Francisco “Franz” Arcellana Essay

Francisco â€Å"Franz† Arcellana (September 6, 1916 – August 1, 2002) was a Filipino writer, poet, essayist, critic, journalist and teacher. He was born on September 16, 1916. Arcellana already had ambitions of becoming a writer during his years in the elementary. His actual writing, however, started when he became a member of The Torres Torch Organization during his high school years. Arcellana continued writing in various school papers at the University of the Philippines Diliman. He later on received a Rockfeller Grant and became a fellow in creative writing the University of Iowa and Breadloaf’s writers conference from 1956- 1957. He is considered an important progenitor of the modern Filipino short story in English. Arcellana pioneered the development of the short story as a lyrical prose-poetic form within Filipino literature. His works are now often taught in tertiary-level-syllabi in the Philippines. Many of his works were translated into Tagalog, Malaysian, Russian, Italian, and German. Arcellana won 2nd place in 1951 Don Carlos Palanca Memorial Awards for Literature, with his short story, â€Å"The Flowers of May.† 14 of his short stories were also included in Jose Garcia Villa’s Honor Roll from 1928 to 1939. His major achievements included the first award in art criticism from the Art Association of the Philippines in 1954, the Patnubay ng Sining at Kalinangan award from the city government of Manila in 1981, and the Gawad Pambansang Alagad ni Balagtas for English fiction from the Unyon ng mga Manunulat sa Pilipino (UMPIL) in 1988. Francisco Arcellana was proclaimed National Artist of the Philippines in Literature in 1990. Arcellana is buried at theLibingan ng mga Bayani. Arcellana died in 2002. As a National Artist, he received a state funeral at the Libingan ng mga Bayani. His grandson Liam Hertzsprung performed a piano concert in 2006 dedicated to him. Arcellana’s published books include: * Selected Stories (1962) * Poetry and Politics: The State of Original Writing in English in the Philippines Today (1977) * The Francisco Arcellana Sampler (1990). * Lualhati Torres Bautista Lualhati Torres Bautista (born Manila, Philippines December 2, 1945) is one of the foremost Filipino female novelists in the history of contemporaryPhilippine Literature. Her novels include Dekada ’70, Bata, Bata, Pa’no Ka Ginawa?, and ‘GAPÔ. Bautista was born in Tondo, Manila, Philippines on December 2, 1945 to Esteban Bautista and Gloria Torres. She graduated from Emilio Jacinto Elementary School in 1958, and from Torres High School in 1962. She was a journalism student at the Lyceum of the Philippines, but dropped out even before she finished her freshman year. Despite a lack of formal training, Bautista as the writer became known for her honest realism, courageous exploration of Philippine women’s issues, and her compelling female protagonists, who confront difficult situations at home and in the workplace with uncommon grit and strength. Lualhati garnered several Palanca Awards (1980, 1983 and 1984) for her novels ‘GAPÔ, Dekada ’70 and Bata, Bata†¦ Pa’no Ka Ginawa? exposing injustices and chronicling women activism during the Marcos era. ‘GAPÔ, published in 1980, is the story of a man coming to grips with life as an Amerasian. It is a multi-layered scrutiny of the politics behind US bases in the Philippines, seen from ordinary citizens living in Olongapo City point of view. Dekada ’70 is the story of a family caught in the middle of the tumultuous decade of the 1970s. It details how a middle class family struggled and faced the changes that empowered Filipinos to rise against the Marcos government. These series of events happened after the bombing of Plaza Miranda, the suspension of the writ of habeas corpus, the proclamation of martial law and the random arrests of political prisoners. The oppressive nature of the Marcos regime, which made the people become more radical, and the shaping of the decade were all witnessed by the female protagonist, Amanda Bartolome, a mother of five boys. Bata, Bata†¦ Pa’no Ka Ginawa?, literally, â€Å"Child, Child†¦ How Were You Made?†, narrates the life of Lea, a working mother and a social activist, who has two children. The novel begun with an introductory chapter about the graduation day from kindergarten of Maya, Lea’s daughter. A program and a celebration were held. In the beginning, everything in Lea’s life were going smoothly – her life in connection with her children, with friends of the opposite gender, and with her volunteer work for a human rights organization. But Lea’s children were both growing-up – and Lea could see their gradual transformation. There were the changes in their ways and personalities: Maya’s curiosity was becoming more obvious every day, while Ojie was crossing the boundaries from boyhood to teenage to adulthood. In the end, all three, and especially Lea, have to confront Philippine society’s view of single motherhood; and the novel itself brazens out to the questions of how it is to be a mother, and how a mother executes this role through modern-day concepts of parenthood. Nick Joaquà ­n Nick Joaquà ­n was born in Paco, Manila, one of the ten children of Leocadio, a colonel under General Emilio Aguinaldo in the 1896 Revolution, and Salome Marquez, a teacher of English and Spanish. Being read poems and stories by his mother, Joaquin taught himself by reading widely at the National Library of the Philippines and the library of his father, who by that time was a successful lawyer after the revolution. This developed further his interest in writing. At age 17, Joaquà ­n was first published in the literary section of the Pre-World War II Tribune under writer and editor Serafà ­n Lanot. Before publishing in the Tribune, Joaquin worked as a proofreader of the paper. After winning