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I am a WITNESS… to the SUFFERING of my PEOPLE… I am a CHRONICLER of TRUTH… and a CATALYST of CHANGE… TO SPEAK UP… requires not only gumption…but education... Our missions are to INFORM, EDUCATE, ADVOCATE, CONNECT, ACCOMPANY, EMPOWER all Filipinas… KNOWLEDGE is POWER - it's important you SEE FACTS --- KNOW YOUR RIGHTS... CLICK-READ-EACH CITY/COUNTRY – to EDUCATE and EMPOWER YOU....YOU must BE AWARE of abuses and sufferings BEFORE you leave the Philippines... If you are already overseas and being abused, contact the organizations where you are - to help you. These organizations are listed or featured in this blog… Jose Rizal said: The TYRANNY of some - is POSSIBLE ONLY - THROUGH the COWARDICE of others...meaning…Your BOSS is a TYRANT because...YOU ARE a COWARD!?? Do not be AFRAID! TELL TO THE FACE OF YOUR BOSS - Without me, you cannot go to work and you cannot make money…Without me… your house is dirty and no one cares for your children...I WORK EXTRA HOURS - PAY ME EXTRA MONEY... BE BRAVE to SPEAK UP and STOP your ABUSIVE BOSS… DO NOT WORK as SLAVES IN A RICH COUNTRY... CLAIM YOUR LAWFUL RIGHTS AND DIGNITY... We are one, after all, you and I… Together we suffer…Together we co-exist

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Jose Rizal - Noli Me Tangere - a novel MUST READ for ALL Filipina Nannies, caregivers and maids

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Our non-profit  blog was inspired by a Filipina domestic from the Middle East who left her newborn baby – with placenta still attached – at the Bahrain Gulf Air airplane toilet - upon landing in Manila, read her story here lhttp://filipina-nannies-caregivers.blogspot.ca/2013/05/this-blog-was-inspired-by-filipina.html.  Her despair and desperation inspired this blog to gather all possible stories in order to help, to inform and to empower all Filipina nannies, caregivers and maids -- to liberate themselves from abuses of all forms:  physical, rape, verbal, exploitation, overtime working without pay....  Send us your stories.  Stay anonymous - if you like.  (No one can afford to deny this matter anymore).  Write in Tagalog, or your dialect, or English, or French, or any language.  ALL nannies, caregivers and domestic maids are welcome, send your stories to  mangococonutmay1@gmail.com

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Quotations from Jose Rizal

The tyranny of some - is possible only - through the cowardice of others.


  • There are no tyrants where there are no slaves.
  • Why independence, if the slaves of today will be the tyrants of tomorrow?
Truth does not need to borrow garments from error. (Also translated as: Truth does not need to borrow garments from falsehood.)

The glory of saving a country is not for him who has contributed to its ruin.

I go where there are no slaves, hangmen or oppressors
Where faith does not kill; where the one who reigns is God.


No, let us not make God in our image, poor inhabitants that we are of a distant planet lost in infinite space. However brilliant and sublime our intelligence may be, it is scarcely more than a small spark which shines and in an instant is extinguished, and it alone can give us no idea of that blaze, that conflagration, that ocean of light.

No one has a monopoly of the true God, nor is there a nation or religion that can claim, or at any rate prove, that it has been given the exclusive right to the Creator or sole knowledge of His Being.

Genius has no country. It blossoms everywhere. Genius is like the light, the air. It is the heritage of all.

Man is multiplied by the number of languages he possesses and speaks.



José Rizal (June 19 1861December 30 1896) was a Filipino nationalist, doctor, writer, and polymath whose works and martyred death made him a hero of the Philippine Revolution.



His coming to the world is like the appearance of a rare comet, whose brilliance appears only every other century.


Quotations from  -  http://en.wikiquote.org/wiki/Jos%C3%A9_Rizal

Life of Jose Rizal  http://en.wikipedia.org/wiki/Jos%C3%A9_Rizal


Noli Me Tángere
Book by José Rizal
  José Rizal, the national hero of the Philippines, during the colonization of the country by Spain to expose the inequities of the Spanish Catholic priests and the ruling government. Wikipedia
Published: 1887
Characters: María Clara, Father Dámaso, Capitán Tiago, Ibarra, Elías
Genres: Novel, Satire



 

 

 

 

 

 




Jose Rizal Novel - NOLI ME TANGERE - YouTube

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Reading Guides

Noli Me Tangere (Touch Me Not)
Jose Rizal
Harold Augenbraum
Paperback
$18.00

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INTRODUCTION TO JOSÉ RIZAL'S NOLI ME TANGERE
by Luis H. Francia

Written in Spanish and published in 1887, José Rizal’s Noli Me Tangere played a crucial role in the political history of the Philippines. Drawing from experience, the conventions of the nineteenth-century novel, and the ideals of European liberalism, Rizal offered up a devastating critique of a society under Spanish colonial rule. 

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 the 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 novel suggests, through plot developments, that meaningful change in this context is exceedingly difficult, if not impossible.

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. 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.

Precisely how to accomplish this is the novel’s central question, and one which 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. 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.

Using satire brilliantly, Rizal creates other memorable characters whose lives manifest the poisonous effects of religious and colonial oppression. 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.

 
ABOUT JOSÉ RIZAL
 
Born on June 19, 1861, José Rizal was from an upper-class Filipino family. His mother, Teodora Alonso, a highly educated woman, exerted a powerful influence on his intellectual development. He would grow up to be a brilliant polymath, doctor, fencer, essayist, and novelist, among other things.

By the late nineteenth century, the Spanish empire was in irreversible decline. Spain had ruled the islands since 1565, except for a brief hiatus when the British occupied the islands in 1762. The colonial government was unresponsive and often cruel, with the religious establishment wielding as much power as the state. Clerical abuses, European ideas of liberalism, and growing international trade fueled a burgeoning national consciousness. For Rizal and his generation, the 1872 Cavite Mutiny, in which three native priests were accused of treason and publicly executed, provided both inspiration and a cautionary tale.

Educated at the Jesuit-run Ateneo de Manila and the Dominican University of Santo Tomas in Manila, Rizal left for Spain in 1882, where he studied medicine and the liberal arts, with further studies in Paris and Heidelberg. The charismatic Rizal quickly became a leading light of the Propaganda Movement—Filipino expatriates advocating, through its newspaper, La Solidaridad, various reforms such as the integration of the Philippines as a province of Spain, representation in the Cortes (the Spanish parliament), the Filipinization of the clergy, and equality of Filipinos and Spaniards before the law. To Rizal, the main impediment to reform lay not so much with the civil government but with the reactionary and powerful Franciscan, Augustinian, and Dominican friars, who constituted a state within a state.

In 1887, he published his first novel, Noli Me Tangere, written in Spanish, a searing indictment of clerical abuse as well as of colonial rule’s shortcomings. That same year, he returned to Manila, where the Noli had been banned and its author now hated intensely by the friars. In 1888, he went to Europe once more, and there wrote the sequel, El Filibusterismo (The Subversive), published in 1891. In addition, he annotated an edition of Antonio Morga’s Sucesos de las Islas Filipinas, showing that the Philippines had had a long history before the advent of the Spaniards. Rizal returned to Manila in 1892 and founded a reform society, La Liga Filipina, before being exiled to Dapitan, in Mindanao, Southern Philippines. There he devoted himself to scientific research and public works. Well-known as an ophthalmologist, he was visited by an English patient, accompanied by his ward, Josephine Bracken, who would be his last and most serious romantic involvement.

In August of 1896, the Katipunan, a nationalist secret society, launched the revolution against Spain. Its leaders venerated Rizal and tried to persuade him to their cause. He refused, convinced that the time was not yet ripe for armed struggle. In the meantime he volunteered to serve as a doctor with the Spanish forces fighting against Cuban revolutionaries. En route, Rizal was arrested and subjected to a mock trial in Manila by the authorities although he had nothing to do with the revolution.

Found guilty, he was shot at dawn on December 30, 1896. On the eve of his execution, Rizal penned “Mi último adiós” (My Last Farewell), considered a masterpiece of nineteenth-century Spanish verse. He was thirty-five. 

Rizal’s martyrdom only intensified the ultimately successful fight for independence from Spain. Because of his role in shaping his country’s destiny, José Rizal is often described as the “First Filipino” and has since served as an inspiration to countless nationalists and intellectuals.
 
ABOUT LUIS H. FRANCIA
 
Luis H. Francia, the author of this guide, was born and grew up in Manila, Philippines, where he obtained his B.A. in humanities from the Ateneo de Manila University—the same alma mater as that of José Rizal, author of Noli Me Tangere. He teaches Filipino language and culture at the Asian/Pacific/American Studies program of New York University. He has taught Asian-American literature at Sarah Lawrence College and at the University of Hawai’i at Manoa.
He has written several books, the most recent ones being Museum of Absences, a collection of poems, and the semiautobiographical Eye of the Fish: A Personal Archipelago, winner of both the 2002 PEN Open Book and the Asian American Writers Workshop Literary awards. He is the editor of Brown River, White Ocean, an anthology of Philippine literature in English, and coeditor of Flippin’: Filipinos on America, also a literary anthology, and of Vestiges of War, an anthology of creative and scholarly works dealing with the 1899 Philippine-American War.
He and his wife, art historian and curator Midori Yamamura, live in New York City.


