Noli Me Tangere by José Rizal Summary and Analysis PDF

Noli Me Tangere Inspiration Greatly influenced by Harriet Beecher Stowe’s Uncle Tom’s Cabin, Rizal wanted to publish a book that would play a crucial role in the political history of the country. Struggle Suspecting that he cannot count on the support of his companions, Rizal dec...

Noli Me Tangere Inspiration Greatly influenced by Harriet Beecher Stowe’s Uncle Tom’s Cabin, Rizal wanted to publish a book that would play a crucial role in the political history of the country. Struggle Suspecting that he cannot count on the support of his companions, Rizal decided to write the novel in Madrid alone towards the latter part of the same year and finished about half of it in the city. It was completed in Berlin, Germany at the end of 1886 and at the onset of 1887, the final draft was ready for publication. Savior Dr. Maximo Viola wanted Rizal to accompany him on his tour but upon learning Rizal’s dilemma, he was kind enough to delay the tour and insisted on lending Rizal P300 to publish the Noli. Rizal even made some adjustments in the novel to save on the printing costs and deleted Chapter 25 entitled “Elias and Salome”. THE NOVEL’S DESCRIPTION  Jose Rizal’s Noli Me Tangere was written in Spanish and published in 1887. Basing it from experience, the conventions of the 19th century novel and the ideals of European liberalism. Rizal was able to expose the real-life scenario under the Spanish colonial rule — the abuses and inequalities of many Spanish Catholic friars and government officials during his time.  With 63 chapters and an epilogue, Rizal was only 26 years old when the Noli was published. He was studying medicine that time at the Universidad Central de Madrid. The Noli was dedicated to the Philippines whose miseries and sorrows were brought to light in an attempt to awaken its people to the truths concerning the ills of the society during that time. Title – Noli Me Tángere Literally translated, the Latin words “noli me tángere” means, “touch me not”. Taken from John 20:17 when Mary Magdalene holds on to Jesus and he tells her not to touch him. John 20:17 Jesus said to her: “Stop clinging to me. For I have not yet ascended to the Father. But be on your way to my brothers and say to them, ‘I am ascending to my Father and to your Father and to my God and your God.” Cover CROSS- sufferings POMELO BLOSSOMS AND LAUREL LEAVES- honor and fidelity SILHOUETTE OF A FILIPINA- Maria Clara BURNING TORCH- rage and passion SUNFLOWERS- enlightenment BAMBOO STALKS THAT WERE CUT DOWN BUT GREW BACK- resilience A MAN IN A CASSOCK WITH HAIRY FEET- priests using religion in a dirty way CHAINS- slavery WHIPS- cruelties HELMET OF THE GUARDIA CIVIL- arrogance of those in authority  At the top, all that is best in Philippine life: woman, symbolizing constancy, religious faith symbolized by the tombstone, with a laurel (courage) and the flower of the pomelo, worn by bride and groom at a wedding and symbolizing purity. The words partly covered by the title are the secret, inner dedication by Rizal to his parents. To the left of the title, the flower mirasol, representing youth seeking the sun. The author's name, meaning the green of renewal, mounting up into the green of the most enduring of all Philippine trees, the bamboo. At the bottom, all that is worst in Philippine life: the helmet of the Civil Guard, the whip and instruments of torture, and the foot of a friar. CHARACTERS Ibarra (Juan Crisóstomo Ibarra y Magsalin) A wealthy young mestizo who has just returned to the Philippines after seven years of studying in Europe. Sophisticated, highly esteemed, and very idealistic. Ibarra is also María Clara's fiancé. Upon his return, Ibarra requested the local government of San Diego to construct a public school to promote education in the town. María Clara (María Clara de los Santos y Alba) Woman of high social standing, she is the adoptive daughter of Capitan Tiago and goddaughter to the vile Fr. Damaso. Most beautiful and widely celebrated girl in San Diego. 