a Dominican Order-sponsored nationwide essay competition for La Naval de Manila, the University of Santo Tomas awarded Joaquà ­n an honorary Associate in Arts (A.A.) and a scholarship to St. Albert’s Convent, the Dominican monastery in Hong Kong. Upon his return to the Philippines, he joined the Philippines Free Press, starting as a proofreader. Soon, he was noticed for his poems, stories and plays, as well as his journalism under the pen name Quijano de Manila. His journalism was markedly both intellectual and provocative, an unknown genre in the Philippines at that time, raising the level of reportage in the country. Joaquà ­n deeply admired Josà © Rizal, the national hero of the Philippines. Joaquà ­n paid tribute to Rizal by way of books such as The Storyteller’s New Medium – Rizal in Saga, The Complete Poems and Plays of Jose Rizal, and A Question of Heroes: Essays in Criticism on Ten Key Figures of Philippine History. He also translated the hero’s valedictory poem, in the original Spanish â€Å"Mi Ultimo Adios,† as â€Å"Land That I Love, Farewell!† Joaquà ­n served as a member of Motion Pictures under President Diosdado Macapagal and President Ferdinand E. Marcos. Joaquin’s first move as National Artist was to secure the release of imprisoned writer Josà © F. Lacaba. Later, at a ceremony on Mount Makiling attended by First Lady Imelda Marcos, Joaquà ­n delivered an invocation to Mariang Makiling, the mountain’s mythical maiden. Joaquà ­n touched on the importance of freedom and the artist. As a result, for the remainder of the Marcos regime, Joaquà ­n no longer received invitations to address important cultural events. LUALHATI BAUTISTA Lualhati Bautista is one of the foremost Filipino female novelists in the history of contemporary Philippine Literature. Her novels include, â€Å"Dekada ’70 (Decade ’70)†, â€Å"Bata, Bata, Pa’no Ka Ginawa? (Child, Child†¦ How were you made?†, and â€Å"‘GAPÔ (short name for Olongapo, Philippines)†. In addition to being a novelist, Lualhati Bautista is also a movie and television screenwriter and a short story writer. Her first screenplay was Sakada (Seasonal Sugarcane Workers), a story written in 1975 that exposed the plight of Filipino peasants. Bautista has received recognition from the Philippines’ Don Carlos Palanca Memorial Awards for Literature and the Surian ng Wikang Pambansa in 1987. Her award-winning screenplays include Bulaklak sa City Jail (A Flower in City Jail) (1984), Kung Mahawi Man ang Ulap (If The Clouds are Parted) (1984), Sex Object (1985). For screenplay writing, she has received recognition from the Metro Manila Film Festival (best story-best screenplay), Film Academy Awards (best story-best screenplay), Star Awards (best screenplay), FAMAS (finalist for best screenplay), and URIAN awards. Two of her short stories have also won the Carlos Palanca Memorial Awards for Literature, Tatlong Kuwento ng Buhay ni Julian Candelabra (Three Stories in the Life of Julian Candelabra), first prize, 1982; and Buwan, Buwan, Hulugan mo Ako ng Sundang (Moon, Moon, Drop Me a Sword), third prize, 1983. Bautista also authored the television dramas Daga sa Timba ng Tubig (The Mouse in the Bucket of Water) (1975) and Isang Kabanata sa Libro ng Buhay ni Leilani Cruzaldo (A Chapter in the Book of Life of Leilani Cruzaldo) (1987). The latter won best drama story for television from the Catholic Mass Media Awards. Bautista was honored by the Ateneo Library of Women’s Writings on March 10, 2004 during the 8th Annual Lecture on Vernacular Literature by Women. In 2005, the Feminist Centennial Film Festival presented her with a recognition award for her outstanding achievement in screenplay writing. In 2006, she was recipient of the Diwata Award for best writer by the 16th International Women’s Film Festival of the UP Film Center. She is also the only Filipino included in a book on foremost International Women Writers published in Japan, 1991. Francisco Baltazar, known much more widely through his nom-de-plume Francisco Balagtas, was a prominent Filipino poet, and is widely considered as the Tagalog equivalent of William Shakespeare for his impact on Filipino literature. The famous epic, Florante at Laura, is regarded as his defining work. Balagtas learned to write poetry from Josà © de la Cruz (Huseng Sisiw), one of the most famous poets of Tondo. It was de la Cruz himself who personally challenged Balagtas to improve his writing. (source: Talambuhay ng mga Bayani, for Grade 5 textbook) In 1835, Balagtas moved to Pandacan, where he met Marà ­a Asuncià ³n Rivera, who would effectively serve as the muse for his future works. She is referenced in Florante at Laura as ‘Celia’ and ‘MAR’. Balagtas’ affections for Celia were challenged by the influential Mariano Capule. Capule won the battle for Celia when he used his wealth to get Balagtas imprisoned under the accusation that he ordered a servant girl’s head be shaved. It was here that he wrote Florante at Laura—In fact, the events of this poem were meant to parallel his own situation. He wrote his poems in Tagalog, during an age when Filipino writing was predominantly written in Spanish. Balagtas published Florante at Laura upon his release in 1838. He moved to Balanga, Bataan in 1840 where he served as the assistant to the Justice of peace and later, in 1856, as the Major Lieutenant. He was also appointed as the translator of the court. Balagtas is so greatly revered in the Philippines that the term for Filipino debate in extemporaneous verse is named for him: balagtasan. Jose Garcia Villa Jose Garcia Villa (5 August 1908 – 12 June 1973) is a Filipino poet and a National Artist for Literature. He is known for introducing the â€Å"reversed consonance rime scheme,† as well as for â€Å"comma poems† that made full use of the punctuation mark in an innovative way. Villa is also a short