Colegio de San Gabriel Arcangel

Founded 1993
Area E, Fatima I, Sapang Palay, City of San Jose del Monte, Bulacan
Recognized by the Government: DepEd, TESDA and CHED;
PACUCOA Accredited - Level 1
Course Code: GEC09
Subject: RIZAL I
LEARNING SHEET NO. 12
Name:_____________________ Score _________________
Date: _____________________ Section: _______________

Topic: The Two Great Novels of Rizal

Learning Outcomes:
1 .Analyze Rizal’s ideas on how to rewrite Philippine history
2. Appraise important characters in the novel and what they represent
3. Examine the present Philippine situation through the examples mentioned in the
novels
4 Compare and contrast the characters, plot, and theme of the Noli an the El Fili

References: Rizal and Other Philippine Heroes and Heroines

A Primer Teaching Strategies
Dionesio C. Rivas, M.A. Ed.D
Michael Molina Nael, M.A. PhD.
Discussions:

What were the two great novels of Rizal?

The two great novels of Rizal were the “Noli Me Tangere” and the “El Filibusterismo”.
What were the ideas contained in these two novels?

According to Basilio Penitente the author of “The Great Rizal”, the Noli and the Fili are
not, in his way of thinking, two novels. They are just two installments, in a series. The
first installment is the Noli and the second, the Fili. In fact, a parenthetical information to
the effect that El Filibusterismo was a “Continuation of the Noli Me Tangere” appeared
in the title page of Fili when it was first published. Some characters, unless they had
already died in the Noli. still appeared in Fili, notwithstanding the change of name as in
the case of Ibarra which later appeared as Simoun.

Noli Me Tangere was a diagnosis not of a physical malady, but of a social disease
rather, as Rizal himself put it, a social cancer. This was a kind of malady that afflicted
the people, a society. Rizal realized that there was something wrong with the country.
The Filipinos had not yet realized that they belonged to a people, called the Filipino
people, and that they were not accorded recognition that befitted human beings. They
were, in fact, treated a little better than monkeys. People were conscious of sufferings;
but they were not conscious of themselves as a people. There was no nationalism.
There was no idea of nationhood. There was only an idea of day to day existence and
that in the very struggle for existence, they were all suffering-misery, exploitation,
domination, insult, etc. Because these prevailing social malady, how did Rizal enlighten
the people a certain idea that might electrify the entire unorganized society into
conscious beings? Rizal applied a scientific approach he learned in medicine, to
diagnose the root cause of the social malady. The diagnosis that came out was that
Noli was an attempt to expose the real condition during Rizal’s time. The people in this
society did not live like human beings. Some behaved like God with absolute power
over the life of others who were not regarded as human beings. This was the diagnosis.
This was what Noli Me Tangere was about.

After the diagnosis, the next step in the medical way was prognosis. The Fili was
written as an analysis of one of the alternative prescriptions. And the Fili was a study of
that prescription. From this point of view, Rizal studied a possible prescription, which
was the revolution, hence the title, El Filibusterismo. Rizal went on to the next phase in
the scientific medical outlook which was to study the different alternative prescriptions
relevant to the findings in the diagnosis.

The idea of rebellion or revolution was already in the air. Some years before, in 1872,
when Rizal was hardly eleven years old, the so called “Cavite Insurrections” broke out
and for this, three Filipino priests paid very dearly with their life. With this background,
the idea of rebellion persisted in the minds of the down-trodden people. In this form,
rebellion came to be accepted as, perhaps, the remaining prescription for the malady
they wanted to get rid of. The popularity of this prescription in the minds of the people,
together with the fact that the people themselves were the ones who had to undertake
the requirements of this prescription, made it imperative that such prescription be
studied before its first steps be taken. It was with end in view that Rizal made the
required study and even entitled his work El Filibusterismo. Rizal analyzed the
prescription and tried to show what where the existing conditions for which the
prescription was to be made.

Sypnosis of Noli Me Tangere

Juan Crisostomo Ibarra, the hero of Noli Me Tangere, was the only son of Don Rafael
Ibarra. He had just come home from Europe after seven years of study and travel there.

Capitan Tiago had been the good friend of Ibarra’s dead father. He was also known as
the father of Maria Clara, the beautiful girl Ibarra loved. Now Capitan Tiago was giving a
reception at his home in Binondo to welcome Ibarra.

