Translator’s Introduction - Page 18 of 31

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 Elias.  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 any one 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 the veracity of the facts presented.^[8]

But while the primary purpose and first effect of the work was to crystallize anti-friar sentiment, the author has risen above a mere personal attack, which would give it only a temporary value, and by portraying in so clear and sympathetic a way the life of his people has produced a piece of real literature, of especial interest now as they are being swept into the newer day.  Any fool can point out errors and defects, if they are at all apparent, and the persistent searching them out for their own sake is the surest mark of the vulpine mind, but the author has east aside all such petty considerations and, whether consciously or not, has left a work of permanent value to his own people and of interest to all friends of humanity.  If ever a fair land has been cursed with the wearisome breed of fault-finders, both indigenous and exotic, that land is the Philippines, so it is indeed refreshing to turn from the dreary waste of carping criticisms, pragmatical scientific analyses, and sneering half-truths to a story pulsating with life, presenting the Filipino as a human being, with his virtues and his vices, his loves and hates, his hopes and fears.