Noli Me Tangere — Chapter 21 Discussion Notes.pdf

Noli Me Tangere by José Rizal Chapter 21 DISCUSSION NOTES Chapter 21: A Mother's Tale pg. 127 - In the epigraph of the chapter, Rizal alludes to a saying or quotation reputedly attributed to "Alaejos"1 The epigraph (in Spanish): Andaba incierto—volaba errante / Un solo instante—sin descansar… - In E...

Noli Me Tangere by José Rizal Chapter 21 DISCUSSION NOTES Chapter 21: A Mother's Tale pg. 127 - In the epigraph of the chapter, Rizal alludes to a saying or quotation reputedly attributed to "Alaejos"1 The epigraph (in Spanish): Andaba incierto—volaba errante / Un solo instante—sin descansar… - In English: [Pronoun] wandered uncertain—flew wandering / A single moment—without rest… - This apocryphal quotation, whether authentic or spurious, depicts a frantic state of restlessness This accurately portrays the plight of the mother in this chapter, who is overwhelmed by fear and uncertainty as to the safety of her sons Basilio and Crispín, amid the latter's theft charges - Once again, note that Crispín's theft accusations are bogus, as they have no basis in reality - Rizal picks up from the end of Chapter 18 ("Souls in Torment"), with Sisa desperately hurrying home Earlier, she was at the parish house, desperate for answers about the whereabouts of her son Crispín - Up to this point, we still do not know what happened to Crispín after he was dragged away by the chief sacristan, although a series of foreboding clues left by Rizal sadly suggest a terrible fate… There, a servant told her that Father Salví had instructed him to tip her sons off to the Guardia Civil - If his report is to be believed, there remains a chance that Crispín's still alive, although in custody - However, one can doubt the reliability of part of his report if one suspects Father Salví's "illness" as concealing potential foul play [circumstance would implicate him for Crispín's disappearance] His strange indisposition on the morning after Crispín's disappearance raises glaring suspicions Unfortunately, because of this, we can't rule out the possibility that Crispín is no longer with us - Grimly, it may indeed turn out that Father Salví brutally and unspeakably murdered Crispín - Sadly, Rizal may have already hinted at this tragic fate several times previously in the novel Crispín informed Basilio in Chapter 15 that the curate had threatened to beat him to death Basilio's nightmare in Chapter 17 eerily coincides with a potential terrible fate for Crispín - It graphically portrayed the parish priest and the chief sacristan caning Crispín to death - In the subsequent chapter, Father Salví unusually withdrew his hand from Sister Rufa This uncannily coincides with Basilio's nightmare, since in it, Crispín bit the priest's hand in a primal act of self-defense [this eerily implies that it might have happened] - However, at this point, nothing is definite until Rizal resolves this mystery later in the novel Sisa's emotional turmoil is engendered by the dire and alarming circumstances she's currently facing - This leaves her feeling utterly alone and devoid of hope [this underscores her isolation and crisis] Rizal observes that it is instinctual of human nature to cling to any glimmer of hope amid dire straits - He writes that we're naturally inclined to follow this instinct, even if it puts us into further danger - For Sisa, her frantic attempt to save her sons propels her forward, regardless of the consequences - Sisa's sole desire is to protect her sons from harm, but she's confounded and lacks a clear path to do so Rizal's use of rhetorical question stresses her desperation and the uncertainty clouding her judgment - Rizal reflects on the unconditional nature of maternal love and determination, as exemplified by Sisa This suggests that a mother's drive to protect her children transcends conventional considerations of feasibility and propriety [this highlights Sisa's unconditional love and commitment toward her sons] - Sisa's physical flight is paralleled by her mental state, pursued by fear and a foreboding sense of doom "Desolately" and "sinister presentiments" further convey her profound distress and ominous outlook - Rizal reveals to us what is troubling Sisa: Basilio's potential arrest and Crispín's unknown whereabouts If the servant's report in Chapter 18 is to be relied on, the Guardia Civil has already been dispatched after Basilio, whom Sisa had earlier left behind at home, and Crispín, whose fate is still unresolved - If at least one of the boys were to be caught, they could face corporal punishment and penal labor - Part of the servant's report may turn out to be unreliable, implying that Crispín met a terrible end - As Sisa approaches her home, she could barely discern the figures of two soldiers of the Guardia Civil From her point of view, the soldiers' helmets are hardly visible, just peeking out over her hut's fence This visual detail instantly signals trouble and heightens her anxiety about the situation awaiting her Her emotions upon noticing them are "impossible to describe," implying their depth and complexity 1. "a … Alaejos" → Unfortunately, no other sources featuring this purported quotation could be traced. It's possible that the source of this apocryphal saying or quotation has not been identi ed or is now lost. There's also a slim possibility that Rizal fabricated this quotation. Alaejos refers to a municipality located in the province of Valladolid, within the autonomous community of Castile and León, in northwest Spain. fi 1 Noli Me Tangere by José Rizal Chapter 21 DISCUSSION NOTES - This suggests a tumult of fear, anxiety, and perhaps an ineffable premonition of impending doom Faced with the immediate threat of the soldiers, Sisa momentarily loses all other thoughts, focusing solely on the danger at hand [this lapse in thought emphasizes the overwhelming nature of her fear] She's acutely aware that the presence of the civil guards usually signifies the protection of the town's - - pg. 128 - - - wealthiest residents, implying that their presence at her home is out of the ordinary and likely tied to serious accusations against her or her family [specifically, the made-up theft charges against Crispín] She worries about the uncertain future of her and her sons, given their fabricated accusations of theft - This reflects the fact that nearly everyone believes in the trumped-up theft charges against Crispín Remember that in Chapter 15, Crispín warned about this to Basilio prior to being dragged away - "…everyone is lying…they say we are thieves because our father is a bad man…" [page 88] - It is the colonial society that others the poor as "criminals," "troublemakers," "ne'er-do-wells," etc. She views the soldiers as "not men, just civil guards," indicating they lack humanity and compassion - They are driven solely by their duties and obligations, which likely won't favor her family's plight - Echoes her prior observation in Chapter 17 that "civil guards don't think about mothers" [page 96] Additionally, she perceives that civil guards "don't hear anyone's pleas, and are used to seeing tears" - This observation emphasizes her belief in the civil guards' indifference to individual suffering and desensitization to the distress of those they encounter, further diminishing her hope for any mercy Sisa glimpses at the sky in solace, finding a moment of beauty or divine reassurance amidst her turmoil This contrast between dire situation and serene sky might offer a fleeting sense of hope and comfort The physical manifestation of her fear—trembling—forces her to pause and try to regain composure - This action highlights the anxiety that grips her as she braces to face whatever awaits her at home The civil guards are seen exiting Sisa's house, implying they have completed their search or task inside The phrase "coming forward alone" seems to suggest that they are not escorting or detaining anyone - This offers an ostensible relief to Sisa that her sons might not be in immediate danger from them - Discovering that the soldiers' only seizure was a hen she'd been preparing brings a seeming relief Though the hen's loss is unfortunate, in reality it's inconsequential