All the important people of the city had been invited. Among them was Padre Damaso, a
Franciscan friar. For twenty years Padre Damaso had been the parish priest of San
Diego, the town of Ibarra’s birth. The other guests included Padre Sibyla, a young
Domincan priest of Binondo, and Señor Guevarra, an elderly and kind lieutenant of the
civil guards. There was Don Tiburcio de Espadaña, too. He was the lame, henpecked
Spanish husband of Doña Victorina, a Filipino woman who pretended that she was a
Spanish.

The guests were greatly impressed with Ibarra’s wit and refinement. The conversation
centered on his studies and travels in Europe. Only one man did not seem to agree that
Ibarra was a fine youth. This was the fat Padre Damaso. “ All that education is not worth
the fortune he wasted on it,” he commented dryly.

When Ibarra offered to shake hands, the priest looked at Ibarra coldly. He expected a
handkiss, not a handshake.

At dinner the guests continued praising Ibarra. Everyone noticed Padre Damaso’s
mounting bad temper. The waiters came around with the boiled chicken. The soup bowl
came to the padre. By chance only a piece of the neck and the tip of the wing reached
him. To make matters worse, the choicest parts had been served to Ibarra. This
completed the ruin of Padre Damaso’s temper. He insulted Ibarra all the more.
After dinner Ibarra begged to leave. Señor Guevarra did so, too, and the two went home
together. On the way, the old lieutenant told how Ibarra’s poor father had died. Don
Rafael had not been only the rich man. He had been kind and brave. But he got into
trouble with the Spanish curate, Padre Damaso, involving the possession of land. One
day he had seen an illiterate Spanish tax collector hiting a helpless boy with his cane.
Angered, Don Rafael had pushed away the brutal collector and in so doing, accidentally
killed him. Don Rafael was thrown into prison without trial and left to die there.

Señor Guevarra’s story incensed the young Ibarra. He vowed to seek out every detail
concerning his father’s death and to make the culprit pay.

Later Ibarra went to visit Maria Clara. She teased him about the pretty girls he had met
in other lands. Ibarra assured her he had never been unfaithful to her.

The next day was All Saint’s Day. Ibarra went home to San Diego to visit his father’s
grave. He could not find it. He saw a grave-digger and asked him where it was. “I don’t
know,” the grave-digger said evasively. But when he sensed Ibarra’s anger, he told him
that the parish priest had ordered him to dig up the body and have it buried in the
Chinese cemetery. “But the corpse was heavy,” the old grave-digger added, “and the
night was dark and rainy. So I threw it into the lake. I thought it would be better buried in
the lake than among the pagan Chinese.”

Ibarra was so grieved that he ran out of the cemetery. On the way he met Padre Salvi,
the new parish priest of San Diego. Blind with rage, Ibarra jumped on the priest, held
him by the neck, and demanded: “What did you do to my father?”

“Listen, son,” said the priest, “I had nothing to do with your father. I was not the parish
priest here when he died. Padre Damaso was the priest here. He was responsible for
your father’s death.”

Satisfied with Padre Salvi’s explanation, Ibarra relaxed his grip.

Ibarra met other people in his old hometown. He met the aging philosopher Tasio. This
man’s ideas were far ahead the times. So he was called “Tasio the Insane”. Ibarra also
met the school teacher who complained to him that his pupils had no interest in their
work. He said the priest was not in favor of the teaching of Spanish and more
progressive methods of teaching.
There was also the gobernadorcillo who bowed to every whim of the parish priest and of
the other officials. Next Ibarra saw the municipal council at work. He heard the
councilors discuss trivial matters at their session instead of more pressing problems of
the community.

The Noli Me Tangere also tells the sad story of Sisa. Her father had been well-off, but
her husband gambled away his inheritance. She had two little sons, Crispin and Basilio.
Crispin was accused of stealing the priest’s money and died after having been tortured
in the convent. Basilio, the elder, manage to escape. The poor mother awaited for her
boys to come home, but they never came. The civil guards, suspecting that she was
hiding Basilio, sent her to prison, and in her grief and shame she lost her reason.
Other events occurred in San Diego. There was the picnic at the lake which Capitan
Tiago, Maria Clara, Sinang, Aunt Isabel, and Iday attended. Ibarra was there, too. An
exciting incident happened at the picnic. The group went to see if there was a fish in a
bamboo trap. Instead they found a crocodile in the trap, and Elias, the strong, silent
peasant youth who piloted the boat, dived down for it. When Ibarra saw Elias
desperately battling with the crocodile, he dived after him and, saved his life. This won
him the deep gratitude of the silent Elias.

