, without pins or cords.
She is brown, as most Filipinos are. She is concerned with her survival and that of her two sons.
Sisa has no spare moment to kiss saints and no spare pesos to buy a saint to kiss. If God hears
her prayers, he doesn’t give notice of it in the novel.
…there appeared a pale, shabbily dressed, emaciated woman. No one had seen her approach,
since she had done so silently. She had made so little noise that had it been night she would
have been taken for a phantom.
…
“The night is dark and children disappear!” the beggar-woman muttered.
Meanwhile Rizal’s prose continues to dig in its heels describing the extent of Maria Clara’s
overwhelming beauty almost 200 pages into the novel, widening the gap between these two
women, and the suffering they endure. Sisa becomes a bloody ghost, a cautionary tale against
displeasing the church and its priests.
She fell to the floor, covering her legs with both hands and looking at her tormenter, her eyes
wide. Two harsh lashes on her back made her get up. Now it was no longer a plaintive cry, the
unfortunate woman let out two howls. Her good blouse was ripped, her skin was rent, and blood
flowed.
Maria Clara is mentioned often in the same paragraphs as saints and holy figures, and the
reader’s mind responds, drawing unconscious parallels between them. Sisa’s scenes are much
more banal, and yet they build up to her madness after her sons, accused of stealing gold,
disappear in the local church. This isn’t to say Maria Clara’s fate at the end is as sunny as her
start, but Sisa suffers and she doesn’t do it beautifully.
It would be easy to pit these two women against each other, examples as they are of the two
extremes that Filipino colonial women were subject to. But Rizal condemns them both, refuses
both any peace or contentment. The few other female characters he scatters throughout the
novel are selfish and irritating, but it is with Maria Clara and Sisa that we see how even Rizal fell
into a trap he had been trying to set for others.
Despite their respective unhappy ends, we are conditioned to see Maria Clara first as the
innocent, drawn in by her beauty and her easy fit into the mold of the ideal woman. Sisa is
harder to watch, harder to love, even as we feel pity for her. We see Sisa’s fate as inevitable
because of her economic status and Maria Clara’s fate as avoidable because why wouldn’t it
be, when she had wealth and beauty and power? In this, Rizal fails to truly empower the women
he wrote about.
One could argue that his point was to lambast colonialism, and in that goal, he
succeeds. Noli and El Filibusterismo would fire up the Filipino revolutionaries and lead to the
Spanish selling off the islands to the United States. But we still see the effects of the Maria
Clara/Sisa dynamic today in how pale-skinned Filipina women populate the entertainment
industry, in how the Filipino church can so easily abuse its poorest devotees, in how Filipino
women grow up hearing “Dapat mahihin ka, katulad ni Maria Clara” (You should be meek, like
Maria Clara”) and not a word about Sisa’s unending love for her children. We see how deeply
this dynamic has seeped into Filipino consciousness, reinforcing the same colonial ties that
Rizal had attempted to cut just over a century ago. Madonna and madwoman alike, neither is
left with true agency at the end of the day.

https://digitalcommons.hamline.edu/cgi/viewcontent.cgi?article=1050&context=dhp
- Sobrang haba nito grabe pero check mo pa rin

https://repositories.lib.utexas.edu/bitstream/handle/2152/32509/PANDY-MASTERSREPORT-
2015.pdf?sequence=1&isAllowed=y
 - Ito rin check mo

https://www.researchgate.net/publication/329998834_Deus_ex_populo_Timeless_Counter-
hegemonic_Characterization_and_Discourse_in_Jose_Rizal's_Noli_Me_Tangere

https://groups.google.com/forum/#!topic/soc.culture.filipino/FrDGkmxtZvM