Tudio

Cross
(Sufferings)
Silhouette of a Filipina Pomelo Blossoms and
(Maria Clara) Laurel Leaves
(Honor and Fidelity)

Burning Torch Bamboo stalks that were cut

(Rage and Passion) down but grew back
(Resilience)

Sunflowers
(Enlightenment) Chains
(Slavery)
Whips
(Cruelty)
A man ina cassock with
hairy feet Helmet of the
(Priests using religion ina Guardia Civil
dirty way) (Arrogance of those
in authority)

Ubalde Saw
 Theme as an element of fiction is the idea that runs through the
whole novel repeated again and again in various forms and ways
, .

Reyes
The theme of ‘Noli me Tangere’ comes from the Gospel of John.
John tells that when Jesus showed himself after the Resurrection,
it was first to Mary Magdalene.

Jesus called her and she turned round and saw him. But Jesus
did not want her to touch him. He said literally to her, “Do not
cling to me, because I have not yet ascended to the Father.

But go to the brothers and tell them: I am ascending to my

father and your Father, my God and your God.”

Reyes
The ‘Noli me Tangere’ or ‘Touch me not’ is a symbol of the need for distance.

The ‘Noli me Tangere’ is a similar theme of longing and unfulfillment.

There is no more tragic love and of course no greater love than of two beings
unable to reach each other, since such a love eternally remains unblemished.

Rizal's book persistently unmasks contemporary Spaniards in the

Philippines of every kind.

He exposes corruption and brutality of the civil guards which drive good
men to crime and banditry.

Joaquin
He focuses on an administration crawling with self-seekers, out to make their
fortune at the expense of the Filipinos, so that the few officials who are honest
and sincere are unable to overcome the treacherous workings of the system,
and their efforts to help the country often end up in frustration or in self-
ruin.

The Noli is Rizal's exposé of corrupt friars who have made the Catholic
religion an instrument for enriching and perpetuating themselves in power
by seeking to mire ignorant Filipinos in fanaticism and superstition.

According to Rizal, instead of teaching Filipinos true Catholicism, they

control the government by opposing all progress and persecuting members of
the ilustrado unless they make themselves their servile flatterers.
Shiekh
Rizal does not, however, spare his fellow countrymen

The superstitious and hypocritical fanaticism of many who consider

themselves religious people;

the ignorance, corruption, and brutality of the Filipino civil guards;

the passion for gambling unchecked by the thought of duty and

responsibility;

the servility of the wealthy Filipino towards friars and government officials;

the ridiculous efforts of Filipinos to dissociate themselves from their

fellowmen or to lord it over them--all these are ridiculed and disclosed.
M. Ocampo
Rizal nevertheless balances the national portrait by highlighting the
virtues and good qualities of his unspoiled countryman:

the modesty and devotion of the Filipina, the unstinting hospitality of the
Filipino family,
the devotion of parents to their children and children to their parents,
the deep sense of gratitude, and
the solid common sense of the untutored peasant.

It calls on the Filipino to recover his self-confidence, to appreciate his own worth,
to return to the heritage of his ancestors, and to assert himself as the equal of the
Spaniard.
It insists on the need of education, of dedication to the country, and of absorbing
aspects of foreign cultures that would enhance the native traditions."
J. Ocampo
The plot is the sequence of events where each affects the next one
through the principle of cause and effect
- - .

Jornala
The plot revolves around Crisostomo Ibarra, mixed-race heir of a
wealthy clan, returning home after seven years in Europe and
filled with ideas on how to better a lot of his countrymen. Striving
for reforms, he is confronted by an abusive ecclesiastical hierarchy
and a Spanish civil administration by turns indifferent and cruel.

The death of Ibarra’s father, Don Rafael, prior to his homecoming,

and the refusal of a Catholic burial by Padre Damaso, the parish
priest, provokes Ibarra into hitting the priest, for which Ibarra is
excommunicated. The decree is rescinded, however, when the
governor general intervenes.

Jornala
The friar and his successor, Padre Salvi, embody the rotten state of the
clergy. Their tangled feelings—one paternal, the other carnal—for
Maria Clara, Ibarra’s sweetheart and rich Capitan Tiago’s beautiful
daughter, steel their determination to spoil Ibarra’s plans for a school.

The town philosopher Tasio wryly notes similar past attempts have
failed, and his sage commentary makes clear that all colonial masters
fear that an enlightened people will throw off the yoke of oppression.

Using satire brilliantly, Rizal creates other memorable characters

whose lives manifest the poisonous effects of religious and colonial
oppression.
Magpantay
Capitan Tiago; the social climber Doña Victorina de Espadaña
and her toothless Spanish husband;

The Guardia Civil head and his harridan of a wife; the

sorority of devout women; the disaffected peasants forced to
become outlaws: in sum, a microcosm of Philippine society.

