COLEGIO DE SANTA CATALINA DE ALEJANDRIA

DUMAGUETE CITY

LIFE AND WORKS OF RIZAL

MODULE 3

NOLI ME TANGERE

LEARNING OBJECTIVES:
At the end of the lesson, the students should be able to:

1. Assess the important characters in the novel and what they represent.
2. Examine the present Philippine situation through the examples mentioned in the novel, Noli Me
Tangere.

Learning Activity 1
If you are to draw a symbol that would best represent one current problem of the Philippines (be it
political, social, economic, etc.), what would it be? Identify this problem and illustrate a symbol for it in
the box below. Then, write a brief explanation about your symbol on the space provided.

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Learning Activity 2

MULTIPLE CHOICE. Write the correct letter of your answer in your notebook.

1. The banning of the Noli Me Tangere was recommended by:

A. Archbishop of Manila C. Catholic Church of Madrid

B. Permanent Commission on Censorship D. Rector of UST

2. Which among the following is considered as the enemy of progress and reform according to Rizal?

A. Guardia Civil C. Spanish Governor-General

B. Friars D. Filipinos
3. _____ was considered the savior of the Noli due to the financial assistance he gave Rizal for the
printing of the novel.
A. Felipe Buencamino C. Felix Hidalgo
B. Maximo Viola D. Valentin Ventura

4. The literal meaning of Noli Me Tangere is _____.

A. Leave Me Alone C. Touch Me Not

B. Save Me From Sin D. Help Me

5. _____ is the character that represents rich Filipinos who chose to be allies of Spanish officials to
preserve their wealth.

A. Kapitan Inggo C. Kapitan Basilio

B. Kapitan Elias D. Kapitan Tiago

6. Rizal’s Noli was influenced by the novel of Harriet Beecher Stowe entitled ____.
A. Uncle Tom’s Cabin C. Count of Monte Cristo
B. Deception D. A Tale of Two Cities

7. Rizal deleted this chapter in the Noli entitled ___________ to economize its printing.
A. In the Woods C. Memories
B. Elias and Salome D. The Supper

8. Which among the following characters in the novel best describe a social climber?
A. Doña Patrocinio C. Doña Victorina
B. Sisa D. Maria Clara

9. Maria Clara symbolizes _______.

A. Filipino womanhood C. Oppression
B. Filipino nation D. Martyrdom

10. ____ is the character in Noli that represents the small group of Filipinos who had a chance to study
abroad.
A. Elias C. Basilio
B. Isagani D. Ibarra

Learning Activitiy 3

SYMBOLISMS IN NOLI. Complete the table below to describe your own symbol-ism of the characters
used in the Noli Me Tangere. It can be an object, a person in the present time, or any other representation.
Briefly explain your symbolism on the third column.

CHARACTER SYMBOLISM EXPLANATION

Ibarra

Maria Clara

Kapitan Tiago

Basilio

Don Rafael

Sisa

Learning Activitiy 3
SHORT ESSAY. Read and analyze each question. Answer each item briefly but concisely.

1. Why do you think Rizal wrote the original Noli Me Tangere in Spanish, considering that it is the
language of the colonizers?
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2. Prove or Contradict: Noli Me Tangere is anti-clerical and anti-patriotic.

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3. Between Elias and Ibarra, who do you prefer? Why?

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“A hero is he who best understands the society in which he lives, who knows the problems and
aspirations of his people, who by his teachings and his labors, concretizes these problems and aspirations
so that the vague discontent and the hazy strivings towards something better in the people's minds are
crystallized into a clear pattern of action with definite goals. Rizal is still very much our hero be-cause he
crystallized for his generation as well as for ours most of the great prob-lems of Philippine society.”
- Renato Constantino 2011

Greatly influenced by Harriet Beecher Stowe’s Uncle Tom’s Cabin, Rizal wanted to publish a
book that would play a crucial role in the political history of the country. He planned on revealing the
kind of society that the Philippines had under the Spanish colonial rule. Thus, a meeting of Filipinos was
held at the Paterno residence in January 1884 wherein Rizal suggested the creation of the book. At first,
Rizal’s companions (Pedro Paterno, Maximino Paterno, Antonio Paterno,

Graciano Lopez Jaena, Valentin Ventura, Eduardo de Lete, Evaristo Aguirre and Julio Llorente)
unanimously approved that they would all contribute papers on the various facets of life in the Philippines
for the proposed novel. However, in a letter dated January 2, 1884, Rizal explained that this plan did not
materialize. There were objections that the gentlemen refused to discuss any further and he noticed
comrades were more interested in writing about women instead. They also preferred to spend time
gambling or flirting with Spanish women.
Suspecting that he cannot count on the support of his companions, Rizal decided to write the novel in
Madrid alone towards the latter part of the same year and finished about half of it in the city. When he left
For France in 1885, he had written 3/4 of the novel in Paris and from April to June 1886, he had penned
the last few chapters of Noli. It was completed in Berlin, Germany at the end of 1886 and at the onset of
1887, the final draft was ready for publication.

Of course, it was not a walk in the park for Rizal. While he was conscientiously finishing the
final draft of the Noli, he had apprehensions that it might not be published. For one, he had insufficient
money to have it printed. Obviously, he would not ask his companions in Europe for financial help —
after all, he did not get the support that he needed from them in writing the Noli.
Fortunately, Rizal’s friend from a rich family of San Miguel, Bulacan arrived in Berlin to invite him on a
Europe Tour. Dr. Maximo Viola wanted Rizal to accompany him on his tour but upon learning Rizal’s
dilemma, he was kind enough to delay the tour and insisted on lending Rizal P300 to publish the Noli.
Rizal even made some adjustments in the novel to save on the printing costs and deleted Chapter 25
entitled “Elias and Salome”.
 The money that Viola lent to Rizal was then used to print the first 2,000 copies of the Noli. Some
attests say that the novel was officially off the press on March 29, 1887 but there were also accounts that
showed that Rizal was already sending a copy of the novel to Blumentritt on March 21.
Because of Viola’s generosity, he was dubbed in the Philippine history as the “Savior of the
Noli”. Rizal then gave him, not only the gallery of proofs of the novel rolled around the pen used in
writing the Noli, but also the very first copy of the novel with Rizal’s dedication which described Viola as
the “first to read and appreciate [Rizal’s] work.

THE NOVEL’S DESCRIPTION

Jose Rizal’s Noli Me Tangere was written in Spanish and published in 1887. Basing it from
experience, the conventions of the 19th century novel and the ideals of European liberalism, Rizal was
able to expose the real-life scenario under the Spanish colonial rule — the abuses and inequalities of
many Spanish Catholic friars and government officials during his time.

With 63 chapters and an epilogue, Rizal was only 26 years old when the Noli was published. He
was studying medicine that time at the Universidad Central de Madrid. The Noli was dedicated to the
country whose miseries and sorrows were brought to light in an attempt to awaken its people to the truths
concerning the ills of the society during that time.

Noli Me Tangere, which means “touch me not” in Latin is the first in a trilogy
about the history of the Philippines, which is followed by El Filibusterismo and ends
with Makamisa, though it was never finished. “Noli me tangere” is a known Latin phrase
that has a biblical connection meaning, “touch me not.” This phrase was spoken by
Jesus to Mary Magdalene after he was resurrected, and was in fact recorded in John
20:17: “Touch me not, for I am not yet ascended to my Father.”