 
DISCUSSION QUESTIONS
  1. Crisostomo Ibarra and the mysterious and powerful Elias are quite similar, even though the former is an immensely wealthy mestizo and the latter, an impoverished fellow who has seen better days. Both have been victimized by the colonial system, yet have contrasting approaches to addressing the social ills that surround them. In one pivotal scene the two debate passionately about their respective views, as though the author were debating himself. How do their experiences shape these views? What reforms does Ibarra advocate? Why does Elias consider these futile?
  2. Through Ibarra, Rizal the social reformer makes it clear that he believed greatly in the transformative power of secular education. To learn only by rote prevented the ordinary Filipino from truly understanding his situation, hence Ibarra’s proposal to build a school for the town of San Diego. In contrast, what was the conventional view of education in San Diego? Why were Padre Damaso and, later on, Padre Salvi, against such innovation? How did race figure in their opposition?
  3. Tasio, the town sage, is elated by Ibarra’s plan for a school but immediately cautions the young man, “The first advice I will give you is to never come to me for advice again.” What makes the old man say this? What is his reputation in San Diego and what perspective does he add to the novel?
  4. The Noli is clearly anticlerical in its depiction of the friars and of the Catholic church. Padre Damaso and, to a lesser extent, Padre Salvi, personify clerical abuses—the main cause, in the novel, of the population’s discontent. Rizal’s portraits, however, are not one-dimensional; rather, they reveal the all-too-human faults of each priest. How does the novelist individualize them? How do the failings of Damaso and Salvi propel the novel’s action? The two friars have in common their feelings for Maria Clara, yet those very feelings should divide them. Why?
  5. Maria Clara betrays Ibarra even though she loves him. Her motive is to prevent the identity of her true, biological father from being revealed. Discuss the consequences of her act, and how it leads to tragedy.
  6. The novel describes vividly life in the town of San Diego and its social and political hierarchy. If we see San Diego as a microcosm of Philippine society, what kind of portrait emerges, overall, of life under the Spanish colonial system? In particular, how does the planning for the town feast clearly illustrate who holds real power?
  7. Capitan Tiago and Doña Victorina de Espadaña identify completely with the colonial mind-set. In portraying the two, Rizal pokes fun at their pretensions. What pretensions are these and how are they lampooned? Is Rizal gentler with one than the other?
  8. The author also mocks the mindless religiosity exhibited by Tiago and some other characters, especially the equally wealthy spinster, Doña Patrocinio, whom Tiago considers his rival and vice versa. Each strives to make as splashy material offerings as possible to the church, thinking thereby to ensure their spiritual future. Discuss the Catholic notion of indulgences, how this ties in to lavish expenditures, and, more broadly, how it ironically reveals the worldly nature of the church.
  9. The head of the Guardia Civil and his wife, Doña Consolacion, strike fear in the hearts of San Diego’s ordinary inhabitants. The wife is repellent, even to her husband. What do they exemplify and what purpose do these two characters serve in the novel?
  10. Rizal depicts a gap that exists between the Spanish civil administration and clerical rule. How wide or narrow is that gap? What incidents demonstrate the differences between the two sectors?
  11. Sisa goes mad due to her harsh treatment by the Guardia Civil, the death of one son, and the disappearance of another. Critics have said that she is symbolic of the oppressed mother country. Do you agree with this notion? Are there parallels with Maria Clara and her fate and, to a lesser degree, Tiago’s? 
  12.  

 ==========================================================

 

Jose Rizal's Noli Me Tangere - Project Gutenberg

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"The Social Cancer" ("Noli Me Tangere") The complete text of the novel that inspired the Philippine Revolution. With both contemporary and recent criticism.

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Jose Rizal Noli Me Tangere


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Jose Rizal wrote the first sections of his novel Noli Me Tangere in 1884 in Madrid, Spain when he was still studying medicine. Rizal continued with this novel in Paris, France after he finished his medicine course. Jose Rizal finished the last sections of the novel in Berlin, Germany. Rizal drew his inspiration in writing Noli Me Tangere from a book entitled Uncle Tom’s Cabin which was authored by Harriet Beacher Stowe. Uncle Tom’s Cabin is about the life of  Negro slaves under the hands of powerful white Americans. The book centered on the sufferings, maltreatment and hardships experienced by the Negro slaves and compared the sad plight of the slaves with the unfair treatment experienced by his countrymen under the Spanish rule.
Jose Rizal first thought of gathering the written experiences of his countrymen against the Spanish rule and compile it with his thoughts to complete the book but later changed his mind and wrote the book just by himself. Rizal also consulted his friend Dr. Ferdinand Blumentritt on the issues he tackled in the book and the need to write about those issues.

Touch Me Not

Noli Me Tangere is a Latin word which means “Touch Me Not” which was mentioned in the Bible in the book of St. John the Baptist. Rizal described the state of the country under the Spaniards as a disgrace which provided more hardships to the life of the Filipinos. The detailed story about the sufferings of his countrymen were meant to awaken the Filipinos to the truth that was adversely affecting the society and which had not been talked about by the people most probably due to fear with the ruling Spaniards.

Ibarra and Elias

The main character of Rizal’s epic novel is Crisostomo Ibarra, a lad who studied in Europe. Ibarra’s wish was to build a school to ensure the bright future of the youth of his hometown. Ibarra was helped by a pilot and farmer named Elias who opened the eyes of Crisostomo Ibarra to know more of his country and its present problems.

Kapitan Tiyago, Maria Clara and Padre Damaso

Also one of the most important characters of the novel was Kapitan Tiyago who was described as a businessman who hails from Binondo. He was the step father of Maria Clara who was the conservative girlfriend of Crisostomo Ibarra. Maria Clara is the lady who also hails from the town of San Diego and was a child borne out of an affair between the Dona Pia Alba and Padre Damaso. Padre Damaso is a Franciscan priest who served for a long time as the head priest of the town of San Diego. He was replaced by Padre Salvi who had a secret admiration for Maria Clara.

Other Characters

The other characters of Jose Rizal’s novel Noli Me Tangere are Sisa, Basilio, Crispin, Pilosopo Tasyo, Alperes, Dona Victorina, Dona Consolacion, Kapitan Basilio, Don Saturnino, Don Rafael Ibarra, Mang Pablo, Dona Pia, Lucas, Linares, Don Filipo, Tarsilo at Bruno, Kapitana Maria, Padre Sibyla, Albino, Tinyente Guevarra, Iday, Sinang, Victoria at Andeng.
- See more at: http://www.joserizal.com/jose-rizal-noli-tangere/#sthash.HHZkhANS.dpuf


Jose Rizal Noli Me Tangere


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Jose Rizal wrote the first sections of his novel Noli Me Tangere in 1884 in Madrid, Spain when he was still studying medicine. Rizal continued with this novel in Paris, France after he finished his medicine course. Jose Rizal finished the last sections of the novel in Berlin, Germany. Rizal drew his inspiration in writing Noli Me Tangere from a book entitled Uncle Tom’s Cabin which was authored by Harriet Beacher Stowe. Uncle Tom’s Cabin is about the life of  Negro slaves under the hands of powerful white Americans. The book centered on the sufferings, maltreatment and hardships experienced by the Negro slaves and compared the sad plight of the slaves with the unfair treatment experienced by his countrymen under the Spanish rule.
Jose Rizal first thought of gathering the written experiences of his countrymen against the Spanish rule and compile it with his thoughts to complete the book but later changed his mind and wrote the book just by himself. Rizal also consulted his friend Dr. Ferdinand Blumentritt on the issues he tackled in the book and the need to write about those issues.

Touch Me Not

Noli Me Tangere is a Latin word which means “Touch Me Not” which was mentioned in the Bible in the book of St. John the Baptist. Rizal described the state of the country under the Spaniards as a disgrace which provided more hardships to the life of the Filipinos. The detailed story about the sufferings of his countrymen were meant to awaken the Filipinos to the truth that was adversely affecting the society and which had not been talked about by the people most probably due to fear with the ruling Spaniards.

Ibarra and Elias

The main character of Rizal’s epic novel is Crisostomo Ibarra, a lad who studied in Europe. Ibarra’s wish was to build a school to ensure the bright future of the youth of his hometown. Ibarra was helped by a pilot and farmer named Elias who opened the eyes of Crisostomo Ibarra to know more of his country and its present problems.

Kapitan Tiyago, Maria Clara and Padre Damaso

Also one of the most important characters of the novel was Kapitan Tiyago who was described as a businessman who hails from Binondo. He was the step father of Maria Clara who was the conservative girlfriend of Crisostomo Ibarra. Maria Clara is the lady who also hails from the town of San Diego and was a child borne out of an affair between the Dona Pia Alba and Padre Damaso. Padre Damaso is a Franciscan priest who served for a long time as the head priest of the town of San Diego. He was replaced by Padre Salvi who had a secret admiration for Maria Clara.

Other Characters

The other characters of Jose Rizal’s novel Noli Me Tangere are Sisa, Basilio, Crispin, Pilosopo Tasyo, Alperes, Dona Victorina, Dona Consolacion, Kapitan Basilio, Don Saturnino, Don Rafael Ibarra, Mang Pablo, Dona Pia, Lucas, Linares, Don Filipo, Tarsilo at Bruno, Kapitana Maria, Padre Sibyla, Albino, Tinyente Guevarra, Iday, Sinang, Victoria at Andeng.
- See more at: http://www.joserizal.com/jose-rizal-noli-tangere/#sthash.HHZkhANS.dpuf
 Noli Me Tangere (Touch Me Not) Noli Me Tangere (Touch Me Not) by José Rizal


Noli Me Tangere (Touch Me Not) Quotes (showing 1-30 of 33)
“I have to believe much in God because I have lost my faith in man.”
José Rizal, Noli Me Tangere (Touch Me Not)
“Cowardice rightly understood begins with selfishness and ends with shame.”
José Rizal, Noli Me Tangere (Touch Me Not)
“What said those two souls communicating through the language of the eyes, more perfect than that of the lips, the language given to the soul in order that sound may not mar the ecstasy of feeling? In such moments, when the thoughts of two happy beings penetrate into each other’s souls through the eyes, the spoken word is halting, rude, and weak—it is as the harsh, slow roar of the thunder compared with the rapidity of the dazzling lightning flash, expressing feelings already recognized, ideas already understood, and if words are made use of it is only because the heart’s desire, dominating all the being and flooding it with happiness, wills that the whole human organism with all its physical and psychical powers give expression to the song of joy that rolls through the soul. To the questioning glance of love, as it flashes out and then conceals itself, speech has no reply; the smile, the kiss, the sigh answer.”
José Rizal, Noli Me Tangere (Touch Me Not)
“How long have you been away from the country?" Laruja asked Ibarra.

"Almost seven years."
"Then you have probably forgotten all about it."

