Noli Me Tangere Chapters 22 & 23 Discussion Notes PDF

Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES Chapter 22: Light and Shadow pg. 134 - Rizal opens the chapter by noting that three days have elapsed since the events of the earlier chapters This is notable, as it marks the first occasion where Rizal leaps ahead in time within in his...

Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES Chapter 22: Light and Shadow pg. 134 - Rizal opens the chapter by noting that three days have elapsed since the events of the earlier chapters This is notable, as it marks the first occasion where Rizal leaps ahead in time within in his narrative - The first third of the novel's 63 chapters narrates each day from October 30 to November 2, 1881 Since these days span the period from November 3–5, 1881, the next day will be November 6, 1881 - This would therefore place us in the week preceding the festival of San Diego on November 12th - During this three-day narrative gap, the residents of San Diego both prepared for the upcoming festival of San Diego on November 12 and participated in a continuous stream of gossip and secret discussions This emphasizes the dual focus of the town's activities: the outward, visible preparations for a public observance, and the offstage, covert dissemination of rumors and commentary among its inhabitants - Although some people looked forward to the festival with anticipation, others used this time to criticize various figures in the town, including the mayor, the deputy mayor, and the members of the youth party To boot, there were those who blamed everyone in the town hall for the dissatisfactory festival plans One should note that the curate, Father Salví, wasn't listed among those whom the townsfolk blamed - Although the mayor's spinelessness makes him a scapegoat, he's inevitably a pawn of Father Salví In a fait accompli, the mayor already acquiesced to the curate's proposed festival arrangements Drawing an analogy to chess, the town's mayor is more like the bishop's pawn on a chess-board - One can infer from this that almost nobody bad-mouthed the priest for the outcome of the meeting No one dares to criticize the priest due to the fact that he is the religious authority of San Diego Again, note that the town curate wields significant authority over political and civil institutions - Merely dissenting against him risks being thrown in jail, as what had become of Don Rafael - Additionally, during this three-day interval, María Clara arrived in San Diego [along with Aunt Isabel] We have not heard from her for 12 consecutive chapters, but she finally makes her reappearance here Also, the pertinent question regarding her paternity has been unresolved for 16 consecutive chapters - Details from Chapters 6, 7, and 9 might have hinted at Father Dámaso being her biological father He also hasn't appeared for 12 consecutive chapters, and the last time we had seen him, he was behaving rather suspiciously and over-protectively toward her before he stormed Tiago's office She was "spared [Captain Tiago's] tiny eyes," strongly implying that she did not inherit them Father Dámaso was referred to as her "godfather" several times [he brought her to be baptized] However, although it's been deeply hinted at earlier in the novel, it hasn't been confirmed yet - It may turn out to be a red herring, or it may be closer to the truth, but again, we don't know This development pleased them because of their affection for her and their admiration of her beauty - Earlier in the novel, we have seen how Rizal idolizes María Clara as an idealized feminine figure Recall that Rizal based her on his actual childhood sweetheart and love interest, Leonor Rivera In Chapter 5, when she was unnamed, and in Chapter 6, she was described in ethereal language In Chapter 7, Crisóstomo Ibarra conflated a love for María Clara with a love for the Philippines Their collective joy at her presence highlights her as an esteemed personality in the local community - The townsfolk were just as surprised by the evident changes in Father Salví's demeanor and appearance His parishioners observed that he seemed preoccupied during his religious services, has become less communicative, lost weight, and turned more reserved [this only accentuates our suspicions of him] - His striking change in behavior may be the result of him possibly concealing a deep, dark secret Remember that his indisposition arose not long after Crispín's disappearance and uncertain fate It may tragically turn out that Crispín is actually dead and that the priest brutally murdered him - This grisly but plausible scenario will henceforth be referred to as the "murder hypothesis" It's merely a hypothesis, as it posits a potential explanation that hasn't been confirmed yet - Crispín said to Basilio in Chapter 15 that the priest earlier issued threats to beat him to death - Rizal may have grimly insinuated this in the nightmare that Basilio earlier had in Chapter 17 In it, Crispín noticeably resorted to a primal act of self-defense by biting the priest's hand - This uncannily concurs with a detail from the subsequent chapter wherein Father Salví withdrew his hand from Sister Rufa [Is Father Salví hiding a bite mark from Crispín?] - There's a sliver of hope that Crispín's still alive, but his survival odds are looking very bleak A speculative estimate might place Crispín's probability of survival no greater than 10% Unfortunately, it is likely extremely low due to the credibility of the "murder hypothesis" 1 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES - Contrariwise, it is plausible to presume that Basilio's survival odds are greater than Crispín's A speculative estimate might place his chances of survival at a range of roughly 50–60% His known resourcefulness and ability to escape are major contributors to his higher odds - However, nothing is certain, so we'll have to wait until Rizal resolves this later in the novel His cook noticed that the priest continued to lose weight and lamented that he no longer showed any interest in the meals prepared for him [shows a growing disengagement with pleasures and routines] - The most sensational topic among the townspeople was the observation that the parish house remained - - - - pg. 135 - illuminated throughout the night during Father Salví's visit to a specific residence (i.e., María Clara's) This introduces a critical element of gossip that ties the priest's unexplained behavior to María Clara This fuels speculation and intrigue among the townsfolk [Is the priest infatuated with María Clara?] Responding to these rumors, the devout individuals made the sign of the cross and continued gossiping Their reaction of making the sign of the cross is a ritualistic expression of shock, fear or disapproval This could indicate that the rumors surrounding Father Salví and María Clara are seen as scandalous Crisóstomo Ibarra had telegraphed Aunt Isabel and her niece María Clara from the provincial capital However, despite his greetings, he didn't provide them reasons for why he was away from San Diego - Recall that near the end of Chapter 20, as the meeting at city hall concluded, Crisóstomo suddenly informed the schoolmaster he'll urgently head to the provincial capital to conduct "business" there Cleverly, Rizal didn't further specify on the "business" Crisóstomo has in the provincial capital - This ties in with Rizal's consistent habit of foreshadowing future plot developments by only providing partial, vague, or cryptic details that won't be explained until later in the narrative - Since nothing additional has been given yet, we must wait until full clarification is provided - The fact that he didn't tell them why he'd left San Diego might suggest that this is a private matter Again, this isn't made clear now, so we will have to wait until the author fully reveals this later Many speculated that Crisóstomo had been imprisoned due to his prior confrontation with Father Salví This obviously references the former events described in Chapter 13 ("The Storm Brews"), in which Crisóstomo, upon having arrived at San Diego's village cemetery on the afternoon of All Souls' Day, November 1st, 1881, was shocked to discover that the parish priest had desecrated his father's grave - Recall that Crisóstomo wasn't aware of the truth that Father Dámaso had ordered the exhumation of his father's corpse and that the Vice Royal Patron had ousted him from the curacy of San Diego This was because the gravedigger who gave the news did not directly implicate Father Dámaso - Recall that he euphemistically referred to Father Dámaso by the nickname "Father Garrote" - His withholding of information led to Crisóstomo rashly jumping to misguided conclusions - Because of this incident, Father Dámaso was evicted and replaced with a new curate, Father Salví - After a gravedigger shockingly revealed to Crisóstomo that he had thrown Don Rafael's body into the lake, Crisóstomo stormed from the cemetery and got into an untimely run-in with Father Salví Asserting dominance, Crisóstomo gradually pushed the curate down until he was on his knees It's only when he told him that it was actually the former curate, Father Dámaso, who'd ordered the exhumation of Don Rafael's body that Crisóstomo let him go, but not without slapping him Note that his run-in with the priest is symbolic, as he's inserting himself into the power struggle However, the town's gossip peaked when, on the afternoon of November 5th, Crisóstomo was observed alighting from his coach at María Clara's house and warmly greeting F. Salví, who was also visiting her His seemingly friendly interaction with the priest contradicts the hostility of their prior confrontation