compared to her sons' safety - Her physical reaction of exhaling symbolizes a release of the tension and dread bottling up inside This is coupled with an emotional uplift, signaling a seeming momentary respite from her fears Either speaking to herself or perhaps addressing the soldiers directly, Sisa's sense of gratitude is evident Her standards for "goodness" in this moment are defined by her ostensible relief in the hope that her sons haven't been arrested by the Guardia Civil [reflects the desperate situation she finds herself in] In a hypothetical scenario, she would be willing to endure material loss in exchange for her sons' safety This illustrates the depth of her unconditional love and the extent she'd go to ensure their well-being - As seen earlier in Ch. 16, this demonstrates the profound love and sacrifice innate in motherhood Reflects the extreme conditions she's currently in, where her sons' safety is paramount above all else Sisa glances up at the heavens, which has become a motif for her seeking spiritual solace and guidance The sight of herons in flight, which Rizal poetically refers to as "wispy clouds in the Philippine sky," likely due to their typical gray and white plumage, provides a moment of beauty and a sign of hope This rekindles her confidence, propelling her forward down the path [despite the uncertainty ahead] Sisa attempts to feign distraction by appearing daydreaming, indicating a desire to avoid confrontation Specifically, she wants to avoid an altercation with the civil guards over the hen they've now seized Rizal's personification of the hen as "cackling its cries for help" adds a layer of distress to the scene Sisa's cautiousness prevails over her natural impulse to flee from her potentially perilous predicament This implies she's aware that running away could provoke suspicion of lead to worse consequences The civil guards' call is described as "imperious," stressing their authority and demand for compliance Sisa's trembling reveals her fear, yet she attempts to ignore the call as a form of resistance of hope that she might avoid further interaction [this shows her desire to maintain some control over her situation] The behavior of the civil guards escalates, this time from calling to shouting with offensive language This indicates their impatience and propensity for intimidation, underscoring the tension Sisa feels Despite Sisa's efforts to ignore them, the intensity of her plight forces her to confront the civil guards Her physical reaction, specifically turning pale and quaking, is a visible manifestation of her terror A civil guard gestures for Sisa to obey and come closer, further asserting his control over the encounter Her "mechanical" approach indicates Sisa's operating on "autopilot," driven by fear rather than volition Her paralyzed tongue and dry throat are physiological symptoms of her extreme anxiety at this point 2 Noli Me Tangere by José Rizal Chapter 21 DISCUSSION NOTES - This renders her speechless and exacerbates her vulnerability [reflects her tense and dire situation] - A civil guard immediately issues a stark threat: if Sisa doesn't tell them "the truth," she'll be tied to the - - - - pg. 129 - - nearest tree and shot to death [this grim threat of violence is intended to intimidate her into compliance] Ironically, "the truth" they're referring to (i.e., Crispín's trumped-up theft accusations) is in fact false - However, we must once again remember that nearly everyone fell for the lie hook, line, and sinker Resorting to such brutal threats over spurious theft charges highlights the brutality of the civil guards - This also stresses the precarious position of poor, ordinary citizens (e.g., Sisa) under colonial rule This echoes what Rizal said in his social commentary prior to Sisa's introduction in Chapter 16: - "…the poor…must bribe bureaucrats, clerks, and soldiers to leave them in peace…" [pg. 90] Sisa quickly glances at the tree, aware of the reality of the threat and the possibility she might be killed Another civil guard asks Sisa if she's "the mother of those two thieves," referring to Basilio and Crispín His question is accusatory, labeling her sons as criminals [reflects societal stigmas toward the poor] She echoes the accusations by responding mechanically to the civil guards with "Mother of thieves!" - This illustrates how the guards' words start to impose an unwanted identity on her and her family - Her mechanical response is likely lip service, strongly suggesting her disbelief in the accusations The Guardia Civil press on with their interrogation, demanding from Sisa the location of the "money" Their question assumes guilt by association, believing she is complicit in her sons' supposed crimes Their method of interrogation is based on presumption and intimidation rather than actual evidence Sisa's hesitant and incomplete response of "Ah, the money…" shows either her confusion or disbelief This implies that she's overwhelmed by the accusations hurled at her and that no such money exists Still insisting on her sons' guilt, a civil guard warns Sisa not to dismiss her sons' supposed theft charges They implicitly threaten to resort to violence if she doesn't comply [this demonstrates their coercion] They inform her of their intention to arrest her sons, with the older one (i.e., Basilio) having escaped - Presumably, this refers to Basilio's escape from the parish house [though there is some ambiguity] Basilio may have managed to flee the house before the civil guards were able to apprehend him Or… perhaps they are lying, and Basilio may have already been arrested and is now in custody Either prevarication or lying is plausible, since they're untrustworthy and shouldn't be relied on - They assume that she has hidden away the younger one (i.e., Crispín) [ignores his uncertain fate] Again, one can question the reliability of their assumption, since his whereabouts are unknown - If the servant's questionable report in Ch. 18 is to be believed, Crispín may've been detained - Or… it may turn out that he is no longer with us, and that the priest savagely murdered him Again, we cannot be certain, so we'll have to wait until this is resolved later in the novel - Her reaction after hearing this could be interpreted as either expressing relief, aplomb, or despair Sisa respectfully addresses the civil guards as "Señor," indicating her submission in the power dynamic Sisa admits she has not seen Crispín for days and cites her failed attempt to find him at the parish house Her trailing off reflects the unhelpful news she'd received there, adding to the tension of the moment The civil guards' quiet exchange implies a shared skepticism or potential reconsideration of their stance A soldier offers to spare her under the terms that she hands over the "money" her sons supposedly stole His demand for the "money" represents a form of extortion under the pretense of resolving the issue The extortionary nature of their approach reflects the abuse of power endemic to the colonial system - This echoes what Rizal earlier said about the poor often bribing soldiers for peace under coercion In her desperation, Sisa pleads with the civil guards, poignantly professing her and her sons' innocence Her polite address of "Señor" is an attempt to appeal to any semblance of decency within the guards She defends her sons, underscoring their accustomed suffering and honesty despite extreme poverty - Her statement "We're used to suffering" is a heart-rending acknowledgment of their station in life She invites the guards to search the house, since there they'll only find a single real [a Spanish coin] - Her request serves as a powerful testament to her transparency and the dire state of their finances Sisa's acknowledgment that "not every poor person is a thief" powerfully rebukes societal stigmas - It challenges the stereotypical association of poverty with criminality, asserting the poor's dignity The civil guard's slow response and focused gaze on Sisa is an attempt to intimidate and assert control By commanding Sisa to accompany them, he not only asserts the power of the colonial authority but also leverages her, implying her detention might coerce the