Reduced to a definite form, the wish of the more thoughtful in the new generation of Filipino leaders that was growing up was that the Philippine Islands be made a province of Spain with representation in the Cortes and the concomitant freedom of expression and criticism. All that was directly asked was some substantial participation in the management of local affairs, and the curtailment of the arbitrary power of petty officials, especially of the friar curates, who constituted the chief obstacle to the education and development of the people.
The friar orders were, however, all-powerful, not only in the Philippines, but also in Madrid, where they were not chary of making use of a part of their wealth to maintain their influence. The efforts of the Filipinos in Spain, while closely watched, do not seem to have been given any very serious attention, for the Spanish authorities no doubt realized that as long as the young men stayed in Madrid writing manifestoes in a language which less than one percent of their countrymen could read and spending their money on members of the Cortes, there could be little danger of trouble in the Philippines. Moreover, the Spanish ministers themselves appear to have been in sympathy with the more moderate wishes of the Filipinos, a fact indicated by the number of changes ordered from time to time in the Philippine administration, but they were powerless before the strength and local influence of the religious orders. So matters dragged their weary way along until there was an unexpected and startling development, a David-Goliath contest, and certainly no one but a genius could have polished the “smooth stone” that was to smite the giant.
It is said that the idea of writing a novel depicting conditions in his native land first came to Rizal from a perusal of Eugene Sue’s The Wandering Jew, while he was a student in Madrid, although the model for the greater part of it is plainly the delectable sketches in Don Quixote, for the author himself possessed in a remarkable degree that Cervantic touch which raises the commonplace, even the mean, into the highest regions of art. Not, however, until he had spent some time in Paris continuing his medical studies, and later in Germany, did anything definite result. But in 1887 Noli Me Tangere was printed in Berlin, in an establishment where the author is said to have worked part of his time as a compositor in order to defray his expenses while he continued his studies. A limited edition was published through the financial aid extended by a Filipino associate, and sent to Hong Kong, thence to be surreptitiously introduced into the Philippines.
Noli Me Tangere (“Touch Me Not”) at the time the work was written had a peculiar fitness as a title. Not only was there an apt suggestion of a comparison with the common flower of that name, but the term is also applied in pathology to a malignant cancer which affects every bone and tissue in the body, and that this latter was in the author’s mind would appear from the dedication and from the summing-up of the Philippine situation in the final conversation between Ibarra and Elías. But in a letter written to a friend in Paris at the time, the author himself says that it was taken from the Gospel scene where the risen Savior appears to the Magdalene, to whom He addresses these words, a scene that has been the subject of several notable paintings.
In this connection it is interesting to note what he himself thought of the work, and his frank statement of what he had tried to accomplish, made just as he was publishing it: “Noli Me Tangere, an expression taken from the Gospel of St. Luke,7 means touch me not. The book contains things of which no one up to the present time has spoken, for they are so sensitive that they have never suffered themselves to be touched by anyone whomsoever. For my own part, I have attempted to do what no one else has been willing to do: I have dared to answer the calumnies that have for centuries been heaped upon us and our country. I have written of the social condition and the life, of our beliefs, our hopes, our longings, our complaints, and our sorrows; I have unmasked the hypocrisy which, under the cloak of religion, has come among us to impoverish and to brutalize us, I have distinguished the true religion from the false, from the superstition that traffics with the holy word to get money and to make us believe in absurdities for which Catholicism would blush, if ever it knew of them. I have unveiled that which has been hidden behind the deceptive and dazzling words of our governments. I have told our countrymen of our mistakes, our vices, our faults, and our weak complaisance with our miseries there. Where I have found virtue I have spoken of it highly in order to render it homage; and if I have not wept in speaking of our misfortunes, I have laughed over them, for no one would wish to weep with me over our woes, and laughter is ever the best means of concealing sorrow. The deeds that I have related are true and have actually occurred; I can furnish proof of this. My book may have (and it does have) defects from an artistic and esthetic point of view—this I do not deny—but no one can dispute