Despite their earlier animosity, society pressures them to treat each other civilly (i.e., like gentlemen) In contrast to the attention surrounding these two men, the local community ignored Sisa and her sons We have already seen in the subplot revolving around them how society treats them indifferently and marginalizes them by branding them as criminals due to their underprivileged socioeconomic status - These societal stigmas tragically contributed to the uncertain fates of both of her sons at this point The fallacious generalization of the poor as criminals largely stems from statistical correlations Although statistics have demonstrated that criminality strongly correlates with poverty, they do not indicate that poverty causes criminality [remember, correlation does not imply causation] Rizal then takes us over to María Clara's residence, setting the scene and offering us a vivid description The author poetically refers to her home as a "handsome bower set among ylang-ylang orange trees" - "Handsome bower" is rendered from the Spanish hermoso nido, literally meaning "beautiful nest" Although nido means "nest," it can be used in a figurative sense to mean an abode or residence 2 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES This projects the aesthetic and charm of her home [it suggests a sense of warmth and welcome] - Its setting among ylang-ylang and orange trees evokes a tropical paradise, indicating floral beauty This serves to immerse the reader in the local flora [it captures a fragrant and evocative image] The author then situates María Clara and Crisóstomo Ibarra amid a picturesque and romantic setting - They're both positioned at a window facing the lake, which is encircled by blossoming plants and vines that ascend the bamboo and trellises (i.e., latticeworks for climbing plants), scenting the air - The vivid description of the environment surrounding them makes the scene romantic and idyllic - Rizal uses hyperbole in his description of María Clara's words as being "softer than the rustling of the - - - leaves" and "more fragrant than the air" in a garden [this portrays her speech as delicate and profound] He romantically juxtaposes the susurration of her speech with nature's gentle and aromatic ambience This stresses the purity and depth of her expressions and conveys a sense of intimacy and tenderness that transcends the physical setting, suggesting that their love is as natural as the garden around them Rizal adds a layer of folklore, magic, and mysticism as he narrates the transition between day and night He invokes myths and legends linked with the natural world via the introduction of sirens in the lake - He imagines them as seizing the opportunity of the shadows produced by the rapid fall of twilight - This interweaves the lovers' story with broader cultural myths associated with natural phenomena After they surface from the lake, Rizal portrays the sirens as "greeting the dying sun with their song" - The "dying sun," rendered from sol moribundo ("moribund sun") in Spanish, describes the sunset The sun is said "to die" when it sets in the west, since it vanishes from view below the horizon Moribundo derives from Latin moribundus, literally meaning "dying" or "at the point of death" - This metaphor poetically and beautifully marks a moment of transition from one phase to another These sirens are characterized as having blue eyes and hair, adorned with crowns made from aquatic plants blooming with red and white flowers [this description vividly illustrates and colors the scene] - Rizal uses paradox to paint ethereal beings that are both part of and apart from the natural world - This symbolizes a harmony of the elements and a balance between the aquatic and the terrestrial Occasionally, the lake's foam reveals the sirens' statuesque, pale figures that surpass even the foam's whiteness, and at night, they play their "divine sport," or divinos juegos ("divine games") in Spanish - Again, hyperbole is used in the description of the sirens' marble hue as eclipsing that of the foam - The likening of their activities to a "divine sport" ties in with the theme of nature's capriciousness Playwright William Shakespeare famously used the imagery of the divine partaking in "sport": - In Act IV, Scene I of his tragedy King Lear, the blinded Earl of Gloucester bleakly exclaims, "As flies to wanton boys are we to th' gods; / They kill us for their sport." (IV, i, lines 41–42) - At nighttime, they also make music, producing sounds as mystical as those from an Aeolian harp1 This introduces an element of the sublime, suggesting that the lake and its surroundings are not merely a backdrop but a living and breathing entity that is imbued with its own tales and music Though Rizal has more to say, he shifts the narrative to the pair as we join them in mid-conversation Crisóstomo reassures María Clara that by the following morning [before the crack of dawn on Nov. 6] he'd fulfill all her desires, arranging all the preparations during the night to ensure nothing was missed The preparations are for an event [as of now unspecified] that will be made clear later in the chapter María Clara decides to invite her friends but pleads for Crisóstomo to exclude Fr. Salví from the outing This hints at her discomfort with his presence, as well as an underlying tension or fear related to him Her uneasiness is warranted, since we too should be suspicious of Father Salví's attitude at this point - Unlike her, Rizal has already presented us with insinuations as to what may be bothering him… Seeking clarification, Crisóstomo asks the reason behind María Clara's request not to include Fr. Salví This indicates either awareness of her discomfort or a desire for her to articulate her feelings openly María Clara elaborates on her discomfort with Father Salví, noting his constant, unsettling gaze at her His conduct toward her suggests his unsettling obsession and likely hints at deeper, darker motives Her expression of uneasiness highlights her vulnerability and the inappropriateness of his attention 1. Aeolian harp → A musical instrument that is played by the wind. Its name derives from Aeolus, the ancient Greek ruler of the winds whom Odysseus encountered in Homer's epic poem The Odyssey. It consists of a wooden box with strings stretched across two bridges. It is typically positioned in an open window or outdoors where the wind can pass over the strings to vibrate them, creating variable sounds. 3 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES She further relates his behavior as peculiar and disturbing, particularly his habit of discussing bizarre - - pg. 136 - - - - and difficult-to-understand topics, such as an odd question about dreaming of letters from her mother - When María Clara debuted in Chapter 6, we were told that her mother Doña Pia died in childbirth - Though the contents of these letters aren't specified in the text, they may concern family secrets… However, we can only speculate, so we will have to wait until this is clarified later in the novel María Clara holds that Father Salví might be mentally unstable, a suspicion echoed by her close friends She identifies these friends as Sinang and Andeng, with the latter sharing the same wet-nurse as her2 She and her friends attribute his oddness to his lack of personal hygiene and preference for darkness - His choice to live in the dark uncannily coincides with the dark secrets he may be harboring… - This paints him as a peculiar and somewhat unsettling character, escalating our suspicions of him María Clara insists once more to Crisóstomo that Father Salví should not accompany them to the event Her plea is both a request for protection and a want to shield her from discomfort and potential harm However, Crisóstomo explains to her that it's still necessary to invite Father Salví due to societal norms His reply highlights a respect for tradition and etiquette, albeit at the expense of privacy and security - Reflects the delicate balance he must maintain between personal desires and societal expectations He further justifies the invitation by mentioning the priest's current presence in María Clara's home and his apparently commendable conduct toward Crisóstomo himself [although, this is rather questionable] The acknowledgement of his presence reflects his attempt to navigate the social landscape prudently He recognizes the priest's influence and thus the need to maintain a facade of cordiality and courtesy Crisóstomo shares a particular instance where the priest spoke highly of him during a consultation with the magistrate [in this case, Father Salví could have influenced matters against him, but decided not to] He cites the priest's apparent support and lack of hindrance in his affairs to justify not excluding him - However, Rizal has already hinted at Father Salví being a duplicitous and untrustworthy character In addition to being a prime suspect in Crispín's disappearance, he takes part in uncanny rituals This suggests that the priest is compartmentalizing professional matters with his personal behavior - However, given dramatic irony, we know that Father Salví has failed in his compartmentalization - This complicates his character, hinting at underlying motivations or constraints behind his actions Noticing María Clara's concern, Crisóstomo tries to reassure her by acknowledging her discomfort and promising that the priest won't accompany them on the boat [an attempt to compromise with customs] Through compromise, he intends to alleviate her worries while still adhering to societal conventions Crisóstomo and María Clara's conversation is cut short by the sound of Father Salví approaching them Rizal describes him as