Noli Me Tangere — Chapters 15–17 Discussion Notes.pdf

Chapters 15–17 DISCUSSION NOTES Noli Me Tangere by José Rizal Chapter 15: The Sextons - Do note that in Rizal's original Spanish text, this chapter is titled Los sacristanes, or "The Sacristans1" • The two young boys who we'll be fully introduced to in this chapter work as sacristans-in-training -...

Chapters 15–17 DISCUSSION NOTES Noli Me Tangere by José Rizal Chapter 15: The Sextons - Do note that in Rizal's original Spanish text, this chapter is titled Los sacristanes, or "The Sacristans1" • The two young boys who we'll be fully introduced to in this chapter work as sacristans-in-training - The storm that intensified and raged throughout the previous two chapters continues in this chapter: • Claps of thunder rumble in quick succession, each rumble preceded by a jagged bolt of lightning - Rizal remarks that one might liken this to God emblazoning his name in the heavens with fire - The "eternal vault" shaking with fear alludes to the ancient concept of the sky as a firmament A • "lugubriously whistling wind" [pg. 86] batters the torrential rain, making it disperse erratically - The unpredictable scattering of rain droplets likely symbolizes the unforeseeable nature of life - - - and events, and reflects the notion of humans possessing little control over the forces of nature The motif of bells as representing superstition and religious tradition returns from the last chapter: • - They're described as fearfully tolling "a melancholy prayer" like a "lament or plaintive moaning" • This implies that even relics of religious tradition are powerless when at the mercy of nature Rizal transports us to the two young boys whom we had seen earlier conversing with Don Anastasio • They were last seen heading upstairs toward the church choir just as Tasio was exiting the church • They're currently in the church tower's second floor, tasked with ringing the church bell for souls • Rizal reveals to us that these two young boys are brothers, one of them slightly older than the other - Together with details mentioned in the last chapter, they're aged about ten and seven respectively - The younger brother is described as having "large, black eyes and a shy way about him" [pg. 86] • We will eventually learn that his name is Crispín, who's likely christened after Saint Crispin2 - Being brothers, the two boys share similar facial features [of course, since they're blood-related] • However, the elder's facial features are far more pronounced and expressive than those of his younger counterpart [likely implies that the elder brother has a much more serious demeanor] - His name is eventually revealed to be Basilio [we will discuss the name's significance later] Both boys are dressed in "patched and darned" clothes [obviously, this description indicates that they • come from an impoverished and underprivileged socioeconomic upbringing, even the text says this] - This contrasts with Crisóstomo Ibarra, who had the privilege of being raised in an affluent family • Recall that Crisóstomo inherited his wealth, fortunes, and property from his father, Don Rafael Both are seated on top of a wooden slab, each grasping a rope whose other end disappeared upstairs • - From this, one can conjecture that the ropes are likely intended for ringing the church bell above • Rain from the storm had already arrived, causing a candlelight on top of an adjacent rock to flicker - Every Good Friday, the boys would use this rock to imitate thunder by rolling it around the choir The scene opens with the elder instructing his younger brother, who is named Crispín, to pull his rope • As Crispín latches on to his rope, a faint groaning [likely from Crispín] could be heard from above - Thunder immediately drowns out this noise, reverberating across the damp room a thousandfold Crispín laments his job and wishes he were at his mother's house instead, where he wouldn't be afraid • However, Crispín's older brother ignores him, apparently distracted by dripping candle wax nearby Crispín continues, insisting that he would be better off at his mother's house where nobody would ever accuse him of theft, since he knows his compassionate mother would readily come to his defense there • He also bemoans his mother's obliviousness to the cruelty and mistreatment they're regularly facing - One can infer from this that she likely had hopeful intentions for her two sons when she initially suggested that her two sons train to become sacristans [similar to the wishes of any poor family] • Given her dire financial situation, her sons' work would supply her with much-needed income • Thus, her conscience would likely be rattled if she ever learned of their working environment - Adds tension and dramatic irony, since her two sons are aware of their abuse, but she isn't Meanwhile, his older brother shifts his attention away from the burning candle, lifting his head and • clenching his teeth on the thick rope he was pulling strenuously, resulting in a "sonorous vibration" - This "sonorous vibration" is likely the sound produced by the church bell ringing from upstairs Crispín despairingly asks his brother if they're perpetually destined to work in this grueling occupation 1. sacristans → persons responsible for the care and upkeep of a church or religious institution, particularly its sacred vessels, vestments, and other items used in religious ceremonies [in Dutch, they are called koster] 2. Saint Crispin → a Christian patron saint associated with cobblers, curriers, tanners, and leather workers 1 Chapters 15–17 DISCUSSION NOTES Noli Me Tangere by José Rizal • He wishes that he could remain sick and not return to work indefinitely, as he would rather feel safe - - - - - under the care of his loving mother than have to endure regular workplace abuse at the parish house - There, nobody would accuse him and his brother of being "thieves" and subject them to beatings - However, his older brother tells him that they cannot afford to abandon their occupation, as their livelihood depends on it [otherwise, their mother would succumb to grief and them to starvation] • His realistic reply underscores the grim reality and direness of their situation, as they are both financially dependent on a job whose environment has no consideration for safety and welfare After a brief pause, Crispín asks his older brother about how much money he has earned for the month • He reveals he has only earned a meager two pesos this month, as his employers had fined him thrice • The imposition of fines bespeaks systemic abuse and corruption within the boys' work environment Crispín urgently suggests to his brother that he should recompense the alleged theft by paying back the amount their employers accused Crispín of stealing so they would not be labeled as "thieves" anymore • His impractical suggestion not only hints at his desperation, but also his naïveté in finding solutions • However, as the more pragmatic and down-to-earth of the two siblings, the older brother turns down this proposed solution, since their mother would have no expenses left for food if they were to pay it • The older brother then reveals the amount that Crispín allegedly stole: two ounces equaling 32 pesos Crispín tries to comprehend the magnitude of what he is accused of stealing by counting on his fingers • By quantifying the sum, he is trying to break down the amount into intelligible