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Study Guide in GE9 – The Life and Works of Rizal Module No. 8

STUDY GUIDE FOR MODULE NO. ___

8

CHAPTER VIII:
EL FILIBUSTERISMO

MODULE OVERVIEW

El Filibusterismo is Jose Rizal’s second novel written as the sequel of his Noli Me Tangere. Commonly
nicknamed El Fili or simply Fili, the novel was written also in Spanish. Its commonly known English alternative
title is The Reign of Greed.

MODULE LEARNING OBJECTIVES

At the end of the module, you should be able to:

1. Compare and contrast the characters, plot, and theme of the Noli and the El Fili;
2. Value the role of the youth in the development and future of society.

LEARNING CONTENTS

The Writing and Printing of Fili

Rizal started writing El Filibusterismo in October 1887 in Calamba during his first homecoming. The
novel was thus written against the background of threats and oppressions he and his family suffered because of
the Noli and the so-called Calamba agrarian trouble.

He continued working on it, making some revisions, in London in 1888. Rizal then went on to write the
novel in Paris,and then in Brussels where distractions were less, and the cost of living was cheaper. Being able
to focus on finishing the book, Rizal had finally completed it by March 29, 1891 in Biarritz.

Jose Alejandrino, Rizal's roommate in Belgium related that he was the one who looked for a printing
press for El Fili. He delivered proofs and revisions to F. Meyer van Loo in Ghent. 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 (Ocampo, 2012, p. 111). (For Rizal's collaboration and
relation with Jose Alejandrino, read Appendix O: "Rizal's Relations with Other Filipino Patriots and Heroes.")

Alejandro, who later became a general in the Philippine revolution have possibly been the first person to
read the novel aside from the author the honor of being called “the savior of the Fili” had gone to Valentin
Ventura – Rizal’s friend who partially financed the novel's publication (Ventura’s steal of the title, one may
argue, is another classic elucidation of the expression. “That's what money can do.”)

Initially, Rizal financed El Fili’s printing by pawning his properties. In a letter to Jose Basa dated July 9,
1891, he related: “For the past three months I have not received 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…” (“El Filibusterism0,” n.d.)

Rizal’s next letter to Basa carried the sad news that the printing had to be suspended for lack of funds,
and it was at this point where Valentin Ventura came into the picture. Having known Rizal's predicament,
Ventura offered him financial help. In hindsight, we can assume that Ventura was bothered by his conscience,
hence his generous monetary assistance for Rizal’s novel. Remember that Ventura was one of the Filipinos
who promised to co-author Rizal’s proposed first book but ended up contributing nothing.

But even with Ventura's help, Rizal found it necessary to fundamentally shorten the novel erasing 47

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whole pages from the 279-page manuscript to save expenses (Ocampo, 2012. P. 111). Thus, the printed El Fili,
which came off the press by the middle of September 1891 turned out comprising only 38 chapters compared
with the 64 of the Noli—contrary to his original plan to make a longer sequel.

For Ventura's salvific 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 (G. Zaide & S. Zaide, 1984, p. 194). It is now being kept in the National Library.

Filibustero and Gomburza

The Filibusterismo in the novel's title is derived from the simpler term filibuster. Rizal defined the word
('filibustero') to his friend Ferdinand Blumentritt who encountered but did not fully comprehend the word in the
Noli. Rizal, thus. explained in a letter ("El Filibusterismo," 2011):

"The word filibustero is little known in the Philippines heard it for the first time in 1872
when the tragic executions [of the 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 means a dangerous patriot who will soon be hanged or well, a presumptuous
man."

The word filibustero thus, 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…” (“El Filibusterismo,” n.d.)

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 Fill was nonetheless addressed "To The Filipino People and Their Government.”
The original manuscript also included a "warning" and an “inscription” on the title page written by the author's
friend, Ferdinand Blumentritt.