having a contrived smile, indicating discomfort or a lack of sincere happiness - This indicates that his surface-level displays of friendliness and approval may not fully align with his inner feelings, adding a layer of duplicity to his interactions with Crisóstomo and María Clara - This moment also serves as a physical manifestation of the underlying unease in their relationship Addressing the pair, Father Salví remarks on the coolness of the wind and expresses concerns about the possibility of becoming cold, questioning whether they fear this outcome [it seems innocuously caring, but can be interpreted as him attempting to assert control and influence over the young pair's behavior] His statement, while ostensibly about the weather, might be a subtle way to suggest they move away from their current spot [he might be discomforted or even jealous of their closeness or conversation] F. Salví's shaky voice and avoidance of eye contact with Crisóstomo and María Clara reveal his unease The directing of his gaze toward the horizon is a physical manifestation of his emotional distance or detachment from the situation [this possibly hints at hidden desires, regrets, or conflicts within him] Crisóstomo disagrees with his assessment, as he finds the evening enjoyable and the breeze refreshing His reply contrasts sharply with the priest's concern, embracing the moment's beauty and positivity He counters with his own metaphor, describing the season as a mixture of both autumn and spring 2. "the latter … her" → In Rizal's original Spanish text, he uses the phrase hermana de leche ("sister of milk") to describe María Clara's relation to Andeng. The term "milk sibling" is used for someone who is breastfed by the same woman as oneself but does not share a biological relation. Given the context that María Clara's mother, Dona Pía, died in childbirth, it is highly probable that her aunt Isabel served as her and Andeng's wet nurse. The idea of milk kinship notably appears in Islamic law (shari'a), which prohibits milk siblings from marrying each other, since such ties are seen as equivalent to those of blood relations. 4 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES - He accepts the cyclical nature of life, emphasizing renewal and hope despite trials and tribulations This reflects Crisóstomo's optimism and resilience, starkly contrasting Father Salví's pessimism - "A few leaves fall, but flowers always bloom" is a poetic way to refer to the ups and downs of life - After Father Salví lets out a sigh, Crisóstomo continues with his metaphorical reflection on the seasons He appreciates the seamless transition between them in their tropical locale, devoid of a harsh winter - A clever use of antithesis, since his seven years in Europe were likely filled with freezing winters - This metaphorically imparts the notion of growth and renewal without much hardship or adversity He remarks on the early appearance of buds in February, leading to ripe fruits by March, and hints at - - - - travel or change within the arrival of warmer months, likely suggesting a desire for new adventures - His planning and upward mobility contrasts with Father Salví's more static and confined existence Father Salví, perhaps to lighten the mood or redirect conversation from its deeper implications, offers a smile and shifts the discussion to more neutral topics (i.e., the current weather, the town, and the fiesta) The latter alludes to the upcoming festival of San Diego, scheduled to take place on November 12th Meanwhile, María Clara removes herself from the conversation, leaving Crisóstomo and F. Salví alone Her action to withdraw is consistent with her earlier disquietude that arose from the priest's presence With the two alone, Crisóstomo finally reveals to us the specifics of what he's preparing for tomorrow He offers an invitation to Father Salví for a picnic he plans to hold the next day, Nov. 6, with friends - This gesture of inclusion, despite María Clara's earlier doubts, showcases Crisóstomo's attempt to maintain social harmony and an obligation to acknowledge Father Salví's role in their community - This shows his commitment to social cohesion and his role as a bridge between conflicting parties - However, this invitation also serves as a reminder of the public & private spheres these characters inhabit and navigate, where social gatherings can both cover up and manifest underlying tensions Naturally, Father Salví asks about the picnic's location, showing interest in the event he was invited to Crisóstomo explains that the picnic is planned to be near a stream in the forest, close to the baliti3 tree We discussed the cultural significance of baliti trees when Rizal first mentioned them in Chapter 10 - They're the source of many local superstitions [Rizal told us mishaps occurring near them earlier]: Allegedly, the body of Crisóstomo Ibarra's patrilineal great-grandfather, a Spaniard (likely from the Basque region of Spain) was grimly discovered hanging from the branch of a baliti [pg. 63] A shepherd, searching for his flock, reported to have seen strange lights near the baliti [pg. 63] A group of youths who passed by the baliti claimed to have heard noises of lamenting [pg. 63] A young man tried to attract his lover by spending the night under the baliti, and died [pg. 63] It is possible Rizal may be using this to foreshadow something ominous; however, we don't know The group plans to get up early [specifically, before the crack of dawn] to avoid the heat of the sun Father Salví takes a moment to consider the invitation before accepting it, framing his acceptance as a gesture to show goodwill toward Crisóstomo, despite any underlying tensions [although, rather dodgy] His acceptance "to demonstrate that I harbor no rancor towards you" shows only a facade of civility - He may turn out insincere, agreeing as part of a strategic move to bolster his influence and image He mentions that he will need to join the gathering later due to prior commitments, and he comments on Crisóstomo's freedom, possibly with a touch of envy or a reflection on his own constrained duties - His reply on having to join later due to obligations stresses his role and responsibilities as a curate This distinction underlines the different constraints placed on their respective roles: Fr. Salví is bound by clerical duties and expectations, and Crisóstomo has relative privilege and autonomy - His remark on Crisóstomo's freedom implies a complex view of the social positions they occupy Minutes after their conversation, Crisóstomo left María Clara's house to begin preparing for the picnic planned for the next day [at this point, the author notes that it had already become totally dark outside] As Crisóstomo was walking, a person came to him respectfully, indicating they'd been waiting for him His deference suggests respect or recognition of Crisóstomo's social standing [he likely knows him] Not recognizing the person, Crisóstomo inquired about their identity, expressing his openness to speak 3. baliti → A Tagalog word referring to several species of trees from the genus Ficus, a number of which are strangler gs (a variety of g trees that grow on branches of other trees; gradually, they envelop and may eventually kill the host tree). It is the source of numerous local superstitions in Filipino folklore; it is considered bad luck for someone to go near such trees since malevolent spirits are said to inhabit them. fi fi 5 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES - The person responded by acknowledging that Crisóstomo would not recognize him and revealed that he had been waiting specifically to speak with him for two days, suggesting an urgent or substantial matter - Either intrigued or concerned for his situation, Crisóstomo asks for the reason behind his desperate wait pg. 137 - We can intuit from the disclosure of his circumstances to Crisóstomo that this person is Sisa's husband There's dramatic irony here: Crisóstomo doesn't recognize him, but through intuition, readers know Three telltale clues from the following dialogue reveal the person's identity as that of Sisa's husband: - - - 1) He mentions to Crisóstomo that everyone has ostracized him because of his accusations of theft In Chapter 15, before he was dragged away to an uncertain fate, Crispín told his older brother Basilio that society has branded them as "thieves" due to their father's bad reputation [pg. 88] 2) He tells Crisóstomo his sons are "lost," which concurs with Basilio and Crispín's unknown fates We still do not know what became of Crispín after the chief sacristan had dragged him away, although Rizal has strongly hinted at the disturbing prospect that Crispín met a gruesome fate - This hasn't been confirmed yet, so it remains to be seen whether Crispín is still alive or not - Unfortunately, as discussed earlier, his chances of survival are not looking promising at all Basilio's nightmare in Chapter 17 may have glaringly foreshadowed a disturbing end… However, it may turn out that it was merely a dream… or was it? [again, we don't know] Basilio's fate was left uncertain once more after the Guardia Civil had been sent to arrest him - We had been given a disturbing lead in Ch. 21: a bloodstained piece of cloth tied to Basilio For the second time, his fate is left ambiguous: the blood may indicate a violent struggle - If so, we are once again left uncertain as to Basilio's ultimate whereabouts or survival It may turn out, however, that the bloodstained piece of cloth Sisa found is a red herring - Remember that blood was streaming from his forehead as he had entered Sisa's home - However, given the earlier resourcefulness he showed as he escaped from the parish