and tangible figures - Once again, this reflects his childlike innocence and naïveté in understanding his unfair situation • After counting, he muses the sum to himself: "Six hands and two fingers! And every finger a peso!" - His ruminating illustrates his struggle to grasp the enormity of the sum in comprehensible figures • He attempts to further simplify the quantity by asking his older brother to convert pesos into quarters - As the arithmetician, the older brother provides the younger with the factual answer: 160 quarters • We can infer then that a peso would thus equal five quarters, since 160 divided by 32 equals 5 • This answer flabbergasts Crispín, who struggles to fully soak in the concept of such a large quantity - Once again, this displays Crispín's innocence, as seldom can a seven-year old fully grasp such an enormous number as 160, and therefore comprehend the magnitude of the accusation against him • Finding it difficult to wrap his head around such a huge number, Crispín again asks his older brother to break it down into more manageable units, and the older brother answers with "Thirty-two hands" - Once again bewildered by this answer, Crispín looks down at his hands and incredulously repeats his older brother's answer of "Thirty-two hands" [repetition signifies his struggle to comprehend] - After reviewing all of the calculations he and his brother made, he yields to his astonishment and hyperbolically exclaims that even if he had spent three days counting, he still wouldn't reach 160 • His use of hyperbole highlights his innocence and the absurdity of the accusation against him Crispín then fantasizes about the necessities that could be purchased with one hundred and sixty pesos • With 160 pesos, he would be able to buy his older brother brand new chinelas [sandals] for his feet, a hat for hot summer days, a large umbrella for rainy weather, as well as essential food and clothing - His yearning for basic needs poignantly underscores how their poverty makes these unattainable - Furthermore, he's beginning to understand the true value of money and the potential that it allows After briefly musing, Crispín turns to desperation, crying out "Now I'm sorry I didn't steal anything!" • Psychologically distraught, Crispín regrets not having committed the crime he's falsely accused of • His self-blame likely stems from him having internalized the abuse done to him by his employers Noticing Crispín's desperate self-accusation, his older brother reproaches him by calling out his name • His reproach illustrates the supportive role of the older brother as Crispín's counselor and mentor After reminding him not to get frustrated, Crispín reveals to his older brother that one of the priests had earlier threatened to beat him to death if the money he was falsely accused of stealing didn't materialize • He tells him that if he had actually stolen the money, he'd at least be able to hand it over to the priest • If instead he'd died trying, at least his older brother & mother would have clothes to wear [likely his] - Crispín here considers the ethical philosophy of utilitarianism, as he admits his family's situation would have improved if he'd stolen the money or died trying [also explains his earlier self-blame] • Rizal's nod to utilitarianism shouldn't be a surprise [John Stuart Mill was one of his influences] After briefly pausing to pull his rope, the older brother fears how their mother will react if she happens to learn of Crispín's accusations of stealing [do bear in mind that she hasn't been informed of them yet] 2 Chapters 15–17 DISCUSSION NOTES Noli Me Tangere by José Rizal • However, Crispín doubts his older brother's concerns that their mother will scold him and urges him - - - - - instead to tell her about the ongoing abuse he faces, while Crispín shows her the physical proof of it - He protests his innocence, insisting he hasn't had anything other than the quarter he was gifted at Easter, which the priest had confiscated from him a day earlier [likely due to his theft accusations] • As for the confiscated quarter, Crispín comments that he's never seen one more beautiful than it - Crispín's remark illustrates that, for the poor, even the smallest amount of money is precious - He is confident his mother will believe he is innocent and won't fall for his false theft accusations • However, his older brother fears their mother will fall for them if the priest informs her of them - His worries reflect the authority and influence the priests wield over the town of San Diego Immediately in response to his older brother's worries, Crispín, overcome with uncertainty, starts to cry • He tells his older brother to head home to his mother by himself and report to her that Crispín is sick • As for him, he says he'll not return home [he now worries his mother might believe the accusations] Noticing Crispín's distress, the older brother consoles him and tells him not to cry, reassuring him that their mother won't fall for Crispín's theft accusations [again, the older brother supporting the younger] • He also reminds him of the dinner that Don Anastasio informed them about in the previous chapter - Responding to the news of the dinner, Crispín turns to his brother and explains that he hasn't eaten yet, since the priests said they'll deny him food until the money he is accused of stealing shows up • The use of starvation as punishment reveals the egregious extent of the abuse Crispín is facing Crispín then returns to the prospect that his mother might believe the false theft accusations against him • He acknowledges to his brother the difficulty of convincing her otherwise, since he must effectively convince her that the chief sacristan's accusations of Crispín stealing two ounces of money are false • Not only would he need to convince him, he'd also have to convince the priests who believe in him • And to top it all off, he would have to convince every person whom the priests have influence over [essentially, the vast majority of San Diego's townspeople] who believe they are both "thieves" due to their father's bad reputation [as we'll see in the next chapter, Crispín is accurate about his father] - His recognition of the power dynamics at play exposes the corrupting influence the priests have over San Diego's townspeople, as the priests' authority derives from the populace's faith in them Suddenly, the boys' conversation is cut short by the ominous debut of a figure at the top of the staircase • Rather fittingly, Rizal alludes to Medusa3 in reference to the figure's head, not only emphasizing the petrifying fear it provokes in the boys (i.e., freezing them in place), but also dehumanizes the figure • Rizal then gives us a physical description of the figure's facial features: his head is oblong and thin, with lengthy black hair; unusually, he is wearing "blue spectacles" that "half-hid a wandering eye4" • He's revealed as the chief sacristan, who frequently appeared to the boys silently and unexpectedly - The unpredictable manner of his appearances stresses his unforgiving and intimidating presence • His tendency to show up like a "thief in the night" hints at his role as a constant, lurking threat The chief sacristan immediately slaps a fine on the older brother, whose name is revealed to be Basilio • He is fining Basilio two reales for a petty offense (i.e., "not tolling the bells in the proper rhythm") • The