"Quite the contrary. Even if my country does seem to have forgotten me, I have always thought about it.”
José Rizal, Noli Me Tangere (Touch Me Not)
“It is not the criminals who arouse the hatred of others, but the men who are honest.”
José Rizal, Noli Me Tangere (Touch Me Not)
“Walang maitutugon ang wika sa tanong ng pag-ibig buhat sa isang sulyap na kumikislap o palihim. Sa halip, sumasagot ang ngiti, ang halik, o ang bugtonghininga.”
José Rizal, Noli Me Tangere
“I can concede that the government has no knowledge of the people, but I believe the people know less of the government. There are useless officials, evil, if you like, but there are also good ones, and these are not able to accomplish anything because they encounter an inert mass, the population that takes little part in matters that concern them.”
José Rizal, Noli Me Tangere (Touch Me Not)
“The people do not complain because they have no voice; do not move because they are lethargic, and you say that they do not suffer because you have not seen their hearts bleed.”
José Rizal, Noli Me Tangere (Touch Me Not)
“To be happy does not mean to indulge in foolishness!”
José Rizal, Noli Me Tangere (Touch Me Not)
“I honor the father in his son, not the son in his father. Each one receives a reward or punishment for his deeds, but not for the acts of others.”
José Rizal, Noli Me Tangere (Touch Me Not)
“Let us not ask for miracles, let us not ask for concern with what is good for the country of him who comes as a stranger to make his fortune and leave afterwards.”
José Rizal, Noli Me Tangere (Touch Me Not)
“The example could encourage others who only fear to start.”
José Rizal, Noli Me Tangere (Touch Me Not)
“I have observed that the prosperity or misery of each people is in direct proportion to its liberties or its prejudices and, accordingly, to the sacrifices or the selfishness of its forefathers. -Juan Crisostomo Ibarra”
José Rizal, Noli Me Tangere (Touch Me Not)
“Dying people don't need medicine, the ones who remain do.”
José Rizal, Noli Me Tangere (Touch Me Not)
“For myself I think that one wrong does not right the other, and forgiveness cannot be won with useless tears or alms to the Church.”
José Rizal, Noli Me Tangere (Touch Me Not)
“Your enemies hate you more than they hate your ideas. Should you want a project to be undone propose it. Even if it were as useful as a bishop's mire it would be rejected. Once you are defeated let the humblest-looking among you sponsor it and your enemies to humble you will approve it.”
José Rizal, Noli Me Tangere (Touch Me Not)
“I die without seeing dawn's light shining on my country... You, who will see it, welcome it for me...don't forget those who fell during the nighttime.”
José Rizal, Noli Me Tangere (Touch Me Not)
“But because their ancestors were men of righteousness, shall we consent to the abuses of their degenerate descendants? Because they did us a great good, would we be guilty if we prevented them from doing us evil?”
José Rizal, Noli Me Tangere (Touch Me Not)
“She was white, perhaps too white. Her eyes, which were almost always cast down, when she raised them testified to the purest of souls, and when she smiled, revealing her small, white teeth, one might be tempted to say that a rose is merely a plant, and ivory just an elephant’s tusk.”
José Rizal, Noli Me Tangere (Touch Me Not)
“In the Philippines you are not considered to be honorable unless you have been to jail.”
José Rizal, Noli Me Tangere (Touch Me Not)
“The righteous man pays the sinner's bill.”
José Rizal, Noli Me Tangere (Touch Me Not)
“The whys and wherefores didn’t need to be said. If you are reading this have ever loved someone, you will understand. Putting it into words is useless. The uninitiated cannot understand the mysterious.”
José Rizal, Noli Me Tangere (Touch Me Not)
“Night favors belief, and the imagination peoples the air with specters.”
José Rizal, Noli Me Tangere (Touch Me Not)
“Sisa shut up the cabin and covered the few embers with ash so they wouldn’t go out, as people do with their deepest feelings: cover them with life’s ashes, which they call “indifference,” so they don’t go out completely as a result of day-to-day interaction with our peers.”
José Rizal, Noli Me Tangere (Touch Me Not)
“People believe that madness is when you don't think as they do, which is why they take me for a madman.”
José Rizal, Noli Me Tangere (Touch Me Not)
“Vice pays for its own freedom.”
José Rizal, Noli Me Tangere (Touch Me Not)
“Man understood in the end what man is. He renounces the analysis of God, penetrating the impalpable, in which he has not seen, to give laws to the phantasms of his brain. Man understands that his inheritance is the greater world whose dominion is within his grasp. Tired of useless and presumptuous labor he bows his head and looks about him, and now he sees how our poets are born. Little by little nature's muses open their treasures and start to smile upon us, and lead us far from such labors.”
José Rizal, Noli Me Tangere (Touch Me Not)
“Our young people think about nothing more than love affairs and pleasure. They spend more time attempting to seduce and dishonor young women than in thinking about their country's welfare. Our women, in order to take care of the house and family of God, forget their own. Our men limit their activities to vice and their heroics to shameful acts. Children wake up in a fog of routine, adolescents live out their best years without ideals, and their elders are sterile, and only serve to corrupt our young people by their example.”
José Rizal, Noli Me Tangere (Touch Me Not)
ose Rizal wrote the first sections of his novel Noli Me Tangere in 1884 in Madrid, Spain when he was still studying medicine. Rizal continued with this novel in Paris, France after he finished his medicine course. Jose Rizal finished the last sections of the novel in Berlin, Germany. Rizal drew his inspiration in writing Noli Me Tangere from a book entitled Uncle Tom’s Cabin which was authored by Harriet Beacher Stowe. Uncle Tom’s Cabin is about the life of  Negro slaves under the hands of powerful white Americans. The book centered on the sufferings, maltreatment and hardships experienced by the Negro slaves and compared the sad plight of the slaves with the unfair treatment experienced by his countrymen under the Spanish rule.
Jose Rizal first thought of gathering the written experiences of his countrymen against the Spanish rule and compile it with his thoughts to complete the book but later changed his mind and wrote the book just by himself. Rizal also consulted his friend Dr. Ferdinand Blumentritt on the issues he tackled in the book and the need to write about those issues.

Touch Me Not

Noli Me Tangere is a Latin word which means “Touch Me Not” which was mentioned in the Bible in the book of St. John the Baptist. Rizal described the state of the country under the Spaniards as a disgrace which provided more hardships to the life of the Filipinos. The detailed story about the sufferings of his countrymen were meant to awaken the Filipinos to the truth that was adversely affecting the society and which had not been talked about by the people most probably due to fear with the ruling Spaniards.
- See more at: http://www.joserizal.com/jose-rizal-noli-tangere/#sthash.HHZkhANS.dpuf


Jose Rizal Noli Me Tangere


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Jose Rizal wrote the first sections of his novel Noli Me Tangere in 1884 in Madrid, Spain when he was still studying medicine. Rizal continued with this novel in Paris, France after he finished his medicine course. Jose Rizal finished the last sections of the novel in Berlin, Germany. Rizal drew his inspiration in writing Noli Me Tangere from a book entitled Uncle Tom’s Cabin which was authored by Harriet Beacher Stowe. Uncle Tom’s Cabin is about the life of  Negro slaves under the hands of powerful white Americans. The book centered on the sufferings, maltreatment and hardships experienced by the Negro slaves and compared the sad plight of the slaves with the unfair treatment experienced by his countrymen under the Spanish rule.
Jose Rizal first thought of gathering the written experiences of his countrymen against the Spanish rule and compile it with his thoughts to complete the book but later changed his mind and wrote the book just by himself. Rizal also consulted his friend Dr. Ferdinand Blumentritt on the issues he tackled in the book and the need to write about those issues.

Touch Me Not

Noli Me Tangere is a Latin word which means “Touch Me Not” which was mentioned in the Bible in the book of St. John the Baptist. Rizal described the state of the country under the Spaniards as a disgrace which provided more hardships to the life of the Filipinos. The detailed story about the sufferings of his countrymen were meant to awaken the Filipinos to the truth that was adversely affecting the society and which had not been talked about by the people most probably due to fear with the ruling Spaniards.

Ibarra and Elias

The main character of Rizal’s epic novel is Crisostomo Ibarra, a lad who studied in Europe. Ibarra’s wish was to build a school to ensure the bright future of the youth of his hometown. Ibarra was helped by a pilot and farmer named Elias who opened the eyes of Crisostomo Ibarra to know more of his country and its present problems.

Kapitan Tiyago, Maria Clara and Padre Damaso

Also one of the most important characters of the novel was Kapitan Tiyago who was described as a businessman who hails from Binondo. He was the step father of Maria Clara who was the conservative girlfriend of Crisostomo Ibarra. Maria Clara is the lady who also hails from the town of San Diego and was a child borne out of an affair between the Dona Pia Alba and Padre Damaso. Padre Damaso is a Franciscan priest who served for a long time as the head priest of the town of San Diego. He was replaced by Padre Salvi who had a secret admiration for Maria Clara.

Other Characters

The other characters of Jose Rizal’s novel Noli Me Tangere are Sisa, Basilio, Crispin, Pilosopo Tasyo, Alperes, Dona Victorina, Dona Consolacion, Kapitan Basilio, Don Saturnino, Don Rafael Ibarra, Mang Pablo, Dona Pia, Lucas, Linares, Don Filipo, Tarsilo at Bruno, Kapitana Maria, Padre Sibyla, Albino, Tinyente Guevarra, Iday, Sinang, Victoria at Andeng.
- See more at: http://www.joserizal.com/jose-rizal-noli-tangere/#sthash.HHZkhANS.dpuf

Noli Me Tangere (Touch Me Not) Quotes (showing 31-60 of 33)
“He would have admired one of those fantastic visions, those magic apparitions one sometimes sees in the great theaters of Europe, in which the deafening melodies of an orchestra are made to appear among a deluge of light, a torrent of oriental diamonds and gold surrounded by a diaphanous mist, from which a deity, a sylph comes forward, her feet barely touching the floor encircled and accompanied by a luminous cloud. In her wake flowers shoot forth, a dance bursts out, harmonies awaken, and choirs of devils, nymphs, satyrs, spirits, country maidens, angels, and shepherds dance, shake tambourines gesticulate wildly, and lay tribute at the goddess’s feet.”
José Rizal, Noli Me Tangere (Touch Me Not)
“What was exchanged in the language of their eyes, more perfect than their lips, the language afforded the soul so that no sound disturbs an ecstasy of feeling? In those moments, when the thought of the two happy beings meld through their pupils, words move slowly, coarsely, like the raspy, awkward noise of thunder from dazzling light that appears after the quickness of the flash. It expresses feelings previously known, ideas yet understood, and in the end, if one must use words, it is because the heart’s ambitions—which dominates one’s whole being and overflows with happiness—wishes with the whole human organism, with all its physical and psychical faculties, to embody the poem of joy that the spirit has intoned. Language has no answer to the questions of love that either shimmer or hide within a glance. The smile must respond; the kiss, the sigh.”
José Rizal, Noli Me Tangere (Touch Me Not)
“In every instance I noted that a people’s prosperity or misery lay in direct proportion to its freedom or its inhibitions and, along the same lines, of the sacrifice or selfishness of its ancestors.”
José Rizal, Noli Me Tangere (Touch Me Not)
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Noli Me Tangere (commonly referred to by its shortened name Noli) is a novel written in Spanish by Filipino writer and national hero José Rizal, first published in 1887 in Berlin, Germany. The English translation was originally titled The Social Cancer, although more recent translations have been published using the original Latin title.