house in Chapters 15–17, his odds of survival appear much more promising than those of Crispín - A disparaging comment made in the last chapter might have hinted that he wasn't arrested As Sisa was being brought into the barracks, a woman remarked, "It looks like the chicks got away! All you've brought is one hen!" [pg. 131], which could suggest he wasn't there - If so, Basilio may have pulled off an escape from Sisa's home, thereby avoiding arrest - However, even if we assume this, we still don't know where Basilio may have fled to Ultimately, it is still up in the air at this point how the author intends to resolve this 3) He finally informs Crisóstomo how these circumstances resulted in his wife's ongoing madness We've already poignantly witnessed Sisa's plight and descent into insanity in the last chapter - This is evidenced by her involuntary movements, shrill shrieks, obsession with nature, etc. - The anxiety she had throughout her ordeal led to the tragic unraveling of her mental health to the point where she even contemplated suicide as a means of escaping her dire situation Her ill thoughts of throwing herself in the river eerily echo the tragic Ophelia in Hamlet - In Shakespeare's play, obsessions with nature eventually associate with her drowning After quickly assessing the man's appearance and demeanor, Crisóstomo inquired about his intentions Sisa's husband directly pleads for Crisóstomo to show compassion for and assist his wife and children For us, this is dodgy, since we've already witnessed his inconsiderateness toward Sisa and her sons - He prioritizes sports-betting [wagering on his gamecock] over any genuine regard for his family - He's also extremely selfish [remember, he ate most of the dinner Sisa had prepared for her sons] However, we must keep in mind that Crisóstomo doesn't know this [an instance of dramatic irony] Although Crisóstomo acknowledges his inability to halt his current task, he does offer a compromise: the man could accompany Crisóstomo and explain his circumstances in more detail during their walk Crisóstomo's current task is to prepare for the picnic he is holding the next morning on November 6 His deal displays practical empathy and a willingness to multitask duties with social responsibilities - Despite his status and busy life, Crisóstomo isn't detached from the plights of those less fortunate The chapter ends with Sisa's husband expressing his gratitude for Crisóstomo's willingness to listen and moving away together, both exiting and merging into the darkness of the dimly illuminated town streets Chapter 23: A Fishing Expedition pg. 138 - With a length of 4,033 words, this chapter is the longest we've ever encountered since the very first one - In the original Spanish text, the chapter's title is La pesca, or "The Fishing" [referring to the recreation] 6 fl Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES - Rizal opens the chapter before sunrise on the early morning of November 6th, 1881 in the town streets As noted earlier, the date of November 6th places us in the week preceding the festival of San Diego He underscores the ongoing night when he observes that "the stars still shone in their sapphire vault" - The "sapphire vault," describing the dark blue sky, alludes to the firmament in ancient cosmology A noted instance is Genesis 1:6–8 in the Bible's Old Testament, which describes God forming a firmament to divide the "waters above" (i.e., the sky) from the "waters below" (i.e., the oceans) "Firmament" derives from the Latin word firmamentum, meaning "support" or "strengthening" - In the Hebrew Bible, the word for "firmament" is rāqīa (ַ‫)ר ִ֫קיע‬, ָ denoting a domelike expanse - This description places the time before dawn, with the stars still visible against the dark blue sky The observation of birds still asleep on nearby tree branches further emphasizes the continuing night Amid this tranquil backdrop, a lively group made their way through the town streets toward the lake - The repetition of "gay" in "gay band" and "gay light" suggests a joyous and enthusiastic ambience Do note that in this context, "gay" is used in the traditional sense of "lighthearted" or "carefree" - A notable usage of it in this sense appears in The Gay Science, one of the anglicized titles of Nietzsche's Die fröhliche Wissenschaft ["The Frolicking Wise-Craft" with approx. cognates] - In Rizal's original Spanish text, the word is alegre, which translates to "joyful" or "cheerful" It didn't acquire its more modern sense of a sexual orientation until the early twentieth century - The lively group is illuminated by the festive glow of tar torches, known by the locals as huepes4 - Among them were five cheerful young women, either holding hands or with arms around one another They are accompanied by a few older women and numerous maids, who skillfully balanced baskets - - - - - filled with food, dishes, and other items on top of their heads [depicts camaraderie and preparation] - The women's carefreeness and supportiveness indicate a community vibe and shared experience - This suggests a well-planned excursion, with plentiful provisions for enjoyment and sustenance Rizal vividly portrays the beauty and vivacity of the young women through their youthful exuberance, optimism, and the striking imagery of "their abundant, black manes and the wide pleats in their skirts" He uses light and dark antithesis by likening them to "goddesses of the night fleeing the daylight" - He says that one could have mistook them for such beings had we not known their real identities - This juxtaposition adds a touch of whimsy to the narrative, bridging the mundane with the divine Rizal finally discloses the women's true identities as being those of María Clara and her four friends By introducing her friends individually, he not only imbues each character with personality, but also represents a broad range of feminine archetypes within Filipino society, highlighting their diversity Her four friends are her cousin Sinang, described as cheerful, Victoria, the serious one, Iday, known for her attractiveness, and Neneng, a reserved and thoughtful beauty [all have distinct personalities] - They represent a spectrum of traits and temperaments characteristic of women in colonial society As they made their way to the lake, the young women engaged in lively conversation, shared laughter, playful pinches, whispered secrets among themselves, and then erupted into uncontrollable guffawing This illustrates the profound camaraderie and youthful exuberance emblematic of their relationship Aunt Isabel reproves the young women, worried their boisterousness might disturb those still sleeping In addition, she reminisces that in the days of her youth, such unrestrained behavior was uncommon - Her reproach introduces a generational contrast between the girls' uninhibitedness and the more reserved conduct expected in her youth [this suggests a difference in norms between generations] Sinang, described as "petite," or small in stature, ripostes Aunt Isabel, noting that elders like her didn't rise as early nor were inclined to sleep as they were [her playful retort aims to justify their high spirits] This not only exhibits her spirited personality but also subtly challenges the older woman's criticism Her response reflects the self-determination and confidence of the younger generation, as well as the affectionate teasing that often occurs between generations espousing differing norms within families Attempting to heed Aunt Isabel's admonition, the young girls briefly silence their voices, but soon their natural exuberance prevails, and their raucous laughter once again vibrantly fills the streets of the town Though societal norms can temporarily constrain the ebullience of youth, it's ultimately irrepressible 4. huepes → The plural form of huepe (also rendered huwepe), a Tagalog word referring to a resin torch wrapped in palm leaves. The term is a borrowing from Hokkien Chinese hoé-pé, denoting a stick with a ame on one end, or more concisely, a torch. Found primarily in literature, the word is rarely used today. 7 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES The description of their laughter as that of "young, fresh voices" filling the street vividly captures the infectious nature of their happiness as well as the mirth and vibrancy they bring to their surroundings - Sinang, likely referencing Crisóstomo Ibarra [María Clara's fiancé], advises María Clara to feign anger pg. 139 - - - - - and avoid speaking to him, suggesting a mock dispute to prevent him from forming undesirable habits Her advice injects a playful but a strategic dynamic of power and control into romantic relationships - This reflects a conventional societal norm that during courtship, a woman should assert herself to set the conditions for the relationship [such social games and mores were popular in Rizal's time] - Her concern about "bad habits" implies that a man's behavior during engagement may predict his behavior in marriage [her tactic is aimed at preventing the fiancé from becoming too complacent] Iday offers a counterpoint to Sinang's advice in her suggestion that being too exacting can be negative This highlights differing opinions about how women should behave in romantic contexts at the time Sinang, reinforcing her earlier point, underscores the importance of asserting one's expectations during the engagement, believing that later, as the fiancé became a husband, he would act more independently She espouses a cynical outlook on marriage, suggesting that a woman's influence over her partner is strongest before marriage and that a fiancé's commitment to obedience may wane after the marriage - We've already