Themes of Fili

Indeed a continuation of the Noli, the El Filibusterismo exposes the real picture of Filipino society at the
hands of the Spanish authorities. Socio-political issues mentioned in the Noli are also dealt with in its sequel: 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 makes El Fili essentially different from its prequel is that it offers various means of attaining social
reform and somewhat hinted what the author believed was ideal. Some dialogues and incidents seem to
suggest the apparent improbability of any radical socio-political change. The main character’s persistence to
push through with the rebellion, on the other hand, seems to suggest that independence is attainable through
revolution. However, the closing chapters rather insinuate that freedom must be attained without bloodshed as
the story ends with the failure of Simoun’s planned uprising.

The novel's ending, some scholars explain, however, should not be interpreted as Rizal’s categorical
stand against revolution. At best, Rizal can be said to be against unprepared and disorganized rebellion of
uneducated people, which could have a slim chance of victory. It is important to note that Rizal once

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commented that an upright, patriotic, and selfless individual like Noli's Elias would be a viable revolutionary
leader In fact, 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 was, what Rizal would never
subscribe to is the "useless spilling of blood,” but not the uprising per se.

Noli vs. Fili

Rizal wrote the El Filibusterismo about four years after the Noli. The experiences he had in those four
years spelled a lot of differences in the way he treated his two novels.

In depicting the social conditions in the country both novels employ satires and caricatures. El Fili
however is more serious as there is less humor and more bitterness in the treatment of situations.
In the Noli, the author reveals the cruelty and exploitation suffered by the natives at the hands of colonizers. In
El Fili, Rizal depicts a society at the brink of rebellion as the natives' minds have been awakened and
revolutionary forces have been formed.

Generally, El Fili presents a gloomier depiction of the country under the Spanish regime. More radical
and revolutionary, the novel has less idealism and romance than the Noli. The El Fili manifests Rizal's more
mature and less hopeful attitude toward the socio-political situation in the country. The grimmer outlook and
more tragic mood can be attributed to the persecutions and sufferings the author and his family experienced
from the Spanish friars and officials in the years he was writing the novel.

Notwithstanding the sufferings caused by the Spaniards to the Rizal family, the Fili, its author claimed,
is not a matter of revenge. Jose 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 Fili was superior to
Noli. Rizal himself apparently once believed in the superiority of the 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 [the Fili] is more
important than the first [the Noli]." ("The El Filibusterismo," 2013)

After the Fili was published, nonetheless, 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. (“Rizal
and Other Reformers,” n.d.)

As regards his friends who told him that Fili was better, Rizal explained in the same letter: "Blumentritt,
all those in Paris and Barcelona, for their benevolence towards me say it [the Fili] is superior. I attribute it only to
their benevolence.”

Synopsis

The story in El Filibusterismo revolves around its main character Simoun who is affluent jeweler.
Simoun is actually Crisostomo Ibarra of the Noli everyone thought had been killed by the Guardia Civil at
Laguna de Bay. He has 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.

However, the planned revolt one night was not carried out because Simoun, upon hearing that Maria

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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.

Noli and Fili Stolen

In Rizal's time, the Permanent Commission of Censorship recommended the absolute prohibition on
the importation, reproduction, and circulation of the Noli. The copies of the Fili, on the other hand, were
destroyed by Customs in Manila upon shipment to the Philippines. The rare surviving copies of the novels were
secretly purchased and "according to one friend of the family, had to be read in the smallest, most private room
in the house—the toilet" (Ocampo, 2012, p. 108).

That was the fate of the first editions of Rizal's novels. But that is nothing compared to what happened
to their original manuscripts about 70 years after their publication.

The original manuscripts of the Noli and Fili (along with that of the poem "Mi Ultimo Adios") were stolen
from the National Library on the evening of December 8, 1961. After some days, the thieves who outsmarted the
building's sleepy guards sent a ransom note "made of newspaper cutouts" to the Jose Rizal National Centennial
Commission (JRNCC) (Ocampo, 2012, p. 148). The robbers demanded 1.4 million pesos for the return of the
original texts, else Rizal's handiworks would be burned.

To summarize the "historic robbery," the then Education Secretary Alejandro "Anding" Roces
personally met with the burglars and, after some various negotiations, had retrieved the documents without
paying any single centavo. The manuscripts were returned on installment basis—the "Ultimo Adios” during the
first meeting, the El Fili on the next negotiation, and lastly, the Noli. There was a time when the demanded
ransom was reduced to 100.000 pesos and then to pesos (Ocampo. 2012. p. 148) But recognizing perhaps that
they would get from the government, the robbers ultimately settled on returning the documents free of charge.