chief sacristan's imposition of severe penalties for the most minor transgressions underscores the draconian environment where Crispín and Basilio work in, showing zero tolerance for failure • Rizal describes the chief sacristan's voice as he speaks this as "cavernous" and lacking vocal cords - This suggests he has a rather menacing and severe tone, consistent with his draconian penalties Turning to Crispín, the chief sacristan tells him he will not leave the parish house until the money he is accused of stealing materializes, still convinced of Crispín's guilt despite the boy's pleas to the contrary Hearing his brother's desperate cries for help, Basilio tries to remind the chief sacristan he had already granted both of them permission to leave at eight, since their mother anticipates them around that time Incensed at this, the chief sacristan penalizes Basilio, delaying his departure from eight to ten o' clock • However, one should recall from Chapter 11 that the town's military ensign, at the behest of his wife Doña Consolación, instituted a nine o' clock curfew [nobody is permitted outside past nine o' clock] 3. Medusa → in Greek mythology, Medusa was one of the Gorgons, three female monsters and sisters [the other two were Stheno & Euryale] whose gaze had the ability to turn onlookers to stone with a single glance 4. "wandering eye" → this phrase likely refers to an eye condition, either strabismus (i.e., misalignment of the eyes) or amblyopia (i.e., impaired vision in one eye due to poor development [also known as "lazy eye"]) 3 Chapters 15–17 DISCUSSION NOTES Noli Me Tangere by José Rizal - A ten o' clock departure would thus violate the ensign's curfew, as it would involve going outside - By delaying Basilio's departure until ten o' clock, he puts him at risk of facing repercussions from the military for breaking curfew [as we will see later, this will uncannily prove costly for Basilio] • Basilio tries to point this out to the chief sacristan, along with the concern that their home's quite far - However, the chief sacristan, still infuriated, questions Basilio's right to administer orders to him • His authoritarian stance shows his presumptuousness and disregard for the town's own orders • His actions also display his complete lack of consideration for the boys' safety and well-being - The chief sacristan decides he has had enough, and proceeds to grab Crispín's arm and drag him away • In a futile attempt to defend him, Basilio clutches on to Crispín and begs for the chief sacristan to spare him, reminding him of the fact that they've been deprived of seeing their mother for a week - Showing no mercy, the chief sacristan violently separates the boys, dragging Crispín along with him • His forceful separation of the brothers demonstrates his physical violence and his lack of empathy • Without Basilio's protection, Crispín has no way of defending himself against any potential abuse - Totally defenseless, Crispín pleads for his brother not to leave him, worrying that he might be killed • However, the chief sacristan, callous to Crispín's cries of distress, forcefully drags him downstairs - While he helplessly witnesses Crispín being dragged away from him, Basilio is left in shock and awe • All Basilio could make out at this moment were screams and the sounds of slaps and blows being inflicted on Crispín's body, which gradually muffled as he was dragged farther away from Basilio - Overwhelmed at the horrors he'd just witnessed, Basilio becomes more observant and clenches his fists • His vigilance stems from the valid worries and fears he now has for his younger brother at this point • In an aside, he reveals to us his aspirations of someday working as a farmer [likely on his own land] - Here, he expresses his desire to escape the abusive environment where he and his brother work in - However, he cuts this short and he hurriedly rushes downstairs in a frantic attempt to save Crispín - Basilio makes it down to the choir, paying close attention to any cry for help as he searches for Crispín • However, at this point, Crispín's cries of distress had continued to move farther away from Basilio, with his last known cries of "Mother!" and "Brother!" ceasing with the closing of an unknown door - After taking a moment to relax his nerves, Basilio bites down on his fist and lets out a stifled scream • This gesture could reflect his attempt to control his emotions in a situation he has no control over - In an attempt to distract himself, Basilio lets his gaze "wander through the semidarkness of the church" • He takes notice of a weakly burning oil lamp and a catafalque (a raised platform supporting a coffin) • More importantly, he observes that the church doors and windows are barred, which likely indicates that it's already past nine o' clock and that the curfew enforced by the military ensign is now in place - On the spur of the moment, Basilio quickly ascends to the third floor [where the church bell is located] • There, he unties the ropes attached to the bell clappers with the intent of disrupting the bell-ringing - The text does not provide a reason for this action, but it's likely he's doing this as a silent protest - He then heads back downstairs and sports a pale and bright-eyed expression, but not due to tears - Meanwhile, the storm that lasted since the previous chapter is dissipating, and the sky is now clearing - Basilio knots the ropes that used to be attached to the bell clappers and ties one of the ends to a baluster - He then exits into the darkness, but forgets to extinguish a light [likely from the candle we saw earlier] - Rizal ends the chapter with a cliffhanger, which leaves Basilio's fate ambiguous and us on tenterhooks • A few minutes after Basilio's hasty departure, two unspecified gunshots rung out in the town streets - Unusually, these shots "alarmed no one," which could suggest that this incident had no witnesses • If no witnesses reported this, it's highly probable this incident took place during curfew hours, since nobody would be permitted outside during curfew hours, so therefore no witnesses either • Since this incident occurred only a few minutes after Basilio left the parish house, and leaving would obviously entail going outside, this would heighten the grim possibility that Basilio got shot for violating curfew, and if so, we are left worrying as to whether Basilio is still alive… - Additionally, we are also left worrying about the fate of Crispín and whether he's still alive • This would ultimately raise the key question… What happened to Basilio and Crispín? • This literary cliffhanger serves as an instance of Rizal omitting details to leave readers intrigued - This reflects Rizal's consistent and masterful habit of using foreshadowing in his narrative by providing us with only vague descriptions of plot details that won't be elucidated until later… - Ultimately, this uncertainty can only be resolved one way or another, which is why this urges you as a reader to continue onwards to the next page in the hopes of finding out what happens next… 4 Chapters 15–17 DISCUSSION NOTES Noli Me Tangere by José Rizal Chapter 16: Sisa - Rizal opens the chapter on the night of All Saints' Day, noting that the townsfolk seem overall satisfied • He comments that this satisfaction is prevalent among families who have remembered the deceased - He gives us an overview of the specific religious