The writing of the novel

When Rizal read Uncle Tom’s Cabin Harriet Beecher Stowe‘s novel on the abuse of black slaves in America, he thought that a novel should be written about the abuses that Philippine natives were suffering at the hands of the Spanish friars. He proposed to his Filipino friends in Madrid in 1884 that they collaborate in writing a novel on the Philippines. This group of friends included his hosts, the Paternos (Pedro, Maximo, and Antonio), and Graciano Lopez Jaena. Although the other men approved of the idea of writing on Philippine life, they all wanted to write about women rather than about national problems and in any case preferred to gamble and flirt than to write. Rizal then decided he would have to write the entire book himself.

Rizal began work on the Noli while still in Madrid, Spain. Of the remainder, most was written in Paris. He finished the book in Berlin, Germany. Vicente Blasco Ibáñez, a well-known writer and political activist, volunteered to be the proofreader and consultant.

When he was finishing the book in December 1886, Rizal was penniless and despaired of ever publishing it. The novel might never have seen print had it not been for the support of his wealthy friend, Maximo Viola, who came to visit him in Berlin. Rizal gratefully presented him with the galley proofs of Noli on 29 March 1887, the day that Noli was printed.

The title

Noli me tangere is a Latin phrase that Rizal took from the Bible, meaning “Touch me not.” In John 20:13-17, the newly-risen Christ says to Mary Magdalene: “Touch me not; I am not yet ascended to my Father, but go to my brethren, and say unto them I ascend unto my Father and your Father, and to my God and your God.”

It has also been noted by French writer D. Blumenstihl that “Noli me tangere” was a name used by ophthalmologists for cancer of the eyelids. That as an ophthalmologist himself Rizal was influenced by this fact is suggested in his dedication, “To My Country”:

“Recorded in the history of human sufferings is a cancer of so malignant a character that the least touch irritates it and awakens in it the sharpest pains. Thus, how many times, when in the midst of modern civilizations I have wished to call thee before me, now to accompany me in memories, now to compare thee with other countries, hath thy dear image presented itself showing a social cancer like to that other!”

As shown by this excerpt, the alternate English title, The Social Cancer, is taken from the book’s dedication.

Summary

Having completed his studies in Europe, young Juan Crisostomo Ibarra comes back to the Philippines after a 7-year absence. In his honor, Captain Tiago throws a get-together party, which is attended by friars and other prominent figures. In an unfortunate incident, former curate Father Dámaso belittles and slanders Ibarra. But Ibarra brushes off the insult and takes no offense; he instead politely excuses himself and leaves the party because of an allegedly important task.

The day after the humbling party, Ibarra goes to see María Clara, his love interest, a beautiful daughter of Captain Tiago and an affluent resident of Binondo, Manila. Their long-standing love is clearly manifested in this meeting, and María Clara cannot help but reread the letters her sweetheart had written her before he went to Europe. Before Ibarra left for San Diego, Lieutenant Guevara, a guardia civil, reveals to him the incidents preceding the death of his father, Don Rafael Ibarra, a rich hacendero of the town.

According to the Lieutenant, Don Rafael was unjustly accused of being a heretic, in addition to being a filibuster—an allegation brought forth by Father Dámaso because of Don Rafael’s non-participation in the Sacraments, such as Confession and Mass. Father Dámaso’s animosity against Ibarra’s father is aggravated by another incident when Don Rafael helped out on a fight between a tax collector and a student fighting, and the former’s death was blamed on him, although it was not deliberate. Suddenly, all of those who thought ill of him surfaced with additional complaints. He was imprisoned, and just when the matter was almost settled, he got sick and died in jail. Still not content with what he had done, Father Dámaso arranged for Don Rafael’s corpse to be dug up and transferred from the Catholic cemetery to the Chinese cemetery, because he thought it inappropriate to allow a heretic such as Don Rafael a Catholic burial ground. Unfortunately, it was raining and because of the bothersome weight of the cadaver, the men in charge of the burial decided to throw the corpse into the lake.[1]

Revenge was not in Ibarra’s plans; instead he carries through his father’s plan of putting up a school, since he believes that education would pave the way to his country’s progress (all over the novel the author refers to both Spain and the Philippines as two different countries which form part of a same nation or family, being Spain the mother and the Philippines the daughter). During the inauguration of the school, Ibarra would have been killed in a sabotage had Elías—a mysterious man who had warned Ibarra earlier of a plot to assassinate him—not saved him. Instead the hired killer met an unfortunate incident and died. The sequence of events proved to be too traumatic for María Clara who got seriously ill but was luckily cured by the medicine Ibarra sent her

After the inauguration, Ibarra hosts a luncheon during which Father Dámaso, uninvited and gate-crashing the luncheon, again insults him. Ibarra ignores the priest’s insolence, but when the latter slanders the memory of his dead father, he is no longer able to restrain himself and lunges at Father Dámaso, prepared to stab the latter for his impudence. As a consequence, Dámaso excommunicates Ibarra. Father Dámaso takes this opportunity to persuade the already-hesitant father of María Clara to forbid his daughter from marrying Ibarra. The friar wishes María Clara to marry a Peninsular named Linares who just arrived from Spain.

With the help of the Captain-General, Ibarra’s excommunication is nullified and the Archbishop decides to accept him as a member of the Church once again. But, as fate would have it, some incident of which Ibarra had known nothing about is blamed on him, and he is wrongly arrested and imprisoned. But the accusation against him is overruled because during the litigation that followed, nobody could testify that he was indeed involved. Unfortunately, his letter to María Clara somehow gets into the hands of the jury and is manipulated such that it then becomes evidence against him.

Meanwhile, in Captain Tiago’s residence, a party is being held to announce the upcoming wedding of María Clara and Linares. Ibarra, with the help of Elías, takes this opportunity and escapes from prison. But before leaving, Ibarra talks to María Clara and accuses her of betraying him, thinking that she gave the letter he wrote her to the jury. María Clara explains to Ibarra that she will never conspire against him but that she was forced to surrender Ibarra’s letter to her in exchange for the letters written by her mother even before she, María Clara, was born. The letters were from her mother, Pía Alba, to Father Dámaso alluding to their unborn child; and that she, María Clara, is therefore not the daughter of Captain Tiago, but of Father Dámaso.

Afterwards, Ibarra and Elías board a boat and flee the place. Elías instructs Ibarra to lie down and the former covers the latter with grass to conceal the latter’s presence. As luck would have it, they are spotted by their enemies. Elías thinks he could outsmart them and jumps into the water. The guards rain shots on the person in the water, all the while not knowing that they are aiming at the wrong man.

María Clara, thinking that Ibarra has been killed in the shooting incident, is greatly overcome with grief. Robbed of hope and severely disillusioned, she asks Father Dámaso to confine her into a nunnery. Father Dámaso reluctantly agrees when María Clara threatens to take her own life. demanding, “the nunnery or death!”[2] Unbeknownst to her, Ibarra is still alive and able to escape. It was Elías who has taken the shots. It is Christmas Eve when Ibarra wakes up in the forest, gravely wounded and barely alive. It is in this forest that Ibarra finds Basilio and his lifeless mother, Sisa.

Publication history

Rizal finished the novel on December 1886. At first, according to one of Rizal’s biographers, Rizal feared the novel might not be printed, and that it would remain unread. He had been struggling financial constraints that time and thought it would be hard to pursue printing the novel. A financial aid came from a friend named Maximo Viola. Rizal at first, however, hesitated but Viola insisted and ended up lending Rizal P300 for 2,000 copies; Noli was eventually printed in Berlin, Germany. The printing was finished earlier than the estimated five months. Viola arrived in Berlin in December 1886, and by March 21, 1887, Rizal had sent a copy of the novel to his friend Blumentritt.[3]

On August 21, 2007, a 480-page then-latest English version of Noli Me Tangere was released to major Australian book stores. The Australian edition of the novel was published by Penguin Books Classics, to represent the publication’s “commitment to publish the major literary classics of the world”.[4] American writer Harold Augenbraum, who first read the Noli in 1992, translated the novel. A writer well-acquainted with translating other Latin literary works, 
Augenbraum proposed to translating the novel after being asked for his next assignment in the publishing company. Intrigued by the novel and having been known more about it, Penguin nixed their plan of adapting existing English versions of the novel, and instead translate on their own.[4]


Reaction and legacy

Noli Me Tangere was Rizal’s first novel. He was 26 at its publication. This book was historically significant and was instrumental in the establishing of the Filipino’s sense of national identity. The book indirectly influenced a revolution although the author, José Rizal, actually advocated for direct representation to the Spanish government and larger role of the Philippines inside the Spaniard political affairs. The novel was written in Spanish, the language of the educated at a time when Filipinos were markedly segregated by diverse native languages and regional cultures.

The novel created so much controversy that only a few days after his arrival, Governor-General Emilio Terrero summoned him to the Malacañang Palace and told him of the charges saying that the Noli was full of subversive ideas. After a discussion, the liberal Governor General was appeased; but he mentioned that he was unable to offer resistance against the pressure of the Church to take action against the book. The persecution can be discerned from Rizal’s letter to Leitmeritz: “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, an agent of Bismarck, they say I am a Protestant, a freemason, a sorcerer, a damned soul and evil. It is whispered that I want to draw plans, that I have a foreign passport and that I wander through the streets by night …”

Rizal depiction of nationality by emphasizing the qualities of Filipinos: devotion of a Filipina and her influence to a man’s life, the deep sense of gratitude, and the solid common sense of the Filipinos under the Spanish regime.