story writer, critic, and painter. Villa was born in Singalong, Manila on 5 August 1908. He is the son of Simeon Villa, who was Emilio Aguinaldo’s physician, and Guia Garcia. Villa went to the University of the Philippines High School. He studied pre-medicine at the University of the Philippines but did not finish the course. He decided to take pre-law, but did not finish it either. Instead, he devoted a good part of his college time writing short stories and poems.In 1930, he won the Philippines Free Press literary contest for his short story entitled â€Å"Mir-i-nisa† and used the prize money to go to the United States. He studied at the University of New Mexico, and later at Columbia University. He taught poetry at the City College of New York from 1964 until 1973. He also worked in the Philippine Mission to the United Nations from 1954 to 1963 and became the vice consul in 1965. After retiring in 1973, he continued to conduct poetry workshops in his apartment in Greenwich Village, New York City. Francisco Sionil Jose He has been called a Philippine national treasure. Born on December 4, 1924 in Rosales, Philippines, he was introduced to literature in public school and later at the University of Santo Tomas. While working as a journalist in Manila, he moonlighted writing short stories and eventually novels. In the late fifties Jose founded the Philippine branch of PEN, an international organization of poets, playwrights, and novelists. In 1965 he started his own publishing house SOLIDARIDAD, and a year later he began publishing the remarkable Solidarity, a journal of current affairs, ideas, and arts, still going strong today. Jose wrote in English rather than in his national language Tagalog, or his native language Illocano. In 1962 he published his first novel The Pretenders. Today his publications include ten novels, five books of short stories, and a book of verse. His works are available in 24 languages and some have recently been published in North America by Random House. He has been awarded numerous fellowships and awards, most notable being the 1980 Ramon Magsaysay Award for Journalism, Literature, and Creative Communication Arts, the most prestigious award of its kind in Asia. Gilda Cordero-Fernando Gilda Cordero-Fernando is a multiawarded writer, publisher and cultural icon from the Philippines. She was born in Manila, has a B.A. from St. Theresa’s College-Manila, and an M.A. from theAteneo de Manila University.Gilda Cordero-Fernando was born on June 4, 1932. Cordero-Fernando has two landmark collection of short stories: The Butcher, The Baker and The Candlestick Maker (1962) and A Wilderness of Sweets (1973). These books have been compiled and reissued later as Story Collection (1994). Another book, Philippine Food and Life, was published in 1992. Together with Alfredo Roces, Cordero-Fernando worked on Filipino Heritage, a 10-volume study on Philippine history and culture published by Lahing Pilipino in 1978. Afterwards, she founded GCF Books which published a dozen titles that deal with various aspects of Philippine culture and society. She received several Carlos Palanca and Philippines Free Press awards for her stories. In 1994, she received a Cultural Center of the Philippines (Gawad CCP) for her lifetime achievements in literature and publishing. Cordero-Fernando has also worn numerous other hats as a visual artist, fashion designer, playwright, art curator and producer. In February 2000, she produced a hugely successful extravaganza entitled Luna: An Aswang Romance†¦.. Linda Ty Casper Linda Ty Casper is a Filipino writer who has published over fifteen books, including the historical novel DreamEden and the political novels Awaiting Trespass, Wings of Stone, A Small Party in a Garden, and Fortress in the Plaza. She has also published three collections of short stories which present a cross-section of Filipino society. In 1992, Tides and Near Occasions of Love won the Philippine PEN short story prize; another at the UNESCO International Writers’ Day, London; and the SEAWrite Award in Bangkok â€Å"Triptych for a Ruined Altar† was in the Roll of Honor of The Best American Short Stories, 1977.[2] Her novel Awaiting Trespass which is about the politically sensitive theme of torture by the Marcos regime was published by Readers International ofLondon. This work gained her major critical attention in the United States for the first time, and in Britain the novel was chosen as one of the five best works of fiction by a woman writer published in 1985-86 Born as Belinda Ty in Malabon, Philippines in 1931. She spent the World War II years with her grandmother while her father worked in the Philippine National Railways, and her mother in the Bureau of Public Schools. Her grandmother told her innumerable of stories about the Filipino’s struggle for independence, that later became the topics of her novels. Linda Ty Casper graduatedvaledictorian in the University of the Philippines, and later earned her Master’s degree in Harvard University for International Law. In 1956, she married Leonard Casper, a professor emeritus of Boston College who is also a critic of Philippine Literature. They have two daughters and reside in Massachusetts. * The Transparent Sun (short stories), Peso Books, 1963 * The Peninsulares (historical novel), Bookmark 1964 * The Secret Runner (short stories), Florentino/National Book, 1974 * The Three-Cornered Sun (historical novel), New Day, 1974 * Dread Empire (novella), Hong Kong, Heinemann, 1980 * Hazards of Distance (novella), New Day, 1981 * Fortress in the Plaza (novella), New Day, 1985 * Awaiting Trespass (novella), London, Readers International, 1985 * Wings of Stone (novella), London, Readers International, 1986 * Ten Thousand Seeds (historical novel), Ateneo, 1987 * A Small Party in a Garden (novella), New Day, 1988 * Common