rituals that they've done to remember the dead: • The Rosary (a series of prayers involving beads), requiems (masses for the dead), and novenas (nine-day prayer periods) are traditional rituals in Catholicism intended to honor the deceased • The burning of wax candles in front of sacred images is a form of remembrance and veneration - Rizal points out that the wealthy, having the means, have fulfilled their religious and social obligations • Due to their means, they have a societal expectation to perform more elaborate and expensive rituals • On the following day (i.e., All Souls' Day), the wealthy are encouraged to attend services, give alms, and purchase papal bulls offering indulgences in order to help deceased relatives stuck in purgatory - Rizal provides a philosophical reflection on the nature of divine justice in contrast with human justice • He suggests that the religious practices and beliefs surrounding death and the afterlife are less harsh, demanding, and inflexible than the artificial societal and legal expectations placed upon individuals - Rizal then shifts to the poor, contrasting their manner of religious devotion with those of the wealthy • He highlights their struggle to make their ends meet and the corruption they face on a regular basis - An instance of the latter that Rizal gives is the impoverished needing to bribe officials for peace • He criticizes poets who romanticize poverty, since they fail to acknowledge the harsh realities of it - This also reflects the irony and sarcasm of poets who try to describe "the loving hand of poverty" • He writes that the poor are sad and pensive, possibly about their struggles and the injustice they face • He says that the poor request much, yet they do so with "pain in their eyes and tears in their hearts" - Initially, this comes across as rather odd, as we would normally associate tears with the eyes and pain with the heart; here, Rizal deliberately inverts these to form a powerful and evocative image • This ingenious image suggests that their physical pain is perceptible and visibly apparent and their emotional pain is lasting and deeply internalized, which further intensifies their despair • He points out that those in poverty lack formal religious education and access to traditional prayers - The poor neither know nor understand the brief prayers, verses, or oremus5 endorsed by the friars • Rizal also subtly criticizes the friars for using religion to control and suppress the development of independent thought and emotion in the populace, specifically via the promotion of prayers He says that the impoverished "pray in the language of their misery," which metaphorically suggests • that their prayers are expressions of their suffering and hardship as opposed to formal religious rites • He says the poor's prayers are deeply personal, reflecting their own struggles and their mourning for loved ones who have passed away, stressing a bond with the dead rooted in shared love and hardship • Finally, he poetically contrasts the outward appearance of the poor's prayers with their internal state - He says that although their lips offer up praises, their minds scream in complaint and lamentation • This poetic image bears a striking resemblance to a verse in the Old Testament book of Isaiah: Isaiah 29:31 (KJV): "Wherefore the Lord said, Forasmuch as this people draw near me with their mouth, and with their lips do honour me, but have removed their heart far from me…" - Like the verse in Isaiah, Rizal suggests that true faith or spirituality is not about outward rituals or adherence to rules, but about the genuine feelings and beliefs of the individual - In other words, the formalities of prayer conceal the genuine extent of their sorrow and suffering - Rizal addresses both the divine and souls in purgatory, questioning if they are impartial to social class • He asks whether these entities either favor the humble prayers of those in poverty, who usually offer theirs before a crudely made religious print by the dim light of a timsim6, or the elaborate and costly displays of the wealthy, who traditionally offer their prayers before ornate tapers fronted by detailed religious icons and before the ritualistic, perhaps unfeeling, recitation of the Mass in Latin by priests • He points out that both the rich and poor are balanced in their internal display of religious devotion 5. oremus → Latin for "let us pray," a prayer invitation typically said before short prayers in a Catholic Mass 6. timsim → the wick of a small, local oil lamp, particularly made from the treated interior part of the greater club rush plant (Actinoscirpus grossus) [it derives from Hokkien, a variety of Chinese, where it meant "wick"] 5 Chapters 15–17 DISCUSSION NOTES Noli Me Tangere by José Rizal • By contrasting the disparities between the rich and poor in their manner of religious devotion, Rizal suggests that true spirituality and divine favor cannot be bought or judged by the spectacles of one's religious observances, instead advocating modesty and humility in one's show of religious devotion - Grandeur and elaborateness in religious rites are superfluous, heartfelt devotion is what matters - Rizal addresses the divine once more (likely to either Jesus or God), questioning whether he's forgotten the original mission of his religion (i.e., Christianity) to comfort the oppressed and check the arrogance of those in power, alluding to the fact that Christianity originally catered to the poor and downtrodden • By bluntly pointing out how the Church has strayed away from this foundational ethos by pandering largely to the wealthy, those who can afford religious services, he's exposing the Church's hypocrisy - Rizal then transports us to an unnamed poor widow, who vigilantly watches over her sleeping children • At the moment, she's contemplating the need to purchase religious dispensations from the Church, which she believes will aid the souls of her deceased parents and husband in achieving eternal rest - This reflects the Catholic practice of buying indulgences to reduce time in purgatory for the dead • Meanwhile, the widow vividly equates the value of a peso with several immediate needs in her life - She muses that a peso provides her with a week of her children's well-being, amusement, and joy, considerable savings for the month, and a necessary dress for her daughter as she reaches puberty • Everything she lists here is essential, both for her and her children's well-being and livelihood • However, she cites the words of a priest who emphasizes the need to make significant sacrifices to "put out the fires" of purgatory for her deceased loved ones, whom she believes remain stuck there - This reflects the Church's prioritization of religious tradition over people's welfare and survival • She then internalizes this message that she must invest in the salvation of her deceased loved ones - She notes the Church doesn't save souls nor gives away dispensations gratis, meaning "for free" • Instead, she notes one must earn them, even if it entails working rather than sleeping at night - Here, Rizal is criticizing the Church's practice of commercializing salvation, underscoring the extreme lengths to which the poor must go to meet these religious financial obligations • Meanwhile, she reveals the stark consequences of her sacrifices: her daughter lacks proper clothing - Here, Rizal emphasizes the