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. In the end she entered local covenant for nuns Beaterio de Santa Clara. Padre Dámaso (Dámaso Verdolagas) 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. He is the real father of María Clara and an enemy of Crisóstomo's father, Rafael Ibarra. At the end of the novel, he is again re- assigned to a distant town and is found dead one day. Elías 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. He wants to revolutionize the country and to be freed from Spanish oppression. He takes on the identity of a laborer to gather intelligence for his new friend, uncovering a plot against Sr. Ibarra’s life. Don Rafael Ibarra Father of Crisóstomo Ibarra. A great supporter of liberal education for all and a vocal critic of the corrupt practices of the Spanish friars, he earns the ire of the vitriolic Fray Damaso who accuses him of sedition and heresy. Though he is the richest man in San Diego, he is also the most virtuous and generous. Father Salví A younger, more cunning Spanish priest who assumes control over Fr. Damaso’s post as friar curate of San Diego. He is in many regards more dangerous that his precursor as he is a more canny strategist who knows how to leverage the multiple dirty little secrets each of the members of San Diego’s high society circle has. Capitán Tiago (Don Santiago de los Santos) 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. 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. Doña Victorina (Doña Victorina de los Reyes de Espadaña) Ambitious Filipina who classifies herself as a Spanish and mimics Spanish ladies by putting on heavy make-up.  Sisa, Crispín, and Basilio Sisa, Crispín, and Basilio represent a Filipino family persecuted by the Spanish authorities. Narcisa or Sisa is the crazy mother of Basilio and Crispín. Described as beautiful and young. Crispín is Sisa's 7-year-old son. An altar boy, he was unjustly accused of stealing money from the church. Basilio is Sisa's 10-year-old son. An acolyte tasked to ring the church bells for the Angelus. SYMBOLISMS IN THE NOLI ME TANGERE The Schoolhouse More than just an organization for learning the schoolhouse has become a symbol of empowerment and freedom. Crispin and Basilio These characters represent the opposite end of the spectrum of not having received education. Tinola and betel nut parcels served at a fancy, formal gathering These food items are symbolic of the wide variety of party-goers that have made their way into Crisostomo Ibarra's welcoming party: social climbers and sycophants, hustlers, and the intellectuals of the day all under one roof. Capitan Tiago Capitan Tiago, like the Philippine government, powerless and silently enduring of the disgraces he suffers at the hands of the Catholic priests that eat at his table and rape his wife. Capitan Tiago also represents the rich Filipinos who opted to be allies (as in ‘tuta’) of Spanish officials and friars just to preserve their wealth and political position. Elias and Ibarra The two characters Elias and Ibarra symbolize the two contrasting means by which political reforms are to be achieved. Elias, the mysterious insurgent, who represents political reforms achieved through bloody revolution. Ibarra, who represents political reforms achieved through civil discussions. Maria Clara Maria Clara symbolizes the nation of the Philippines under Spanish rule. She also embodies everything that the author finds wrong about the typical Filipino woman of the time-timid, no strong convictions, focused solely on domestic and church concerns, and blindly devoted to her parents and guardians. Maria Clara’s character also personifies some ideal Filipina—loving and unwavering in their loyalty to their respective spouses. Crisostomo Ibarra He represents the small group of Filipinos who had a chance to study abroad and dreamt of improving the country. Father Damaso His character is a reflection of the then rampant covert fathering of illegitimate children by friars. Pilosopo Tasio This character symbolizes those whose ideas were advanced and wise but are perceived by the uneducated as weird or lunatic. Sisa and her sons Crispin and Basilio They epitomize a Filipino family oppressed by the Spanish authorities. Doña Victorina She represents some ambitious Filipinas who wanted to be classified as Spanish, hence the putting on of heavy make-up. She despised everything Filipino and imitated what was Spanish — an embodiment of a social climber and colonial mentality. Don Tiburcio Doña Victorina’s husband stands for incompetent and unqualified Spaniards who illegally practiced their supposed profession in the Philippines. Padre Salvi The curate who secretly harbors lust for Maria Clara, represents the seemingly kind but in fact wicked Spanish friars. The School Master of San Diego He symbolized intellectual disappointment during Rizal’s time. Don Rafael Ibarra As Ibarra’s father, he symbolized a rich landlord with a social conscience. REACTIONS TO NOLI  The Spanish officials and friars, especially the sensitive ones, were furious by the contents of the Noli. Rizal’s friends and compatriots, on the other hand, praised and defended the novel. Non-Filipino defenders of the Noli include Rizal’s Austrian friend, Ferdinand Blumentritt, and Dr. Miguel Morayta, statesman and history professor in Central University of Madrid. Federico Faura, Rizal’s Jesuit professor, told the Noli’s author that “everything in it was the truth,” but also foretold, “You may lose your head for it.”  