Juan Luna was also a sturdy patriot. In 1897 he was arrested in Manila for conspiring in behalf of his country’s independence and by a narrow chance missed the firing-squad. After six months close imprisonment he was released and escaped from the country but returned and was present when the Spanish domination came to an end. (Foreman, p. 394.) His career was picturesque. He had been born in as poor a home as any in the Philippines and had begun life as a sailor. The city of Barcelona purchased and still has one of his paintings that had been awarded a prize at the Madrid Salon. [108] Mr. Derbyshire says it was thrown to the dogs, but this must be a figure of speech. It seems to have been exposed until buried in unconsecrated ground. [109] Craig, p. 154; Retana, p. 195. [110] Craig, p. 170. [111] Rizal’s own account, “The Turkey That Caused the Calamba Land Trouble.” [112] Craig, p. 164. [113] Retana, pp. 226–227, assumes to defend Weyler on the ground that he was “upholding judicial authority.” This must be a recrudescence of Retana’s press-agent days. [114] “La Solidaridad” was started by Graciano Lopez Jaena at Barcelona. Del Pilar took charge of it in October, 1887, and moved it to Madrid to be nearer the centers of action. Compare Blair and Robertson, Vol. LII, p. 176. [115] Retana, p. 199; Blair and Robertson, Vol. LII, p. 178. [116] “The Reign of Greed” (“El Filibusterismo”), pp. 86–87; Derbyshire’s translation. [117] Between “Noli Me Tangere” and “El Filibusterismo” is a vast difference. We speak of novels. In “Noli Me Tangere” all is fresh, ingenuous, impetuous; it is a novel that impresses one in such a way that it is never forgotten; it is a work of feeling. “El Filibusterismo” is a work of deep thought, and in literature it must be remembered that sentiment is preferred to thought. “Noli Me Tangere” is a picture of the whole country, rich in color and in fantasy, entwined with the dreams of a delicate poetry. “El Filibusterismo” came to be a series of philosophical-political treatises with a novelistic trend; every speech that appears in the work ends in a patriotic dissertation. “Noli Me Tangere” is the unbosoming of an enlightened poet, passionately patriotic, artistically revolutionary. “El Filibusterismo” is a series of meditations; it lacks the admixture of humor, of semi-sweet irony that produces such an effect in the first book. It despises the attacks of the religious fanatics, threatens with Voltairian sharpness. The ambient air of the tropics is not felt, charged full of melancholy, which is to be breathed in “Noli Me Tangere.” Rizal wrote his first novel having constantly before his dreamy fantasy the vision of his country as it was. In the second he wrote thinking of the redemption of his race, elevating the philosopher above the artist. “Noli Me Tangere” is a novel; “El Filibusterismo” is a tract on the national anarchy. Retana, p. 201.