real cost of the Church favoring religious payments over basic needs • It is the poor who suffer the most because of the Church prioritizing tradition over well-being - However, she maintains her ought to "deprive herself" of vital needs, since "heaven is expensive" • Once again, Rizal is levying his criticism on the Church's practice of commodifying salvation • She ends with a bitter and ironic observation: "It seems obvious that the poor don't get into heaven" - This harsh reflection suggests that the economic barriers placed by the Church effectively exclude the poor from salvation [an instance of religious hypocrisy, as this would contradict the Christian teaching of heaven being available to everyone, especially to the downtrodden and marginalized] - Also, these words starkly invert the well-known saying of Jesus spoken in the gospel of Matthew: Matthew 19:24 (KJV): "And again I say unto you, It is easier for a camel to go through the eye of a needle, than for a rich man to enter into the kingdom of God." • By inverting this, Rizal suggests that it is the poor, not the rich, who are barred from heaven, sharply contrasting with the biblical view wherein material wealth is an obstacle to salvation - The parable of the rich man and Lazarus7 in the gospel of Luke, where a rich man ends up in hell while the beggar Lazarus goes to heaven, also conveys the biblical view that God favors poverty - Rizal describes the widow's troubled thoughts as filling the space between the sahig8 and the palupu9 • In other words, her worries and concerns pervade the air of the house, from the floor to the rafters • Meantime, on the aforementioned palupu, a child, most likely one of her sons, rests in a hammock 7. parable of the rich man and Lazarus → in this parable of Jesus from Luke 16:19–31, a rich man [who is described as dives in the Latin Vulgate, essentially meaning "a rich man"] lives in luxury, while Lazarus, a poor beggar covered in sores, languishes at his gate; after their deaths, Lazarus is carried by angels to Abraham's bosom (heaven), while the rich man nds himself in Hades (hell), suffering torments [the parable illustrates the peripeteia, or reversal of fortunes, in the afterlife, where the poor man is comforted while the rich man suffers] 8. sahig → the Tagalog word for " oor," used to refer to the at surface in a room where people can walk on 9. palupu → a Tagalog word, likely referring to the rafters or the higher parts of the house (i.e., the roof area) fl fi fl 6 Chapters 15–17 DISCUSSION NOTES Noli Me Tangere by José Rizal - He breathes easily and calmly in his sleep, but occasionally "swallows his saliva and whimpers" • His periodical whimpering and swallowing of saliva could indicate an instinctive reaction to his unsatisfied and urgent need for food, highlighting the pervasiveness of hunger in his life • His dreaming of eating while asleep due to a empty stomach again symbolizes the recurring presence of hunger in his life, reflecting his family's harsh and dire financial circumstances - The mere inadequacy of the small portions of food shared by his older siblings underscores the severity of their poverty and their family's struggle to provide even the most basic needs - Rizal then momentarily shifts our focus away from the widow's home to the natural environs around it • There, cicadas monotonously chant their continual tune and crickets trill, concealed in the lush grass • Meanwhile, the zarandija10 emerges from its underground burrow to forage for food in the darkness • The chacón11 adds its voice to the nighttime chorus, jutting its head from a hollow, rotten tree stump - Its description as "no longer being afraid of water" could suggest its adaptability and resilience, and its "fatidic" (meaning prophetic or ominous) voice lends a sense of foreboding to the scene Dogs let out mournful howls in the streets of San Diego, casting an eerie atmosphere to the scene • - In various cultures, dogs are often believed to perceive supernatural entities, so their mournful howls could be seen as a bad omen [this adds a layer of folklore and superstition to the scene] Rizal concludes with a poignant observation of the natural world's indifference to human suffering • - While the natural world continues its rhythms and the supernatural is hinted at, the real, tangible suffering of the impoverished goes unnoticed by the various creatures he had mentioned earlier • This emphasizes the isolation of human pain and the indifference of nature to human affairs - Rizal now fully introduces us to Sisa, the mother of the two sacristans-in-training Basilio and Crispín • She lives in a remote area, a hour's distance away from the center of town, where her two sons work • Her description as someone who tries to "live for her sons" shows her dedication and maternal love - This contrasts with her uncaring husband, who's more interested in gambling on cockfights than in his family [this description concurs with Crispín's remarks about his father being a "bad man"] • Her interactions with him are described as "odd and always painful," suggesting that they have a dysfunctional and strained relationship, lacking normal familial warmth and communication • Her husband has also squandered the family's limited resources to feed his gambling addiction • When she could no longer financially support his habits, he began resorting to domestic abuse - This highlights the dire situation she is in and the destructive impact of her husband's vices - In his initial reference to her name within the text, Rizal describes Sisa as "long-suffering" • This adjective used to describe Sisa likely suggests that she endures patience in the face of her adversity and suffering, particularly at the hands of her cruel and abusive husband Despite her loving and tenderness, she lacks the cunning and assertiveness to change her situation • - This is evident when Rizal portrays her as having "a weak character and more heart than brains" - Her ability to "love and cry" reveals her deep emotions, but also her helplessness and passivity • Her vulnerability and lack of agency reflect the patriarchal social norms of the time period She regards her husband as "her god," despite his abuse towards her, and her sons as "her angels" • - Given her husband's abusive nature, her idealization of him as a "god" is particularly poignant • This reflects the patriarchal expectations of the time for women to obey and submit to the male head of the family, often to the point of overlooking or enduring severe mistreatment - Her perception of her sons as "her angels" symbolizes the unconditional love she has for them • Reflects the idealistic perception mothers often have of their children as innocent and flawless • She sees them as a source of strength for her, giving her hope and purpose amid her struggles Aware of the devotion and fear she has toward him, her husband abused his power like a "false god" • - He became increasingly cruel, inhuman, and capricious, exploiting Sisa's love and vulnerability - One day, when Sisa's husband returned home in a particularly gloomy mood, she used this opportunity to discuss with him her plan for their son Basilio to earn money working for the Church as a sacristan 10. zarandija → a rarely attested Spanish word for a mole cricket, a large burrowing nocturnal insect of the family Gryllotalpidae found in various regions of the world, particularly