During Rizal’s first homecoming in 1887, Governor General Emilio Terrero summoned him to the Malacañang Palace a few days after his (Rizal’s) arrival. Terrero told Rizal that Bernardino Nozaleda, the Archbishop of Manila, petitioned to ban the Noli. The governor general asked Rizal for a copy of the Noli and found noting ‘criminal’ in the book. He nonetheless assigned Lt. Jose Taviel de Andrade of the Gurdia Civil to be Rizal’s bodyguard, fearing that Noli attackers would harm the author.  In Madrid, a newspaper article written by a Vicente Barrantes resentfully attacked the Noli. Similarly, some members of the Spanish Cortes overstated the novel through formal speeches labeling it as “anti-Catholic, Protestant, socialistic.” Another attacker of Noli happened to be Rizal’s namesake, Jose Rodriguez, an Augustinian priest who even took great pains to write eight anti-Noli pamphlets, which were forcibly sold to church-goers.  Describing the effects of Noli, Rizal himself wrote, “My book made a lot of noise; everywhere, I am asked about it. They wanted to anathematize me [‘to excommunicate me’] because of it... I am considered a German spy … a Protestant, a freemason, a sorcerer, a damned soul and evil.” Rizal once received a letter dated February 15, 1888 which was comparable to a death threat. HISTORY OF THE NOVEL Rizal began writing El Filibusterismo in October 1887 while he was in Calamba, Laguna. In 1888, he revised the plot and some chapters in London. Rizal continued to work on his manuscripts in Paris. Then, he moved to Brussels, Belgium where, the cost was cheaper and there were less distractions so he could focus on finishing the book. He finally completed the book on March 29, 1891 in Biarritz, France and was published in September 18 of that year in Ghent. HISTORY OF THE NOVEL The novel is said to have been written against the background of threats and oppressions that Rizal and his family suffered because of the Noli and the so-called Calamba agrarian trouble. At first, Rizal financed El Fili’s printing by placing his properties as collateral. However, Rizal’s next letter to Jose Ma. Basa carried the sad news that the printing had to be suspended due to lack of funds, and it was at this point that Valentin Ventura came into the picture. HISTORY OF THE NOVEL Ventura was one of the Filipinos who promised to co-author Rizal’s Noli but ended up contributing nothing. In recall, it can be assumed that Ventura was bothered by his conscience— having known Rizal’s difficulty, he offered his generous monetary assistance for Rizal’s El Fili. On the contrary, even with Ventura’s help, Rizal found it necessary to fundamentally shorten the novel, erasing 47 whole pages from the 279-page manuscript to save expenses. HISTORY OF THE NOVEL Thus, the printed El Fili, which came off the press by mid-September 1891, turned out comprising only 39 chapters compared to the 63 of the Noli — contrary to his original plan to make a longer sequel. For Ventura’s saving act, Rizal gave him the novel’s original manuscript, a pen, and an autographed printed copy. In 1925, the Philippine government bought the El Fili manuscript from Ventura for a large sum of 10, 000 pesos (Zaide,1984). At present, it is now being kept in the National Library. FILIBUSTERO DEFINED Rizal had to define the word filibuster to his German friend Ferdinand Blumentritt who did not understand his use of word in Noli Me Tangere. In a letter, Rizal explained: “The word filibuster is little known in the Philippines. The masses do not know it yet. I heard it for the first time in 1872 when the tragic executions of GOMBURZA took place. I still remember the panic that this word created…” FILIBUSTERO DEFINED By the end of the 19th century, the word filibuster had acquired the meaning “subversive” in the Philippines, hence the book is about subversion. Note that the ‘Filibusterismo’ in the novel’s title is derived from the simpler term ‘filibustero’, which contextually means subversive, dissident, revolutionary, seditious, insurrectionary, and treasonous. Fittingly, Rizal dedicated the book to the memory of the GOMBURZA, the three Filipino patriotic priests who were accused of being ‘filibustero’ and thus executed. FILIBUSTERO DEFINED In his dedication, Rizal fearlessly declared his conviction that the Spanish officials’ treatment of the priests’ case was unjust “as [their] involvement in the Cavite Mutiny is not clearly proved”. The dedication partly reads: “To the memory of the