Continent (short stories), Ateneo, 1991 * Kulasyon: Uninterrupted Vigils (collected first chapters), Giraffe, 1995 Cecilia Manguerra Brainard Cecilia Manguerra Brainard is an award-winning author and editor of nineteen books. She co-founded PAWWA or Philippine American Women Writers and Artists; she also founded Philippine American Literary House. Brainard’s works include the World War II novel, When the Rainbow Goddess Wept, Magdalena, and Woman With Horns and other Stories. She edited several anthologies including Fiction by Filipinos in America,Contemporary Fiction by Filipinos in America, and two volumes of Growing Up Filipino I and II, books used by educators. Cecilia Manguerra Brainard (born 1947) grew up Cebu City, Philippines, the youngest of four children to Concepcion Cuenco Manguerra and Mariano F. Manguerra. The death of her father when she was nine prompted her to start writing, first in journals, then essays, and fiction. She attended St. Theresa’s College and Maryknoll College in the Philippines; and she did graduate work at UCLA. Brainard has worked with Asian American youths for which she received a Special Recognition Award from the Los Angeles Board of Education. She has also received awards from the California State Senate, 21st District, several USIS Grants, a California Arts Council Fellowship, an Outstanding Individual Award from the City of Cebu, Philippines, Brody Arts Fund Award, a City of Los Angeles Cultural grant, and many more. The books she has written and edited have also won awards, the Gintong Aklat Award and the International Gourmand Award among them. Her work has been translated into Finnish and Turkish. Brainard’s second novel, Magdalena inspired the playwright Jocelyn Deona de Leon to write a stage play, Gabriela’s Monologue, which was produced in 2011 by the Bindlestiff Studio in San Francisco as part of Stories XII! annual production showcasing original works for the stage by Pilipino/Filipino American Artists. Brainard’s writings can be found in periodicals such as Town and Country, Zee Lifestyle Magazine, Focus Philippines, Philippine Graphic, Amerasia Journal, Bamboo Ridge among others. Her stories have been anthologized in books such as Making Waves (1989), Songs of Ourselves (1994), On a Bed of Rice (1995), â€Å"Pinay: Autobiographical Narratives by Women Writers, 1926-1998† (Ateneo 2000), â€Å"Asian American Literature† Alejandro Reyes Roces Alejandro Reyes Roces (13 July 1924 – 23 May 2011) was a Filipino author, essayist, dramatist and a National Artist of the Philippines for literature. He served as Secretary of Education from 1961 to 1965, during the term of Philippine President Diosdado Macapagal. Noted for his short stories, the Manila-born Roces was married to Irene Yorston Viola (granddaughter of Maximo Viola), with whom he had a daughter, Elizabeth Roces-Pedrosa. Anding attended elementary and high school at the Ateneo de Manila University, before moving to the Arizona State University for his tertiary education. He graduated with a B.A. in Fine Arts and, not long after, attained his M.A. from Far Eastern Universityback in the Philippines. He has since received honorary doctorates from Tokyo University, Baguio’s St. Louis University, Polytechnic University of the Philippines, and the Ateneo de Manila University. Roces was a captain in the Marking’s Guerilla during World War II and a columnist in Philippine dailies such as the Manila Chronicle and the Manila Times. He was previously President of the Manila Bulletin and of the CAP College Foundation. In 2001, Roces was appointed as Chairman of the Movie and Television Review and Classification Board (MTRCB). Roces also became a member of the Board of Trustees of GSIS (Government Service Insurance System) and maintained a column in the Philippine Star called Roses and Thorns. During his freshman year in the University of Arizona, Roces won Best Short Story for We Filipinos are Mild Drinkers. Another of his stories, My Brother’s Peculiar Chicken, was listed as Martha Foley’s Best American Stories among the most distinctive for years 1948 and 1951. Roces did not only focus on short stories alone, as he also published books such as Of Cocks and Kites (1959), Fiesta (1980), and Something to Crow About (2005). Of Cocks and Kites earned him the reputation as the country’s best writer of humorous stories. It also contained the widely anthologized piece â€Å"My Brother’s Peculiar Chicken†. Fiesta, is a book of essays, featuring folk festivals such as Ermita’s Bota Flores, Aklan’s Ati-atihan, and Naga’s Peà ±afrancia. Something to Crow About, on the other hand, is a collection of Roces’ short stories. The book has been recently brought to life by a critically acclaimed play of the same title; the staged version of Something to Crow About is the first Filipino zarzuela in English. This modern zarzuela tells the story of a poor cockfighter named Kiko who, to his wife’s chagrin, pays more attention to the roosters than to her. Later in the story, a conflict ensues between Kiko’s brother Leandro and Golem, the son of a wealthy and powerful man, over the affections of a beautiful woman named Luningning. The resolution? A cockfight, of course. Something to Crow About won the Aliw Award for Best Musical and Best Director for a Musical Production. It also had a run off-Broadway at the La Mama Theater in New York. Through the years, Roces has won numerous awards, including the Patnubay ng Sining at Kalinangan Award, the Diwa ng Lahi Award, the Tanging Parangal of the Gawad CCP Para sa Sining, and the Rizal Pro Patria Award. He was finally bestowed the honor as National Artist of Literature on the 25th of June 2003. When once asked for a piece of advice on becoming a famous literary figure Roces said, â€Å"You cannot be a great writer; first, you have to be a good person†.