surrender of her sons and of "the money" - Reflects the broader oppressive tactics used by the colonial forces to control the native population Sisa, disbelieving and afraid at the situation's reality, backs away and looks at the civil guards' uniforms 3 Noli Me Tangere by José Rizal Chapter 21 DISCUSSION NOTES Her response stresses her vulnerability and the shock at being personally implicated and taken away Her stepping back is a physical manifestation of her desire to distance herself from the situation and - - - - - - - the authority figures (i.e., the Guardia Civil) who represent a direct threat to her freedom and safety - The reference to the civil guards' uniforms symbolizes the power and authority which they wield A civil guard's rhetorical question of "And why not?" dismisses Sisa's fear and reluctance as irrelevant It asserts their authority to take her into custody without justification [reflects the power imbalance] It dismisses any notion of rights or justice, disregarding her autonomy and the lack of lawful reason for their actions, reflecting a mindset wherein the will of the colonial authorities is unchallengeable - It's a stark reminder of the dehumanization and disregard of human dignity innate to colonialism Sisa begs for the civil guards to at least show some semblance of mercy [an appeal to their humanity] She points out her dire poverty and willingness to sacrifice all that she owns for freedom and peace She has no valuable possessions to offer them except for the hen that the guards have already taken - She intended to sell the hen, likely her only means currently of earning paltry wages at this point Seeing no escape from her suffering, she begs for the civil guards to leave her alone to die in peace - Her mention of wanting to die in peace than face further hardship poignantly evokes her despair The guards' cold and authoritative reply shows their lack of empathy and the cruel nature of their duty Once again, they threaten to tie her to the tree and likely kill her if she does not comply voluntarily - Their threat of physical restraint and violence highlights the brutality endemic to their authority Sisa's reaction is a natural response to the overwhelming fear, helplessness, and injustice she is facing Her bitter sobs signify both her emotional turmoil and the despair of not being able to alter her fate The civil guards behave uncompromisingly toward Sisa and show no empathy at all toward her plight This reflects their commitment to duty over any moral considerations or empathy for her situation In her desperate situation, Sisa requests for the ability to walk ahead of them rather than being dragged Her attempt at negotiation with the civil guards is a small plea for dignity in an undignified situation For the first time, there's an indication that the civil guards are at least capable of expressing empathy This suggests that Sisa's desperate pleas may have reached or affected some part of their conscience - This implies a glimmer of humanity within the civil guards, albeit marred by their earlier actions They appear to reconsider their actions or how to proceed after witnessing Sisa's passionate distress - Their soft conversation among one another could illustrate at least a recognition of her humanity This moment of potential empathy contrasts sharply with their previous actions, offering a complex portrayal of the oppressors as capable of emotion, yet trapped within roles issued by a brutal system A civil guard's response to Sisa's plea shows a slight concession to her request, albeit under strict terms They are aware of the potential for her to escape and intend to maintain control over her movements Their command for Sisa to walk between the two soldiers until they reach the town, and then twenty steps ahead, reflects a calculated measure to balance their authority and vigilance with little leniency Their prohibition against entering stores or stopping highlights the guards' mistrust and their priority to ensure compliance with their directives [shows the power imbalance between her and the guards] Despite Sisa's desperate efforts to broker her freedom or at least a more dignified treatment, the guards are unmoved by her pleas [shows the insensitivity of the colonial authorities to the plight of the locals] This emphasizes the futility of her attempts to appeal to the compassion or reason of the civil guards The civil guards inform Sisa that allowing her any more leniency, even those as minor as the conditions they set, is already more than what they are obligated to offer [ultimately, the guards are bound to duty] This shows the harshness of their authority and their limited capacity for empathy and understanding They're allegiant to the orders they've been given rather than any moral consideration of Sisa's plight Sisa's position between the two guards as they escort her symbolizes her entrapment and powerlessness The hyperbole "she could have died of shame" reflects the depth of her humiliation and the societal judgment she anticipates facing [do remember that nearly everyone believes in her sons' criminality] - Her shame is not only a personal blow, but tied to societal perceptions of honor and respectability Despite the lack of onlookers, the fact that Sisa's ordeal happens in broad daylight amplifies her shame Daylight here symbolizes exposure and visibility, exacerbating her state of vulnerability and disgrace Rizal offers a philosophical reflection that the genuinely modest feel observed even when no onlookers are present, reflecting Sisa's inward sense of judgment and societal norms about propriety and modesty Sisa hides her face with her kerchief, a physical and symbolic act of trying to shield herself from shame Her silent tears underscore the depth of her humiliation, suffered in isolation [highlights her anguish] 4 Noli Me Tangere by José Rizal Chapter 21 DISCUSSION NOTES - Although Sisa had endured hardship and abandonment [especially that of her husband] before, she had maintained a sense of personal integrity and societal respect, which is sadly now being stripped away - Sisa had earlier extended her sympathy toward marginalized women who were dubbed "army whores" This pejorative, coupled with their risqué attire, imply that they work as prostitutes for the military - Incidentally, the word harlot (a derogatory archaic term for a prostitute), might ultimately be of Germanic origin, possibly from a word meaning "army"; if so, related to German Heer ("army") However, her current circumstances degrade her, making her feel even lower than those she pitied - Now, Sisa feels she has become more disgraced than those traditionally deemed the lowest by society Her perceived descent in the social hierarchy reflects her profound sense of devaluation, as well as the destructive impact of her situation on her personal identity, particularly on how society sees her - The sound of horses announces an impending interaction, potentially exposing Sisa to public scrutiny These horses are mounted by people [presumably fishmongers] who transport fish to inland towns - This establishes their routine presence in the area, suggesting a sense of community familiarity - This sets up a juxtaposition between Sisa's current situation of despair and humiliation and the hustle and bustle of daily life and commerce represented by the people who are transporting fish - The detailed description of people in small caravans paints a vivid portrait of rural life and commerce They are seated on "awful nags," or old horses, with baskets dangling on either side of the animals - This imparts a sense of rugged, unglamorous labor, and underscores the simplicity and hardship of the lives of these sellers of fish, who are nonetheless essential to the community's sustenance - In previous interactions with these fishmongers as they passed by her home, she traded water for fish This suggests their prior encounters were marked by small acts of charity and community support This indicates mutual assistance and a semblance of camaraderie (i.e., shared trust and friendship) - These former shows of kindness contrasts sharply with the isolation and shame Sisa now feels pg. 130 - Now, Sisa's acute