in tropical climates [veenmol in Dutch] 11. chacón → the Spanish word for the Philippine sail n lizard (Hydrosaurus pustulatus), a unique and large semiaquatic lizard endemic to all of the major island groups of the Philippines except for the Palawan islands fi 7 Chapters 15–17 DISCUSSION NOTES Noli Me Tangere by José Rizal • Seeking to improve her situation, she sees a role in the Church as a potential opportunity for her son • However, the reaction her husband has to this plan isn't one of interest in Basilio's welfare or future prospects, but instead whether the position would supply them with a substantial amount of income - Her husband's concern about the job's wages highlights his materialistic and self-centered attitude - His focus on petting his gamecock rather than discussing important matters with her underscores his neglect and disinterest in family matters and his obsession with gambling and personal vices • She chooses not to press the issue with her husband, likely fearing his reaction or further disinterest - Despite this, her desperate circumstances and the hope for her sons' education (i.e., for her sons to learn to read and write in the village school) motivate her to proceed with her plan for Basilio • This shows her determination and the value she places on education for her sons' betterment • Her husband said nothing in response to Sisa's actions, once again displaying his indifference and detachment from the family's struggles or decisions [this lack of support from him further emphasizes her isolation and the burden she bears alone in trying to provide for her two sons] - Rizal opens the scene around 10:30 or 11:00 PM, on a clear, starry night after the last chapter's storm • Sisa is sitting on a wooden bench [presumably near her home], setting a quiet, contemplative mood - She is gazing at a modest fire that is burning in a simple fireplace made of bright, angular stones • These details paint an extraordinary picture of her rather simple and humble living conditions • Her staring at the fire suggests deep reflection or perhaps a transient escape from her worries • She is preparing a meager meal, specifically rice in a small pot balanced on a tunko12 and three dried sardines cooking on the coals [the sardines sold at the price of three for a quarter at the local market] - The detail about the sardines' price emphasizes the family's poverty and the simplicity of the meal • She is depicted in a contemplative pose, gazing at the yellowish flame and the transforming embers - The transforming embers could symbolize the fleeting nature of life or hope amidst her hardships • In spite of her difficult circumstances, a poignant memory brings a glum smile to Sisa's countenance - She recalls an amusing Tagalog bugtong13, or riddle, her younger son Crispín had once told her • The Tagalog bugtong: Nampú si Maitim, sinulut ni Mapulá / Nang malao'y kumara-kará - Below is a word-by-word, grammatical analysis of the above-mentioned Tagalog riddle: • Nampú → a verb conjugated in the past tense, meaning "sat down" or "seated" • si → a topic marker used for proper nouns [here, it precedes a noun used as a name] • Maitim → a noun referring to the color "black" [here, it's used as a name] • sinulut → a verb conjugated in the past tense, meaning "poked" or "prodded" • ni → an ergative marker used for proper nouns, roughly equivalent to "by" or "of" • Mapulá → a noun referring to the color "red" [also used as a name here] • Nang → a conjunction similar to "when," indicating the time something occurred • malao'y → an adverbial contraction of malao ay, meaning "after a while" or "eventually" • kumara-kará → an onomatopoeic verb signifying a sizzling or crackling sound - Piecing these together, the Tagalog bugtong roughly translates to the following in English: • In English: Black sat down, poked by Red / Eventually, it sizzled and crackled - When taken at face value, the solution to the riddle explains the process of a pot [something black] being heated up by a fire [something red], resulting in a sizzling and crackling sound • However, this could represent more than just an innocuous sounding childhood riddle, as Rizal might be cleverly embedding a deeper and subtler political message by including it - This could be interpreted as a prophecy, prefiguring a coming uprising and revolution • Maitim or "Black," represents the native Filipinos, likely referencing their dark skin - This could also symbolize the natives' suffering or oppression under colonialism Mapulá or "Red," represents the Spanish colonizers, possibly referencing their flag • - The action of "Red" poking "black," likened to a flame heating up a pot, implies provocation or agitation, which the Spanish colonizers carried out on the natives 12. tunko → a local stove with a trivet or a tripod stone base used to hold a pot or other cooking containers 13. bugtong → a traditional form of Tagalog literature in the form of a riddle, wherein a description or clue is given, and the listener or reader has to guess the answer [riddles such as this are deeply ingrained in Filipino culture, often used as a form of entertainment and as a way of imparting traditional knowledge and wisdom] 8 Chapters 15–17 DISCUSSION NOTES Noli Me Tangere by José Rizal • Thus, the second line of the bugtong, Nang malao'y kumara-kará, which translates - - - - to "Eventually, it sizzled and crackled," subtly insinuates the growing unrest or the simmering tensions between the indigenous Filipinos and the Spanish colonizers - Here, Rizal foresees the inevitable climax of these brewing tensions: revolution Rizal reflects on Sisa's past, asserting that she was once not only youthful, but beautiful and charming • This description would suggest her life of poverty has drastically affected her physical appearance • He depicts her eyes as both attractive and expressive, characterized by their depth and long lashes - He poetically refers to them as a reflection of her soul, a trait that she has passed on to her sons • Once again, this highlights the deep maternal bond and affection she shows toward her sons • His description of her "straight" nose and "beautifully drawn" lips follows typical beauty standards - Here, he uses the Tagalog word kayumanging-kaligátan14 to refer to her light brown complexion • This adds cultural specificity to her physical description, conveying a sense of natural beauty • Although she's still young, her cheeks are hollow or thin, possibly due to suffering and lack of food - This description once again illustrates the physical impact that her life of poverty has had on her • Her hair, once a symbol of her elegance and beauty, is mentioned to reminisce about her better days - The use of "in other times" suggests a loss and decline from the earlier joyful moments in her life - Currently, she keeps her hair combed more out of habit than "coquetry" (meaning flirtatiousness) • Her present hairstyle is plain and modest, a simple bun lacking ornaments like pins or combs - She prioritizes practicality over appearance due to her concerns for her family and survival Rizal reveals that for several days, Sisa dedicates herself to finishing an urgently requested sewing task • The fact that she never left her house during this period to complete this urgent duty [likely for pay] highlights both her determination and possibly her desperate need for the income it would