In the afternoon the picnickers played games. The young women were having fun with a
fortune telling book when Padre Salvi came, snatched the book away, tore it to pieces,
and said that it was a sin to play such game. He left the young people very much
disgusted.

Soon a group of soldiers arrived looking for Elias. They wanted to arrest him for having
harmed a priest. But the silent pilot had quietly slipped away and the civil guards
returned to town empty-handed.

A piece of good news restored peace to the gathering. A telegram arrived from the
Spanish authorities approving Ibarra’s project to build a school for the children of San
Diego.

From the picnic Ibarra went to visit old Tasio. The wise old man was rather pessimistic
about Ibarra’s school project, but Ibarra said he would push it through. He added that
the cornerstone was to be laid on the day of the fiesta.

Padre Damaso came down from Manila to give the sermon for the fiesta. He spoke
about the evils of a limited European education. “It makes people proud.” He said,
hinting at Ibarra. During the sermon Elias quietly walked to Ibarra. “There is a plot to kill
you!” Elias whispered, “Watch out when the cornerstone is being laid. Watch out for the
yellow-faced man.”
True enough, during the cornerstone-laying ceremonies when Ibarra was in pit, the
derrick collapsed. He would have been killed had not Elias quickly pushed him away.
The yellow-faced man hired to kill Ibarra was killed instead.

At dinner in Capitan Tiago’s house the arrogant Padre Damaso continued to despise
education obtained abroad. When he began insulting the memory of Ibarra’s father,
Ibarra jumped from his seat, knocked him down, put his foot on his neck, and, knife in
hand, threatened to kill anybody who drew near. Maria Clara pleaded with him and
Ibarra let go of the knife, saying he was not going to soil his hands with the bad priest’s
blood.

The incident resulted in the breakup of Ibarra’s engagement with Maria Clara. It also
resulted in Ibarra’s excommunication.

Ibarra’s enemies now planned to raid the barracks and make it appear that Ibarra was
the mastermind. Elias learned about the plot and hurried to tell him about it. Elias
helped Ibarra burn down his house and any papers his enemies might use against him.
Then Elias and Ibarra took a banca loaded with horsefeed. On Elias’ orders, Ibarra lay
down on the banca and Elias covered him with grass.

Paddling up the river, they soon passed by Maria Clara’s house. Ibarra went in and the
two unhappy lovers spoke for a few hurried moments. Then Maria Clara made a
shocking confession. “My real father is Padre Damaso,” she said. “That’s why I had to
obey him when he ordered me to break my vows to you. But I will love you always.” “I
will always love you too, Ibarra said.”

Then Ibarra returned to the waiting banca and Elias paddled towards the lake. They
were spotted by the civil guards and challenged. Elias continued rowing calmly and the
soldiers opened fire. Elias jumped into the lake and tried to swim away from the banca.
Soon red streakers appeared on the water. The soldiers left, thinking that Elias had
been alone in the banca. “The filibustero is dead!” they exulted. In this way, Ibarra made
his escape.

Mortally wounded, Elias fled to the forest. There, he found Basilio weeping over his poor
mother’s dead body. Elias told his grieving orphan of the unfortunate Sisa: “I, too am
about to die. Make a funeral pyre and place your mother’s body and mine upon it. Then
burn our bodies to ashes.” As he spoke, he felt life ebbing away. He cast his eyes
towards the east. He thought of his countrymen – those living and those yet unborn –
and murmured: “I die without seeing the dawn brighten over my native land! You who
have it to see, welcome it – and forget not those who have fallen during the night!”

Broken-hearted, Maria Clara entered a convent and lost her emotional balance. Padre
Salvi obtained a transfer to the convent as chaplain. Capitan Tiago, disappointed with
life, became an opium smoker. Padre Damaso was transferred to a distant parish and
died shortly after. Doña Victorina, the affected Filipino woman who spoke and acted as
if she were a Spanish señora, still henpecked her Spanish husband.