sense of vulnerability transforms her perception of the fish sellers' passing into an - - - - almost palpable assault, evocatively capturing the feeling of being socially trampled and diminished The imagined scrutiny from their either "tender or disdainful" expressions symbolizes the societal judgment she fears, feeling exposed and judged even without direct interactions or confrontations The imagery of their looks penetrating her headscarf to reach her face illustrates the depth of her shame, feeling as though the very innermost part of her self is laid bare to the judgment of others This profound self-consciousness reflects the societal stigmatization attached to her circumstances Eventually, the physical distance they had covered from the fishmongers allows Sisa to sigh in relief This serves as both a literal and metaphorical respite from the perceived gaze and stigma of others This marks a shift from the intense scrutiny and perceived judgment she felt from the fishmongers Her sigh is a release of the tension and shame that was bottling up inside her during the encounter Sisa pulls aside her kerchief to assess how much longer she would have to be exposed to public view She's attempting to regain some agency and dignity in a situation where she has very little of these At this point, Sisa and the two civil guards are only a couple telegraph poles away from the bantáyan2 This places them near the outskirts of San Diego, indicating that they are approaching town limits Telegraph poles, as designating communication infrastructure, ironically underscore Sisa's isolation, absence of community support she experiences, and inability to communicate her plight effectively The bantáyan symbolizes the threshold between the rural outskirts and the town, a point of transition that Sisa dreads crossing due to the humiliation of being seen in her current state by the townspeople Her emotional upheaval and dread of public disgrace make the distance left to the town seem endless - This encapsulates Sisa's perception of time and space under distress, reflecting how psychological states can drastically alter one's senses, making a relatively short trip feel like an unending ordeal Rizal relays a flashback about Sisa's habit of resting in the shade of the cane fields alongside the road This serves as a moment of nostalgia for Sisa, a reminiscence of the former happier times in her life The "dense cane field" evokes a tranquil and comfortable past [this sharply contrasts with her now] - The field, with its plentiful shade and protection, symbolizes a haven and a place of reassurance The antithesis shows how drastically Sisa's life has altered and the fleeting nature of her happiness Sisa recalls former times when she and her fiancé had conversations under the shade of the cane field 2. bantáyan → A Tagalog word for a guardhouse (a station for guards, especially at a town's entrance). 5 Noli Me Tangere by José Rizal Chapter 21 DISCUSSION NOTES Rizal describes their conversations as "sweet," hinting that their relationship was tender and mutual The fiancé would often assist her in her usual routine of carrying her basket of fruits and vegetables - This kind act symbolizes support and shared burdens, elements obviously now lacking in her life The fiancé is unnamed, but Rizal is likely referring to either a prior husband or her current husband - If Rizal means a prior husband, he would've been an ideal partner, both caring and understanding This would obviously suggest a once-normal and stable life, imbued with love and partnership If this is so, this obviously contrasts with her current husband, who is heartless and indifferent - If Rizal means her current husband, it's all the more devastating that their relationship has soured He's inexplicably gone from a tender and supportive husband, to one callous and inconsiderate - "Oh, it had gone by like a dream" suggests the transience of such joy and the harsh reality that followed The joy and peace she felt now seem unreal, like a dream from which she had been rudely awakened - Rizal briefly outlines the progression of Sisa's life, from marriage to her husband's rise in social status, - - - - - and finally to the misfortune which "came calling at her door" [this phrase here is notably ambiguous] He incorporates personification in his anthropomorphizing of misfortune as an unwelcome visitor - This marks a turning point in her life when everything unraveled, resulting in her current despair - Again, this portion of the text is ambiguous, since Rizal doesn't specify the misfortune referred to - However, the most plausible hypothesis is that it either refers to death or a relationship gone sour If Rizal means a former husband, this strongly suggests death being the misfortune in question If Rizal, however, means Sisa's current husband, then it could refer to their soured relationship Back to the present, the change in weather to sweltering heat prompts the guards to unusually offer rest This not only introduces a momentary break but also a rare moment of consideration from the guards - Once again, this shows that the guards, despite being bound to obligation, are capable of empathy Contrariwise, more callous and inconsiderate guards would coerce Sisa through sweltering heat However, this apparent gesture of empathy does not excuse their earlier harsh treatment of Sisa Sisa's polite but "horror-stricken" reply underscores the deep-seated fear and trauma she has undergone Her thanks for a small act of kindness amidst her ordeal shows her enduring humanity and resilience Yet, the fact that she remains "horror-stricken" reflects the lasting impact of her tragic circumstances However, as Sisa and the civil guards near San Diego, her sense of dread gradually starts to spike again The town's edge represents the periphery between her current state of relative obscurity [wherein she had suffered privately], and the forthcoming public exposure and humiliation that she expects to face This spatial transition ramps up her worry, anticipating the judgment and condemnation awaiting her Overwrought with fear, Sisa frantically searches the surroundings, revealing a desperation for an escape She even contemplates suicide as a means to escape her ongoing predicament and end her suffering However, the landscape, with its "vast rice fields," "irrigation ditches," and "scrawny trees," provides no such means for a quick escape, highlighting her being trapped both physically and metaphorically She expresses regret for following the civil guards, wishing she had instead resisted or found an escape This acknowledgement reflects her awareness of her lack of agency and the direness of her situation Contemplating suicide, she longs for the river near her hut, which she sees as a means to "sweet death" Her longing to throw herself into the river echoes Ophelia's tragic drowning in Shakespeare's Hamlet - In the play by Shakespeare, the character Ophelia descends Queen [Gertrude]. into madness after her father's death and ultimately drowns There is a willow grows aslant a brook, shows his hoar leaves in the glassy stream. Her death is unclear, as it is either accidental or suicidal That There with fantastic garlands did she come The news of her death by drowning in a brook is told to Of crowflowers, nettles, daisies, and long purples, That liberal shepherds give a grosser name, her brother Laertes by Queen Gertrude [as shown right] our cold maids do dead men's fingers call them. - In fact, the parallels between Sisa and Ophelia are striking: But There, on the pendent boughs her coronet weeds Clamb'ring to hang, an envious sliver broke; Both women feel overburdened by their circumstances, When down her weedy trophies and herself which are deeply intertwined with their family relations Fell in the weeping brook. Her clothes spread wide And, mermaid-like, awhile they bore her up; and societal pressures, culminating in emotional turmoil Which time she chanted snatches of old tunes, that renders them unable to cope with their grim realities As one incapable of her own distress, like a creature native and indued Both seek nature as a means of remedying their madness Or Unto that element; but long it