NOLI IN BRIEF

The main character of the Noli Me Tangere, the young and wealthy Filipino Crisostomo Ibarra
returned to his country after some years of studying in Europe. In his honor, Capitan Tiago (Santiago de
los Santos) threw a party at his house in Manila. The gathering was attended by renowned local
personalities like Padre Damaso, a fat Franciscan priest who had been assigned for many years in Ibarra’s
native town (San Diego); Fray Sybila, the young Dominican curate of Binondo; Lieutenant Guevarra of
the Guardia Civil; and Doña Victorina, wife of a fake Spanish physician Tiburcio de Espadaña. Crisosto-
mo’s father, Don Rafael Ibarra, was Capitan Tiago’s friend. Capitan Tiago’s sup-posed daughter, Maria
Clara, was Crisostomo’s fiancée.

During the party, Padre Damaso belittled Ibarra and rudely tried to harm his reputation. But the
gentleman Ibarra simply ignored the friar’s affront. When Ibarra left Capitan Tiago’s house, Lieutenant
Guevara talked to him and related the miserable fate of his deceased father in San Diego.

Guevara explained that Don Rafael was unfairly accused by San Diego curate of being a heretic
and filibuster because of his non-participation in mass and confession. One day, Don Rafael saw a
Spanish tax collector and a weak boy fighting. In an attempt to defend the powerless boy, he had
accidentally pushed and killed the brutal Spaniard. Don Rafael was thus imprisoned and died in his cell
miserably. Initially buried in consecrated ground, his body was removed from the Catholic cemetery
under the order of his enemies.

The next day, Crisostomo visited his sweetheart, Maria Clara. After the lovely visit to his
girlfriend, Ibarra went to San Diego to look for his father’s grave. He had known through the grave-digger
that his father’s corpse was dug up by order of the curate to be transferred in the Chinese cemetery. But
since it was raining and the corpse was heavy, the grave-digger just threw Don Rafael’s corpse into the
river.

Angered by what he learned, Ibarra suddenly attacked Padre Salvi when he saw this San Diego
parish priest. But Salvi explained to him that it was Damaso who was the town’s parish priest at the time
of Don Rafael’s death.

When Maria Clara and her family arrived in San Diego, Ibarra gave picnic at the lake. During the
picnic, Ibarra had saved the life of Elias—the boatman who was almost killed by a crocodile trapped in
the fish cage. Later in the picnic, some members of the Guardia Civil also came, pursuing Elias who had
previously assaulted Padre Damaso and the alferez. But Elias had escaped even before the Guardia Civil
arrived. Later on, Ibarra received a notice that his donation of a school in San Diego had been approved
by the Spanish government.

On the day of San Diego town fiesta, Ibarra and Maria Clara attended the morning mass
officiated by Padre Salvi and Padre Damaso. During the mass, Elias silently went near Ibarra and notified
him of the plot to kill him on the ceremony of the laying of the school’s cornerstone. So during the
inauguration, when Ibarra was about to cement the foundation of the schoolhouse, the platform collapsed.
Fortunately, the quick Elias had rescued Ibarra and the man who was paid to harm Ibarra was the one
killed in the incident.

Ibarra hosted a banquet later that day. Padre Damaso who attended the feast publicly attacked the
dignity of Ibarra’s dead father. The angered host lunged at the ill-mannered friar and had almost killed
Damaso with a knife were it not for Maria Clara who interfered just in time. Ibarra was consequently
excommunicated and his engagement with Maria Clara was broken as Damaso persuaded Capitan Tiago
to prohibit the lady to marry Ibarra.

One day, Ibarra’s enemies engineered a helpless attack on the station of the Guardia Civil,
making the attackers believe that Ibarra was the brain of the uprising. After the attack failed, Ibarra was
incriminated and arrested.

Elias helped Ibarra escape from prison. Before leaving, they discreetly stopped at Capitan Tiago’s
house. Maria Clara explained that she was blackmailed by Padre Salvi to surrender Ibarra’s letter (which
was used to incriminate him) in exchange for the letters written by her dead mother. From these, she
learned that her real father was Padre Damaso.

Ibarra and Elias then took off by boat. Instructing Ibarra to lie down, Elias covered him with grass
to conceal his presence. As luck would have it, they were spotted by their enemies. Elias, thinking he
could outsmart them, jumped into the water. The guards rained shots on him, all the while not knowing
that they were aiming at the wrong man.
Badly injured, Elias reached the forest where he found the altar boy Basilio who was sobbing
over the body of his dead mother, Sisa. His mother had previously lost her mind upon learning that her
two sons, altar boys Crispin and Basilio, were missing from the convent. Falsely accused of stealing from
the convent, Crispin had been tortured and killed by the wicked and crooked sacristan mayor. Basilio had
escaped and the death of his brother had been covered-up by Salvi.

Knowing that he would eventually die, Elias instructed Basilio to make a funeral pyre and burn
his and Sisa’s bodies to ashes. In his dying breath, Elias mumbled the following hopeful patriotic
words:“I shall die without seeing the dawn break upon my homeland. You, who shall see it, salute it! Do
not forget those who have fallen during the night.”

The novel’s epilogue narrates that Capitan Tiago became addicted to opium. Padre Damaso was
assigned to a far province and was found dead in his bedroom one morning. The sorrowful Maria Clara,
believing that Ibarra had been shot dead in the river, entered the
nunnery. Padre Salvi left the San Diego parish and became a chaplain of the nunnery. Some infer that
Salvi, who had been portrayed as having a hidden desire for Maria Clara, regularly molested her in the
nunnery. Consequently, a pretty crazy woman was seen one rainy night at the top of the convent bitterly
weeping and cursing the heavens for the fate it has bestowed upon her. The woman was not named but it
was assumed that she was none less than Maria Clara.

THE CHARACTERS OF NOLI

Juan Crisóstomo Ibarra y Magsalin (Ibarra)

A wealthy young mestizo who has just returned to the Philippines after seven years of studying in
Europe, Ibarra is sophisticated, highly esteemed, and very idealistic. The priests of San Diego all view
him with great wariness on account of his highly liberal education and connections. He is shocked upon
learning of his beloved father’s demise. His father, the equally idealistic Don Rafael, was labeled a
subversive and a heretic by the corrupt priesthood and incarcerated, ultimately leading to his death. He
seeks to fulfill his father’s wishes of putting up a school in San Diego---one that will not be influenced by
the friars.

María Clara

A woman of high social standing, she is the adoptive daughter of Capitan Tiago and goddaughter
to the vile Fr. Damaso. The truth however is that she is actually the biological daughter of Fr. Damaso,
the product of a scandalous relationship between the old priest and Capitan Tiago’s wife, Pia Alba. Maria
Clara had grown up alongside the younger Ibarra and planned to marry but Fr. Damaso disapproved of
the union. Her interfering guardians set her up to be wed to Linares, a wealthy young man of Spanish
descent. She keeps mum about her arranged marriage to keep from angering her father, the weak-willed
Capitan Tiago. When Ibarra is put on trial for sedition she is coerced into surrendering the letters Ibarra
has sent her as evidence of his guilt.