witnessed an unfortunate example of this trend earlier in the novel: Sisa's husband Recall that in Chapter 21 ("A Mother's Tale"), Sisa reminisced about the former behavior of her husband when he was still a fiancé, which starkly departed from the way that he treats her now Victoria, Sinang's cousin, chides her, questioning her experience and understanding about relationships The phrase "little girl" is a diminutive, likely a dig at her dainty stature, youth, or perceived naiveté - This reflects the social hierarchy based on age and experience, especially within love & marriage The conversation of the young women is abruptly hushed with a warning that others were approaching [likely Crisóstomo Ibarra and other young men], implying a need for discretion or a shift in behavior This reflects the patriarchal norm for women to maintain certain appearances in the presence of men Indeed, a group of young men come closer to them, illuminated by the soft glow of big bamboo torches They're described as moving silently alongside the soft music of a guitar [it's very likely a serenade5] The guitar music sets a romantic or serene atmosphere, one prevalent in traditional courtship settings Sinang quips that the guitar music resembles that of a beggar's, suggesting that it isn't played very well Her humorous comment serves to puncture the romantic or solemn mood with a touch of playfulness This also depicts her character as spirited and candid, aligning with her previous description as "gay" - She isn't afraid to make such light-hearted jibes even when potentially faced with a romantic setup Upon meeting, the women suddenly adopt a serious and reserved attitude, contrasting sharply with their previous laughter and joviality [this change in demeanor reflects the social expectations of Rizal's time] Young women were expected to behave modestly and composedly, especially in the presence of men Conversely, the men are conversational and friendly, posing lots of questions despite receiving minimal responses from the girls [the asymmetry between the sexes reflects the gender dynamics of the period] Traditional gender roles dictated for men to initiate conversation and show their interest more openly The disproportionate ratio of questions to answers accentuates gender disparities in colonial society The girls' mothers ask about the lake's conditions and the likelihood of favorable weather for the rest of the day [their concern highlights their proactive instincts and the importance of safety within the group] A tall, slender young man answers jokingly, attempting to reassure the ladies by humorously suggesting his poor swimming skills wouldn't be a problem [the self-deprecating humor aims to lighten the mood] His response also subtly reassures them of his cautious approach to the outing, reflecting the carefree amity and the mix of humor and assurance used to navigate social interactions and alleviate concerns Aunt Isabel, suddenly concerned, expresses regret for them not having attended mass before setting off on their outing, emphasizing her worry by joining her hands in prayer [indicates her superstitiousness] She holds that attending religious rites before embarking on leisure activities will ensure their safety Her remark reflects the prevalent cultural tendency to intertwine religious observance with daily life 5. serenade → A musical performance given to honor someone, usually performed in the evening or at night and in an outdoor setting, particularly outside the home of the honoree. Traditionally, the recipient of a serenade was a lover of the serenader. A noted example is Mozart's Serenade no. 13 for strings in G major, K. 525, famously known as Eine kleine Nachtmusik (meaning "A Little Night Music" in German). 8 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES - Another young man reassures Aunt Isabel, suggesting to her that they hadn't missed the opportunity for - - - - - - religious observance because Albino, whom he indicated as the tall, lean young man, had once studied for the priesthood and could lead them in mass aboard the boat [an evident example of his adaptability] This reflects the group's attitude and willingness to improvise to keep the mood joyous and inclusive Albino, identified for his jesting nature, humorously assumes a despondent stance mimicking Fr. Salví's demeanor upon learning he was expected to perform mass, turning the situation into a light-hearted jest The likening of his look to that of "a joker" implies a predisposition for humor and perhaps mockery His caricature could be seen as a subtle satire or critique on the solemnity associated with the clergy Crisóstomo, despite keeping his usual collected appearance, joins in the laughter and amusement of his friends, sharing in the jovial atmosphere created by the playful suggestion that Albino had earlier made His participation in the merriment indicates his connection and solidarity with the group's dynamics - It showcases his ability to balance respectability and social engagement, indicating a multifaceted character who can navigate diverse social situations with ease [shows he is friendly and outgoing] Upon reaching the lakeshore, the women could not help but articulate their excitement and admiration loudly and spontaneously [their reaction hints at the charming and unexpected beauty of what they see] The group observes a pair of boats fastened side by side, adorned in an attractive manner with flowers and leaf garlands, and colorful nettings adding to their charm [stresses the cherishing of nature and life] The detailed description of their decorations indicates meticulous preparation [likely by Crisóstomo] - It also hints at the cultural significance of festivity and community gatherings in Filipino tradition Overhead, an impromptu awning was embellished with paper lanterns, below which a series of flowers such as roses and carnations were showcased, alongside an array of fruits including pineapples, kasuy6, bananas, guavas, gourds, among others [this symbolizes a harmony between aesthetics and practicality] The inclusion of paper lanterns alongside many fruits and flowers signifies profusion and prosperity The alternation of roses and carnations with fruits showcases the mixture of artistry with sustenance Crisóstomo had supplied rugs, tapestries, and cushions to fashion comfortable seating arrangements for the female guests [his provisions for seating illustrate his thoughtfulness and consideration for comfort] This indicates his respect and regard for them, ensuring both a comfortable and enjoyable experience His attention to detail extended to the paddles and oars used to steer the boats, which were also adorned Again, the mention of this underlines the thorough planning involved in preparing for the celebration The boat with the most vibrant decorations housed musical instruments (i.e., a harp, guitars, accordions and an ox-horn7), indicating preparations for musical entertainment, a premier staple of Filipino culture Music is a central facet of culture, particularly in enhancing communal experiences and celebrations The medley of instruments could suggest a readiness for both planned and impromptu performances The other boat featured clay kalanes8 with fires burning within them, presumably for cooking purposes For their morning meal (i.e., breakfast), beverages like coffee, tea, and salabat9 were ready to be served The preparation of warm beverages on the other boat reflects a hospitable and nurturing environment 6. kasuy → The Tagalog word for the cashew, a variety of nut harvested from the tree of the same name (Anacardium occidentale). Native to northeastern Brazil, the tree is widely cultivated in tropical climates. It also yields fruits called cashew apples, although they are seldom exported due to their short shelf life. 7. ox-horn → "Ox-horn" is rendered from the phrase cuerno de carabao in Rizal's original Spanish text, meaning "horn of carabao (a domesticated Philippine water buffalo)." Rizal may be referring to tambuli, an indigenous Filipino musical instrument made from a carabao's horn, known for its melodious sounds. 8. kalanes → An archaic Tagalog term denoting clay plots used for cooking atop wood or charcoal res. 9. salabat → A Tagalog word that refers to a Filipino ginger tea traditionally made by boiling water with ginger and is often sweetened with honey or sugar. It is popular for its warming qualities and is believed to be a remedy for sore throat, colds, and to improve voice quality. The term is a borrowing from Arabic َ meaning a sweet, non-alcoholic drink made from fruits or ower petals that is popular in the šarba (‫)ش ْـربَـة‬, Middle East and South Asia. The word then passed in Malay as serbat, referring to a hot beverage made of ginger, sugar, etc., before being adopted into Tagalog as salabat. It should be noted that sorbet and َ sherbet are cognate with salabat, as both ultimately derive from the same Arabic root word, šarba (‫)ش ْربَة‬. fi fl 9 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES pg. 140 - Upon boarding, the mothers direct the women and men to be split, with each occupying separate boats This directive establishes a traditional segregation by gender, a common practice in social gatherings - Reflects the traditional norms and etiquette of the time, aiming to maintain decorum and propriety They also cautioned everyone to remain composed and still, warning that excessive movement could cause the boat to capsize [all are thus accountable for keeping the event enjoyable and accident-free] - Aunt Isabel urges everyone in the group to cross themselves for protection before they board the boats This reflects the deep-rooted religious faith and