could not be Despite her suffering, Sisa inevitably chooses not to emulate the Till that her garments, heavy with their drink, tragic footsteps of Ophelia, as the thoughts of her sons, especially Pulled the poor wretch from her melodious lay To muddy death. that of her younger son Crispín and his unresolved fate, provide a silver lining and a reason to keep living [thus, not ending her life] — Shakespeare, Hamlet, IV, vii, lines 167–184 6 Noli Me Tangere by José Rizal Chapter 21 DISCUSSION NOTES - Sisa's plan to retreat "deep in the forest" represents a desire to escape societal judgment and persecution The forest can be interpreted as representing the "state of nature" talked about in political philosophy - The "state of nature" is often characterized by total freedom and the absence of societal constructs She yearns for a refuge where she can live in harmony, away from the cruelty and misunderstanding of the unjust society she's in (i.e., the false charges against her sons and her abuse by the authorities) This reflects her maternal instinct to protect her children and her enduring, albeit fragile, will to live - It also shows her aspirations for a future where she and her sons can be safe and free from cruelty - Acting in resilience, Sisa attempts to regain composure, physically and emotionally, by drying her tears The drying of her eyes symbolizes her attempt to clear away the visible signs of her distress, perhaps to prepare herself for the public exposure and scrutiny that she is anticipating upon entering the town - Speaking softly, Sisa alerts the guards they have arrived at the town's edge [her soft tone could indicate - - - pg. 131 - - resignation, a quiet acknowledgment of the inevitable, or an attempt to show dignity amidst her ordeal] This reflects her awareness that she's entering a more public and potentially judgmental environment Rizal poetically encompasses the complexity of Sisa's emotional state, especially her multifaceted tone It reflects not only one emotion but a mixture of complaint, reproach, lamentation, supplication, etc. Her tone embodies her pain and captures the core of her despair, making her agony almost tangible Rizal uses this description to evoke empathy and convey the depth of Sisa's despair and resignation Unexpectedly, Sisa's tone and mental state suffices to move the guards, who reply by gesturing to her Again, this shows that beneath their authoritative roles, the guards are at least capable of empathy Their gesturing suggests a moment of human connection and perhaps a softening of their approach Sisa responds to the civil guards' gesturing by proceeding quickly and attempting to project calmness This indicates her desire to escape attention and perhaps shield herself from further emotional harm Reflects her battle to keep dignity and composure in a situation that continuously strips her of both The timing of church bells tolling, signifying the conclusion of high mass, is significant, as it marks a moment when the church [a social and spiritual gathering place in the town] releases its congregation This heightens Sisa's predicament, as it increases the probability of her encountering a large number of townspeople [presumably as they leave], thus exposing her to potential judgment and humiliation Responding to the tolling of bells, Sisa attempts to hasten her steps, intending to avoid the townspeople and the potential confrontation and humiliation that might come with such encounters, but it was futile This recognition stresses the inevitability of her situation and the social scrutiny she's about to face Rizal stresses the inescapability of her confrontation with the townspeople [she was unable to avoid it] This shows her lack of agency over the situation and vulnerability to public exposure and judgment Sisa greets two acquaintances "with a bitter smile"; however, their expressions are seemingly dubious Her "bitter smile" is a multifaceted gesture, mingling resignation, sorrow, and an attempt at civility The questioning expressions of those she greets implies that they know about her unusual situation - It may also suggest that they fully believe in the false, trumped-up theft charges against her sons Despite their expressions, she tries to maintain a semblance of dignity amid potential condemnation - This underscores her social isolation and struggle for personal dignity amid widespread judgment Sisa lowers her eyes to avoid the indignity of meeting others, attempting to shield herself from shame However, this act of self-preservation ironically leads to physical vulnerability [stumbling on rocks] - This metaphorically reflects her precarious circumstances: in her attempt to circumvent her social downfall and personal despair, she finds herself swamped in an always destabilizing environment Noticing Sisa, the townspeople pause to look at her, gossiping among themselves as they followed her This indicates the community's curiosity and the societal spectacle that Sisa has unwillingly become This signifies the public nature of her humiliation and the community's participation in her downfall Despite Sisa's attempt to shield herself from the sight and judgment of the townspeople by casting her eyes down, she's still acutely aware of their scrutiny [shows the penetrative nature of social judgment] This indicates that such scrutiny is inescapable and personally felt, even without direct eye contact A woman's aggressive inquiry highlights the lack of empathy and the invasive curiosity that Sisa faces Her brash questioning about where Sisa was spotted and the mention of "the money" ties Sisa to her sons' false, trumped-up theft accusations [this further shames and stigmatizes Sisa in the public eye] Rizal provides a vivid description of the woman, her attire signifying her social standing and character The colorful, mismatched, and incomplete nature of her outfit, particularly the absence of a sash [an element of attire signifying modesty and wholeness], marks her as an outsider to respectable society 7 Noli Me Tangere by José Rizal Chapter 21 DISCUSSION NOTES Her identity as a "military tramp" directly labels her as someone associated with soldiers, likely in a derogatory sense [this indicates a lower social status and presumably a lack of moral understanding] - "The blow" that Sisa feels, whether physical or metaphorical, reflects the intense shame and exposure - - - - - - - - - inflicted by the woman's loud inquiry [this deeply wounds Sisa's dignity and worsens her humiliation] This demonstrates how words and public exposure can inflict pain as palpably as physical violence Sisa's disrobing [again, either physical or metaphorical] leaves her completely exposed and vulnerable, as if her dignity were forcibly stripped, leaving her defenseless against the judgmental eye of the public It is not only her physical self that's being exposed, but her entire being, her situation, and her plight - This leaves Sisa with absolutely no privacy or dignity in the face of public scrutiny and judgment Sisa's act of raising her eyes to meet those of the townspeople serves as a moment of tragic resignation She deeply sinks into her own despair, as if resigning to the full weight of the community's derision The use of "drown" suggests an overwhelming cascade of negative emotions, signifying that Sisa is consumed by the public's mockery and contempt [emphasizes her isolation and social ostracization] Although the mocking crowd is physically close enough for their stares and murmurings to impact her, emotionally and socially, they are "far away," emphasizing her profound alienation and cold reception The "coldness" of their stares further stresses the lack of empathy and warmth from the community The mention of "muttering" suggests a continuous undercurrent of judgment and gossip, indicating that her humiliation is not only an isolated incident but part of a wider narrative of social exclusion Sisa's detachment from her physical surroundings illustrates the depth of her despair and deterioration Her inability to feel the ground under her feet represents her loss of foundation and stability in life She's moving through a state of shock or profound detachment, overwhelmed