Father Damaso

An old, power-hungry, and shamelessly corrupt Spanish priest who has lived among the native
Filipinos for nearly two decades; in spite of having spent all that time among them the years have done
nothing to endear him or develop any sympathy for his “flock.” Petty and vindictive, he thinks nothing of
using his considerable influence to ruin the lives of those who have slighted him, regardless of how small
the offense is. He masterminded the death of Don Rafael Ibarra then brazenly taunted the younger Ibarra,
alluding to having a hand in his father’s death. The insult is too much for Crisostomo Ibarra to let slide;
he attacks the old friar prompting his excommunication and the dissolution of their would-be wedding.

Elías

A mysterious character, Elias is a man on the run from the law---a wandering insurgent---
resentful of both the Spanish colonial government and the Catholic Church, he crosses paths with the
more temperate Crisostomo Ibarra when he bravely saves his life from a marauding crocodile. He pledges
his life to the young man, promising to protect him from his manifold enemies. He takes on the identity of
a laborer to gather intelligence for his new friend, uncovering a plot against Sr. Ibarra’s life. He and Ibarra
have several long conversations regarding the ethics of politics and governance with Elias taking a more
definite revolutionary stand.
Don Rafael Ibarra

Crisostomo Ibarra’s father is posthumously mentioned in the novel. A great supporter of liberal
education for all and a vocal critic of the corrupt practices of the Spanish friars, he earns the ire of the
vitriolic Fray Damaso who accuses him of sedition and heresy. He dies in prison having contracted
pneumonia. His remains are buried in the catholic cemetery in the town of San Diego but the hateful Fr.
Damaso hires a gravedigger to disinter his body to have him buried at the Chinese cemetery because of
his status as a heretic. The gravedigger, unwilling to make the long journey he instead throws the body
into the lake, deciding that it would make a more honorable final resting place than the Chinese cemetery

Crispín

A young lad studying to be a church caretaker, he together with his brother Basilio, ceaselessly
work to send support money for their beleaguered mother, Sisa. Crispín is blamed for stealing money
from the church coffers by the head sexton and is kept a virtual prisoner until the debt is paid. On the
night that he and his sibling were to visit their mother the head sexton forbids them, keeping them until
the curfew, effectively barring the brothers from travelling. Crispín reasons out to the head sexton, it
infuriates him and he proceeds to drag the young boy away to beat him. He is never seen again
afterwards, and one can assume that he has died at the hands of the cruel head sexton.

Basilio

Eldest of Sisa’ brood, he, like his younger brother are sextons in training. Basilio makes a
desperate run for their home the night Crispín is dragged away. He attempts to locate his younger brother
the day after but his search efforts come up fruitless. The following day the Civil Guard comes looking
for him and his brother. Fearing for his life he makes a mad dash for the forest where he goes into hiding,
living with kind family until Christmas Eve where he planned to return to his mother. When he finally
locates Sisa, but learns that the poor woman has gone mad from grief and is thusly unable to identify her
son. He follows her to the forest where she regains her wits temporarily recognizing her son, and then
dies from the shock.

Father Salví
 A younger, more cunning Spanish priest who assumes control over Fr. Damaso’s post as friar
curate of San Diego; he is in many regards more dangerous that his precursor as he is a more canny
strategist who knows how to leverage the multiple dirty little secrets each of the members of San Diego’s
high society circle has.

Captain Tiago (Don Santiago de los Santos)

Capitan Tiago is a rarity in that he is a wealthy native-born Filipino socialite; he keeps close ties
with high-ranking members of the Catholic Church, despite actually having no love for them. His primary
concern is to marry off his daughter, the lovely Maria Clara, to an affluent man from an influential family.
This is one of the main reasons that he is quick to toss aside his loyalties to Crisostomo Ibarra when he is
labeled a subversive. His predilection for advantageous social pairings makes him quick to assent to
Linares as a potential new match for his daughter.

The Ensign
The nameless head of the Civil Guard of the township of San Diego; a man of Spanish descent he
is in a constant bitter feud with Fr. Salví as he has come to hate the sly priest’s manipulations. In
retaliation the ensign imposes curfews that make it all but impossible for the citizens of San Diego to
attend mass at the proper schedule. A drunkard and a braggart, he is actually a cuckolded man married to
a fiery, feisty, and foul-mouthed Filipina, Doña Consolación.

Doña Consolación

The pugnacious wife of The Ensign, Doña Consolación is an older, cantankerous Filipina woman
who constantly lectures her husband. Their fights are the stuff of legend and it is an open secret that it is
she, not her husband who makes he decisions for the organization. She is described as an exceptionally
vulgar woman and exceedingly ugly almost bordering on caricature prompting the less charitable
members of the Civil Guard to facetiously call her “The Muse of Civil Guard.” Doña Consolación sees
herself to be a person of great standing in society, even if she is the only one who holds this opinion, and
even if she is wholly Filipino she feigns inability to speak Tagalog, her native dialect insisting instead on
speaking very poor, nearly pidgin Spanish.

Doctor Tiburcio de Espadaña

A fraud and a hustler, the Spaniard who calls himself Doctor Tiburcio de Espadaña was actually a
customs officer who was dismissed from his post shortly after arriving in the Philippines. Despite having
no medical experience or money he travels to the countryside to posing as a doctor, charging extortionate
fees for his so-called services. His patients eventually catch wind of his schemes and he is forced to
relocate to another area where he is all but unknown. He finds his was to San Diego and as luck would
have it the unfortunate Maria Clara falls ill and he is once again called to resume his duplicitous medical
practice.

La Doctora Victorina de los Reyes de Espadaña

A brazen and determined Filipina social climber Doña Victorina is the spouse of the counterfeit
doctor, Tiburcio de Espadaña. She well past her prime and relies on garish make-up to carry on a façade
of youth. Her tastes in fashion are mercurial as are her patterns of speech, mimicking the speech and
manner of dress of members of high society. An accomplished hustler herself it is she that devises that
Dr. Tiburcio treat Maria Clara as well as matching her up with his nephew Linares.

Lt. Guevara

A morally upright man of Spanish descent who holds both Crisostomo Ibarra and the late Don
Rafael in high esteem, he is also the lieutenant of the Civil Guard. He is one of the few who openly
supported the Ibarra’s and was vocal about his dislike of Fray Damaso’s control. He was the one who
informed Crisostomo Ibarra of the fate of his father and how Fr. Damaso was involved in his death.

Linares

Dr. de Espadaña’s nephew, a respectable young Spanish man, quite gifted and possesses a law
degree; a near polar opposite of his uncle, a matter that endears him to his uncle’s social-climbing wife.

The Schoolmaster

A teacher that Don Rafael housed thus allowing him to suitably attend to the task of instructing
students; he informs Crisostomo Ibarra of the sorry state of education of San Diego since the passing of
his father. The friars closely watch the material being taught in the school, forbidding him from teaching
Spanish, even if there was an edict stating that Spanish must be taught. The Schoolmaster is grateful to
the Ibarra family but he expresses no optimism that he’d make headway in getting any lasting educational
reforms happen.