This novel and its sequel, El Filibusterismo (nicknamed Fili), were banned in some parts of the Philippines because of their portrayal of corruption and abuse by the country’s Spanish government and clergy. A character which has become a classic in the Philippines is “Maria Clara” who has become a personification of the ideal Filipino woman, loving and unwavering in her loyalty to her spouse. Another classic character is the priest “Father Dámaso” which reflects the covert fathering of illegitimate children by members of the Spanish clergy. In the story, Father Dámaso impregnates a woman. Copies were smuggled in nevertheless, and when Rizal returned to the Philippines after completing medical studies, he quickly ran afoul of the local government. First exiled to Dapitan, he was later arrested for “inciting rebellion” based largely on his writings. Rizal was executed in Manila on December 30, 1896 at the age of thirty-five.

The book was instrumental in creating a unified Filipino national identity and consciousness, as many Filipinos previously identified with their respective regions to the advantage of the Spanish authorities. It lampooned, caricatured and exposed various elements in the colonial society.

Nowadays, Noli me Tangere and its sequel, El Filibusterismo, is studied by Third Year and Fourth Year secondary school students in the Philippines as part of the curriculum, usually as part of their Filipino subject. The novel is also often among the topics of the required course on the study of Rizal’s life in tertiary education in the country. Textbooks designed for students were made by various publishers, and the text itself is oftentimes condensed or shortened to facilitate learning among students.

Adaptations

The Noli has since been adapted in many art forms. A 180-minute film of the same name was produced in 1961.[5] A tv series existed in 1992, and a musical play was staged in 1994. There is also a comic book adaptation.

Characters

Rizal included around 30 characters in the novel. Below are the major characters of the story.
  • Crisóstomo Ibarra – also known in his full name as Juan Crisóstomo Ibarra y Magsalin,[6] a Filipino who studied in Europe for 7 years, the love interest of Maria Clara. Son of the deceased Don Rafael Ibarra; Crisostomo changed his surname from Eibarramendia to Ibarra, from his ancestor’s surname.Elías – Ibarra’s mysterious friend, a master boater, also a fugitive. He was referred to at one point as “the pilot.” He wants to revolutionize his country. In the past, Ibarra’s grandfather condemned his grandfather of burning a warehouse, making Elias the fugitive he is.María Clara – María Clara de los Santos, Ibarra’s sweetheart; the illegitimate daughter of Father Dámaso and Pía AlbaFather Dámaso – also known in his full name as Dámaso Verdoglagas,[7] Franciscan friar and María Clara’s biological fatherDon Filipo – A close relative of Ibarra, and a filibuster.Linares – A distant nephew of Don Tiburcio de Espadaña, the would-be fiance of Maria Clara.Captain-General (no specific name) – The most powerful official in the Philippines, a hater of secular priests and corrupt officials, and a friend of Ibarra.Tandang Pablo – The Leader of the rebels, whose family was destroyed because of the Spaniards.Tarcilo and Bruno – Brothers, whose father was killed by the Spaniards.Sisa – the mother of Basilio and Crispín, who went insane after losing her sonsBasilio – the elder son of Sisa.Crispín – the younger son of Sisa who died from the punishment of the soldiers from the false accusation of stealing an amount of money.Padre Sibyla – Hernando de la Sibyla, a Filipino friar. He is described as short and has fair skin.Kaptain Tiago – also known in his fullname as Don Santiago de los Santos[8] the known father of María Clara but not the real one; lives in BinondoPadre Salví – also known in his full name as Bernardo Salví,[7] a secret admirer of María ClaraPilosopo Tasyo – also known as Don Anastasio, portrayed in the novel as pessimistic, cynic, and mad by his neighborsThe Alférez – chief of the Guardia Civil ; mortal enemy of the priests for power in San DiegoDon Tiburcio – Spanish husband of Donya Victorina who is limp and submissive to his wife; he also pretends to be a doctorDoña Victorina – Victorina de los Reyes de De Espadaña, a woman who passes herself off as a PeninsularDoña Consolación – wife of the alférez, another woman who passes herself as a Peninsular; best remembered for her abusive treatment of SisaPedro – abusive husband of Sisa who loves cockfighting…
  • References
  1. The Social Cancer by Jose Rizal“. FullBooks.com. pp. 3. http://www.fullbooks.com/The-Social-Cancer3.html. Retrieved 2008-10-22.
  2. (Spanish) Father Dámaso Explains
  3. Noli Me Tangere“. Jose Rizal University. http://www.joserizal.ph/no01.html. Retrieved 2008-10-22.
  4. a b Ubalde, Mark J. (2007-08-22). “Rizal’s Noli hits major Aussie book shelves“. GMA News. http://www.gmanews.tv/story/57101/Rizals-Noli-hits-major-Aussie-book-shelves. Retrieved 2008-10-22. ^ Noli Me Tangere (1961)“. The New York Times. http://movies.nytimes.com/movie/349068/Noli-Me-Tangere/overview. Retrieved 2008-10-22. The Social Cancer by Jose Rizal“. FullBooks.com. pp. 2. http://www.fullbooks.com/The-Social-Cancer2.html. Retrieved 2008-11-04. a b The Social Cancer by Jose Rizal“. FullBooks.com. pp. 5. http://www.fullbooks.com/The-Social-Cancer5.html. Retrieved 2008-11-04. The Social Cancer by Jose Rizal“. FullBooks.com. pp. 1. http://www.fullbooks.com/The-Social-Cancer1.html. Retrieved 2008-11-04.
  5. Noli Me Tangere (novel)
    Author José Rizal



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[News] First bilingual edition of “Noli Me Tangere” by Jose P. Rizal


Isn’t this neat? We now have a bilingual edition of Philippine’s national hero Jose Rizal’s Noli Me Tangere! I just learned of this wonderful news through The Philippine Star today, though the news came out last Nov. 21.

Noli Me Tangere,

 considered to be one of the Philippine’s greatest novel of all time, is the first of the 19th century novels, which tells the story of Crisostomo Ibarra who comes home to his town in San Diego after studying in Europe for seven years. He is an idealistic character filled with the desire to help the people in his homeland, as well as with ideas, such as access to education by more people, to transform his country into a progressive one. His idealism, though, is being met with enemies in controversial forms, including friar Padre Damaso who is involved in a conflict with Ibarra’s father, Don Rafael, and eventually causes the humiliation and death of the patriarch. Not only that--Padre Damaso uses his power to seduce Maria Clara’s mother. Maria Clara is Ibarra’s sweetheart. To make matters worst, another friar, Padre Salvi, is lusting after Maria Clara. Eventually, Ibarra is implicated in a failed uprising cleverly provoked by Padre Salvi. The male protagonist is imprisoned but rescued by Elias whom Ibarra has saved in the past. At the end, it is sad to see a disillusioned Ibarra seeing a bleak future.

Noli Me Tangere is a heavy read. Even when the book is written in the 19th century, there are social realities there that are still very evident in our society today, such as the wide gap between the rich and the poor. Don’t let me go there; as I’ve said, this book is heavy and deep, and I’m getting teary-eyed just thinking about it. After all, this is not a review; this is a sharing of a certain good news!

In observance of the sesquicentennial (150th) birth anniversary of Jose Rizal, Instituto Cervantes de Manila and Vibal Foundation have worked together to launch Noli Me Tangere in a 912-page bilingual book designed for Spanish-speaking and English-speaking readers today.

Anyway, a reproduction of the first edition in its entirety, this bilingual edition is supplemented with more than 1,200 notes by philologist Isaac Donoso on both the published Berlin edition and the original manuscript; hence, the reader can learn which parts were added, deleted, and corrected by Jose Rizal himself. On the other hand, censored passages in the original Spanish text were restored while still being faithful to Rizal’s text.

It’s getting even better--Filipino painter and hero Juan Luna’s illustrations are included in the bilingual book! Talk about two great heroes collaborating from the grave!
Source: http://www.nancycudis.com/2011/11/news-first-bilingual-edition-of-noli-me.html


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http://www.joserizal.ph/no01.html 

Noli Me Tangere

Spain, to Rizal, was a venue for realizing his dreams. He finished his studies in Madrid and this to him was the realization of the bigger part of his ambition. His vision broadened while he was in Spain to the point of awakening in him an understanding of human nature, sparking in him the realization that his people needed him. It must have been this sentiment that prompted him to pursue, during the re-organizational meeting of the Circulo-Hispano-Filipino, to be one of its activities, the publication of a book to which all the members would contribute papers on the various aspects and conditions of Philippines life.

"My proposal on the book," he wrote on January 2, 1884, "was unanimously approved. But afterwards difficulties and objections were raised which seemed to me rather odd, and a number of gentlemen stood up and refused to discuss the matter any further. In view of this I decided not to press it any longer, feeling that it was impossible to count on general support…"

"Fortunately," writes one of Rizal’s biographers, the anthology, if we may call it that, was never written. Instead, the next year, Pedro Paterno published his Ninay, a novel sub-titled Costumbres filipinas (Philippines Customs), thus partly fulfilling the original purpose of Rizal’s plan. He himself (Rizal), as we have seen, had ‘put aside his pen’ in deference to the wishes of his parents.

But the idea of writing a novel himself must have grown on him. It would be no poem to forgotten after a year, no essay in a review of scant circulation, no speech that passed in the night, but a long and serious work on which he might labor, exercising his mind and hand, without troubling his mother’s sleep. He would call it Noli Me Tangere; the Latin echo of the Spoliarium is not without significance. He seems to have told no one in his family about his grand design; it is not mentioned in his correspondence until the book is well-nigh completed. But the other expatriates knew what he was doing; later, when Pastells was blaming the Noli on the influence of German Protestants, he would call his compatriots to witness that he had written half of the novel in Madrid a fourth part in Paris, and only the remainder in Germany.

"From the first," writes Leon Ma. Guerrero, Rizal was haunted by the fear that his novel would never find its way into print, that it would remain unread. He had little enough money for his own needs, let alone the cost of the Noli’s publication… Characteristically, Rizal would not hear of asking his friends for help. He did not want to compromise them.