superstitions that prevail within the local community - This ultimately ties back to the usual intertwining of faith in daily activities and special occasions - Sinang, with a look of dissatisfaction, questioned if they were expected to be segregated from the men This discloses her jest and rebellious nature, highlighting her discontent with the gender segregation She exclaims in pain after her mother, disapproving of her behavior, reprimands her through a pinch - Her mother's pinch serves as a corrective measure, a physical reproof for Sinang's outspokenness She chastises Sinang for objecting to conventional social mores that dictate gender segregation This illustrates the disciplinary dynamics within families that emphasize respect for traditional norms and the societal pressures and expectations placed on young women to conform to them - As the boats drift from the land, the glow from the lanterns shimmer on the tranquil surface of the lake This serene and picturesque scene symbolizes a seemingly peaceful start to a long expedition ahead Meanwhile, the early signs of dawn begin to emerge in the eastern sky [represents new beginnings] - Generally, quietness prevailed among the group [highlights the social norms governing their behavior] - The young participants, separated as their mothers had instructed, appeared to be lost in contemplation This conveys a moment of introspection among the young ones, perhaps reflecting on the day ahead - Albino suddenly instructs a young man near him to firmly press down on the oakum10 beneath his foot His warning introduces an element of danger to the trip, shattering the previous silence and serenity His proactive caution suggests a sense of responsibility among the youth, despite the ongoing cheer - The young man starts to ask a question, seemingly unaware of why he needed to do this, but is cut off - Albino explains that if the oakum came loose, water would leak into the boat, which already has holes His comment acknowledges the boat's imperfections [this symbolizes the faults of every adventure] This imbues the narrative with realism, highlighting the excitement and risk inherent in experience However, he does this with humor and light-heartedness, since for him it's not that big of a concern - Overhearing this, the elder women on the other boat became alarmed, afraid that their boat could sink The older women's response reflects a generational gap in the understanding of practical concerns - This underlines their protective instincts and possibly their apprehension of the entire expedition - This moment juxtaposes the adventurous spirit of the young with the cautiousness of their elders - Albino tries to reassure the older women, claiming the boat was safe despite having only five tiny holes However, him mentioning "five holes" paradoxically does the opposite, worsening the women's fears This reflects his jovial nature and possibly a lack of understanding of the women's legitimate worries - The mention of five holes panics the older women, leading them to accuse Albino of endangering them Their sudden and intense reaction stresses a generational divide in perceptions and reactions to risk Again, their concern underscores their protective instincts and a lack of appreciation for Albino's try at humor, emphasizing their primary concern for physical safety over the lightheartedness of the trip - Again, Albino attempts to minimize the older women's concerns by indicating that the size of the holes was small, and reiterates the importance of securing the oakum by pressing down on it to prevent leaks Though his answer tries to further assuage the women, it inadvertently may highlight his nonchalant attitude toward potential danger [contrasts the youths' adventurousness with the elders' cautiousness] - The situation escalates when an older woman spots moisture on their boat, leading her to cry in distress Distressed, she invokes divine aid [this highlights her perceived fear and seriousness of the situation] - Her panicked reaction contrasts sharply with Albino's jovial, lighthearted approach to the problem This also illustrates the human instinct to utter desperate entreaties in moments of fear or uncertainty 10. oakum → A brous material made from untwisted and pulled-apart old ropes, typically treated with tar. Historically, it was used to caulk or seal the joints of wooden boats to ensure they were waterproof. The term is derived from the Old English word ācumba, which meant a type of uncombed wool or ber. "Oakum" is translated from la estopa in Rizal's original Spanish text, which derives from Greek via Latin. fi fi 10 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES - Chaos ensues on the women's boat, as some scream in fear while others contemplate leaping overboard This shows the immediate panic that sets in, the varied reactions emphasizing the fear and confusion The reaction of the women offers a glimpse of human nature when confronted with perceived danger - It demonstrates a spectrum of responses from vocal fear to decisive, albeit potentially rash, action - For the third time, Albino instructs the passengers on the women's boat, specifically pointing to an area - pg. 141 - - - - - - where the girls were located, to press down firmly on the oakum to prevent water from leaking through His continued instructions indicate his attempt to keep calm over the situation and provide a solution In a state of panic, the women acknowledge their confusion and inability to follow Albino's instructions They plead for him to personally assist them [this would necessitate a breach of gender segregation] - This serves as a clear demonstration of the downsides of conforming to conventional social mores Their plea to him shows their desperation and complete reliance on him for help in this vital moment Calming the terrified mothers thus required five young men to move to the women's boat to help them Such an emergency necessitates going against the older women's prior directive to separate the sexes Coincidentally, each young woman appeared to be seated near a spot of potential danger, while none of the leaks were close to the elder women [thus, the crisis inadvertently forms opportunities for romance] This suggests the contrived nature of the situation to facilitate the young men being near the maidens This also contrasts the involved experiences of the young with the detached ones of the older women Remarkably, this arrangement results in Crisóstomo sitting next to María Clara, Albino next to Victoria, among other convenient pairings [further highlights the fortuitous match of the young men and women] This thus makes the scenario seem less like a coincidence and more like a serendipitous arrangement The "chance" alignment thus advances the narrative of romantic or social dynamics among the group - Here, Rizal particularly underlines the romantic relationship between Crisóstomo and María Clara Although peace was restored among the group's vigilant mothers, the young women remained unsettled The attention shifts from the fear of physical danger to the excitement or tension of social interaction While a protective oversight among the old women has been appeased, the lack of tranquility among the girls indicates the emotional and social undercurrents stirred by their closeness to the young men Because of the peaceful waters, the proximity of the fishing area, and the early hour, the group decided to pause their rowing to eat breakfast [this allows the group to enjoy the early morning hours together] Their decision to stop for breakfast reflects a communal spirit and the enjoyment of simple pleasures Around this time, the lanterns were extinguished as the break of dawn filled the surroundings with light The imagery of dawn "flooding the area with light" represents renewal and hope, suggesting that the new day brings with it opportunities and a fresh start [it also reflects a close connection with nature] Capitana Ticâ, Sinang's mother, praises the healthy benefits of drinking salabat before attending mass Reflects the intermingling of daily life, cultural practice, and religious observance in Filipino society She suggests that Albino try some with poto11 and claims that doing so inspires a willingness to pray - Her comment humorously implies her belief that particular foods can inspire spiritual inclinations Albino responds to Capitana Ticâ that he's already considering confession as he follows her suggestion His reply, likely in jest, plays on Capitana Ticâ's recommendation, with his pondering of confession after ingesting salabat humorously suggesting that the drink has indeed stirred a spiritual awakening Sinang counters by suggesting a cup of coffee instead, claiming it would lead to more pleasant thoughts This introduces a witty debate on the efficacy of different beverages on mood and spiritual readiness This also once more demonstrates Sinang's lively and spirited character, as she seeks to cheer Albino Albino expresses a sense of urgency, revealing he feels somewhat sad and hopes the remedies will help Whether sincere or jesting, his confession of feeling a bit sad adds a complex layer to the interaction His admission of sadness hints at the repressed emotions and personal narratives present in the group - It implies that even during joyous times, lived experiences of sadness or introspection can surface Soon afterwards, Aunt Isabel recommends against his earlier choice, suggesting tea and biscuits instead She cites its calming effect on the mind [she highlights the importance of food and drink as comfort] Her suggestion also emphasizes the nurturing aspect of the older generation toward the younger ones 11. poto → An alternate spelling