priests, Don Mariano Gomes (85 years old), Don Jose Burgos (30 years old), and Don Jacinto Zamora (35 years old). Executed in the Bagumbayan Field on the 28th of February, 1872 … I have the right to dedicate my work to you as victims of the evil which I undertake to combat…” FILIBUSTERO DEFINED Rizal however made mistakes in indicating the ages of the priests and the date of their execution. During their martyrdom on the 17th (not 28th) of February, 1872, Gomes was then 73 (not 85), Burgos was 35 (not 30) and Zamora was 37 (not 35). After distributing the copies of the first edition to his friends in Europe, Rizal designated most of the remainder to be sent to the Philippines. The books were first sent to his residence in Hong Kong, to be sneak in to the Philippines by his friends. Upon shipment, the copies were immediately seized by the authorities, making it a rare book overnight.  CHARACTERS OF EL FILIBUSTERISMO SIMOUN Crisóstomo Ibarra in disguise, presumed dead at the end of Noli Me Tángere. Ibarra has returned as the wealthy jeweler Simoun. His appearance is described as being tanned, having a sparse beard, long white hair, and large blue-tinted glasses. He was sometimes crude and confrontational. While presenting as the arrogant elitist on the outside, he secretly plans a violent revolution in order to avenge himself for his misfortunes as Crisóstomo Ibarra, as well as hasten Elías' reformist goals. BASILIO In the events of El Fili, he is an aspiring and so far successful physician on his last year at university and was waiting for his license to be released upon his graduation. After his mother's death in the Noli, he applied as a servant in Capitán Tiago's household in exchange for food, lodging, and being allowed to study. He is a quiet, contemplative man who is more aware of his immediate duties as a servant, doctor, and member of the student association than he is of politics or patriotic endeavors. His sweetheart is Juli, the daughter of Kabesang Tales whose family took him in when he was a young boy fleeing the Guardia Civil and his deranged mother. ISAGANI Basilio's friend. He is described as a poet, taller and more robust than Basilio although younger. He is the nephew of Padre Florentino, but is also rumored to be Florentino's son with his old sweetheart before he was ordained as a priest. His uncontrolled idealism and poeticism clash with the more practical and ordinary concerns of his girlfriend, Paulita Gómez. When Isagani allows himself to be arrested after their association is outlawed, Paulita leaves him for Juanito Peláez. FATHER FLORENTINO Isagani's uncle and a retired priest. Florentino was the son of a wealthy and influential Manila family. He entered the priesthood at the insistence of his mother. He is described as white-haired, with a quiet, serene personality and a strong build. He did not smoke or drink. He was well respected by his peers, even by Spanish friars and officials. CAPITÁN TIAGO Don Santiago de los Santos María Clara's father. Having several landholdings in Pampanga, Binondo, and Laguna, as well as taking ownership of the Ibarras' vast estate, Tiago still fell into depression following María's entry into the convent. He alleviated this by smoking opium, which quickly became an uncontrolled vice, worsened by his association with Padre Írene who regularly supplied him with the substance. Tiago died of shock upon hearing of Basilio's arrest and Padre Írene's embellished stories of violent revolt. CAPTAIN-GENERAL The highest-ranking official in the Philippines during the Spanish colonial period. The Captain-General in the novel is Simoun's friend and confidant, and is described as having an insatiable lust for gold. Simoun met him when he was still a major during the Ten Years' War in Cuba. When he was sent in the Philippines, Simoun used him as a pawn in his own power plays to drive the country into revolution. FATHER BERNARDO SALVÍ The former parish priest of San Diego in Noli Me Tángere, and now the director and chaplain of the Santa Clara convent. The epilogue of the Noli implies that Salví regularly rapes María Clara when he is present at the convent. In El fili, he is described as her confessor. In spite of reports of Ibarra's death, Salví believes that he is still alive and lives in constant fear of his revenge. FATHER HERNANDO DE LA SIBYLA A Dominican priest introduced in Noli Me Tángere who now serves as the director and chaplain of the University of Santo Tomas. FATHER MILLON A Dominican priest who serves as a physics professor in the University of Santo Tomás. QUIROGA A Chinese businessman who aspired to be a consul for China in the Philippines. Simoun coerced Quiroga into