by her circumstances An abrupt command from a civil guard snaps Sisa back to her immediate, although quite grim, reality This highlights the control and authority the guards have over her [shows power dynamics at play] - She's being directed and controlled by others, further stressing her lack of agency and autonomy The impersonal and commanding tone of the guard contrasts sharply with her deep emotional pain - This illustrates the indifference and disregard of authority figures to her suffering and humanity Rizal metaphorically likens Sisa to an "automaton," or self-operating machine, "with a broken motor" The description vividly encapsulates the loss of control and autonomy she now has over her actions, portraying her as mechanically reacting to her environment, devoid of conscious thought or volition The metaphor of a "broken motor" implies malfunction and an absence of agency, symbolizing her shattered psyche and the overwhelming force of her circumstances (i.e., society's judgments on her) Her quick turn and rapid movement "without seeing a thing" indicate a frantic attempt to escape the unbearable situation, underlining her desperation, disorientation, and an instinctual desire for refuge Spotting a doorway with a sentry, Sisa desperately attempts to seek refuge, but her efforts are thwarted The doorway represents a potential sanctuary, a momentary hope of escape from public humiliation However, the sentry's presence and the commanding voice that halts her stress the pervasive control and surveillance within the society, highlighting her lack of freedom and the impossibility of escape - The voice, described as "more imperious," augments the authority and dominance exerted on her Her "failing step" signifies weakness and exhaustion [this suggests the toll her ordeal has taken on her] Seeking the source of the voice, despite its imperious nature, reflects her conditioned obedience and lack of alternatives, underscoring her vulnerability and the societal pressures that dictate her actions The physical pushing on Sisa represents the societal forces that continue to subdue and dictate her fate This shows her passivity, overwhelming sense of helplessness, and the external control over her life Her response to close her eyes may indicate a desire to shut out the cruel reality of her predicament - Shows her attempt to find solace in darkness, a retreat away from the judgmental eyes of society After taking two faltering steps, Sisa finally collapses, both literally [on the floor] and metaphorically Her descent to the ground represents a complete loss of strength and surrender to her circumstances It represents a physical and metaphorical fall from grace and dignity, mirroring her social downfall The silent sob that shakes Sisa, devoid of tears, screams, and laments, poignantly captures the depth of her internal suffering, signifying a profound agony that can't be articulated through outward expression This reflects a state of unbearable grief and shock, where the capacity of externalizing her despair is overwhelmed by the magnitude of it, indicating a profound level of dehumanization and loss of self Rizal reveals the place where Sisa has now arrived at: the barracks, which Basilio had earlier feared In Chapter 17, Basilio told Sisa that an acquaintance of his, named Pablo, ended up in the barracks 8 Noli Me Tangere by José Rizal Chapter 21 DISCUSSION NOTES - This was after he very narrowly escaped with his life after fleeing arrest from the Guardia Civil In Chapter 18, the servant told Sisa the Guardia Civil allegedly had been dispatched after her sons - Now that she's at the barracks, there is still a chance she might soon be reunited with them both She'd be lucky if she were to find Basilio here, and even more so if she stumbled on Crispín - Finding Crispín here would be particularly miraculous, since his fate is still left uncertain, - - pg. 132 - - - with Rizal having left disturbing clues suggesting a terrible end, although not confirmed Once again, we will have to wait until later in the novel for this mystery to be resolved The site not only serves as a military barracks (i.e., a place where guards of the Guardia Civil live and work), but also where those arrested by them are subjected to harsh discipline and penal labor Obviously, the presence of soldiers is expected the barracks, but the mention of women, pigs, and chickens cramped together indicates a site where military life and civilian domesticity are blurred - Ironically, the confluence of humans and animals suggests a lack of strict order and cleanliness This also suggests a sense of mutual informality not typically linked to military installations Rizal vividly paints a scene of domestic intimacy and mundanity amidst the military environment - Men attending to a traditionally feminine domestic task (i.e., sewing) sharply departs from the masculine context of the barracks [this chore underscores a reversal of traditional gender roles] Their lovers are described as reclining, using a man's thigh for a pillow, smoking, and bored - This contributes to a casual and languid atmosphere, further challenging the stereotypical image of military discipline and austerity [ironically, a leisurely, mundane life is implied] - Some women actively partake in the maintenance of the soldiers' lives, assisting with tasks that are both domestic (i.e., cleaning clothes) and military (i.e., cleaning weapons and miscellanea) Their singing of "dirty songs" while engaging in these chores adds a layer of camaraderie and informality, the barracks' austerity subverted by personal relationships and leisurely activities A woman addresses the soldiers (and implicitly Sisa, who's being escorted by them) with a metaphor In her metaphorical statement, the "chicks" likely refer to Sisa's sons, and the "hen" to Sisa herself This metaphor dehumanizes Sisa and her sons, reducing them to domestic animals in her viewpoint - Her remark reflects the demeaning and dismissive attitude of the bystanders toward Sisa's plight This also possibly comments on the treatment of individuals by the colonial or societal powers The ambiguity of the woman's statement, whether it refers to Sisa or the hen [probably the hen she'd tried to sell] serves to further dehumanize Sisa, equating her suffering and plight to that of livestock] - The hen's continued "puling" (a term for a weak or whining sound) subtly parallels Sisa's distress This stresses her voicelessness and the dismissiveness of those around her toward her suffering The woman's self-assertion that a hen is more valuable than the chicks can be interpreted a few ways - Taken at face value, her statement might reflect a practical view on the economic value of animals - Metaphorically, when applied to Sisa and her sons, it suggests a perverse valuation of individuals based on their utility or role within the colonial system rather than their inherent dignity or worth It should be noted that she makes this assertion after noticing the soldiers' silence, suggesting a complicity, awareness, or acceptance of this dehumanizing valuation among the colonial forces Her statement can be perceived as a critique of societal norms that prioritize utility or humanity - This reflects José Rizal's broader critique of the colonial system's impact on Filipino society A civil guard's question about where the sergeant is underscores the lack of concern for Sisa's situation This shows the detachment and procedural focus of the colonial authorities over ethics and empathy His disgusted tone may reflect frustration with the bureaucracy or with the situation's inconvenience - In either case, this guard displays absolutely no consideration or understanding for Sisa's situation The "shrugging of shoulders" shows apathy and a disturbing indifference among the guards toward Sisa This gesture, along with the explicit statement of indifference to her fate, bleakly illustrates a system that disregards human suffering and degrades individuals to mere subjects of administrative process Rizal intensely describes Sisa's troubled physical and emotional state during her two hours of detention "Half-stunned" suggests both shock and possibly physical exhaustion