Sypnosis of El Filibusterismo

El Filibusterismo was published on September 18, 1891. Rizal dedicated it to three

Filipino martyrs – Frs. Burgos, Gomez, and Zamora, three great heroes whose
execution had made a very deep impression on Rizal as a freshman in college.
The novel’s hero was Simoun, a rich jeweler who had returned to the Philippines after
living in other lands for many years. Simoun was really Crisostomo Ibarra in disguise.

As we saw in the Noli Me Tangere, Elias died and Ibarra escaped. Ibarra succeeded in
carrying off some of his father’s treasures. At this time a revolution was raging in Cuba
and he escaped to that troubled island to seek his fortune. Ibarra took first one side in
the Cuban revolution and then the other, and thus he became very wealthy.

Now he had come back to the Philippines. He wanted to use his wealth to topple the
Spanish rule here. He befriended many high Spanish officials. He was not only a
wealthy jeweler. He also became a very influential man and he used his influence to
further his plan to make one of his friends the Governador-General of the Philippines.
The plan succeeded and Simoun was the adviser to the new Governor-General. Simoun
was a figure at once envied and feared.

Deep inside him, Simoun was seething with hatred for the Spanish officials. He kept
cooking up plans with a single end – the destruction of his enemies. At first he went
slowly, for he thought Maria Clara was still in the nunnery and he had a burning desire
to set her free. But he rushed his plans when he learned about her death. He
encouraged corruption in the government, injustice among the masses, and the general
decay of Philippine morals. And for what reason? He wanted the Filipinos to rise in a
revolution against their Spanish masters.

His plot almost found fruition at the wedding of Paulita Gomez and Juanito Pelaez. He
planned to send the young couple a wedding present in the form of an attractive lamp.
Basilio, his partner in the plot, was to deliver the lamp. As you will recall, Basilio was the
son of the hapless Sisa. He was a young man now and through Simoun’s help would
soon be a doctor. Simoun and Basilio knew that when the light should burn low and
someone turned up the wick, the liquid explosive in the lamp would be touched by the
flame, blow up the house, and kill everyone gathered there.

The gift had been delivered. Basilio was running away from the house when he saw his
friend Isagani, the poet. Because of his liberal ideas, Isagani had been rejected by
Paulita Gomez. Now he stood outside, watching the reception inside the house, “ Keep
off from that doomed house! The lighted lamp is about to explode!” Basilio told him,
pulling Isagani away. But Isagani refused to leave. “There is an explosive inside the
lamp,” Basilio said.

Hearing that, Isagani refused to do what Basilio had expected he’d do. He was filled with
despair because his love had been refused. Yet he forgot everything except his desire
to save Paulita. Isagani rushed into the house, grabbed the lighted lamp, and flung it
into the river.

The plot for an uprising was thus discovered. Simoun was cornered, but he escaped by
way of the sea into the good Padre Florentino’s house.

There he sought sanctuary from arrest. The authorities learned about his place of hiding
and sent a note to Padre Florentino, a kind Filipino priest, saying they would take
Simoun prisoner the next day at eight o’clock.

Simoun did not wish to be captured alive. So he took poison. But it was a kind of poison
that did not kill once. Before he died, he confessed to Padre Florentino. He told the
good priest who he was and of his terrible plan to use his wealth to destroy his enemies.
He also revealed to the priest his aim to destroy those he loved as well as those he
hated so that out of the ruins might rise a new and happier nation.

Padre Florentino comforted the dying Simoun and said: “May God forgive you, Señor
Simoun.” He watched the man go peacefully to God. Then, like one in a dream, the
priest murmured:

Where are the youth who will consecrate their golden hours, their illusions, their
enthusiasm to the welfare of their native land? Where are the youth who will generously
pour out their blood to wash away so much shame, so much crime; so much
abomination? Pure and spotless must the victim be that the sacrifice may be
acceptable! Where are you, youth, who will embody in yourselves the vigor of life that
has left our veins, the purity of ideas that has been contaminated in our brains, the fire
of enthusiasm that has been quenched in our hearts? We await you, O youth! Come, for
we await you!