Don Filipo (Filipo Lino)

Don Filipo Lino is a representative of the younger, less religiously shackled generation of movers
and shakers in San Diego, he also serves as the vice mayor of the town. He despises the idea of spending
lavish amounts of money on the numerous feast days that mark the religious calendar seeing it as both
wasteful and burdensome to the citizens as it often puts them under great financial stress, may even going
under debt just to be able to celebrate. His words however fall on deaf ears as he is only deputy mayor---
the Mayor, his commanding officer---is a dedicated follower of the Catholic church and the de facto
mouthpiece of the friars.

Sisa

The long-suffering mother of sextons in training Crispin and Basilio, she goes mad upon the loss
of her sons. Impoverished and married to a violent drunkard her sons were the only ray of sunshine in her
life. She wanders the town, clothes tattered and hair disheveled, calling out for her sons. When she
actually does meet Basilio she cannot recognize him but when her wits do return she dies from surprise
and sudden joy.

Fr. Sibyla

A priest serving in the Binondo district in the city of Manila, Fr. Sibyla serves as a foil to the
otherwise largely corrupt Fray Dámaso and the perverse Fray Salví as he is rational and calm. Fr. Sibyla
is an adept and shrewd orator who takes obvious delight in antagonizing the pompous Fr. Dámaso at
Ibarra’s return party.

The Gravedigger

A cemetery worker who exhumes Don Rafael’s remains upon the insistence of Fr. Damaso;
moved by pity and laziness he dumps Don Rafael’s body in the lake seeing it as a more fitting resting
place for such a respected man. Ibarra grills him, anxious for information about his father.

SYMBOLISMS IN THE NOLI

Noli Me Tangere intends to depict the real conditions of the Filipino life under the Spanish rule.
Mainly because of the rampant corrupt acts of the Spanish officials and friars, the way of living of the
Filipinos during that time had been backward, anti-intellectual and anti-progressive, up to the point that
the country was not in any way catching up on the developments of the so-called Age of Enlightenment.
As Rizal introduced the novel to his friend, Ferdinand Blumentritt, he wrote, “The novel is the first
impartial and bold account of the life of the Tagalogs. The Filipinos will find in it the history of the last
ten years” (Noli Me Tangere, n.d.).

The Schoolhouse

More than just an edifice for learning the schoolhouse has become a symbol
of empowerment and freedom. Having received an education abroad, Ibarra does
not bow down to the priests and is all but immune to the threat of excommunication.

Crispin and Basilio

These characters represent the opposite end of the spectrum of not having received education.
The suffering they are subjected is due largely to their ignorant over dependence on the church. They are
open to abuses because they have been conditioned to unquestioningly follow the church leaders.

Tinola and betel nut parcels served at a fancy, formal gathering

Tinola is a thin, rustic soup-like dish made with boiled chicken, ginger, and unripe papayas served in the
Philippines--common, everyday fare. Betel Nut parcels
are made of pepper leaves, sliced betel nuts, and an acrid paste of lime, typically chewed by rural workers
in the Philippines and other countries in South-East Asia. These items are typically associated with rural
austerity and bucolic sensibilities that aren't befitting of such a high society gathering. These food items
are symbolic of the wide variety of party-goers that have made their way into Crisostomo Ibarra's
welcoming party: social climbers and sycophants, hustlers, and the intellectuals of the day all under one
roof.

Capitan Tiago
 Capitan Tiago is the in-novel embodiment of the Philippine government during the Spanish
colonial era. There were native Filipino participating in civil government in those days, however, many of
them tended to be mere figureheads, serving more as a mouthpiece for the Spanish Cortés. Capitan Tiago,
like the Philippine government, also shares this unflattering characteristics: powerless and silently
enduring of the indignities he suffers at the hands of the Catholic priests that eat at his table and rape his
wife. Capitan Tiago also represents the rich Filipinos who opted to be allies (as in ‘tuta’) of Spanish
officials and friars just to preserve their wealth and political position.

Elias and Ibarra

The two characters Elias and Ibarra symbolize the two contrasting means by which political
reforms are to be achieved. Elias, the mysterious insurgent, who represents political reforms achieved
through bloody revolution and his polar opposite, Ibarra, who represents political reforms achieved
through civil discussions. Through these two characters the ethics of governance are discussed at length
and as the novel progresses the circumstances that happen to them continue to shape their political
outlook--so much so in fact that by the end of the novel the two have all but traded their political stance
on revolution and social reform.

Maria Clara

Maria Clara symbolizes the nation of the Philippines under Spanish rule. She is also the culture
caricature and in-novel criticism of the novelist of the typical Filipino woman of the age. Maria Clara is
the product of the exploitation of a Spanish priest and the failure of her Filipino father to defend his wife's
honor. These conditions parallel the Philippines: like Maria Clara the Philippines is a nation born from the
exploitations of the Spanish colonial government and the inability of the Filipino people to defend it's
sovereignty. She also embodies everything that the author finds wrong about the typical Filipino woman
of the time--timid, no strong convictions, focused solely on domestic and church concerns, and blindly
devoted to her parents and guardians. As Ibarra's fiancée, she also stands for the powerless Filipina then.
Patterned after Leonor Rivera, Rizal's ‘true love,’ Maria Clara’s character also personifies some ideal
Filipina—loving and unwavering in their loyalty to their respective spouses.

Crisostomo Ibarra

He represents the small group of Filipinos who had a chance to study abroad and dreamt of
improving the country. Like Jose Rizal, Ibarra wanted education for Filipino children, hence his plan to
construct a public school in San Diego.

Father Damaso

This Spanish friar corresponds to wicked but ironically respected priests. His character is a
reflection of the then rampant covert fathering of illegitimate children by friars. In the novel, he is
revealed to be the biological father of Maria Clara.

Pilosopo Tasio

This character symbolizes those whose ideas were advanced and wise but are perceived by the
uneducated as weird or lunatic. that It is said that Tasio’s character was patterned after Paciano, Jose’s
intelligent brother who also sought reforms.

Sisa and her sons Crispin and Basilio

They epitomize a Filipino family oppressed by the Spanish authorities. Through Sisa, Rizal
illustrated a lack of concern in facing and resolving the problems that confront the Filipino family - this
was evident when Sisa lost her mental balance upon learning what happened to her sons. She also
symbolizes a typical Filipino mother, fully-aware of her child’s attributes and willing to defend him/her
no matter what.

Doña Victorina

She represents some ambitious Filipinas who wanted to be classified as Spanish, hence the
putting on of heavy make-up. She despised everything Filipino and imitated what was Spanish — an
embodiment of a social climber and colonial mentality.

Don Tiburcio

Doña Victorina’s husband stands for incompetent and unqualified Spaniards who illegally practiced their
supposed profession in the Philippines.
Padre Salvi

The curate who secretly harbors lust for Maria Clara, represents the seemingly kind but in fact
wicked Spanish friars. Don Rafael Ibarra, Ibarra’s father, epitomizes the rich and at the same time
virtuous and generous Filipinos during the Spanish era.

The School Master of San Diego

He symbolized intellectual disappointment during Rizal’s time. He wanted to change the teaching
methods so that more people will learn.

