Everything was going all right, when, unexpectedly, Andong received an order from the court of justice to appear before the judge to answer all the complaints of the people about his abuses in the government. Andong, before going to court went to see Ittong, his old advocate. Ittong advised him not to be afraid. "Call officially your witnesses," he said, "and tell them that you will put them into prison if they declare against you." The wind was strong against Andong. Nobody could save him from his trouble. The prison was awaiting him. Andong was perplexed; he did not know what to do. While he was looking at the neighboring mountains, a wise thought came to his mind. "I will go and live in those woods with the Igorrotes, rather than to suffer the oppression of my superiors and the hatred of my own people!" he exclaimed. Meanwhile, he received an urgent despatch from a friend, announcing that the government had discharged him from his office, and had sentenced him to be put into prison. Immediately, Andong and one of his servants fled from Tuao and sought refuge in the neighboring forests, there to live like wild men, with no ambition above that of the brute, caring only for their next meal, but harboring in their hearts a deadly hatred of Spanish rule. --Justo E. Avila. PART II NARRATIVES OF ACTUAL EVENTS CHAPTER VII PARTICULAR ACCOUNTS The second large division heading explains itself. In an atmosphere of facts all the true narrative types stand. Whether these types are used as retainers of truth only is another question. Manifestly they are not. Manifestly there is much fiction that succeeds merely because it is cast in the true story mold. But the concern of the writer who chooses any one of these forms is to pour truth into it, whether the truth be historical actualities or only artistic probabilities. It is more helpful to consider the types on their simplest basis; hence in a study like this, one would assume for content always real happenings. The necessity that the story go unquestioned does not, however, excuse the recorder of actual events from using his imagination. Indeed, only by using it can he come to write true history or true biography. Without "the inward eye" one cannot see the past. Without sympathy--which is another word for imagination--one cannot know his fellowman. A biographer, an historian, above all else should be able to see the unseen, not the unseen of the unreal, but the unseen of the real, a vastly different thing! The two are exact opposites, the what-is and the what-was set over against the what-was-not and the what-could-not-be. In this chapter five types of narratives of actual events are grouped as particular accounts, or adventitious history, in contrast with continuous personal history, and continuous impersonal, or community history.