of puto, a Tagalog word that refers to a type of boiled or steamed rice cake. It is made from simple ingredients (i.e., rice our, water, sugar, coconut milk), and is often enjoyed during breakfast or as a snack. The cake is sometimes garnished with grated coconut or cheese on top. fl 11 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES - Albino, compliant, agrees to have tea with biscuits, humorously noting that none of the drinks that were - - - - - pg. 142 - - - earlier recommended to him are tied to Catholicism [coffee and tea are not tied to the faith, but wine is] Obviously, wine's association with Catholicism stems from its usage in the rite of Holy Communion His witty retort implies that his choice of beverage and snacks is free from any religious associations - Its anticlericalism reflects Rizal's criticism of the church's influence in Philippine colonial society Victoria begins to offer him another question, likely about his ability to ingest another beverage or food She may be asking whether he can consume every suggestion without affecting his appetite for lunch - Her unfinished question introduces a concern for moderation and the physical limits of indulgence - This reflects the practical and often cautious perspective people may have toward consuming food and drink [or the excess consumption of it], especially when many appealing options are available Albino confidently affirms he could also have chocolate and justifies it by noting that lunchtime is near His enthusiastic response to Victoria's incomplete question showcases his youthful zest and possibly a touch of gluttony or the simple pleasure in indulging in various different kinds of foods and drinks His confidence that he can also have chocolate, despite lunch soon approaching, reflects a disregard for the restraint Victoria applies [stresses a difference in attitudes toward indulgence between them] The beauty of the morning is described as being further enhanced by the sun's rays and their reflection on the water, resulting in a luminous and shadowless environment bursting with unique, vibrant colors This imbues a sense of peace and purity, implying that nature has the capability to uplift and inspire The mention of "colors that appear only in certain places" suggests the diverse and unique beauty of the Philippine landscape [perhaps this invokes a deeper connection to the country's natural wonders] The calm atmosphere and gentle breeze uplifts nearly everyone's spirits, including the usually cautious and protective mothers, who now find themselves laughing and joking light-heartedly with one another It suggests that the beauty of the morning has overall had a positive effect on the group's well-being The "soft breeze" is depicted as a revitalizing force, adding to the sensory experience of the moment - This highlights the idea that communal experiences in nature can foster both joy and contentment Rizal contrasts the earlier, more watchful behavior of the mothers with their current state of joviality - This indicates that the enchantment of the morning has assuaged their usual overprotective stance By mentioning this change, Rizal highlights the transformative power of nature and communal celebration, implying that such moments can bridge gaps and promote more joyful interactions This suggests that social barriers can be temporarily put aside in the face of shared experiences Capitana Ticâ reminisces to her husband of the days before their marriage when they swam in the river By specifying "before we were married," Capitana Ticâ underlines the contrast between the carefree days of their youth and their current status as responsible adults [inevitable changes come with age] She recalls how canoes made of banana bark (corteza de plátano in the original Spanish), laden with fruits and scented flowers and each bearing a flag with their names, were sent floating down to them - This detailed description evokes a romantic and idyllic image of courtship, reflecting a communal and intricate method of displaying affection, rooted in the nature and bounty of their surroundings - The inclusion of names on pennants adds a personal touch, suggesting a deeply intimate affection Another person, interrupting before the first had concluded, contributes to Capitana Ticâ's reminiscence Upon their return, they recounted finding the bamboo bridges intentionally dismantled, which forced them wade through the streams [the person then labels those to blame for such mischief as "rascals"] - This emphasizes how their shared experiences have contributed to the fondness of their memories Capitana Ticâ adds to her previous memory, stating she chose to wet the bottom of her skirt rather than reveal her feet, as she anticipates the presence of onlookers from the riverbank secretly observing them Her statement underlines the modesty and decorum that governed the behavior of women in the past Her reluctance to uncover her feet, even if it meant getting her skirt wet, stresses the cultural norms around modesty [for a woman to openly expose her legs or feet was considered indecent back then] - The awareness of being watched further influences her actions [this suggests a community where actions were closely observed and judged, thereby shaping individual expectations and behavior] The group's younger members exchange knowing looks and smiles after hearing these nostalgic stories, while the older women, engaged in their recollections, ignore them and keep on with their conversation The young ones' reaction indicates a generational gap in the perception and practice of modesty and courtship, likely stemming from their relaxed attitudes contrasting with the strict customs of the past - Their reaction serves as a subtle illustration of how societal practices and beliefs evolve over time 12 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES - This reflects a changing society where the structures of modesty are perhaps less rigidly followed The older women's ignorance of the young people's reactions stresses the divide between generations - This detachment implies a deeper disconnect in understanding and values between the two groups - By focusing solely on their own conversation, the older women maintain their dignity and perhaps subtly reassert the principles they hold firmly, unaffected by the evolving perceptions of the youth - Among the group, the one acting as their boatman was the sole figure who didn't partake in the cheerful - - - interactions, staying detached from the festivity [he's not named now, but he will be in the next session] This sets the boatman apart, stressing his isolation and silence amidst the collective joy of the group - The stark contrast between his solitude and the group's laughter aims to pique the reader's interest in this character, suggesting a depth and complexity that contrasts heavily with the others' gaiety The young man is described as having the physique of an athlete, notable for his striking appearance - His facial features are distinguished by large, sorrowful eyes and a severe expression to his mouth This antithesis between traits immediately introduces a sense of conflict or sadness within him His inherent sorrow despite his youth might indicate a backstory saddled with struggles or loss - His long, disheveled black hair cascaded around his well-built neck, adding to his rugged manner This description of him could suggest a life of tough labor or a connection to the natural world The wildness of his features possibly also reflects him sporting an untamed or rebellious spirit - This may hint at a deeper layer of his own character that resists conformity or superficiality - Visible beneath his loosely fitting, dark-colored shirt were his muscular arms, which he used with ease to control the boat's oar, functioning as a steering device with a feather's finesse and lightness This vivid imagery highlights both his physical prowess and his skills and control over the boat The contrast between his modest attire and impressive strength stresses a discrepancy between appearance and ability, suggesting an undervalued potential and the hidden aspects of character The ease with which he maneuvers the boat further spotlights his connection and harmony with the natural world, which distinguishes him as a figure of respect or intrigue within the narrative On several occasions, María Clara had observed the boatman looking her way, but each time he quickly diverted his gaze toward the distant mountains or shoreline [perhaps suggests a self-imposed boundary] His momentary glances toward her could hint at a deeper, perhaps unspoken, connection or curiosity However, his instant redirection of gaze towards the mountains or shore upon being noticed suggests a sense of unworthiness or a deliberate effort to maintain distance [highlights the boatman's solitude] - This could also underscore a self-imposed boundary between him and the group, esp. María Clara Feeling sympathetic to the boatman, María Clara would reach for some biscuits and extend them to him Her act of offering biscuits to him is intended as a gesture of compassion and generosity, recognizing and attempting to bridge the gap of his isolation [her actions also subtly challenge social boundaries] The boatman would then give María Clara a glance of mild surprise, but this expression was short-lived His surprise reveals his unaccustomedness to receiving attention or kindness, possibly due to neglect His quick recovery and fleeting eye contact might suggest a guarded personality, wary of opening up He would then accept a biscuit from her, mumbling his thanks in a voice so soft it was almost inaudible His gratitude and thanks either underline his