Don Rafael Ibarra

As Ibarra’s father, he symbolized a rich landlord with a social conscience. He was sent to jail
after helping a boy from an abusive Spanish tax collector.
Indeed, the novel’s characters represent the various kinds of people inhabiting the country during
the period of Rizal’s life. Do you still see these characters in the present time?

REACTIONS TO NOLI

As expected, the Spanish officials and friars, especially the sensitive ones, were furious by the
contents of the Noli. Rizal’s friends and compatriots, on the other hand, praised and defended the novel.

Non-Filipino defenders of the Noli include Rizal’s Austrian friend, Ferdinand Blumentritt, and Dr.
Miguel Morayta, statesman and history professor in Central University of Madrid. Federico Faura, Rizal’s
Jesuit professor, told the Noli’s author that “everything in it was the truth,” but also foretold, “You may
lose your head for it.” Today, there are streets in Manila which were named after Morayta, Blumentritt,
and Faura. (The road ‘Morayta’ was already renamed, but is still more known to many by its old name).

Even before Rizal went home after the publication of the Noli, his family had been feeling the
backlash produced by the novel. Using coded words, Paciano wrote Rizal that a “storm” was “threatening
Makiling.” “It is only waiting for time,” he added, “It should not surprise those who know that this is time
for typhoons” (Bantug, p. 71). Later in history, Paciano would proudly translate the Noli into Tagalog.

During Rizal’s first homecoming in 1887, Governor General Emilio Terrero summoned him to
the Malacañang Palace a few days after his (Rizal’s) arrival. Terrero told Rizal that Bernardino Nozaleda,
the Archbishop of Manila, petitioned to ban the Noli. The governor general asked Rizal for a copy of the
Noli and found noting ‘criminal’ in the book. He nonetheless assigned Lt. Jose Taviel de Andrade of the
Gurdia Civil to be Rizal’s bodyguard, fearing that Noli attackers would harm the author.

Meanwhile, an ad hoc committee of the faculty of the University of Santo Tomas formed at the
request of Manila Archbishop Pedro Payo, found and denounced Noli as ecclesiastically heretical,
impious, and scandalous and politically unpatriotic, subversive of public order, and harmful to the
Spanish government and its administration in the Philippines. The Permanent Commission of Censorship
led by Tondo cura Salvador Font similarly found the Noli to contain subversive ideas against the Catholic
Church and Spain and thus recommended the absolute prohibition on the importation, reproduction, and
circulation of the book.

In Madrid, a newspaper article written by a Vicente Barrantes resentfully attacked the Noli.
Similarly, some members of the Spanish Cortes belabored the novel through formal speeches labeling it
as “anti-Catholic, Protestant, socialistic.”
Another attacker of Noli happened to be Rizal’s namesake, Jose Rodriguez, an Augustinian priest
who even took great pains to write eight anti-Noli pamphlets, which were forcibly sold to church-goers.
The arguments outlined in the pamphlets were nonetheless logically addressed by an unexpected
defender of the novel, the Filipino theologian and priest, Vicente Garcia. Writing under the penname
Justo Desiderio Magalang, the priest countered the claim that Noli’s author was an “ignorant man” by
saying that Rizal was a graduate of universities in Spain and was a recipient of scholastic honors. By
sound inference, Garcia also answered Rodriguez’ claim that those who read the Noli commit a mortal sin
by concluding that he (Rodriguez) therefore committed a mortal sin since he had read the novel.

Describing the effects of Noli, Rizal himself wrote, “My book made a lot of noise; everywhere, I
am asked about it. They wanted to anathematize me [‘to excommunicate me’] because of it... I am
considered a German spy … a Protestant, a freemason, a sorcerer, a damned soul and evil.” (Rizal was
indeed a freemason but, of course, not the rest of the allegations.) In a letter to his friend Pastor Ullmer,
Rizal narrated, “… enemies burned my books, friends bought them for as much as fifty pesos. Bookstores
profited, but I got nothing.” Noli therefore is a classic case of a black market profiting much from an
‘illegal’ product.
Rizal once received a letter dated February 15, 1888 which was comparable to a death threat.

The sender wrote in part, “If you… think you have a grievance, then challenge us and we shall
pick up the gauntlet, for we are not cowards like you, which is not to say that a hidden hand will not put
an end to your life.” Ironically, the sender did not indicate his real name and just cowardly signed the
letter “A Friar”.

EL FILIBUSTERISMO

LEARNING OBJECTIVES:

At the end of the lesson, the students should be able to:

1. Describe the important characters in the novel and what they represent.
2. Compare and contrast the characters, plot, and the theme of the Noli and El Fili.
3. Evaluate the role of the youth in the development and future of society.

Learning Activity 4

This lesson will discuss Rizal’s second novel as the sequel to his Noli Me Tangere. The
alternative title of this sequel is The Reign of Greed. Paste a picture (cut-out or print-out) in the box that
would best describe how you define ‘greed.’ Write a brief explanation below to describe your symbol.

Learning Activity 5

A. MULTIPLE CHOICE. Write the letter of the correct answer on your notebook.
1. ____ is the main character of El Fili who is an affluent jeweler
A. Elias c. Simoun
B. Ibarra d. Kapitan Tiago

2. ____ partially financed the publication of the El Fili, thereby attaining the reputation of being its
savior.
A. Maximo Viola c. Jose Alejandrino
B. Valentin Ventura d. F. Meyer van Loo

3. Who was Rizal’s friend who wrote the “warning” and “inscription” on the title page of the El Fili?
A. Antonio Luna c. Graciano Lopez Jaena
B. Jose Basa d. Ferdinand Blumentritt

4. El Fili was dedicated to __________.

A. Gomburza c. Philippines
B. Filipinos d. Spain

5. Which among the following does NOT define filibustero?

A. revolutionary c. subversive
B. conventional d. radical

B. TRUE or FALSE. Write Y if the statement is correct and N if the statement is false.
_____1. El Fili was finally published in London.
_____2. This second novel is shorter than the Noli.
_____3. Rizal agreed to Antonio Luna that the El Fili is inferior to Noli.
_____4. The English translation of El Fili is The Reign of Greed.
_____5. Jose Alejandrino was the one who looked for a cheaper printing press for the El Fili.
_____6. Rizal condemned the hypocrisy of the Filipinos in the El Fili.
_____7. Rizal became a separatist after the El Fili.
_____8. Don Custodio was a victim of land grabbing and injustice.
_____9. Isagani symbolized those elements of the society who had not yet been infused with social
conscience.
_____10. Juli was the innocent young woman who took her own life to save her chastity from Fr.
Camorra’s earthly lust.

Learning Activity 6

COMPARATIVE ANALYSIS. Fill-in the table below to show the similarities and differences of the
novels, Noli Me Tangere and El Filibusterismo.