provide • She also has decided to skip mass [an important religious observance] this morning in order to work - Given the two-hour round trip it required, her practical choice of not going to town reflects her prioritization of daily survival needs (e.g., the necessity of earning income) over religious duties • When she presents her finished work to the owner, she only gets a promise of payment instead of the actual money, indicative of the exploitation and uncertainty that poor workers like Sisa often faced - They often faced untimely or unreliable pay for their labor, adding to their financial instability Sisa had spent the day excitedly preparing for the evening, when she expected for her sons to return • The mention of her plan to give them gifts shows her desire to make the occasion special for them • She prepares their dinner by buying sardines [from market] and picking tomatoes from her garden - She chose these foods specifically because they are the favorite treats of her younger son, Crispín • This shows the consideration she has for her sons' preferences in spite of her limited resources • To cater to Basilio's favorites, she goes the extra mile to obtain dried boar and the leg of a wild duck from her neighbor, who lives a half-kilometer away from her [who's none other than Don Anastasio] - This effort further demonstrates the care she has for her sons and her dedication to pleasing them • With eagerness, she cooks the finest rice, which she herself harvested from the threshing-room floor - This suggests that even the basic parts of the meal required effort and resourcefulness on her part • Rizal highlights the contrast between the humble status of her family and the quality of the meal she prepares by describing the dinner she had prepared as "a meal worthy of a priest for her young boys" - This echoes what Don Anastasio earlier said to Crispín and Basilio in Chapter 14 about the meal: • "Are you coming home with me?…Your mother has prepared a dinner fit for priests." [pg. 79] - As earlier noted in the novel, priests in Filipino society enjoyed an affluent socioeconomic status • This statement thus suggests that priests' quality of food was far above that of ordinary people Rather upsettingly, Sisa's husband unexpectedly returns, and eats nearly everything she had worked so hard to lovingly prepare for her sons, symbolizing his selfishness and disregard for the family's needs • This could also suggest his dominance and control within the household [reflecting the patriarchy] • Sisa's silence in response to her husband's actions can be interpreted as a sign of her resignation and powerlessness in the relationship [presumably, she fears the abuse she might face if she speaks out] • Her husband's afterthought to inquire about their sons only after satisfying his own hunger further stresses his self-centeredness and lack of familial concern, in stark contrast with her selfless love 14. kayumanging-kaligátan → a Tagalog word describing a light, clear brown skin tone, seen as attractive 9 Chapters 15–17 DISCUSSION NOTES Noli Me Tangere by José Rizal • Despite the challenging situation, Sisa manages a smile, driven by selflessness and love for her sons - She resolves not to eat, promising herself to give the remaining meager leftovers to her two sons • Her self-sacrifice for the sake of her sons' well-being is a powerful testament to her character - This poignantly illustrates the unconditional love and maternal devotion she has for them • Sisa does manage to derive some solace from her husband's afterthought to inquire about their sons - As insignificant as it may seem, this minimal gesture is a source of comfort for her, indicating her deep longing for any sign of care or concern from her husband on matters concerning the family • Her husband's decision to pick up his gamecock [a representation of his gambling habit] and leave directly after eating indicates his continued focus on his self-interest over the welfare of his family - Sisa, trembling—perhaps from a mix of fear and hope—asks her husband if he wants to see their sons • She cites Don Anastasio's update that they will be arriving home late, and shares news of Crispín's - - - progress in reading and the possibility that their son Basilio will bring home earnings from his job - Initially, her husband's reaction to this is ambiguous, as it's only when the possibility of Basilio bringing home money is mentioned that he pauses to consider [this aligns with his self-interest] • The phrase "his good angel won out" implies a rare moment of better judgment or restraint in his usually self-centered behavior [though the "better" option he makes is still self-interested] - His reply discloses his true motive, as he tells her to save a peso for him [likely for his gambling] and leaves without further concern for their family [highlights his selfish and exploitative nature] After her husband's departure, Sisa immediately sobs, reflecting her emotional pain and powerlessness • However, she swiftly composes herself, wipes away her tears, and redirects her attention to her sons - This shows her resilience and the extent of her maternal love, which overrides her own suffering Despite the earlier setback, Sisa begins to prepare another meal for her sons, cooking another batch of rice and preparing the only three sardines remaining, showing her determination to provide for them • Each of her sons would have a moiety, showing her fairness and care in ensuring equal provisions Sisa acknowledges that her sons "will be hungry," considering that they are quite far away from home • She points out that "an empty stomach is a discouraged stomach," recognizing a meal's importance in providing not only energy and physical sustenance, but also emotional comfort and motivation Sisa becomes acutely vigilant and sensitive to any sound as she anxiously anticipates her sons' return • Given the harrowing events we had earlier witnessed in the last chapter, this creates dramatic irony, since we know that her sons will not return home when she expects them to, but she does not know - She's also totally oblivious to her sons' abuse, as well as Crispín being wrongly accused of theft • She distinguishes her sons' footsteps in her mind, imagining Basilio's steps as strong and clear, and Crispín's as light and uneven [this signifies her intimate knowledge and understanding of her sons] • Rizal mentions the kalao15 as having sung two or three times since the rain stopped, indicating the passage of time; despite this, her sons haven't arrived yet, increasing the tension and her anxiety Sisa takes care to keep the sardines warm for her sons before moving to the doorway to watch for them • This signifies a transition from passive waiting to active watching, reflecting her increasing worries As a coping mechanism to distract her from the fears she has for her sons, Sisa sings to herself quietly • Rizal mentions she once possessed a beautiful voice, which she used to sing kundíman16 to her sons - When her sons heard her beautiful singing, it moved them so deeply that they cried inexplicably • This suggests the deep, perhaps subconscious, bond they have toward their mother's feelings However, on this particular night, her voice trembled, and the notes of her singing came out of tune • - This serves as a manifestation of her mounting worry and distress about her sons' delayed return - By mentioning