Filipino People and Exposition Grounds Rizal Essay

Paris in the spring of 1889 was bursting with gaiety(joy) and excitement because of the universal exposition. Thousands of visitors from all corner of the world crowded every hotel, inn, and boarding house . every -where in the metropolis the hotel rate in London , was caught in the whirl of gay Parisian life . despite the social parties and the glittering light of the city , he continued his fruitful artistic , literary , and patriotic labor(makabayang pag gawa), he published his annotated(comment) edition of Morgam’s success; founded three Filipino societies, the kidlat club, the indios bravos , and the R. D. L. M. ; AND wrote por telefono , satire against fr. salvador font. Difficulty of finding quarters. on march 1889 , it was extremely difficult For a visitor to find living quarters in Paris the approaching(papalapit) universal exposition of 1889 which was scheduled to open on May 16 ,1889 so the all hotel accommodations were taken . to the great disgust(pagkainis) of Rizal ,the cost of living spiralled high because the French land lords, taking advantage of great demand for living quarters, raised the rent of their rooms. For a short time, Rizal lived in the house of his friends valentine ventura, at No. 45 rue maubeuge, where he polished his annotated edition of morga’s book. He transferred his residence several time moving in the hotel to another from one boarding house to another. Finally, he lived in a little room, together with two other Filipinos – Capitan Justo Trinidad former gobernadorcillo of Santa Ana, Manila, and a refugee(takas) from Spanish tyranny, and Jose Albert, a young student from Manila. Life in Paris. Although life in Paris was gay(joyful), with sparkling merriment and joyous social parties, Rizal continued to be busy in his serious pursuits(pagtugis/trabaho). However were too precious for him to waste. He spent them frugally(matipid) and fruitfully. He used most of his time in the reading room of the Bibliotheque Nationale (National Library) checking up his historical annotations on Morgan’s book, in his living quarters writing letters to his family and friends, in the gymnasium for his daily physical exercises, and visiting his friends. In his spare hours(ekstrang oras), Rizal used to dine at the homes of his friends, such as the Pardo de Taveras, the Venturas, the Bousteads the Lunas, etc. He was a good friend of the three Pardo de Taveras – Dr. Trinidad H. Pardo de Tavera, physician by vocation and philologist by avocation and an artist and sculptor by avocation, and Paz de Tavera, wife of Juan Luna. These Pardo de Taveras were the children of Don Joaquin Pardo de Tavera, an exile(pagpapatapos) of 1872 who escaped from the Marianas and lived in France. On June 24, 1889, a baby girl was born to Juan Luna and Paz Pardo e Tavera. She was their second child, the first was a boy named Andres, whose pet name was Luling. Her baptismal godfather (ninong) was Rizal, who choose her named â€Å"Maria de la Paz, Blanca, Laureana, Hermenegilda Juana Luna y Pardo de Tavera. † In his letter to his family in Calamba, Rizal gave an interesting account of his life in Paris. One of these letters (dated May 16, 1889) related. My daily life in Paris in spent in the following manner: one or two hours in the gymnasium and I fencing, three or four hours in the library, the rest I use up in writing and visiting friends. . . Every other night from 8:00 to 11:00 we meet in a cafe where we play chess. On Saturdays I am invited to eat at Luna’s house, on Sundays at Mrs. Juliana’s and on Friday, I visit the family of Boustead (also a Filipino ) where sometimes I take tea. † In another litter to his family, written on September 21, 1889. He said, â€Å" We filipino gather four times a week and we sing the kundiman. We eat sotanghon, adobo, etc. , on Wednesday in the house of Dona Tula, on Thursday in the house of hidalgo, on friday in the house of madam Boustead, on saturday in the house of luna, on Sunday in the house of Dona Juliana. † Rizal and Paris exposition of 1889. Like any ordinary Filipino tourist in a foreign land Rizal was fascinated(nabighani) by the universal Exposition of Parish which opened on May 6, 1889. The greatest attraction of this exposition was the Eiffel Tower, 984 feet high, which was built by Alexander Eiffel, celebrated French engineer. Rizal and his friends attended the opening ceremonies and saw the cutting of the ribbon by President Sadi Carnotof the Third French Republic. Paris was jammed with thousands of tourist coming from all parts of the world. Daily the Exposition drew a vast crowd of 200, 000 persons or more. One of the features of the Exposition was the international art competition, in which Felix R. Hidalgo, Juan Luna, Felix Pardo de Tavera, and Rizal participated. Hidalgo’s painting was awarded second prize, the paintings of Juan Luna and F. Pardo de Tavera each obtained the third prize. While Rizal’s entry (a bust which he modelled got no prize. This bust was quite good to qualify for the exhibition, but not good enough to win an international prize. Kidlat Club. On March 19, 1889, the same day when he arrived in Paris from London, Rizal organized his paisanos (compatriots) into a society called Kidlat Club. Among the members were Antonio and Juan Luna, Gregorio Aguilera, Fernando Canon, Lauro Dimayuga, Julio Llorente, Guillermo Puatu, and Baldomero Roxas. The Kidlat Club was purely a social society of a temporary nature. It was founded by Rizal simply to bring together the young Filipinos in the French capital so that they sojourn in the city during the duration of the Universal Exposition. Thus he told Blumentritt in a letter dated March 19, 1889: Today we have formed a Kidlat Club. Kidlat in tagalog means lightning and for the same reason this Club will last only during the exposition. We have thought of it and formed it in hour. It will disappear also like lightning. Indios Bravos In their sightseeing tour of the exposition grounds Rizal and the members of the kidlat Club were amazed to see the Buffalo bull show which featured the American Idians . These