hiding weapons inside the latter's warehouses in preparation for the revolution. DON CUSTODIO Custodio de Salazar y Sánchez de Monteredondo, a famous "contractor" who was tasked by the Captain- General to develop the students association's proposal for an academy for the teaching of Spanish. Some of the novel's most scathing criticism is reserved for Custodio, who is portrayed as an opportunist who married his way into high society, who regularly criticized favored ideas that did not come from him, but was ultimately, laughably incompetent in spite of his scruples BEN-ZAYB A columnist for the Manila Spanish newspaper El Grito de la Integridad. Ben-Zayb is his pen name and is an anagram of Ybáñez, an alternate spelling of his last name Ibáñez. Ben-Zayb is said to have the looks of a friar, and believes that in Manila they think because he thinks. He is deeply patriotic, sometimes to the point of jingoism. Father Camorra derisively calls him an ink-slinger. FATHER CAMORRA The parish priest of Tiani. Ben-Zayb's regular foil, he is said to look like an artilleryman in counterpoint to Ben-Zayb's friar looks. He stops at nothing to mock and humiliate Ben-Zayb's liberal pretensions. In his own parish, Camorra has a reputation for unrestrained lustfulness. He drives Juli into suicide after attempting to rape her inside the convent. For his misbehavior he was "detained" in a luxurious riverside villa just outside Manila. FATHER ÍRENE Capitán Tiago's spiritual adviser. Írene is severely criticized as a representative of priests who allied themselves with temporal authority for the sake of power and monetary gain. Írene secretly but regularly supplies Capitán Tiago with opium while exhorting Basilio to do his duty. Írene overstated stories of panic following the outlawing of the student association Basilio was part of, hastening Capitán Tiago's death. With Basilio in prison, he then removed Basilio out of Tiago's last will and testament, ensuring he inherited nothing. PLACIDO PENITENTE A student of the University of Santo Tomas who had a distaste for study and would have left school if it were not for his mother's pleas for him to stay. He clashes with his physics professor, who then accuses him of being a member of the student association, whom the friars despise. Following the confrontation, he meets Simoun at the Quiapo Fair. Seeing potential in Placido, Simoun takes him along to survey his preparations for the upcoming revolution. PAULITA GÓMEZ The girlfriend of Isagani and the niece of Doña Victorina, the old Indio who passes herself off as a Peninsular, who is the wife of the quack doctor Tiburcio de Espadaña. In the end, she and Isagani part ways, Paulita believing she will have no future if she marries him. She eventually marries Juanito Peláez. JULI Juliana de Dios, the girlfriend of Basilio and the youngest daughter of Kabesang Tales. When Tales was captured by bandits, Juli petitioned Hermana Penchang to pay for his ransom. In exchange, she had to work as Penchang's maid. Basilio ransomed her and bought a house for her family. When Basilio was sent to prison, Juli approached Tiani's curate, Padre Camorra, for help. When Camorra tried to rape her, Juli jumped to her death from the church's tower. KABESANG TALES Telesforo Juan de Dios, a former cabeza de barangay of Barrio Sagpang in Tiani. He was a sugarcane planter who cleared lands he thought belonged to no one, losing his wife and eldest daughter in the endeavor. When the Dominicans took over his farm, he fought to his last money to have it retained in his possession. He later joined the bandits and became one of their fiercest commanders. Tandang Selo, his father, would later on join his band after the death of Juli. HERMANA PENCHANG The one among the "rich folks" of Tiani who lent Juli money to ransom Kabesang Tales from the bandits. Penchang is described as a religious woman who speaks Spanish; however, her piety was clouded over by the virtues taught by the friars. While Juli was in her service, she made her work constantly, refusing to give her time off so she can take care of her grandfather Selo. MACARAIG The leader of student association for teaching of Spanish. He is described as wealthy, with his own coach, driver, and set of horses. After the outlawing of the group, he was the first to post bail. He then left the country after his release. SANDOVAL A Peninsular who had come to Manila as a government employee and was finishing his studies, and who had completely identified himself with the cause of the Filipino students. After the outlawing of the group, he still managed to pass his courses through sheer oratorical skill. JUANITO PELÁEZ Isagani's rival