this, Rizal subtly hints that things are terribly out of joint on this particular night • Again, this makes sense, given what we have just seen happen to her sons in the last chapter Eventually, Sisa ceases her singing and peers into the darkness, hoping to see her sons coming home • The fact that nobody arrived from town coincides with the military ensign's nine o' clock curfew - Instead, the wind continued to blow, causing water to drip from leaves of nearby banana trees Unexpectedly, Sisa catches sight of a black dog appearing in front of her, seemingly tracking a scent • In the folklore and superstition of many cultures, black dogs are often associated with bad omens 15. kalao → the Tagalog name for the rufous hornbill (Buceros hydrocorax), a bird endemic to the Philippines 16. kundíman → a traditional Tagalog folk love song, characterized by its melodious and expressive qualities 10 Chapters 15–17 DISCUSSION NOTES Noli Me Tangere by José Rizal - None of this is accidental, as Rizal once again uses superstitions and unnatural occurrences to subtly insinuate that the worst has happened [makes sense, given the events in the last chapter] • Her fear prompts her to pick up a rock and throw it at the dog, which then flees, howling woefully - Despite not being superstitious herself, the local talk and folklore about premonitions and black dogs affect her, leading her to feel afraid [once again, her fears are unknowingly well-founded] - Terrified at this, Sisa quickly shuts the door and sits down, seeking the comfort of light from a lamp • Here, Rizal poetically suggests that the darkness of the night often makes one more susceptible to beliefs and fears, as one's imagination permeates the surroundings with imagined ghosts or spirits - This reflects the tendency for humans to become more fearful and imaginative amid darkness - Sisa attempts to pray, seeking divine protection for her sons, especially for her younger son, Crispín • Her concentration abruptly shifts from her prayers to vivid memories of her sons, recalling their features, both in dreams and while awake [this suggests her constant preoccupation with them] • Suddenly, she experiences a chilling sensation and sees a vision of Crispín beside the fireplace - Rizal mentions that the fireplace was a familiar spot where they often engaged in conversations - This vision of Crispín is silent, communicating to her only through a smile and thoughtful look • Her vision of him could be interpreted as a poignant mixture of her longing and imagination - Rizal abruptly ends the chapter with the arrival of Basilio, signaled by his voice calling from outside • This partially relieves us upon hear this, since his fate was left ambiguous in the previous chapter - While this is surely good news, the fate of his younger brother, Crispín, still remains a mystery • This startles Sisa, and she snaps back into reality, causing the vision she had of Crispín to vanish - This underscores its ephemeral nature and the fragility of her mental and emotional condition Chapter 17: Basilio - In the mere subtitle of this chapter alone, Rizal includes a fascinating and clever intertextual reference • In the original Spanish text, the chapter's subtitle is La vida es sueño, which means "Life is a dream" - This alludes to a 1635 Spanish Golden Age drama of the same name by the Spanish playwright Pedro Calderón de la Barca, which features a Polish king who happens to share Basilio's name • In this play, Basilio's namesake, the king of Poland, locks away his son, Prince Segismundo, because of a prophecy that the prince would bring disaster to the kingdom and kill his father • Segismundo is raised in isolation and, upon coming of age, is drugged and brought to court • Not knowing his true identity as the prince of Poland, he believes his experience is a dream • In court, Segismundo's behavior is rather violent, and so Basilio drugs and locks him again • When he wakes back in his cell, he is convinced his brief time as a prince was just a dream • The king, feeling guilty, releases him again, but this time he acts with nobility and restraint • The play explores many themes such as fate versus free will, appearance versus reality, the ethics of one's actions, and whether life is a dream from which one might suddenly awaken - The rather striking parallels between Basilio in this chapter and his namesake in Calderón's play lie in both works' exploration of how the distinction between reality and dreams can be blurred • Here, Rizal conflates Basilio's experiences with that of his namesake's son in Calderón's play - As this chapter will show, the dreams he shall experience are hard to separate from reality • There's indeed reality to them, reflecting his own harrowing and traumatic experiences - Rizal picks up from before, with Basilio barely entering before stumbling and falling into Sisa's arms • This entrance suggests Basilio's either injured or exhausted [as we shall see, both of these are true] - Sisa experiences a sudden chill after seeing Basilio alone, since she was anticipating both of her sons • She's alarmed and shocked at Basilio's sole appearance, as her younger son Crispín is still missing - To make matters worse, we still do not know what became of Crispín or whether he is still alive Her inability to speak, embrace her son, or even weep poignantly illustrates her disbelief and shock • - The overwhelming emotions seem to paralyze her, reflecting the worries she has for younger son - The horrid sight of blood streaming from Basilio's forehead appalls Sisa, triggering a visceral reaction • Given the vague description at the end of Chapter 15 of two unspecified gunshots being fired, it is likely one of them barely hit him on the forehead, nearly killing him, before he managed to escape • She screams, a sound that Rizal describes as indicating the very sinews of the heart being torn apart - This reaction conveys the harrowing emotional turmoil and distress upon seeing her son's injury 11 Chapters 15–17 DISCUSSION NOTES Noli Me Tangere by José Rizal • She shouts "My boys!", reflecting the deep concern she has for her sons, especially now for Crispín - Basilio tries to reassure his mother by informing her that Crispín has stayed behind in the parish house • Although Basilio's response is meant to alleviate her, it lacks details as to why Crispín stayed behind - Sisa is in disbelief at the notion of Crispín still in the parish house and questions whether he's still alive • We, too, are left wondering whether Crispín's still alive, but in her case, she's totally unaware of the harrowing abuse the chief sacristan inflicted on Crispín in Chapter 15, which Basilio had witnessed - After staring into Sisa's eyes, Basilio sighs in seeming affirmation, shifting from anguish to happiness • It is as if Basilio wants to assure her of Crispín's safety, despite having witnessed his abuse firsthand - His fear of telling his mother the truth regarding the uncertainty of Crispín's fate could reflect her troubled mind and over-fixation with her sons making her unable to accept them being in danger • She responds to this through physical gestures, hugging and kissing the injured forehead of her son - This is a visceral show of maternal love and relief, an expression of her deep worry and affection - Sisa expresses her relief at this, taking his apparent sigh of affirmation to mean that Crispín's stil