Viola insisted on lending him the money (P300 for 2,000 copies); Rizal at first demurred… Finally Rizal gave in and the novel went to press. The proofs were delivered daily, and one day the messenger, according to Viola, took it upon himself to warn the author that if he ever returned to the Philippines he would lose his head. Rizal was too enthralled by seeing his work in print to do more than smile.

The printing apparently took considerably less time than the original estimate of five months for Viola did not arrive in Berlin until December and by the 21st March 1887, Rizal was already sending Blumentritt a copy of "my first book."

Rizal, himself, describing the nature of the Noli Me Tangere to his friend Blumentritt, 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…"

Criticism and attacks against the Noli and its author came from all quarters. An anonymous letter signed "A Friar" and sent to Rizal, dated February 15, 1888, says in part: "How ungrateful you are… If you, or for that matter all your men, 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."

A special committee of the faculty of the University of Santo Tomas, at the request of the Archbishop Pedro Payo, found and condemned the novel as heretical, impious, and scandalous in its religious aspect, and unpatriotic, subversive of public order and harmful to the Spanish government and its administration of theses islands in its political aspect.

On December 28, 1887, Fray Salvador Font, the cura of Tondo and chairman of the Permanent Commission of Censorship composed of laymen and ordered that the circulation of this pernicious book" be absolutely prohibited.

Not content, Font caused the circulation of copies of the prohibition, an act which brought an effect contrary to what he desired. Instead of what he expected, the negative publicity awakened more the curiosity of the people who managed to get copies of the book.

Assisting Father Font in his aim to discredit the Noli was an Augustinian friar by the name of Jose Rodriguez. In a pamphlet entitled Caiingat Cayo (Beware). Fr. Rodriguez warned the people that in reading the book they "commit mortal sin," considering that it was full of heresy.

As far as Madrid, there was furor over the Noli, as evidenced by an article which bitterly criticized the novel published in a Madrid newspaper in January, 1890, and written by one Vicente Barrantes. In like manner, a member of the Senate in the Spanish Cortes assailed the novel as "anti-Catholic, Protestant, socialistic."

It is well to note that not detractors alone visibly reacted to the effects of the Noli. For if there were bitter critics, another group composed of staunch defenders found every reason to justify its publication and circulation to the greatest number of Filipinos. For instance, Marcelo H. Del Pilar, cleverly writing under an assumed name Dolores Manapat, successfully circulated a publication that negated the effect of Father Rodriguez’ Caiingat Cayo, Del Pilar’s piece was entitled Caiigat Cayo (Be Slippery as an Eel). Deceiving similar in format to Rodriguez’ Caiingat Cayo, the people were readily "misled" into getting not a copy o Rodriguez’ piece but Del Pillar’s.

The Noli Me Tangere found another staunch defender in the person of a Catholic theologian of the Manila Cathedral, in Father Vicente Garcia. Under the pen-name Justo Desiderio Magalang. Father Garcia wrote a very scholarly defense of the Noli, claiming among other things that Rizal cannot be an ignorant man, being the product of Spanish officials and corrupt friars; he himself who had warned the people of committing mortal sin if they read the novel had therefore committed such sin for he has read the novel.

Consequently, realizing how much the Noli had awakened his countrymen, to the point of defending his novel, Rizal said: "Now I die content."

Fittingly, Rizal found it a timely and effective gesture to dedicate his novel to the country of his people whose experiences and sufferings he wrote about, sufferings which he brought to light in an effort to awaken his countrymen to the truths that had long remained unspoken, although not totally unheard of.

======================

Noli Me Tángere (novel)

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Noli Me Tángere
Noli Me Tangere.jpg
The original front cover of the book
Author(s) José Rizal
Country Philippines (first printing in Berlin)
Language Spanish
Genre(s) Novel, satire, Philippine history
Publication date 1887
Media type Print (hardcover)
Followed by El Filibusterismo

Noli Me Tángere (Touch me Not / Don't touch me) is a novel written by José Rizal, the national hero of the Philippines, during the colonization of the country by Spain to expose the inequities of the Spanish Catholic priests and the ruling government.

The title, in Latin meaning Touch me not, refers to John 20:17 in the Bible (King James Version) as Mary Magdalene tried to touch the newly risen Jesus, He said "Touch me not; for I am not yet ascended to my Father."[1]

Early English translations of the novel used titles like An Eagle Flight (1900) and The Social Cancer (1912), disregarding the symbolism of the title, but the more recent translations were published using the original Latin title.

It has also been noted by French writer D. Blumenstihl that “Noli me tangere” was a name used by ophthalmologists for cancer of the eyelids. That as an ophthalmologist himself Rizal was influenced by this fact is suggested in his dedication, “To My Country”.

Originally written in Spanish, the book is more commonly published and read in the Philippines in either Filipino or English. Together with its sequel, El Filibusterismo, the reading of Noli is obligatory for high school students throughout the archipelago.

Contents

References for the novel

José Rizal, a Filipino nationalist and medical doctor, conceived the idea of writing a novel that would expose the ills of Philippine society after reading Harriet Beecher Stowe's Uncle Tom's Cabin. He preferred that the prospective novel express the way Filipino culture was backward, anti-progress, anti-intellectual, and not conducive to the ideals of the Age of Enlightenment. He was then a student of medicine in the Universidad Central de Madrid.

In a reunion of Filipinos at the house of his friend Pedro A. Paterno in Madrid on 2 January 1884, Rizal proposed the writing of a novel about the Philippines written by a group of Filipinos. His proposal was unanimously approved by the Filipinos present at the party, among whom were Pedro, Maximino and Antonio Paterno, Graciano López Jaena, Evaristo Aguirre, Eduardo de Lete, Julio Llorente and Valentin Ventura. However, this project did not materialize. The people who agreed to help Rizal with the novel did not write anything. Initially, the novel was planned to cover and describe all phases of Filipino life, but almost everybody wanted to write about women. Rizal even saw his companions spend more time gambling and flirting with Spanish women. Because of this, he pulled out of the plan of co-writing with others and decided to draft the novel alone.

Plot

Having completed his studies in Europe, young Juan Crisóstomo Ibarra y Magsalin comes back to the Philippines after a 7-year absence. In his honor, Don Santiago delos Santos "Captain Tiago" a family friend, threw a get-together party, which was attended by friars and other prominent figures. One of the guests, former San Diego curate Fray Dámaso Vardolagas belittled and slandered Ibarra.

The next day, Ibarra visits María Clara, his betrothed, the beautiful daughter of Captain Tiago and affluent resident of Binondo. Their long-standing love was clearly manifested in this meeting, and María Clara cannot help but reread the letters her sweetheart had written her before he went to Europe. Before Ibarra left for San Diego, Lieutenant Guevara, a Civil Guard, reveals to him the incidents preceding the death of his father, Don Rafael Ibarra, a rich hacendero of the town.

According to Guevara, Don Rafael was unjustly accused of being a heretic, in addition to being a subversive — an allegation brought forth by Dámaso because of Don Rafael's non-participation in the Sacraments, such as Confession and Mass. Dámaso's animosity against Ibarra's father is aggravated by another incident when Don Rafael helped out on a fight between a tax collector and a child fighting, and the former's death was blamed on him, although it was not deliberate. Suddenly, all of those who thought ill of him surfaced with additional complaints. He was imprisoned, and just when the matter was almost settled, he died of sickness in jail.

Revenge was not in Ibarra's plans, instead he carried through his father's plan of putting up a school, since he believed that education would pave the way to his country's progress (all over the novel the author refers to both Spain and the Philippines as two different countries as part of a same nation or family, with Spain seen as the mother and the Philippines as the daughter). During the inauguration of the school, Ibarra would have been killed in a sabotage had Elías — a mysterious man who had warned Ibarra earlier of a plot to assassinate him — not saved him. Instead the hired killer met an unfortunate incident and died.

After the inauguration, Ibarra hosted a luncheon during which Dámaso, gate-crashing the luncheon, again insulted him. Ibarra ignored the priest's insolence, but when the latter slandered the memory of his dead father, he was no longer able to restrain himself and lunged at Dámaso, prepared to stab him for his impudence. As a consequence, Dámaso excommunicated Ibarra, taking this opportunity to persuade the already-hesitant Tiago to forbid his daughter from marrying Ibarra. The friar wished María Clara to marry Linares, a Peninsular who had just arrived from Spain.

With the help of the Governor-General, Ibarra's excommunication was nullified and the Archbishop decided to accept him as a member of the Church once again.

Meanwhile, in Capitan Tiago's residence, a party was being held to announce the upcoming wedding of María Clara and Linares. Ibarra, with the help of Elías, took this opportunity to escape from prison. Before leaving, Ibarra spoke to María Clara and accused her of betraying him, thinking that she gave the letter he wrote her to the jury. María Clara explained that she would never conspire against him, but that she was forced to surrender Ibarra's letter to Father Salvi, in exchange for the letters written by her mother even before she, María Clara, was born.

María Clara, thinking that Ibarra had been killed in the shooting incident, was greatly overcome with grief. Robbed of hope and severely disillusioned, she asked Dámaso to confine her into a nunnery. Dámaso reluctantly agreed when she threatened to take her own life, demanding, "the nunnery or death!"[2] Unbeknownst to her, Ibarra was still alive and able to escape. It was Elías who had taken the shots.

It was Christmas Eve when Elías woke up in the forest fatally wounded, as it is here where he instructed Ibarra to meet him. Instead, Elías found the altar boy Basilio cradling his already-dead mother, Sisa. The latter lost her mind when she learned that her two sons, Crispín and Basilio, were chased out of the convent by the sacristan mayor on suspicions of stealing sacred objects. Elías, convinced that he would die soon, instructs Basilio to build a funeral pyre and burn his and Sisa's bodies to ashes. He tells Basilio that, if nobody reaches the place, he come back later on and dig for he will find gold. He also tells him (Basilio) to take the gold he finds and go to school. In his dying breath, he instructed Basilio to continue dreaming about freedom for his motherland with the 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.
Elías died thereafter.