NOLI ME TANGERE EL FILIBUSTERISMO

SEETINGS

CHARACTERS

PLOT

THEME

MESSAGE

Learning Activity 7

What is the role of the youth in the development and future of the society?
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EL FILI’s DESCRIPTION

Rizal began writing El Filibusterismo in October 1887 while he was in Calamba, Laguna. In
1888, he revised the plot and some chapters in London. Rizal continued to work on his manuscripts in
Paris. Then, he moved to Brussels, Belgium where, the cost was cheaper and there were less distractions
so he could focus on finishing the book. He finally completed the book on March 29, 1891 in Biarritz,
France and was published in September of that year in Ghent.
The novel is said to have been written against the background of threats and oppressions that
Rizal and his family suffered because of the Noli and the so-called Calamba agrarian trouble.

According to history, (Ocampo, 2012) it was Rizal’s roommate in Belgium, Jose Alejandrino,
who canvassed the printing press for El Fili. He delivered the proofs and revisions to F. Meyer Van Loo
in Ghent, which is why, for his assistance, Rizal gave him the El Fili’s corrected proofs and the pen used
in doing the corrections. Unluckily, these historical souvenirs were either lost or destroyed during the
revolution.

Alejandrino, who later became a general in the Philippine revolution, may have been the first
person to read the novel aside from the author but the honor of being called ‘the savior of the Fili’ had
been given to Valentin Ventura — Rizal’s friend who partially financed the publication of the novel.
Clearly, Ventura’s steal of the title is another classic interpretation of the expression, “That’s what money
can do.”

At first, Rizal financed El Fili’s printing by placing his properties as collateral. In a letter to Jose
Basa dated July 9, 1891, he related: “For the past three months I have not received a single centavo, so
I have pawned all that I have in order to publish this book. I will continue publishing it as long as I
can; and when there is nothing to pawn I will stop …”

However, Rizal’s next letter to Basa carried the sad news that the printing had to be suspended
due to lack of funds, and it was at this point that Valentin Ventura came into the picture. If you can still
recall, Ventura was one of the Filipinos who promised to co-author Rizal’s Noli but ended up contributing
nothing? In retrospection, it can be assumed that Ventura was bothered by his conscience—having known
Rizal’s predicament, he offered his generous monetary assistance for Rizal’s El Fili.

On the contrary, even with Ventura’s help, Rizal found it necessary to fundamentally shorten the
novel, erasing 47 whole pages from the 279-page manuscript to save expenses. Thus, the printed El Fili,
which came off the press by mid-September 1891, turned out comprising only 38 chapters compared to
the 64 of the Noli — contrary to his original plan to make a longer sequel.

For Ventura’s saving act, Rizal gave him the novel’s original manuscript, a pen, and an
autographed printed copy. In 1925, the Philippine government bought the El Fili manuscript from
Ventura for a large sum of 10, 000 pesos (Zaide,1984). At present, it is now being kept in the National
Library.

FILIBUSTERO DEFINED

Rizal had to define the word filibuster to his German friend Ferdinand Blumentritt who did not
understand his use of word in Noli Me Tangere. In a letter, Rizal explained:

“The word filibuster is little known in the Philippines. The masses do not know it yet. I heard it for
the first time in 1872 when the tragic executions (of Gomburza) took place. I still remember the
panic that this word created. Our father forbade us to utter it, as well as the words Cavite, Burgos
(one of the executed priests), etc. The Manila newspapers and the Spaniards apply this word to one
whom they want to make a revolutionary suspect. The Filipinos belonging to the educated class fear
the reach of the word. It does not have the meaning of freebooters; it rather means a dangerous
patriot who will soon be hanged or well, a presumptuous man.”

By the end of the 19th century, the word filibuster had acquired the meaning “subversive” in the
Philippines, hence the book is about subversion.

Note that the ‘Filibusterismo’ in the novel’s title is derived from the simpler term ‘filibustero’,
which contextually means subversive, dissident, revolutionary, seditious, insurrectionary, and treasonous.
Fittingly, Rizal dedicated the book to the memory of the Gomburza, the three Filipino patriotic priests
who were accused of being ‘filibustero’ and thus executed. In his dedication, Rizal fearlessly declared his
conviction that the Spanish officials’ treatment of the priests’ case was unjust “as [their] complicity in the
Cavite Mutiny is not clearly proved”.

The dedication partly reads:

“To the memory of the priests, Don Mariano Gomez (85 years old), Don Jose Burgos (30
years old), and Don Jacinto Zamora (35 years old). Executed in the Bagumbayan Field on the 28th of
February, 1872 … I have the right to dedicate my work to you as victims of the evil which I
undertake to combat…”
Rizal however made mistakes in indicating the ages of the priests and the date of their execution. During
their martyrdom on the 17th (not 28th) of February, 1872, Gomez was then 73 (not 85), Burgos was 35
(not 30) and Zamora was 37 (not 35). Like many other students today (especially men), Rizal was perhaps
not that good in memorizing historical details like dates and ages.

The foreword of the Fili indicated: “To The Filipino People and Their Government”. The original
manuscript also includes a “warning” and an “inscription” on the title page written by the author’s friend,
Ferdinand Blumentritt.

Given the reaction to his first book, Rizal tried to avoid allowing the second one to fall into the
hands of the Spaniards. He had after all written El Filibusterismo not for the Spaniards but for the Filipino
people to read. After distributing the copies of the first edition to his friends in Europe, Rizal designated
most of the remainder to be sent to the Philippines. The books were first sent to his residence in Hong
Kong, to be smuggled to the Philippines by his friends. Upon shipment, the copies were immediately
seized by the authorities, making it a rare book overnight.

EL FILI IN BRIEF

The story in El Filibusterismo revolves around its main character Simoun who is an affluent
jeweler. Simoun is actually Crisostomo Ibarra of the Noli whom everyone thought had been killed by the
Guardia Civil at Laguna de Bay. He had in fact escaped, fled to Cuba, become wealthy, and made
connections with influential Spanish officials. Upon his return to the Philippines after many years, he
becomes very influential as the governor general, who owes so much to him, consults him in making
decisions.

In reality however, everything Simoun does is just part of his grand plan to take revenge against
the Spanish officials and rescue Maria Clara from the convent. Planning to stage a revolution, he
smuggles arms and looks for followers, mainly from the exploited and abused natives. One of his recruits
is Basilio, the son of Sisa, who with Capitan Tiago’s help was able to study in Manila. Simoun also
makes an alliance with the revolutionary group of Kabesang Tales, a former ‘cabeza de barangay’ who
suffered maltreatments from the hands of the friars. Using his influence, Simoun encourages corruption,
decadence, and more oppressive government policies so that the citizens may become more infuriated.
 Yet, the planned revolt one night was not carried out because Simoun, upon hearing that Maria
Clara died in the nunnery, decided not to give the signal for the outbreak of the uprising.

Another plan was made some months later. At the venue of the wedding reception of Juanito Pelaez and
Paulita Gomez, Simoun planted many explosives — enough to kill the invited guests, primarily the friars
and government officials. According to the plot, the big explosion shall be started by the gift he would
give to the newlyweds at the reception—a kerosene lamp with an explosive. When the lamp flickers and
someone turns the wick, it will result into a big explosion that will become a signal to the revolutionary
troops to simultaneously attack all the government buildings in Manila.

During the reception, Simoun gives his gift to the newly-weds. Before hurriedly leaving the
venue, he leaves a piece of mysterious paper bearing the message “You will die tonight” signed by Juan
Crisostomo Ibarra.