Simoun died as twilight fell. Padre Florentino lighted the lamps and knelt down to pray
for him. Then he rose, picked up Simoun’s box of treasures, and hurled it into the sea.

Character Analysis of Noli and Fili

Who were the main characters of Noli and Fili?

The following were the main characters of Noli and Fili

Crisostomo Ibarra. Foremost among all Rizal’s characters who will always be
remembered for the beauty of their souls is Ibarra. He is a man who traveled and
studied in Europe and is distinguished by his love of learning, serenity of disposition,
self-control and refinement of manners. Rizal portrays him as an idealist who suffers
frustrations but who remains undaunted in the presence of unattainable ideals. Rizal
depicts him as a lover of freedom and of his country.

Rizal further proves that the idealist who lives under the influence of his ideals is not
solely a dreamer. He is also a practical man. Ibarra, like his literary creator, realized the
shortcoming of his own people that they were unprepared for freedom. He saw the
futility of armed resistance then and so, he strongly advocated that they obtain their
liberty by peaceful means, through education.

Isagani. Rizal reflects Isagani as an idealist and dreamer. His soul like Ibarra’s burns
with the fire of love of country, as a flame as ardent as that which fills his heart when he
thinks of his lovely Paulita. While Ibarra builds a schoolhouse in San Diego, Isagani,
together with a group of young and optimistic students, works for the establishment of
an academy of Castilian. But before the realization of his dream. He was arrested and
put into prison for unknown reason. Unfortunately, after coming out from prison, he
learned that his sweetheart Paulita Gomez, has decided to break their engagement so
as to marry a rich mestizo, Juanito Pelaez. Their love, like the loves of Rizal, particularly
his romance with Leonor Rivera had faded like all first loves that live on poetry and
sentiment alone. This was Rizal’s own sad experience.
Simoun. Simoun in El Fili is no other than the gallant Ibarra in Noli Me Tangere. Unlike
Ibarra who wishes for reform, and liberty by peaceful means, he approves of the use of
force. He instigates crimes and acts of cruelty so that the people might get used to the
idea of death. He foments a revolution “ because only a revolution can open the doors
of the nunneries.

Through the tragic end of Simoun. Rizal again projects the belief, which he has already
revealed through Ibarra and Isagani, that freedom is best attained by peaceful means
and that freedom is the fruit of a moral self-discipline as slowly acquired as it is easily
lost.

Tasio. Once a student of philosophy, was forced to give up his career. He was given the
choice of his rich mother to be a priest or leave college. He chose the latter, for he was
in love. He got married, but unfortunately, he lost his wife and his mother in a year. To
forget his sorrows and to avoid the dangers of the cockpit and idleness, he took to his
studies so seriously that he actually neglected both his fortune and personal self. To the
learned, he was called Tasio, the Sage, while to the ignorant he was Tasio, the Lunatic,
because his ideas were considered eccentric and strange. They were too advanced for
his age.

It is through Tasio that depicts the fate of the intellectuals during his time and to what
extent the Filipino mind was actually discouraged from growing. The Spaniards wish to
let the Filipinos remain ignorant in order to be docile and submissive. Generally, Tasio’s
plight also reveals Rizal’s resentment toward society which gives no recognition,
inspiration and reward for the individual merits of man.

Through Tasio, Rizal also condemns the existing political conditions during his times.
Hear Tasio blame the pro-Spanish gobernadorcillo and erring officials who denied
justice to the native people. This, definitely, is Rizal’s own voice crying out for justice
and equality – equal treatment of the helpless.

The Schoolmaster. Rizal’s indictment against the defective educational system during
Spanish regime. He portrays through the schoolmaster the good qualities of ideal
mentor – resourceful, learned, kind, and democratic. Ironically, however, he could not
implement his objectives because the padre was always there to tell him what was
expected on him – to use the rod and an iron hand in disciplining the school children,
and to let them memorize long rules and lessons even without understanding them. For
making study a thing of love and for trying to abolish corporal punishment, the
schoolmaster was reprimanded by the curate who, aside from insulting him, expected
nothing but resignation and humility from him.
Elias. As great and as noble as Ibarra in the Noli Me Tangere is Elias. He becomes a
social outcast due to the unfortunate circumstances in his parent’s life. He has a score
to settle with society, especially with the family of Ibarra. Elias is one of the symbols of
human suffering. His misfortunes aptly show man’s inhumanity to man. He has two
obsessions – to revenge and to help his oppressed fellow men. Unlike Ibarra who
believes in peaceful methods, he wants a revolution. He proposes to Ibarra radical
reforms in government, the church, and the society. He advocates, for instance, the
destruction of the temple because it has ceased to be a house of the righteous.