In the epilogue, it was explained that Tiago became addicted to opium and was seen to frequent the opium house in Binondo to satiate his addiction. María Clara became a nun where Salví, who has lusted after her from the beginning of the novel, regularly used her to fulfill his lust. One stormy evening, a beautiful crazy woman was seen at the top of the convent crying and cursing the heavens for the fate it has handed her. While the woman was never identified, it is insinuated that the said woman was María Clara.

Publication history

 

Rizal finished the novel in December 1886. At first, according to one of Rizal's biographers, Rizal feared the novel might not be printed, and that it would remain unread. He was struggling with financial constraints at the time and thought it would be hard to pursue printing the novel. A financial aid came from a friend named Máximo Viola which helped him print his book at a fine print media in Berlin named Berliner Buchdruckerei-Aktiengesellschaft. Rizal at first, however, hesitated but Viola insisted and ended up lending Rizal P300 for 2,000 copies; Noli was eventually printed in Berlin, Germany. The printing was finished earlier than the estimated five months. Viola arrived in Berlin in December 1886, and by March 21, 1887, Rizal had sent a copy of the novel to his friend Blumentritt.[3]

On August 21, 2007, a 480-page then-latest English version of Noli Me Tángere was released to major Australian book stores. The Australian edition of the novel was published by Penguin Books Classics, to represent the publication's "commitment to publish the major literary classics of the world."[4] American writer Harold Augenbraum, who first read the Noli in 1992, translated the novel. A writer well-acquainted with translating other Hispanophone literary works, Augenbraum proposed to translate the novel after being asked for his next assignment in the publishing company. Intrigued by the novel and knowing more about it, Penguin nixed their plan of adapting existing English versions and instead translated it on their own.[4]

Reaction and legacy

This novel and its sequel, El filibusterismo (nicknamed El Fili), were banned in some parts of the Philippines because of their portrayal of corruption and abuse by the country's Spanish government and clergy. Copies of the book were smuggled in nevertheless, and when Rizal returned to the Philippines after completing medical studies, he quickly ran afoul of the local government. A few days after his arrival, Governor-General Emilio Terrero summoned Rizal to the Malacañan Palace and told him of the charge that Noli Me Tángere contained subversive statements. After a discussion, the Governor General was appeased but still unable to offer resistance against the pressure of the Church against the book. The persecution can be discerned from Rizal's letter to Leitmeritz:

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, an agent of Bismarck, they say I am a Protestant, a freemason, a sorcerer, a damned soul and evil. It is whispered that I want to draw plans, that I have a foreign passport and that I wander through the streets by night...
Rizal was exiled to Dapitan, then later arrested for "inciting rebellion" based largely on his writings. Rizal was executed in Manila on December 30, 1896 at the age of thirty-five.

Rizal depicted nationality by emphasizing the qualities of Filipinos: the devotion of a Filipina and her influence on a man's life, the deep sense of gratitude, and the solid common sense of the Filipinos under the Spanish regime.

The work was instrumental in creating a unified Filipino national identity and consciousness, as many natives previously identified with their respective regions. It lampooned, caricatured and exposed various elements in colonial society. Two characters in particular have become classics in Filipino culture: Maria Clara, who has become a personification of the ideal Filipina woman, loving and unwavering in her loyalty to her spouse; and the priest Father Dámaso, who reflects the covert fathering of illegitimate children by members of the Spanish clergy.

The book indirectly influenced a revolution, even though the author actually advocated direct representation to the Spanish government and a larger role for the Philippines within Spain's political affairs. In 1956, the Congress of the Philippines passed the Republic Act 1425, more popularly known as the Rizal Law, which requires all levels of Philippine schools to teach the novel as part of their curriculum. Noli Me Tángere is being taught to third year secondary school students, while its sequel El filibusterismo is being taught for fourth year secondary school students. The novels are incorporated to their study and survey of Philippine literature.[5]

Major characters

Crisostomo Ibarra

 

Juan Crisóstomo Ibarra y Magsalin, commonly referred to the novel as Ibarra or Crisóstomo, is the protagonist in the story. Son of a Filipino businessman, Don Rafael Ibarra, he studied in Europe for seven years.[6] Ibarra is also María Clara's fiancé. Several sources claim that Ibarra is also Rizal's reflection: both studied in Europe and both persons believe in the same ideas. Upon his return, Ibarra requested the local government of San Diego to construct a public school to promote education in the town.[7]

María Clara


A crayon sketch of Leonor Rivera–Kipping by Rizal.
María Clara de los Santos y Alba, commonly referred to as María Clara, is Ibarra's fiancée. She was raised by Capitán Tiago, San Diego's cabeza de barangay and is the most beautiful and widely celebrated girl in San Diego.[8] In the later parts of the novel, María Clara's identity was revealed as an illegitimate daughter of Father Dámaso, former parish curate of the town, and Doña Pía Alba, wife of Capitán Tiago.[9] In the end she entered local convent for nuns Beaterio de Santa Clara. In the epilogue dealing with the fate of the characters, Rizal stated that it is unknown if María Clara is still living within the walls of the convent or she is already dead.[10]

Capitán Tiago

Don Santiago de los Santos, known by his nickname Tiago and political title Capitán Tiago is a Filipino businessman and the cabeza de barangay or head of barangay of the town of San Diego. He is also the known father of María Clara.[8]

In the novel, it is said that Capitán Tiago is the richest man in the region of Binondo and he possessed real properties in Pampanga and Laguna de Bay. He is also said to be a good Catholic, friend of the Spanish government and was considered as a Spanish by colonialists. Capitán Tiago never attended school, so he became a domestic helper of a Dominican friar who taught him informal education. He married Pía Alba from Santa Cruz.[8]

Padre Dámaso

 

Dámaso Verdolagas, or Padre Dámaso is a Franciscan friar and the former parish curate of San Diego. He is best known as a notorious character who speaks with harsh words and has been a cruel priest during his stay in the town.[11] He is the real father of María Clara and an enemy of Crisóstomo's father, Rafael Ibarra.[9] Later, he and María Clara had bitter arguments whether she would marry Alfonso Linares or go to a convent.[12] At the end of the novel, he is again re-assigned to a distant town and is found dead one day.[10]

Elías

 

Elías is Ibarra's mysterious friend and ally. Elías made his first appearance as a pilot during a picnic of Ibarra and María Clara and her friends.[13] He wants to revolutionize the country and to be freed from Spanish oppression.[14]

The 50th chapter of the novel explores the past of Elías and history of his family. In the past, Ibarra's great-grandfather condemned Elías' grandfather of burning a warehouse which led into misfortune for Elías' family. His father was refused to be married by her mother because his father's past and family lineage was discovered by his mother's family. In the long run, Elías and his twin sister was raised by their maternal grandfather. When they were teenagers, their distant relatives called them hijos de bastardo or illegitimate children. One day, his sister disappeared which led him to search for her. His search led him into different places, and finally, he became a fugitive and subversive.[15]

Pilosopong Tacio

Filosofo Tacio, known by his Filipinized name Pilosopo Tasyo is another major character in the story. Seeking for reforms from the government, he expresses his ideals in paper written in a cryptographic alphabet similar from hieroglyphs and Coptic figures[16] hoping "that the future generations may be able to decipher it" and realized the abuse and oppression done by the conquerors.[17]
His full name is only known as Don Anastasio. The educated inhabitants of San Diego labeled him as Filosofo Tacio (Tacio the Sage) while others called him as Tacio el Loco (Insane Tacio) due to his exceptional talent for reasoning.

Doña Victorina

 

Doña Victorina de los Reyes de Espadaña, commonly known as Doña Victorina, is an ambitious Filipina who classifies herself as a Spanish and mimics Spanish ladies by putting on heavy make-up.[11] The novel narrates Doña Victorina's younger days: she had lots of admirers, but she did not choose any of them because nobody was a Spaniard. Later on, she met and married Don Tiburcio de Espadaña, an official of the customs bureau who is about ten years her junior.[18] However, their marriage is childless.
Her husband assumes the title of medical doctor even though he never attended medical school; using fake documents and certificates, Tiburcio practices illegal medicine. Tiburcio's usage of the title Dr. consequently makes Victorina assume the title Dra. (doctora, female doctor).[18] Apparently, she uses the whole name Doña Victorina de los Reyes de de Espadaña, with double de to emphasize her marriage surname.[18] She seems to feel that this awkward titling makes her more "sophisticated."

Sisa, Crispín, and Basilio

 

Sisa, Crispín, and Basilio represent a Filipino family persecuted by the Spanish authorities:

  • Narcisa or Sisa is the deranged mother of Basilio and Crispín. Described as beautiful and young, although she loves her children very much, she can not protect them from the beatings of her husband, Pedro.
  •  
  • Crispín is Sisa's 7-year-old son. An altar boy, he was unjustly accused of stealing money from the church. After failing to force Crispín to return the money he allegedly stole, Father Salví and the head sacristan killed him. It is not directly stated that he was killed, but the dream of Basilio suggests that Crispín died during his encounter with Padre Salvi and his minion.
  •  
  • Basilio is Sisa's 10-year-old son. An acolyte tasked to ring the church bells for the Angelus, he faced the dread of losing his younger brother and the descent of his mother into insanity. At the end of the novel, Elías wished Basilio to bury him by burning in exchange of chest of gold located on his death ground. He will later play a major role in El Filibusterismo.
  •  
Due to their tragic but endearing story, these characters are often parodied in modern Filipino popular culture.

  • Note: The Franciscan Order was shown by Rizal as hypocrites not because they were such during his time but because they are the most loved, and had significant numbers. Strategically, if one must attack the Spanish friars, the best is to attack the most popular during that time.

Other characters

There are a number of secondary and minor characters in Noli Me Tángere. Items indicated inside the parenthesis are the standard Filipinization of the Spanish names in the novel.

