The total casualties in the above period were as follows, viz.:—
| Officers. | Men. | Total. | |
| Dead (all causes) | 115 | 3,384 | 3,499 |
| Wounded | 170 | 2,609 | 2,779 |
| 285 | 5,993 | 6,278 |
In the same period the following arms were taken from the insurgents (captured and surrendered):—
| Revolvers | 868 |
| Rifles | 15,693 |
| Cannon | 122 |
| Bowie-knives | 3,516 |
The Insurgent Navy, consisting of four small steamers purchased in Singapore and a few steam-launches, dwindled away to nothing. The “Admiral,” who lived on shore at Gagalan͠gin (near Manila), escaped to Hong-Kong, but returned to Manila, surrendered, and took the oath of allegiance on March 3, 1905.
Sedition, in its more virulent and active forms, having been frustrated by the authorities since the conclusion of the war, the Irreconcilables conceived the idea of inflaming the passions of the people through the medium of the native drama. How the seditious dramatists could have ever hoped to succeed in the capital itself, in public theatres, before the eyes of the Americans, is one of those mysteries which the closest student of native philosophy must fail to solve.
The most notable of these plays were Hindi aco patay (“I am not dead”), Ualang sugat (“There is no wound”), Dabas n͠g pilac (“Power of Silver”), and Cahapon, Ngayon at Bucas (“Yesterday, to-day, and to-morrow”). In each case there was an extra last scene not on the programme. Secret police and American spectators besieged the stage, and after a free fight, a cracking of heads, and a riotous scuffle the curtain dropped (if there were anything left of it) on a general panic of the innocent and the arrest of the guilty. The latter were brought to trial, and their careers cut short by process of law.
The simple plot of Hindi aco patay is as follows, viz.:—Maímbot (personifying America) is establishing dominion over the Islands, assisted by his son Macamcám (American Government), and Katuíran (Reason, Right, and Justice) is called upon to condemn the conduct of a renegade Filipino who has accepted Americaʼs dominion, and thereby become an outcast among his own people and even his own family. There is to be a wedding, but, before it takes place, a funeral cortége passes the house of Karangalan (the bride) with the body of Tangulan (the fighting patriot). Maímbot (America) exclaims, “Go, bury that man, that Karangalan and her mother may see him no more.” Tangulan, however, rising from his coffin, tells them, “They must not be married, for I am not dead.” And as he cries Hindi aco patay, “I am not dead,” a radiant sun appears, rising above the mountain peaks, simultaneously with the red flag of Philippine liberty. Then Katuíran (Reason, Right, and Justice) declares that “Independence has returned,” and goes on to explain that the new insurrection having discouraged America in her attempt to enslave the people, she will await a better opportunity. The flag of Philippine Independence is then waved to salute the sun which has shone upon the Filipinos to regenerate them and cast away their bondage.
The theme of Cahapon, n͠gayon at Bucas is somewhat similar—a protest against American rule, a threat to rise and expel it, a call to arms, and a final triumph of the Revolution. About the same time (May, 1903) a seditious play entitled Cadena de Oro (“The golden chain”) was produced in Batangas, and its author was prosecuted. It must, however, be pointed out that there are also many excellent plays written in Tagalog, with liberty to produce them, one of the best native dramatists being Don Pedro A. Paterno.