Meanwhile, Isagani, the rejected lover of Paulita, is standing outside the reception. His friend
Basilio tells him to leave the place because the lamp will soon blow up.
When Father Salvi identifies the handwriting in the note and confirms that it was indeed Ibarra’s, the
guests begin to panic. When the lamp flickers, Father Irene tries to turn the wick up. But Isagani, wanting
to save Paulita’s life, rushes into the house, grabs the lamp, and throws it into the river where it explodes.

Simoun’s revolutionary plot was thus known and he is thus hunted by the law enforcers. He
managed to escape but was seriously wounded. Carrying his jewelry chest, he finds shelter in the home of
Padre Florentino by the sea. Learning of his presence in the house of the priest, the lieutenant of the
Guardia Civil informs Padre Florentino that he will come in the evening to arrest Simoun.

Simoun then takes poison that he would not be caught alive. As the poison’s effects start to take
toll on his body, he confesses to Florentino his true identity and his plan of revenge through bloody
revolution. After the emotional and agonizing confession of the dying man, the priest absolves the dying
man from his sins, saying: “God will forgive you Señor Simoun. He knows that we are fallible. He has
seen that you have suffered … He has frustrated your plans one by one … first by the death of Maria
Clara, then by a lack of preparation, then in some mysterious way. Let us bow to His will and render Him
thanks!”

The story ends with the priest throwing Simoun’s treasures into the sea so that they would not be
used by the greedy. The priest hopes that when the right time comes, they would be recovered and used
only for the good.

PREMISES OF EL FILI

In actual fact, the El Filibusterismo is a continuation of the Noli Me Tangere, which still exposes
the real picture of the Filipino society at the hands of the Spanish government officials. Issues concerning
socio-political activities that were mentioned in the Noli are also dealt with in its sequel such as the
abuses and hypocrisy of the members of the Spanish Catholic clergy, superstitions disguising as religious
faith, the need for reform in educational system, the exploitation and corruption of government officials,
and the pretenses of some social-climbing Filipinos and Spaniards.

What sets El Fili apart from Noli is that it offers various means (ideal for Rizal) of attaining
social reform. There were dialogues and incidents that seemed to suggest the apparent unlikelihood of any
radical socio-political change. The main character’s persistence to push through with the rebellion, on the
other hand, seemed to suggest that independence is attainable through revolution. However, the closing
chapters rather imply that freedom must be attained without bloodshed as the story ends with the failure
of Simoun’s planned uprising.

The ending, some scholars explain however, should not be interpreted as Rizal’s categorical stand against
revolution. In fact, Rizal can be said to be against unprepared and disorganized rebellion of an uneducated
people, which could have a slight chance of victory. It is important to note that Rizal once commented
that an upright, patriotic, and selfless individual like Noli’s Elias would be a viable revolutionary leader.
If truth be told, Rizal was said to have confessed that he seriously regretted having killed Elias instead of
Ibarra. These seem to prove that Rizal, though practically promoting the attainment of reforms peacefully,
also advocated the idea of armed revolution under some conditions. Intelligent as he is, what Rizal would
never subscribe to is the “useless spilling of blood,” but not the uprising as such.

CHARACTERS AND IMAGERIES OF EL FILI

A number of other characters from the Noli reappear in this second novel. As the El Fili aims to focus on
attacking the Spanish corruption, greed, exploitation and injustice, Rizal did not spare his fellow Filipinos
from his harsh criticism of the regime. He condemned them for their greed, corruption, hypocrisy, and
cowardice, which contributed so much to the abuses of the civil guards and friars. These personalities are
shown in the more important characters that can be interpreted symbolically.

Simoun

He is Crisóstomo Ibarra in disguise, presumed dead at the end of Noli Me Tangere and has returned as the
wealthy jeweler Simoun. He appears to be tanned, with sparse beard, long white hair, and large blue-
tinted glasses. His manners were described to be crude and confrontational, presenting an arrogant elitist
on the outside but secretly plans a violent revolution in order to avenge himself for his misfortunes as
Crisóstomo Ibarra, as well as hasten Elias' reformist goals.

He could represent the portion of the Filipino society who got tired of the oppressors’ rule, desperately
wanted to overthrow the said rule at all cost. Because of his past failures and disappointments, he turned
cynical and revolutionary but had no systematic plan for the new society, if the old one is overthrown.

Basilio

Known to be the son of Sisa and another character from Noli Me Tangere, he is now an aspiring and so
far successful physician on his last year at the University in El FIli, waiting for his license to be released
upon his graduation. After his mother's death in the Noli, he applied as a servant in Captain Tiago's
household in exchange for food, lodging, and being allowed to study.

Eventually he took up medicine, and with Tiago having retired from society, he also became the
manager of Tiago's vast estate. He is a quiet, contemplative man who is more aware of his immediate
duties as a servant, doctor, and member of the student association than he is of politics or patriotic
endeavors. His sweetheart is Juli, the daughter of Kabesang Tales whose family took him in when he was
a young boy fleeing the Guardia Civil and his deranged mother.

Aware of the rampant injustices and cruelty against his own family, he still remains hostile to any
revolution. As a medical student, he is that educated Filipino who has become numbed and ignorant of the
well-being of his fellow Filipinos and his country because of his brutal experiences in the past.

Isagani

He is Basilio's friend and is described as a poet, taller and more robust than Basilio although
younger. He is the nephew of Padre Florentino, but is also rumored to be Florentino's son with his old
sweetheart before he was ordained as a priest. During the events of the novel, Isagani is finishing his
studies at the Ateneo Municipal and is planning to take medicine. A member of the student association,
Isagani is proud and naive, and tends to put himself on the spot when his ideals are affronted. His
unrestrained idealism and poeticism clash with the more practical and mundane concerns of his girlfriend,
Paulita Gomez. When Isagani allows himself to be arrested after their association is outlawed, Paulita
leaves him for Juanito Peláez. In his final mention in the novel, he was bidding goodbye to his landlords,
the Orenda family, to stay with Florentino permanently.
His sense of unproven and unpredictable idealism symbolizes the educated Filipino youths at that time.
He may be inspired by his ideals for his country but at crucial moments, he unconsciously forgets those
ideals for selfish reasons.

Captain Tiago
Also a character in the Noli, he had several landholdings in Pampanga, Binondo, and Laguna, as
well as taking ownership of the Ibarras' vast estate, too. However, he fell into a depression following
María Clara’s entry into the convent. He alleviated this by smoking opium, which quickly became an
uncontrolled vice, exacerbated by his association with Padre Írene who regularly supplied him with the
substance. Tiago hired Basilio as a capista, a servant who was given the opportunity to study as part of his
wages. Tiago died of shock upon hearing of Basilio's arrest and Padre Írene's embellished stories of
violent revolt.

Don Custodio

He is Custodio de Salazar y Sánchez de Monteredondo, a famous "contractor" who was tasked by the
Captain-General to develop the students association's proposal for an academy for the teaching of
Spanish, but was then also under pressure from the priests not to compromise their prerogatives as
monopolizers of instruction. Some of the novel's most scathing criticism is reserved for Custodio, who is
portrayed as an opportunist who married his way into high society, who regularly criticized favored ideas
that did not come from him, but was ultimately, laughably incompetent in spite of his scruples.
As an average, unqualified Spanish official who holds several positions in the country, he does not
welcome any idea from others. In the novel, Rizal portrayed him as one who finds pleasure in developing
a feeling of inferiority among the people.