or collapse, while her posture, "huddled in a corner, hands over her face," indicates an attempt to shield herself, both physically and emotionally, from her surroundings [both descriptions vividly capture her vulnerability and anguish] Her "disheveled" hair and ruined appearance further highlights her distress and the neglect she faces This imagery intensifies the reader's emotional response to her situation, emphasizing her humanity At noon, the military ensign was called, and he surprisingly dismisses the priest's charges against Sisa 9 Noli Me Tangere by José Rizal Chapter 21 DISCUSSION NOTES His instant dismissal implies a conflict or skepticism within the ranks of authority regarding her case This surprising decision highlights the arbitrary nature of authority and justice in the colonial system - It also hints at the complex power dynamics between the church and military [refer to Chapter 11] This verdict, while potentially beneficial for Sisa, further bespeaks the capriciousness regarding how individuals' fates are determined, often based on institutional politics rather than evidence or fairness - The ensign's exclamation and subsequent order disclose his contempt for the priest's actions, attributing - - - - - them to the priest's greed or pettiness [in Chapter 18, Sister Rufa called Father Salví kuriput ("stingy")] This edict obviously underscores the tension and rivalry between the colonial military and the clergy This signals disdain not just for the case but for broader issues of corruption and greed in the church This reflects Rizal's criticisms of the church's materialism and its negative impact on Filipino society The ensign's command to release Sisa and to disregard the whole affair further emphasizes the arbitrary nature of justice and authority in the colonial setting [reflects tensions between the military and clergy] It shows how individual whims can influence people's lives, with little legal or ethical consideration This decision, though seemingly beneficial to Sisa, is made with indifference rather than compassion - This ultimately reflects a systemic failure to address the primary causes of injustice within society The ensign further mocks the priest's parsimony by sarcastically advising supernatural or ecclesiastical remedies for his "losses," suggesting that the matter is trivial or unworthy of any secular legal attention Saint Anthony [the patron saint of lost items] and the Nuncio3 are invoked as hyperbolic alternatives for recourse, underlining the absurdity the ensign sees in the priest relying on the military authorities - This mocks the church's reliance on saints and its bureaucratic structure, while also pointing to the ensign's frustration with the clergy's involvement in secular affairs (i.e., church and state tensions) This vividly depicts the rivalry between the church and the military in the colonial Philippines - Rizal is critiquing both the exploitation by the clergy and the colonial administration's inefficacy Ultimately, Sisa is set free from the barracks; however, her release is far from gentle or compassionate She is physically expelled, symbolizing her rejection and marginalization by both church and state Her inability to "stir" indicates a state of shock, confusion, or despair, so profound that it renders her physically unresponsive to her surroundings, as well as her powerlessness within the social structure - This moment serves as a metaphor for the plight of Filipinos under Spanish colonial rule, pushed and pulled by forces beyond their control, but dedicated to their struggle for dignity and freedom After her expulsion, Sisa finds herself unexpectedly in the middle of the street and starts to head home Her mechanical movements suggest that she's operating on instinct, compelled by a need to return to the safety and familiarity of her home [her actions also highlight her mental and emotional disarray] Her "head uncovered" and "hair in disarray" evince her vulnerability and societal indifference, while her eyes "fixed on the distant horizon" imply a longing for a better future, despite her current despair Rizal's imagery of the scorching midday sun serves to intensify the scene's harshness and Sisa's distress The cloudless sky and the description of the sun as a "resplendent disk" underlines the discomfort of her environment and are metaphors for her current state: exposed, vulnerable, and without protection The slight rustling of leaves by the wind and the nearly parched road contrasts with the earlier imagery This contrast could symbolize the indifference of nature to Sisa's predicament, or it could highlight the quiet after the storm, reflecting Sisa's numb and shocked state after the turmoil she has endured The action of birds seeking refuge in the shade can be interpreted as a metaphor for Sisa's predicament Just as they seek refuge from the harsh sun, Sisa desperately seeks refuge from her own harsh reality - But unlike the birds, Sisa has no shelter to protect her, highlighting her isolation and vulnerability After a long, exhausting journey, and in a state of trauma and fatigue, Sisa finally returns to her home Her speechlessness and silence highlights her profound sense of loss and shock, further isolating her Upon arriving, Sisa looks around her hut, likely in a desperate search for her sons or any signs of them It's a moment of realization of her solitude and the emptiness that will now define her home and life Confused, desperate, and still with no signs of her sons, Sisa tries "to walk in every direction at once" This vividly depicts her frantic state of mind, dithering on which way to turn in her search for help Sisa frantically rushes to Don Anastasio's house, hoping he would be available to offer her assistance However, given dramatic irony, we know that Don Anastasio was present at the city hall meeting 3. Nuncio → A papal diplomatic representative in the Roman Catholic Church, akin to an ambassador. 10 Noli Me Tangere by José Rizal Chapter 21 DISCUSSION NOTES - Of course, Sisa does not know, so when she arrives at his house, Don Anastasio won't be available - As we've anticipated, Sisa arrives at Don Anastasio's house and tries to call for him, but he's not present His untimely absence further amplifies her isolation and the futility of her attempts to find assistance - Utterly devastated, Sisa returns to her home and poignantly cries out for her sons: "Basilio! Crispín!" This heart-wrenchingly evokes the universal fear and anxiety of a parent for their missing children Her cries for her sons are a poignant expression of her maternal instinct, desperation, and yearning After enduring false accusations, threats, humiliation, and a relentless but futile search for her sons, her cries for her sons are the emotional climax of her ordeal, a pure expression of woe and despair Her pauses to listen attentively suggests her hope against hope for any sign of them, however slight - The response of an echo to Sisa's desperate shouts for her sons adds a layer of tragedy to this moment This symbolizes the loneliness and emptiness she faces: the absence of her sons and lack of support This highlights the stark reminder of her isolation and the silent indifference of society to her plight - The fact that no one answers her cries makes it especially heartbreaking [highlights her isolation] - Rizal's juxtaposes the serene sounds of nature with Sisa's inner chaos, amplifying the contrast between - - the external world's indifference and her internal turmoil [shows nature thriving amid human suffering] The "sweet whispering" of the river and the "music" of the cane leaves stress the isolation she feels - The only "voices" she hears are those of nature, not the human connection she desperately seeks Sisa frantically and aimlessly shouts, climbs a headland, descends into a ravine, and reaches the river Her physical movements mirror her troubled mental state: erratic, desperate, and without direction Her actions are those of someone grasping for any semblance of hope or solution yet finding none She might be contemplating suicide, given her earlier ill thoughts of throwing herself in the river - Once again, the echoes to the tragic