red-skinned Indians were proudly riding their sturdy(matipuno) ponies elegantly dressed in their native attire and wearing their war feathers and paints. Rizal was enchanted by the dignified(marangal) and proud bearing of the American Indians . He told his friends; â€Å"Why should we resent(magdamdam) being called Indios by the Spaniards? Look at those Indios from American – They are not ashamed of their name. Let us be like them . Let us be proud of the name Indio and make our Spanish enemies revise their conception of the term. We shall be Indios Bravos. † Thus(kaya/ganoon) was born a new society of Filipino patriots in Paris – the Idios Bravos (Brave Indians). It replaced the ephemeral(panandalian) Kidlat Club. Its members pledged to excel Intellectual and physical prowess(kagitingan) in order to win the admiration of the foreigners, particularly the Spaniards. They practised with great enthusiasm(sigasig) the use of the sword and pistol . Rizal taught(itinuro) them judo, an Asian art of defence that he learned in Japan. R. D. L. M. society . Another society founded by Rizal in Paris during the universal Exposition of 1889 was the mysterious sociedad R. D. l. M. (R. D. L. M. Society) Many biographers of Rizal do not mention In fact , its existence and role in the crusade for reforms are really enigmatic(misteryoso) . Of the numerous letters written by Rizal and his follow propagandist s , only two mentioned this secret society as follows:9(1) Rizal ‘s Letter to Jose MariaBasa, Paris September 21,1889 and (2)Rizal’s Letter to Marcelo H. del Pilar ,Paris ,November 4 1889 According to Dr. Leoncio Lopez –Rizal , grandnephew of the hero , the society has a sysmbol or counter sign represented by a circle divided into three parts by two semi-circle having in the center the interlocked Letters I and B meaning Indios Bravos , and the letters R. D. L. M.placed outside an upper , lower , left and right sides of the circle. The letters R. D. L. M. are believed to be the initials of the society name Redencion de los Malayos (Redemption of the malayas ). So much mystsery surrounded the R. D. L. M. because Rizal rigidly guarded its secret exitence . Evidently , it was patterned after Freemansory . It had various degrees of membership , with the members not knowing each other . Only a few of Rizal ‘s trusted friends became memebers of the R. D. L. M. , namely ,Gregorio Aguilera ,jose ma. Basa, Julio Llorente , Marcelo H del Pilar , Mariano Ponce, Baldormore. Roxas ,and Father Jose Maria Changco (Filipino priest). The aim of the secret society, as stated by Rizal was the propagation of all useful knowledge – scientific , artistic , literary etc.. – in the Philippine . Evidently , there was another aim that is, the redemption(pagliligtas) of the Malaya race. It must be noted that Rizal was inspired by a famous Book entitled Max Havelaar (1860) wriiten by Multatuli (pseudonym of E. D Dekker ,dutch author) . This Book exposed the miserable conditions of the oppressed Malay inhabitants of the Netherlands East Indies under Dutch rule . A discerning(marung-pagkakaiba) study of the available Rizaliana documents and Rizal’s actuation show that the R. D. L. M. had something to do with the malay race . As Dr. Leoncio Lopez –Rizal cogently (kapanipaniwala) stated , Rizal’s colonization project in Borneo was â€Å"not merely to have a place where Filipinos could live and work with more liberty as well as free themselves from the oppressive conditions in the Philippine †¦but for something else more important, which is to have freedom of action to attain the aims of the R. D. L. M. which means †¦ the Redemption of the malay race. † Rizal writing blumentritt from Hong Kong on February 23 1892 , revealed his intention to be a leader of freedom , if not in the Philippines , then in other lands â€Å"In Borneo†he told (caudillo) of the planters who are thinking of emigrating there with me . I feel flattered by the idea that I can still serve my country with my pen . You Know very well that always , at all times, I am ready to serve my fatherland only my pen but also with my life whenever my fatherland would demand this sacrifice , But as I see that I am getting old , My ideals and dreams are fading ; if it is impossible for meto give freedom to my country , at least I should like to give it to these noble compatriots in other lands. Moreover, the contract for his bornean colonization included such provision as the right of the colonists to by the lands, the free use of the seashores, and the unusual long term of lease for 999 years, â€Å" a period of time long enough for many generation to form a nation and to consolidate its status â€Å" and to realize Rizal’s dream of redeeming the Malay race. Annotated Edition of Moraga Published. Rizal ‘s outstanding achievement in Paris was the publication in 1890 of his annotated edition of morga’s. Sucesos , which he wrote in the British Museum . It was printed by Garnier Freres. The Prologue was written by Professor Blumentritt, upon the request of Rizal. In his Prologue, Blumentritt commended Rizal for his fine historical scholarship. However , he frankly consured Rizal for two thing which revealed Rizal error’s, namely: (1) Rizal of the past in the light of present standard and(2) Rizal’s attack on the church were unfair should to be construed means that Catholicism is bad. Thus Blumentritt said. The high estimation of your notes (Rizal’s annotations Z. ) does not prevent me from confessing that more than once, I observed you that participate in the error of many modern historians, who judge of centuring past, in the light of concepts that corresponding to contemporary Ideas. This should not to be . The historians should not impute to the men of the 16th century the wide horizon of ideas that move the 19th century. The second point with which I am not in agreement has to do some to your fulmination against Catholicism I believe that not in religion but in the cruel method and the abuses of many priests should we look for the origin of many events lamentable for religion, for Spain, and for the good name of the European race. Notwithstanding the two