for Paulita Gómez's affection. He was the son of a Timoteo Peláez, a metalworks trader. He was a favorite of his professors. A regular prankster, he was said to have developed a hump by playing some trick and then hunching behind his classmates. He paid his dues to the student association, but broke away just as easily when the association was outlawed. Following Isagani's arrest, Paulita breaks off from Isagani to marry Juanito. PREMISES OF EL FILI In actual fact, the El Filibusterismo is a continuation of the Noli Me Tangere, which still exposes the real picture of the Filipino society at the hands of the Spanish government officials. Issues concerning socio-political activities that were mentioned in the Noli are also dealt with in its sequel such as the abuses and hypocrisy of the members of the Spanish Catholic clergy, superstitions disguising as religious faith, the need for reform in educational system, the exploitation and corruption of government officials, and the pretenses of some social-climbing Filipinos and Spaniards. PREMISES OF EL FILI What sets El Fili apart from Noli is that it offers various means (ideal for Rizal) of attaining social reform. There were dialogues and incidents that seemed to suggest the apparent unlikelihood of any radical socio- political change. The main character’s persistence to push through with the rebellion, on the other hand, seemed to suggest that independence is attainable through revolution. However, the closing chapters rather imply that freedom must be attained without bloodshed as the story ends with the failure of Simoun’s planned uprising. PREMISES OF EL FILI The ending, some scholars explain however, should not be interpreted as Rizal’s definite stand against revolution. In fact, Rizal can be said to be against unprepared and disorganized rebellion of an uneducated people, which could have a slight chance of victory. THE SEMBLANCE OF NOLI AND EL FILI Both novels portray an exposure of the ills of the Spanish authorities. In depicting the social conditions in the country, the use of satires and caricatures were very evident, although El Fili is more serious, less humorous and more bitter in its treatment of the situations. The suffering of the native Filipinos from the cruelty and exploitation of the colonizers were very much depicted in the Noli. On the other hand, there is awakening in El Fili wherein the natives were described to be at the edge of a rebellion as revolutionary forces have been formed. THE SEMBLANCE OF NOLI AND EL FILI In general, El Fili presents a more miserable representation of the country under the Spanish regime. The novel is more radical and revolutionary — it has less idealism and romance as compared to the Noli. The El Fili manifests Rizal’s more mature and less hopeful attitude toward the socio-political situation in the country. The novel’s poor outlook and more tragic mood can be attributed to the persecutions and sufferings that Rizal and his family experienced from the Spanish friars and officials in the years he was writing the novel. THE SEMBLANCE OF NOLI AND EL FILI Some of Rizal’s friends like Blumentritt and Graciano Lopez Jaena expressed that the El Fili was more superior than Noli. Apparently, Rizal himself also believed in the superiority of the El Fili. When its printing had to be stopped for lack of funds. Indeed, the El Filibusterismo is a novel about a failed revolution as organized by Simoun. His return to the Philippines was to encourage corruption in the government using his wealth and influence in order to provoke the people take a stand against the Spanish regime. THE SEMBLANCE OF NOLI AND EL FILI Rizal’s message was very clear: Filipinos should be courageous enough to protest and proclaim their rights. They have to be willing to sacrifice in the face of oppression and tyranny — only then can they be deserving of the independence that they desperately want to attain. THE SEMBLANCE OF NOLI AND EL FILI According to Guerrero (1998), Rizal was a reluctant revolutionary. He believed in independence as a solution to the sufferings of the many Filipinos under the Spanish rule but he hesitated and backed down. For Rizal, God will provide the means — be it a revolution or a peaceful separation from Spain — but they need education, exemplary lives and the willingness to sacrifice for other people.  NOLI ME TANGERE AND EL FILIBUSTERISMO COMPARED Noli Me Tangere El Filibusterismo A romantic novel A political novel A book of the heart A work of the head A book of feeling A book of thought It has freshness It contains bitterness, color, humor and hatred, pain, violence intelligence and sorrow Contains 63 Chapters Contains 39 Chapters