Maria Clara

Symbolically speaking, she represents the friar-dominated Filipino culture, which, at that time, is
ripe for revolution. After suffering from untold physical and spiritual abuse for at least 13 years, Maria
Clara dies — hence, there was no eventual union between Simoun and Maria Clara, not even meeting
together since they parted 13 years ago (because Simoun was not permitted to do so).

Kabesang Tales
Also known as Telesforo Juan de Dios, a former kabesa of Barrio Sagpang in Tiani. He was a sugarcane
planter who cleared lands he thought belonged to no one, losing his wife and eldest daughter in the
endeavor. When the Dominicans took over his farm, he fought to his last money to have it retained in his
possession. While his suit against the Dominicans was ongoing, he was kidnapped by the bandits while he
was out patrolling his fields. Having no money to pay his captors, his daughter Juli was forced to become
a maid in exchange for her mistress paying his ransom. When his son Tano was conscripted into the
Guardia Civil, Tales had no money (again) to pay for Tano's exclusion from the draft. When Tales lost the
case, he not only lost his farm but was also dealt with a heavy fine. He later joined the bandits and
became one of their fiercest commanders. Tandang Selo, his father, would later on join his band after the
death of Juli.
He embodied those who join the bandits for personal revenge after suffering from the maltreatments
caused by the friars.

Juli
Her full name is Juliana de Dios, the girlfriend of Basilio, and the youngest daughter of Kabesang
Tales. When Tales was captured by bandits, Juli petitioned Hermana Penchang to pay for his ransom. In
exchange, she had to work as Penchang's maid. Basilio ransomed her and bought a house for her family.
When Basilio was sent to prison, Juli approached Tiani's curate, Padre Camorra, for help. When Camorra
tried to rape her instead, Juli jumped to her death from the church's tower.
She symbolized love for honor and chastity when she took her own life instead of submitting her
womanhood to Fr. Camorra.

Placido Penitente

Another young student who desires to go abroad for a better life. Upon learning about Simoun’s
planned revolt, he got so scared that he was undecided whether to join or not. He is that part of the
Philippine society who does not have a sense of nationalism or social conscience.
THE SEMBLANCE OF NOLI AND EL FILI

Both novels portray an exposure of the ills of the Spanish authorities. In depicting the social
conditions in the country, the use of satires and caricatures were very evident, although El Fili is more
serious, less humorous and more bitter in its treatment of the situations.

The suffering of the native Filipinos from the cruelty and exploitation of the colonizers were very
much depicted in the Noli. On the other hand, there is awakening in El Fili wherein the natives were
described to be at the brink of a rebellion as revolutionary forces have been formed.
In general, El Fili presents a more miserable representation of the country under the Spanish regime. The
novel is more radical and revolutionary — it has less idealism and romance as compared to the Noli. The
El Fili manifests Rizal’s more mature and less hopeful attitude toward the socio-political situation in the
country. The novel’s poor outlook and more tragic mood can be attributed to the persecutions and
sufferings that Rizal and his family experienced from the Spanish friars and officials in the years he was
writing the novel.

Nevertheless, the sufferings caused by the Spaniards to the Rizal family is not
a matter of revenge in the El Fili. Rizal wrote to Blumentritt: “I have not written in it [Fili] any idea of
vengeance against my enemies, but only for the good of those who suffer, for the rights of Tagalogs ..."

Some of Rizal’s friends like Blumentritt and Graciano Lopez Jaena expressed that the El Fili was
more superior than Noli. Apparently, Rizal himself also believed in the superiority of the El Fili. When its
printing had to be stopped for lack of funds, he wrote to Basa: “It is a pity because it seems to me that this
second part [El Fili] is more important than the first [Noli].”
After the publication of the El Fili, Rizal appeared to have a change of heart. In his October 13, 1891
letter to Marcelo Del Pilar, he said: “I appreciate what you say about my work and I value your opinion
highly that considered my Filibusterismo inferior to the Noli. I, too frankly, without irony or words with a
double meaning, share your opinion. For me, the Filibusterismo as a novel is inferior to the Noli… You
are the first one to tell me the truth and I agree with you. This flatters me as it proves that I still know how
to judge myself. “

Indeed, the El Filibusterismo is a novel about a failed revolution as organized by Simoun. His
return to the Philippines was to encourage corruption in the government using his wealth and influence in
order to provoke the people take a stand against the Spanish regime.
Rizal, through Simoun, realized that it is only through independence that the Filipinos will be eased of
their miseries under the colonizers. This was manifested in his conversation with Basilio that said:

“Instead of aspiring to be a mere province, aspire to be a nation, develop an independent, not colonial
mentality. There are no tyrants where there are no slaves.
Basilio’s reply was: “Science can redeem man from social and other reforms of persecution”
Simoun’s dispute was: “Patriotism will always be a virtue in oppressed people.”
During Simoun’s dying moment, he uttered the words, “Why has God God forsaken me? Is not God
justice? Is it God’s will that the Philippines remain under its present condition?”
Through Fr. Florentino, Rizal spoke of how independence should be won. Fr. Florentino responded,
“If our country is someday to be free, it will not be through vice, it will not be through the corruption
of its sons...Redemption presupposes virtue; virtue, sacrifice; and sacrifice, love!
Hence, Rizal’s message was very clear: Filipinos should be courageous enough to protest and
proclaim their rights. They have to be willing to sacrifice in the face of oppression and tyranny — only
then can they be deserving of the independence that they desperately want to attain.

According to Guerrero (1998), Rizal was a reluctant revolutionary. He believed in independence

as a solution to the sufferings of the many Filipinos under the Spanish rule but he hesitated and backed
down. One explanation seemed logical: To Rizal, the Filipinos during his time were not yet ready for a
revolution. Similarly, they were not ready for independence. They were still unworthy of independence
because they have not yet learned to prioritize the common good over their personal gain. The Filipinos
were not yet ready to become a nation. For Rizal, God will provide the means — be it a revolution or a
peaceful separation

from Spain — but they need education, exemplary lives and the willingness to sacrifice for other people.

RIZAL AFTER FILI

After the publication of El Fili, Rizal gave up on the idea that peaceful liberation is possible for
the Philippines. In his letter to Blumentritt in 1887, he wrote, “peaceful struggle will just remain a
dream, considering that Spain had not learned the lesson of her former colonies in South America”
(Guerrero, 1998).

Rizal then became a separatist upon realizing that reforms will no longer be granted by Spain.
Unlike other separatists, Rizal is exceptional as he learned to leave the attainment of independence to
God.

Subsequently, Rizal was bitterly attacked by his fellow reformers in Madrid. This can be
accounted for by the very radical and revolutionary tone of the novel, which renounced the propaganda
campaign for peaceful reforms and assimilation. As a result, Rizal decided to end his connection with the
propagandists in Madrid and opted to return to the Philippines to share the misfortunes of his family.