  • Padre Hernando de la Sibyla – a Dominican friar. He is described as short and has fair skin. He is instructed by an old priest in his order to watch Crisóstomo Ibarra.
  •  
  • Padre Bernardo Salví – the Franciscan curate of San Diego, secretly harboring lust for María Clara. He is described to be very thin and sickly. It is also hinted that his last name, "Salvi" is the shorter form of "Salvi" meaning Salvation, or "Salvi" is short for "Salvaje" meaning bad hinting to the fact that he is willing to kill an innocent child, Crispin, just to get his money back, though there was not enough evidence that it was Crispin who has stolen his 2 onzas.
  •  
  • El Alférez or Alperes – chief of the Guardia Civil. Mortal enemy of the priests for power in San Diego and husband of Doña Consolacion.
  •  
  • Doña Consolacíon – wife of the Alférez, nicknamed as la musa de los guardias civiles (The muse of the Civil Guards) or la Alféreza, was a former laundrywoman who passes herself as a Peninsular; best remembered for her abusive treatment of Sisa.
  •  
  • Don Tiburcio de Espadaña – Spanish Quack Doctor who is limp and submissive to his wife, Doña Victorina.
  • Teniente Guevara - a close friend of Don Rafael Ibarra. He reveals to Crisóstomo how Don Rafael Ibarra's death came about.
  • Alfonso Linares – A distant nephew of Tiburcio de Espanada, the would-be fiancé of María Clara. Although he presented himself as a practitioner of law, it was later revealed that he, just like Don Tiburcio, is a fraud. He later died due to given medications of Don Tiburcio.
  •  
  • Tía Isabel - Capitán Tiago's cousin, who raised Maria Clara.
  •  
  • Governor General (Gobernador Heneral) – Unnamed person in the novel, he is the most powerful official in the Philippines. He has great disdain for the friars and corrupt officials, and sympathizes with Ibarra.
  •  
  • Don Filipo Lino – vice mayor of the town of San Diego, leader of the liberals.
  •  
  • Padre Manuel Martín - he is the linguist curate of a nearby town who delivers the sermon during San Diego's fiesta.
  •  
  • Don Rafael Ibarra - father of Crisóstomo Ibarra. Though he is the richest man in San Diego, he is also the most virtuous and generous.
  •  
  • Dona Pía Alba - wife of Capitan Tiago and mother of María Clara, she died giving birth to her daughter. In reality, she was raped by Dámaso so she could bear a child.
  •  

Non-recurring characters

These characters were mentioned in the novel, appeared once, mentioned many times or have no major contribution to the storyline.
  • Don Pedro Eibarramendia - the great-grandfather of Crisóstomo Ibarra who came from the Basque area of Spain. He started the misfortunes of Elias' family. His descendants abbreviated their surname to Ibarra. He died of unknown reasons, but was seen as a decaying corpse on a Balite Tree.
  • Don Saturnino Ibarra - the son of Don Pedro, father of Don Rafael and grandfather of Crisóstomo Ibarra. He was the one who developed the town of San Diego. He was described as a cruel man but was very clever.
  • Salomé - Elías' sweetheart. She lives in a little house by the lake, and though Elías would like to marry her, he tells her that it would do her or their children no good to be related to a fugitive like himself. In the original publication of Noli, the chapter that explores the identity of Elías and Salomé was omitted, classifying her as a total non-existing character. This chapter, entitled Elías y Salomé was probably the 25th chapter of the novel. However, recent editions and translations of Noli provides the inclusion of this chapter, either on the appendix or renamed as Chapter X (Ex).
  • Sinang - Maria Clara's friend. Because Crisóstomo Ibarra offered half of the school he was building to Sinang, he gained Capitan Basilio's support.
  • Iday, Neneng and Victoria - Maria Clara's other friends.
  • Capitán Basilio - Sinang's father, leader of the conservatives.
  • Pedro – the abusive husband of Sisa who loves cockfighting.
  • Tandáng Pablo – The leader of the tulisanes (bandits), whose family was destroyed because of the Spaniards.
  • El hombre amarillo (apparently means "yellowish person," named as Taong Madilaw) - One of Crisostomo Ibarra's would-be assassins. He is not named in the novel, and only described as such. In the novel, he carved the cornerstone for Ibarra's school. Instead of killing Ibarra, he was killed by his cornerstone.
  • Lucas - the brother of the taong madilaw. He planned a revolution against the government with Ibarra as the leader after he was turned down by Ibarra. He was said to have a scar on his left cheek. He would later be killed by the Sakristan Mayor.
  • Bruno and Tarsilo – a pair of brothers whose father was killed by the Spaniards.
  • Ñor Juan (Ñol Juan) - appointed as foreman of the school to be built by Ibarra
  • Capitana Tika (Rustica) - Sinang's mother and wife of Capitan Basilio.
  • Albino - a former seminarian who joined the picnic with Ibarra and María Clara. Was later captured during the revolution.
  • Capitana María Elena - a nationalist woman who defends Ibarra of the memory of his father.
  • Capitán Tinong and Capitán Valentín - other known people from the town of San Diego.
  • Sacristán Mayor - The one who governs the altar boys and killed Crispín for his accusation.

Translation

Noli Me Tángere has been translated to some languages at the start of the 20th century.

Adaptations

The Noli has been adapted for literature, theater, television, and film.

See also

El Filibusterismo
Ibong Mandaragit

References

  1. ^ "John 20 (King James Version)". Bible Gateway. Retrieved on 2012-10-02.
  2. ^ Father Dámaso Explains
  3. ^ "Noli Me Tángere". Jose Rizal University. Retrieved 2008-10-22.
  4. ^ a b Ubalde, Mark J. (2007-08-22). "Rizal's Noli hits major Aussie book shelves". GMA News. Retrieved 2008-10-22.
  5. ^ Republic Act 1425: AN ACT TO INCLUDE IN THE CURRICULA OF ALL PUBLIC AND PRIVATE SCHOOLS, COLLEGES AND UNIVERSITIES COURSES ON THE LIFE, WORKS AND WRITINGS OF JOSE RIZAL, PARTICULARLY HIS NOVELS NOLI ME TANGERE AND EL FILIBUSTERISMO, AUTHORIZING THE PRINTING AND DISTRIBUTION THEREOF, AND FOR OTHER PURPOSES.
  6. ^ Derbyshire, Charles (1912). "II: Crisostomo Ibarra". The Social Cancer. New York: World Book Company. Retrieved 14 July 2010.
  7. ^ Derbyshire, Charles (1912). "XIX: A Schoolmaster's Difficulties". The Social Cancer. New York: World Book Company. Retrieved 14 July 2010.
  8. ^ a b c Derbyshire, Charles (1912). "VI: Capitan Tiago". The Social Cancer. New York: World Book Company. Retrieved 14 July 2010.
  9. ^ a b Derbyshire, Charles (1912). "LXII: Padre Damaso Explains". The Social Cancer. New York: World Book Company. Retrieved 14 July 2010.
  10. ^ a b Derbyshire, Charles (1912). "Epilogue". The Social Cancer. New York: World Book Company. Retrieved 14 July 2010.
  11. ^ a b Derbyshire, Charles (1912). "I: A Social Gathering". The Social Cancer. New York: World Book Company. Retrieved 14 July 2010.
  12. ^ Derbyshire, Charles (1912). "LX: Maria Clara Weds". The Social Cancer. New York: World Book Company. Retrieved 14 July 2010.
  13. ^ Derbyshire, Charles (1912). "XXII: Fishing". The Social Cancer. New York: World Book Company. Retrieved 14 July 2010.
  14. ^ Derbyshire, Charles (1912). "XXIV: In the Wood". The Social Cancer. New York: World Book Company. Retrieved 14 July 2010.
  15. ^ Derbyshire, Charles (1912). "L: Elias". The Social Cancer. New York: World Book Company. Retrieved 14 July 2010.
  16. ^ In Chapter 25, Filosofo Tacio insisted to Ibarra that he cannot understand hieroglyphs or Coptic. Instead, he writes using an invented form of alphabet that is based on Tagalog language. Derbyshire, Charles (1912). "XXV: In the House of the Sage". The Social Cancer. New York: World Book Company. Retrieved 15 July 2010.
  17. ^ Derbyshire, Charles (1912). "XXV: In the House of the Sage". The Social Cancer. New York: World Book Company. Retrieved 15 July 2010.
  18. ^ a b c Derbyshire, Charles (1912). "XLVII: The Espadañas". The Social Cancer. New York: World Book Company. Retrieved 14 July 2010.
  19. ^ "Au Pays des Moines". Project Gutenberg. Retrieved 17 October 2010.
  20. ^ "Friars and Filipinos". Project Gutenberg. Retrieved 17 October 2010.
  21. ^ "Noli Me Tangere/Huag Acong Salangin Nino Man: Pascual Poblete Filipino translation by Rizal, Jose". Filipiniana.net. Retrieved 17 October 2010.
  22. ^ "Noli Me Tangere/The Social Cancer: Charles Derbyshire English translation by Rizal, Jose". Filipiniana.net. Retrieved 17 October 2010.
  23. ^ "Noli me Tangere: Filippijnsche roman". Project Gutenberg. Retrieved 17 October 2010.
  24. ^ "Noli me tangere : a complete English translation of Noli me tangere from the Spanish of Dr. Jose Rizal / by Camilo Osias". National Library of Australia. Retrieved 17 October 2010.
  25. ^ "The lost Eden (Noli me tangere) A completely new translation for the contemporary reader by Leon Ma. Guerrero. Foreword by James A. Michener". National Library of Australia. Retrieved 17 October 2010.
  26. ^ "Noli Me Tangere". Google Books. Retrieved 17 October 2010.
  27. ^ "Noli Me Tangere". Retrieved 17 October 2010.
  28. ^ "Noli Me Tangere". Google Books. Retrieved 17 October 2010.
  29. ^ "Critic After Dark: Ambitious failures (part 2)". Noel Vera. Retrieved 2010-11-03.
  30. ^ "PELIKULA, ATBP.: PRE-WAR FILIPINO MOVIES". Retrieved 2010-11-03.
  31. ^ "VIEWS FROM THE PAMPANG: *196. EDDIE DEL MAR, Kapampangan 'Rizal' of the Silver Screen". Retrieved 2010-11-03.
  32. ^ "Noli me Tangere (1961)". Internet Movie Database. Retrieved 2009-11-03.
  33. ^ "Sisa (1999)". Internet Movie Database. Retrieved 2009-11-13.
  34. ^ "At Last After 118 yrs.. A sequel to Jose Rizal's classic". Roger Olivares. Retrieved 2009-11-13.
  35. ^ "Experience Theater. Experience PETA.". Philippine Educational Theater Association. Retrieved 2011-02-12.[dead link]

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