blemishes of Rizal’s work, it is a splendid piece of historiography. Rizal annotated and published Morga’s Sucesos because it was the best of the many histories of the Philippines written by the early Spanish writers, being accurate in the narration of events, unbiased in judgement, and unmarred by childish fantasies. Rizal dedicated his new edition of Morga to the Filipino people so that they would know of their glorious past. His dedication is as follows: TO THE FILIPINO’S. In the Noli Me Tangere started to sketch the present state of our Fatherland: the effect which my attempt produced made me realize, before proceeding to develop before your eyes other pictures to follow, the necessity of first giving an understanding of the past in order the better to judge the present and measure the path traversed during the three centuries. Born and reared in ignorance of our past like almost all of you: without voice nor authority to speak of what we have not seen nor studied I deemed it necessary to invoke the testimony of an illustrious Spaniard who controlled the destinies of the Philippines at the beginning of its new era and personally witnessed the last days of our ancient nationality. It is, therefore, the shadow of our ancestors’ civilization which the author now shall call before you. I transmit to you faithfully his words without changing them nor mutilating them, adapting, only in so far as possible, to modern orthography and introducing greater clearness in the rather defective punctuations of the original, to facilitate its reading. The office, the nationality, and the virtues of Morga, together with the date and testimonies of his contemporaries, Spaniards for the most part, commend the work to your serious consideration. If the book succeeds in awakening in you, the consciousness of our past blotted from memory, and in rectifying what has been falsified and calumniated then I shall not have laboured in vain, and with this basis, slight thought it be, we can all devote ourselves to the study of the future. In this historical work, Rizal proved that the Filipinos were already civilized before the advent of Spain. They had clothes, government, laws. , writing, literature, religion, arts, sciences and commerce with neighbouring Asian nations. Rizal thus blasted the historicalheresies of the Spanish writers who claimed that the early Filipinos were savages and was of low mentality. Comment on Morga’s Publication Date. The title page of Rizal’s annotatedediton of Morga reads: â€Å"Paris, Libreria de Garnier Hermanos, 1890. † From this printed date, all biographers of Rizal came to assert that his edition of Morga was published in 1890. However, there is documentary evidence to show that Rizal’s from Leitmeritz, saying: â€Å"I have just receive your magnificent edition of Morga. This edition with your notes will glorify your name. † Rizal himself, in his letter to Dr. Baldomero Roxas from Paris, December 28, 1899, stated: â€Å"Today I sent to Lipa four copies of Morga. Later I will send some more. † From Barcelona, Mariano Ponce wrote to Rizal on December 31, 1889, saying: â€Å"I received the bookSucesos. Many thanks. I have read only Blumentritt’s prolongue. Truly excellent. Please send me immediately about ten copies thah I can send to the Philippines by the first mail that is going there. † The three letters cited above — from Blumentritt, B. Roxas, and M. Ponce — are incontrovertible proofs that Morga’s Sucesosby Rizal actually came off the press in 1889. Otherwise, how could these three friends of Rizal read the book before 1890? Rizal as Historian. Rizal’s research studies in the British Museum (London) and in the Bibliotheque Nationale (Paris) enriched his historical knowledge. His splendid annotations to Morga’s book showed his familiarity with the basic priciples of historiography. As he once told rigorously imparted. . . I never assert anything on my own authority. I cite texts and when I do, I have them before me. † His knowledge of foreign languages enabled Rizal to read historical documents and books in the languages in which they were originally written. For instance, he read Pigafetta’s famous First Voyage Around the World in Italian; the historical works of Marsden, Raffles, Lord Stanley, and Wallance in English; the writings of Blumintritt, Jagor, and Virchow in German; the books of M. Jacquet, J. Mallat, and A. Marche in French; and the works of T. H. Pardo de Tavera, Pedro A. Paterno, Miguel Morayta, and Pi y Margall in Spanish. By his extensive reading of archival sources and books in foreign countries, he acquired wide not only of Philippine history, but also the history of European colonization in Asia. Aside from his excellent annotations on Morga’s book, Rizal wrote other works which qualify him to be a real historian. Among them were the two historical commentaries written in London, Ma-yi(December 6, 1888) and Tawalisiof Ibn Batuta (January 7, 1889); Filipinas dentro de Cien Anos (The Philippines Within a Century), published in La Solidaridad in four issues on September 30, October 31, December 15, 1889 February 15, 1890; Sobre la Indolencia de los Filipinos (The Indolence of the Filipinos), published in La Solidaridad in five successive issues on July 15, July 31, August 1, August 31, and September 1, 1880; La Politica Colonial on Filipinas (Colonial Policy in the Philippines), no date; Manila en el mes de Diciembre, 1872 (Manila in the Month of December, 1872), no date; Historia de la Familia Rizal de Calamba (History of the Rizal family of Calamba); no date and Los Pueblos del Archipielago Indico (The Peoples of the Indian Archipelago), no date. The Philippines within a Century. In this article Rizal expressed his views on the Spanish colonization in the beginning of his article the glorious past of the Filipino people, then described their economic stagnation and unhappiness under the harsh and bungling Spanish rule. Toward the last paragraphs of the articl, he peered into the future and warned Spain of what would happen to her colonial empire in Asia if she would not adopt a more liberal and enlighted policy toward the