heroine Ophelia in Shakespeare's play Hamlet are striking Notably, her "mad scene" in Act IV, Scene V, where she goes insane in the last scene she's in The description of Sisa's eyes "wandering" suggests a growing detachment from reality and insanity Her "sinister look" hints at the darkness encroaching on her mind and perhaps a contemplation of suicide [possibly because she's gazing at the river], foreshadowing a deeper descent into madness Occasionally, moments of lucidity or flashes of hope break through her despair, as shown by her eyes lighting up [they may represent fleeting memories of her sons, offering brief respite from her anguish] However, their abrupt shift to darkness, like a "sky on a stormy night," highlights the return of despair This blights any ephemeral hope or lucidity, hinting at an overwhelming and uncontrollable sorrow Just as storms obscure the light, her moments of hope are overshadowed by despair and confusion The bleak image of a light dimming away poignantly captures the tragic collapse of Sisa's mental state The "light of reason" flickering out suggests that her peace of mind and sanity is nearly extinguished It evokes a sense of impending doom, implying that Sisa is on the brink of losing her grasp of reality Upon returning to her hut, she sits down on the mat where she had slept near Basilio the previous night This symbolizes a final attempt to reconnect with the last remnants of normalcy and safety in her life Rather disturbingly, Sisa discovers a piece of cloth, identified by its color as likely belonging to Basilio At this point, it's obvious that Basilio has vanished again, his fate just as ambiguous as his brother's She specifically found this trace of evidence near the edge of the dinding4 that lay near the precipice She picks up and examines this cloth in the sunlight [she attempts to seek clarity or truth in the light] - This act signifies a desperate search for truth and understanding amidst her confusion and despair - Ironically, sunlight, often associated with truth and enlightenment, will fail to provide Sisa these More grimly and harrowingly, the piece of cloth Sisa had found in her bedroom is stained with blood - The bloodstains are foreboding and ominous, and for the second time, leave Basilio's fate unclear This unsettling piece of evidence grimly suggests that a violent physical struggle had occurred, likely as the Guardia Civil was apprehending Basilio [recall, we last saw him inside Sisa's hut] - The obvious worst case scenario is that the Guardia Civil murdered Basilio in the struggle - Because of this, once again, we are left worrying as to whether or not Basilio is still alive… The other pertinent mystery concerns whether Basilio was the only person inside Sisa's home - The uncertain fate of Crispín depends on how this mystery ends up being resolved by Rizal If Crispín was inside Sisa's home, it follows that he escaped from the parish house alive 4. dinding → A Tagalog word used to refer to a wall of a room or house, or a partition between rooms. 11 Noli Me Tangere by José Rizal Chapter 21 DISCUSSION NOTES However, it should be noted that no physical scrap of evidence tied to Crispín was found If so, this strongly points to Basilio being the only one of Sisa's sons present in the house - If so, the "murder hypothesis" (i.e., Father Salví caning Crispín to death) would gain more credence and probability, since Rizal earlier insinuated the possibility of murder - An exception is if Crispín was handed over to the Guardia Civil and is now in custody - Again, nothing is definite, so we'll have to wait until this is fully resolved later in the novel - Given this new disturbing lead, there are two major plausible hypotheses as to the fates of Sisa's sons Either none of Sisa's sons are alive (i.e., both sons are deceased), or at least one of her sons is alive - It is possible that Basilio's chances of survival are probably greater than Crispín's because of the credence and plausibility of the "murder hypothesis" (i.e., Father Salví beating Crispín to death) But once again, nothing is certain until Rizal finds a suitable time to resolve this later in the novel pg. 133 - Sisa's act of inspecting the cloth under the sun's burning rays, and her perception of darkness despite the blinding light, metaphorically represents her inner turmoil and descent into madness, suggesting that even in her quest for clarity (i.e., sunlight), darkness (i.e., despair and confusion) surrounds her Looking directly into the sun with eyes wide open symbolizes a desperate search for answers or salvation, risking damage [to her sight, symbolically her understanding or sanity] in the process Rizal masterfully juxtaposes light and darkness to encapsulate Sisa's confused and conflicted state - She is torn between clinging onto hope, however small, and facing the harsh, unvarnished truth - Sisa's aimless wandering and the unsettling noises she makes signal her total detachment from reality "Traipsing" suggests a lack of purpose or direction, emphasizing her mental and emotional disarray The mention that the sounds she produced "would have terrified anyone hearing her" underscores the degree to which she has become unrecognizable, even frightening, as a result of her suffering - Sisa further departs from her humanity, her despair transforming her into a state almost beyond human The specificity of the "human larynx" emphasizes a physiological anomaly, as though her own body itself is subverting and rebelling against the natural order due to her unbearable emotional upheaval - Rizal uses a complex simile to draw a parallel between the natural chaos of a storm and Sisa's turmoil The evocative imagery of "invisible wings," "an army of shadows," and "a solitary ruined building" illustrates a sense of desolation and fear, aligning the external environment with Sisa's internal state - The deeply unsettling contrast between the rational explanation for the sounds [the wind's blasts] and the emotional reaction they provoke [terror and uncontrollable trembling] mirrors Sisa's predicament - Rizal ends his comparison by asserting that Sisa's voice is even more distressing than the eerie sounds attributed to the wind during a tempest, elevating her suffering beyond the fears of the physical world This suggests that the pain of a mother separated from her children, surrounded by uncertainty and dread, taps into a primal fear that exceeds even the most terrifying and destructive forces of nature - The phrase "night overtook her" likely indicates that darkness has fallen while Sisa remained outside This represents both the literal passage of time and the engulfing, consuming nature of her despair "Night" metaphorically represents Sisa's worsening despair and madness, which is enveloping her - Rizal introduces a poetic possibility that divine intervention in the form of an angel's touch granted Sisa a temporary reprieve from her despair through sleep with the wing of the angel touching her "pale face" Here, the "angel" symbolizes a gentle and compassionate force that provides comfort to the afflicted The erasure of her memory, "which had already been reduced to pain," indicates that her experiences had condensed into pure agony, and only through divine or spiritual means could she find any solace - Rizal offers the reader with a philosophical reflection regarding the human capacity to endure suffering He posits that there are limits to what the human mind can bear, suggesting that Sisa's mind has been mercifully relieved of its burdens by "Mother Providence" through "a sweet leniency, forgetfulness" - The personification of providence implies a compassionate, maternal force bestowed this mercy - Rizal ends the chapter by reflecting on the mental state of Sisa the following day (i.e., November 3rd) The following day, Rizal portrays her as "smiling, singing, and talking, with all of nature's beings" - This positive transition illustrates her complete disconnection from her reality the previous day - This description of Sisa engaging happily with nature contrasts sharply with her earlier despair - This transformation is bittersweet, highlighting the profound impact of her grief and madness 12