In the afflictions that plague them, Rizal paints a harrowing

picture of his beloved but suffering country in a work that
speaks eloquently not just to Filipinos but to all who have
endured or witnessed oppression.
Mortega
 The literary purpose of conflict is to create tension in the story
,

making readers more interested by leaving them uncertain which of

the characters or forces will prevail .

Orozco
 Ibarra debates with the mysterious Elias, with whose life his is
intertwined. The privileged Ibarra favors peaceful means, while Elias, who
has suffered injustice at the hands of the authorities, believes violence is
the only option.

Ibarra’s enemies, particularly Salvi, implicate him in a fake insurrection,

though the evidence against him is weak. Then Maria Clara betrays him to
protect a dark family secret, public exposure of which would be ruinous.
Ibarra escapes from prison with Elias’s help and confronts her.

Orozco
She explains why, Ibarra forgives her, and he and Elias flee to the lake. But
chased by the Guardia Civil, one dies while the other survives.

Convinced Ibarra’s dead, Maria Clara enters the nunnery, refusing a

marriage arranged by Padre Damaso. Her unhappy fate and that of the
more memorable Sisa, driven mad by the fate of her sons, symbolize the
country’s condition, at once beautiful and miserable.

Morisca
Crisostomo Ibarra
As the protagonist of the novel, Crisostomo Ibarra is the character
in whose character main conflict resides. It is easy enough to
identify the external conflicts:

Ibarra versus the society of his time -- its values and its
prejudices;

Ibarra versus Father Damaso and, indirectly, with the other

friars;

Ibarra versus Kapitan Tiago whose very strong sense of self-

preservation puts him in direct conflict with the love between
Maria Clara and Ibarra.
Pabon
Maria clara
Maria Clara did not really resolve the conflicts within her; she chose
to escape, by entering the convent as a nun.

Rightly or wrongly, Maria Clara has been held as the ideal Filipina
which, perhaps, is the reason why many Filipinas prefer to be or
pretend to prefer being a Maria Clara type with all its dubious
virtues.

Many had used the convent as an escape from a world that could
not give them happiness or the fulfilment they crave.

Paile
OTHER CONFLICTS

Other conflicts, mostly internal reside in other characters such as

Sisa, Doña Victorina, Doña Consolacion, and Elias. However, the
more internal conflict within Ibarra is the more interesting one, as
it expresses the dilemma of present-day Filipinos: the conflict
between traditional values and one’s personal values that had been
developed through time.

Palisoc
the final part of a play film etc in which matters are explained or
, , .

resolved
.

Presado
Interestingly, Maria Clara’s escapism was revealed in the Epilogue when
two patrolmen who sought shelter from a storm under the eaves near the
nunnery.

They saw “a white figure standing almost on the ridge of the roof with
arms and face raised toward the sky as if praying to it”. She escaped a
problem through religion that was itself a part of that problem.

Ibarra’s enemies, particularly Salvi, implicate him in a fake insurrection,

though the evidence against him is weak. Then Maria Clara betrays him
to protect a dark family secret, public exposure of which would be
ruinous. Ibarra escapes from prison with Elias’s help and confronts her.

Presado
She explains why, Ibarra forgives her, and he and Elias flee to
the lake. But chased by the Guardia Civil, one dies while the
other survives.

Convinced Ibarra’s death, Maria Clara enters the nunnery,

refusing a marriage arranged by Padre Damaso.

Her unhappy fate and that of the more memorable Sisa, driven
mad by the fate of her sons, symbolize the country’s condition,
at once beautiful and miserable.

Reotan
 GROUP 1 Members:
JOAQUIN, KRAIG PATRICK
PAGLINAWAN

THANK YOU!
JORNALA, ALEXIS
BELLEN
LARGO, CAROL
PERIABRAS
MAGPANTAY, DARLENE JOY
CONSTANTINO
Reference: MORISCA, CHRISTIAN JAMES
PAILE, SAMANTHA GRACE
DELVO
VIDA
https://www.slideshare.net/
PALISOC, BRYAN SYLWYN
MORTEGA, REGINE
CONTEMPLACION
PATETICO PAN, MA. PRINCESS RAE
Magpulong1993/noli-me- OCAMPO, JOSEPH PASA
OCAMPO, MARIANELLA
PARRO
PEJO, JANINE ANGELIE

tangere-30934694
SEÑAR NAVIA
OROZCO, MA. CYRRA PRESADO, KRYZA MAE
PAULO CRISOLOGO
PABON, JON CLAUDE PAULO REOTAN, REINALYN JOY
PARDO GARIN
REYES, KIM ABAN
SAW, MARIA BEATRIZ
IMPERIAL
SHIEKH, ALISHA VICTORIA
PANIMAYA
TUDIO, RUSSELL
RICARDO
UBALDE, MARY QUEENIE
SARIE