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Noli Me Tángere (Latin for "Touch Me Not") is a novel by Filipino writer and activist José Rizal and was published during the Spanish colonial period of the Philippines.It explores inequities in law and practice in terms of the treatment by the ruling government and the Spanish Catholic friars of the resident peoples in the late 19th century.
Noli me Tangere by Antonio da Correggio, c. 1525. Noli me tangere ('touch me not') is the Latin version of a phrase spoken, according to John 20:17, by Jesus to Mary Magdalene when she recognized him after His resurrection. The original Koine Greek phrase is Μή μου ἅπτου (mḗ mou háptou).
Rizal experienced financial constraints in getting his novel Noli me Tangere published and considered destroying the manuscript of the book. Viola financed the publication of the first 2000 copies of the novel in 1887, and was later given the galley proof and the first published copy of the novel by Rizal. [1]
The most prized possessions of the National Library, which include Rizal's Noli Me Tangere, El Filibusterismo and Mi último adiós, three of his unfinished novels and the Philippine Declaration of Independence, are kept in a special double-combination vault at the rare documents section of the Filipiniana Division's reading room.
Noli Me Tángere (Touch Me Not or "Social Cancer") is a controversial and anticlerical novel that exposed the abuses committed by the Spanish friars (belonging to the Roman Catholic Church) and the Spanish elite in colonial Philippines during the 19th century.
It is the sequel to Noli Me Tángere and, like the first book, was written in Spanish. It was first published in 1891 in Ghent. The novel centers on the Noli-El Fili duology's main character Crisóstomo Ibarra, now returning for vengeance as "Simoun". The novel's dark theme departs dramatically from the previous novel's hopeful and romantic ...
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In the novel, María Clara is regarded as the most beautiful and celebrated lady in the town of San Diego. A devout Roman Catholic, she became the epitome of virtue; "demure and self-effacing" and endowed with beauty, grace and charm, she was promoted by Rizal as the "ideal image" [1] of a Filipino woman who deserves to be placed on the "pedestal of male honour".