Sisa. Sisa is a mother of love incarnate. Critics agreed that Sisa, in real life was Rizal’s
mother. She is the symbol of the religious Filipina with all her beauty, tenderness,
motherly love, and constant forgiveness for her cruel husband who brings nothing but
unhappiness. The only joy of her simple world was her two thoughtful sons, console her
thus with all the idealism of a boy who is too eager to escape from the yoke of tyranny
and poverty.

The sad plight of Sisa and her two sons, all victims of social justice, conveys the
author’s dream of educating the youth who eventually become good citizens and
capable of building a new nation. Moreover, through Sisa, especially in her devotion to
her husband despite his being unworthy of her love, Rizal brings out the beautiful idea
that marriage is holy, sacramental, and permanent and that it is not just a momentary
thing but a life-time commitment.

Maria Clara. Maria Clara’s life is a typical contrast of light and darkness. It is full of joy
on one hand and sadness on the other. Of all the women characters in Rizal’s novels,
she stands out as the embodiment of pure love, beauty, filial respect, gratitude and
sacrifice. She is deliberately built up as a romantic heroine. In the first place, she is
supposed to have been born of the love between her mother, Doña Pia Alba and Padre
Damaso. Maria Clara is not only Rizal's symbol of Filipino womanhood but also a
Mother Philippines, the dream of both the Filipinos and the Spaniards. Because of her
beauty, she is loved and coveted by Ibarra, Linares, Padre Damaso, and Padre Salvi,
and she, like her country, suffers a lot.

Padre Damaso. Padre Damaso is the embodiment of absolute power, power that
corrupts not only the powerful but also their victims. When Rizal attacks Padre Damaso
and the other priest, however, it shouldbe remembered that, contrary to the common
idea, Rizal was not attacking the church. What Rizal hits in them are the perpetrators of
evil who use the name of the church and hide behind the thick walls of convents to
escape scaring punishment. The real target are the men and women who use the
church as a sanctuary for their evil deeds.
The friars symbolize the evils of ecclesiastical interference and oppression in the life of
the people during Spanish regime.

Capitan Tiago. Rizal presents what becomes of man who, stripped of his dignity and
freedom, fails to make his own decisions to save his own soul. He is a man whose only
obsession is to make money no matter what degradations he subjects himself to. He
accumulates money but spends it for gifts and many a well-attended and lavish feast
which he gives in honor of the friars and government officials, the protectors of his
business like opium smuggling and cockpits. He is at peace with God, the government
and man, but that is the prize of his willingness to become a tool of evil.

Doña Victorina and Doña Consolacion. Symbols of hypocrisy. Their trying to forget
that they are Filipinos and their hatred for their countrymen and anything Philippine
make these women valid symbols for hypocrisy and ugliness.

Padre Florentino. Symbol of Asceticism. Unlike the Spanish friars, Padre Damaso,
Padre Camorra and Padre Salvi who disregard their sacred vow in their search for
worldly pleasure, Padre Florentino is portrayed as one who leads the life of a true
religious sacrifice. He lives in seclusion and his solitary retreat near the sea is a haven
for those who want to escape the storms and stress of the outside world.
Review Questions:

1. Identify the characters of the novels Noli Me Tangere and El Fili.

- **Characters in “Noli Me Tangere”:**
-
- 1. **Juan Crisóstomo Ibarra (Crisóstomo):** The protagonist, a young
and idealistic Filipino who returns to the Philippines from Europe to
advocate for social reforms.
-
- 2. **María Clara de los Santos y Alba:** The daughter of Captain Tiago
and the love interest of Crisóstomo Ibarra. Her character is central to the
tragic elements of the story.
-
- 3. **Padre Dámaso Vardolagas:** A Franciscan friar, arrogant and
corrupt, who becomes the parish priest of San Diego. He plays a
significant role in the conflicts and adversities faced by the characters.
-
- 4. **Captain Tiago (Don Santiago de los Santos):** A wealthy and
influential man in San Diego, manipulated by the friars. He is the father of
María Clara.
-
 - 5. **Elías:** A mysterious and noble figure who becomes an ally of
Crisóstomo Ibarra. He represents the oppressed Filipino and desires
justice and freedom.
-
- 6. **Sisa:** A tragic character, a poor woman who loses her sanity due to
the sufferings and hardships inflicted upon her family.
-
- 7. **Padre Salvi:** Another friar in the novel, cunning and manipulative,
who is involved in various intrigues.
-
- **Characters in “El Filibusterismo”:**
-
- 1. **Simoun (Crisóstomo Ibarra):** The wealthy jeweler, formerly known
as Crisóstomo Ibarra in “Noli Me Tangere.” Simoun is now a mysterious
and vengeful revolutionary.
-
- 2. **Basilio:** The son of Sisa, now a medical student. He plays a crucial
role in the events of “El Filibusterismo.”
-
- 3. **Isagani:** A young poet and student who becomes involved in
revolutionary activities. He represents the idealistic youth hoping for
change.
-
- 4. **Paulita Gomez:** The beautiful daughter of Don Tiburcio de
Espadaña, symbolizing the superficial and materialistic aspects of
society.
-
- 5. **Padre Florentino:** A character appearing in both novels, serving as
a voice of reason and reflection of Rizal’s aspirations for the Philippines.
-
- 6. **Don Tiburcio de Espadaña:** A fraudulent character representing
social issues and corruption in society.
-
- 7. **Ben Zayb:** A schoolteacher symbolizing the influence of Spanish
language and culture on the Filipino identity.

2. Summarize and discuss the novels.

- Certainly! Let’s summarize and discuss the novels “Noli Me Tangere” and
“El Filibusterismo” by Jose Rizal.
-
- ### “Noli Me Tangere”:
-
- **Summary:**
- “Noli Me Tangere” revolves around the life of Juan Crisóstomo Ibarra, a
young and idealistic Filipino who returns to the Philippines from Europe.
Ibarra aims to introduce reforms and improve the lives of the Filipinos in
his hometown. However, he encounters resistance from the oppressive
Spanish friars, particularly Padre Dámaso, and faces personal tragedies,
 including the death of his father. The novel explores themes of
colonialism, social injustice, and the complexities of Filipino identity.
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- **Discussion:**
- “Noli Me Tangere” is a powerful critique of Spanish colonial rule in the
Philippines during the 19th century. Through its characters and plot, the
novel exposes the abuses of the friars, the corruption in the government,
and the plight of the Filipino people. It delves into the tension between
the colonizers and the colonized, touching on themes of love, sacrifice,
and the struggle for national identity. The tragic ending underscores the
harsh realities faced by those who seek reform.
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- ### “El Filibusterismo”:
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- **Summary:**
- “El Filibusterismo” is the sequel to “Noli Me Tangere” and follows the
story of Simoun, the wealthy jeweler who is revealed to be the former
protagonist, Crisóstomo Ibarra. Simoun returns with a new identity,
seeking revenge and revolution against the oppressive forces that he
believes caused the tragic events in the first novel. The story further
explores social inequality, injustice, and the consequences of colonial
abuses, leading to a tragic conclusion.
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- **Discussion:**
- “El Filibusterismo” continues the critique of Spanish colonial rule, delving
deeper into the political and social issues faced by the Philippines.
Simoun’s character represents the desperation and anger that can arise
from oppression, and the novel explores the consequences of seeking
justice through revolutionary means. Themes of betrayal, sacrifice, and
the struggle for a just society are prevalent, and the tragic ending
emphasizes the challenges and sacrifices inherent in the pursuit of social
change.
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- ### Overall Discussion:
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- Both novels are considered seminal works in Philippine literature, serving
as mirrors to the society of their time. They depict the harsh realities of
colonialism, the abuse of power by the ruling class, and the struggles of
the Filipino people for justice and freedom. Jose Rizal’s masterful
storytelling, rich character development, and profound social commentary
make these novels enduring classics that continue to be studied and
celebrated in Filipino literature. They not only offer historical insights but
also serve as a source of inspiration for those advocating for social
justice and national identity.
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