Philippines. Significant passages in this historical essay are as follows: To recapitule: the Philippines wil remain Spanish if they enter upon the life of law and civilization, if the rights of their inhabitants are respected, if the other rights of due them are granted, if the liberal policy of the government is carried out without trickery or meanness, without subterfuges or false interpretatios. Otherwise, if an attempt is made to see in the islands a lode to be exploited , a resource to satisfy ambition †¦ shutting its ears to all cries of reason , then however great may be the loyalty of the filipino , it will be impossible to operation of the laws of history . Colonies established to subserve the policy and commerce of the sovereign country , all eventually become independent †¦ If the Philippines secure their independence after heroic and stubborn conflict , they can rest assured that neither England nor Germany , nor france , and still lees Holland will dare to take up what spian has been unable to told . Perhaps the great American Republic. Whose interests lie in the Pacific and who hand in the spoliation Africa may some day dream of foreign possession . This is not impossible , for the example is contagious , covetousness and ambition are among the strongest vices. Very likely, the Philippine s will defend with inexpressible valor the liberty secured at the price of so much blood and sacrifice. With the new men that will spring from their soil and with the recollection of their past, they will perhaps strive to enter freely upon the wide road of progress, and all will labor together to strengthen their fatherland.. Then the mines will be made to give up their gold for relieving distress, iron for weapon ,copper ,lead and coal . Perhaps the country will revive the maritime and mercantile life for which the islanders are fitted by their nature , ability ,and instincts, and one more to free ,bird that leaves its cage , like the flower that unfolds to the air , will recover the pristine virtues that are gradually dying out and will again become addicted to peace-cheerful, happy, joyous ,hospitable and daring. The Indolence of the Filipinos. This other essay of Rizal is also a prestigious work of historical scholarship . It is an able defence of the alleged indolence of the Filipinos In the spirit of a real scholar, Rizal made a critical study of the causes why his people did not work hard during the Spanish regime . His main thesis was that the Filipino are not by nature indolent. Long before the coming of the Spaniards he pointed the Filipinos were industrious and hard-working : They were very active in agriculture , industries , and commerce The Spaniard conquest of the country brought about a decline in economic activities because the Filipinos had abandoned their pre – Spanish industries and worked less than their ancestors . Such decline in economic life was due to certain causes: (1)the native revolts and other internal disorders which followed thre establishment of Spanish rule ,(2) the wars which the Filipinos fought for Spain against the dutch Portuguese ,English , and other enemies : (3) the frightful raids on the coastal towns and village of Christians Philippines by the Muslim pirates of Mindanao and Sulu ; (4) the forced labour which compelled thousands of Filipinos labourers to work in shipyards ,roads ,bridges, and other public works resulting in the abandonment of industry ,commerce ,and agriculture ;(5) lack of stimulus to work harder because the people could not enjoy the fruits of their labor; (6) government neglect and indifference to agriculture ,industry ,commerce ;(7) The bad example shown by the Spaniards in despising manual labor ;(8)the teaching of Spanish missionaries that it is easier for a poor man to enter heaven than for a rich man , hence the Filipinos prefer not to work and be poor so that they could easily enter heaven after they die ;(9) encouragement and propagation of gambling by the Spanish authorities ; and (10) system of Spanish as Rizal asserted , the education did not promote economics enterprise and activity , for , as Rizal asserted , the education of the native was â€Å"from his birth until he sinks into his grave is brutalizing , depressive and anti-human â€Å"and† deprives him of his dignity. It is true , admitted Rizal , that the Filipinos are easy –going and do not work so hard because they are enough to adjust themselves to their warm , tropical climates . they do not have themselves working hard in order to live because nature gives them abundant harvests by working less than those in temperate and arid countries . â€Å"The Fact†, explained Rizal. †is that in tropical countries violent work is not a good thing ,as it is death , destruction , annihilation . Nature knows this and like a just mother has therefore made the earth more fertile ,and more productive ,as a compensation . An hour’s work under that burning sun, in the midst of pernicious influences springing from nature in activity , is equal to a day ‘s labor in a temperature climates ; it is then , just that the earth yields a hundredfold . International Associations of Filipinologists. Taking advantages of world attention which attention was than focused at the Universal Exposition of Paris proposed to establish an â€Å" International Association of filipinologists â€Å" and have its inaugural convention in the French capital . He first submitted this ideas to blumentritt in a letter dated January 14 1889. And the letter international association. According to his prospectus, the aim of the association is â€Å"to study the Philippines from the scientific and historical points of view the officers were a follows: President †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Dr . Ferdinand Bluementritt (Austrian) Vice President †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Mr . Edmund Plauchut (French) Counsellor †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. Dr . Reinhold Rost (Anglo-German) Secretary †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Dr. Jose Rizal (Filipino).

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