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Many still find this “charge-free return of the manuscripts” strange and mind-blowing. But the following
additional details about the story could perhaps shed light on the account.

During the negotiations, one of the burglars related to Roces that on the night of the robbery, “the Rizal
manuscripts suddenly became heavy [as] a cavan of rice.” The thief, thus, exclaimed, “The manuscript must be
holy or haunted!” (Ocampo 2012, p. 148). One robber even claimed that he read Rizal’s handwritten novels
described the feeling, “Ang sarap basahin, kinikilabutan ako!” (Ocampo, 2012. p. 148). It is remarkably funny to
note, however, that the thief did not understand Spanish! Nonetheless, these indicate that the stealers were
probably bothered by their conscience, hence the consent to just send back the national hero's works.

Anding promised not to identify the robbers or to be a witness against them court. Thus, the hilariously
controversial thieves were never known.

The Novels' Legacy

For fearlessly depicting the corruptions and abuses by the Spanish clergy and the colonial government
during the Spanish regime in the Philippines, the two novels are historically very significant. Basically a social
sketch of the country then, the Noli and Fili reveal the true setting and condition of the Filipino society in the era.

As essential sources of sociological and anthropological studies, the books provide rich insights into the
culture of the 19th and 20th century Philippines. Their realistic depictions expose a conflicted colonial society
seriously split between the oppressors and the suffering local slaves. The novels' characters mimic the various
elements and types of individuals in that society. Furthermore, they show favorable positive traits of the natives
then, like the sense of gratitude, the fidelity of women to their loved ones, and the yearning for freedom and
equality.

For their explicit portrayal of what the locals really wished for their country the books were instrumental
in forming the Filipino's (Indios) sense of national identity. Indirectly but significantly, the novels influenced the
revolution led by the Katipunan as they inspired Andres Bonifacio and the other revolutionaries in their cause.

Rizal was arrested, exiled to Dapitan, and ultimately executed in 1896 based principally on his writings.
In 1956, the Philippine Congress passed the Rizal Law (Republic Act 1425) requiring all levels of Philippine
schools to teach as part of the curriculum the hero's two novels.

Originally written in Spanish, the Noli and the Fili had been translated into various languages like
Filipino, English, German, French, Chinese, and some other Philippine languages. In 2007, an English version
of Noli Me Tangere was released to major Australian bookstores. It was published by Penguin Books Classics
as part of the publication's commitment to publish the major literary classics of the world.

LEARNING ACTIVITY 1

1. Read the dedication to GomBurZa.

2. Group Discussion on the differences between Noli Me Tangere and El Filibusterismo.
3. Assessment:
a. Graphic Organizer. Compare, and show continuities and/or changes in Rizal’s ideas expressed in
the Noli and the El Fili.
b. Reflection paper about selected chapters discussing the role of youth in society).

LEARNING ACTIVITY 2

Essay
1. Explain the differences and the similarities between El Filibusterismo and Noli Me Tangere.
2. Can we liken the word filibustero to the present Filipino term pasaway? Explain your answer.
3. Explain: Rizal would never subscribe to the "useless spilling of blood,” not the uprising per se.
4. Which is better: Rizal’s diplomatic reform or Bonifacio’s impulsive revolt? Defend your answer.

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REFERENCES

Daroy, Petronilo. Rizal contrary essays. Quezon City: Guro Books, 1968.

Almario. Virgilio. Si Rizal: Nobelista. QC: UP Press, 2008.

Anderson, Benedict. Why Counting Counts: A Study of Forms of Consciousness and Problems of Language in
Noli Me Tangere and El Filibusterismo. Quezon City Ateneo de Manila University Press, 2008.

Reyes, Miguel Paolo. "El Filibusterismo and Jose Rizal as 'Science Fictionist'" in Humanities Diliman vol. 10 no.
2 (2013). http://journals.upd.edu.ph/in dex.php/humanitiesdiliman/a rticle/view/4168/3774.

Rizal, Jose. El Filibusterismo. Trans. Virgilio Almario or Soledad Maximo Locsin.

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