humility or a deep-seated resignation to his societal role His quiet voice could imply a desire to remain unnoticed and not disturb the present social dynamics After these short interactions, the boatman would once again become unnoticed by others in the group The group's return to ignoring the man stresses the fleeting nature of the empathy shown toward him - This reinforces his perpetual state of solitude amidst the group's merriment [implies inner sorrow] Amidst the youth's lively laughter and exuberance, the boatman's expression remains utterly impassive This further cements his role as an outsider, untouched by the light-heartedness pervading the group Not even the rapid change in Sinang's expression, from a frown to her usual cheerfulness whenever her mother (i.e., Capitana Ticâ) would playfully pinch her, could elicit an animated smile from the boatman This contrast with Sinang's lively spirit further underlines his detachment from the group's dynamics His inability to smile suggests a profound, internalized sadness or a deep-seated feeling of alienation that cannot be easily overcome by fleeing moments or joy or humor [could imply a tragic backstory] After concluding their breakfast, the group continue on their journey to the designated areas for fishing Rizal specifies two fishing spots, spaced some ways from each other, both owned by Captain Tiago - Recall from Cpt. Tiago's long backstory in Chapter 6 that he owned many properties in San Diego - Also note that he's María Clara's assumed father, although her paternity is becoming questionable 13 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES - From afar, one could observe several herons poised thoughtfully on the bamboo fence tips, and several white birds known as kalauay12 were spotted flying around in various directions, skimming the surface of the lake and their loud cries permeating the atmosphere [the natural world's vibrancy is highlighted] The imagery of herons perched contemplatively on bamboo fences imparts a serene and picturesque to the scene, evoking a harmony between nature and the manmade boundaries of the fishing grounds - Herons, often tied with wisdom and solitude, lend an air of tranquility and depth to the landscape, contrasting with the group's liveliness [invites one to reflect on the moment's beauty and stillness] The movement and sound of the kalauay introduces dynamism and verve into the scene, contrasting with the herons' static contemplation [their flight suggests a ecosystem that is bustling with activity] - The mention of their "strident calls" adds a vivid and immersive auditory element to the imagery - The specific name of the birds in Tagalog adds cultural specificity to the narrative and landscape - María Clara observes the herons which, upon the boats' approach, flew away towards a forest close by She inquires of the boatman whether these birds make their nests in the forest, more to engage him in conversation than out of genuine curiosity [once again, she demonstrates kindness and empathy] - The boatman responds that it was likely, however, up to now, no one had actually seen their nests Reflects a common man's view of nature—aware of its mysteries but not privy to all its secrets His acknowledgment that the herons' nests remain unseen implies a respect for nature's privacy and mysteries, contrasting with the often intrusive human curiosity [we are not fond of forests] pg. 143 She asks if birds of that kind usually have nests [reflects the universal need for a home or a lodging] - The boatman speculates they must have nests, reasoning that without them, they would indeed be quite unfortunate [his response, filled with a sad tone, reflects a deeper existential contemplation] His answer touches on the universal need of humans for stability and a place to call one's own It implies a shared understanding of misfortune that surpasses social and economic boundaries María Clara does not pick up on the melancholic manner by which he communicated these thoughts - This could either highlight her naiveté or inability to fully grasp his profound existential reflection - This suggests a moment of disconnect between her intentions and understanding, emphasizing the complexities of interaction and barriers that exist due to differing life experience and social status Still wanting to hear from him more, she continues the conversation with a cue for more information - The boatman answers by sharing a local legend that the nests of these birds are hidden from view and possess the magical ability to render their owner invisible [has a sense of magic and mystery] The invisibility of the birds' nests hints at themes of hidden truths and unseen aspects of society This metaphor can be interpreted as reflecting the unseen struggles, desires, and aspirations of the characters in the novel, and by extension, of Philippine society under Spanish colonial rule - He explains that just as a person's soul can only be seen reflected in the eyes, these mystical nests reveal themselves only in the reflection of the water [speaks themes of reflection and perception] His point argues that true understanding or perception requires a specific medium or condition - The metaphor infers that some truths are only revealed under the appropriate circumstances The reference to water as a reflective surface that can reveal what is typically invisible deepens the conversation, implying that clarity and insight often come from looking beyond the surface María Clara becomes thoughtful, reflecting on the boatman's words and the intriguing lore he shared - This suggests his words have struck a chord, either with her own life or on broader societal issues - Upon the group arriving at the baklad13, the experienced boatman secures their boats to a bamboo pole Aunt Isabel intervenes just as the boatman's son is about to head up to the baklad with his panalok14 - Her interruption implies she had additional instructions or advice for him before he began fishing 12. kalauay → The plural form of kalaw (also rendered as kalao or kalau), a Tagalog word which refers to the rufous hornbill (Buceros hydrocorax), the largest species of hornbill endemic to the Philippines. Their last mention in the novel was in Chapter 16, where one of these birds sings while Sisa waits for her sons. 13. baklad → A Tagalog word that refers to a sh corral, a traditionally large, stationary sh trap built in streams or tidal ats and used in Filipino sheries, allowing for the catching of sh by sustainable means. 14. panalok → A Tagalog word referring to a tool comprised of a pole with a netted basket at the end, designed for scooping sh out of the water. It is primarily used for catching sh in a fenced-in enclosure. fi fi fi fi fi fi fl 14 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES Aunt Isabel humorously advises ensuring that the sinigang15 was ready, playfully suggesting that the - - - - pg. 144 - - - fish should go directly from the water to the cooking pot [she emphasizes the freshness of the catch] - This reflects the pureness and freshness valued in Filipino cuisine (i.e., food from natural sources) Albino, the seminary student, comments on Aunt Isabel's kindness with humor, jesting that she cared so much for the fish's well-being that she wished to minimize any duration of time they spent out of water, even playfully implying that the transfer of the fishes from the lake to the soup should be instantaneous This banter reflects the jovial and light-hearted mood among the group during the fishing expedition Andeng, one of María Clara's childhood friends, is known among their circle not just for her bright and happy appearance, but also for her culinary skills [reflects the importance of cuisine in Filipino society] Her culinary skills indicate her capacity to create delicious meals which is appreciated by her friends In the present, Andeng is making a simple yet flavorful broth consisting of rice, tomatoes, and camias16 Meanwhile, others, who were eager to be favored by her, contribute to the cooking process, although their assistance sometimes proved to be more of a hindrance than a help, as it is a communal activity - This shows how the communal aspect of cooking can either offer assistance or playful obstruction The young women participate in the meal preparation by cleaning vegetables, such as squash and peas, and julienning paayap17 into thin strips comparable in size to cigarettes [illustrates a communal effort in food preparation and the meticulous attention to detail part of traditional Filipino cooking practices] As a means of distracting and entertaining the group, who are anxious to witness the fish being caught, or as Rizal drolly puts it, "being removed from jail," Iday, noted for her beauty, began to play the harp Shows how music and art play crucial roles in social gatherings, offering comfort and entertainment Additionally, not only was she skilled at playing the harp, her fingers were also noticeably attractive - This trait enhances her performance and possibly draws more attention to the music she produces The audience, especially the younger members, celebrate Iday's performance with a round of applause María Clara shows her affection with a kiss [signifies the close-knit ties she has among her friends] Rizal stresses the harp as the most popular instrument in the region and its suitability for the setting - It underscores the authenticity of the moment, grounding the narrative in real-world conventions The older women, presumably seeking to deepen the emotional resonance of the moment, request that Victoria sing "The Wedding Song," indicating a cultural practice of featuring folk music in gatherings The song's title implies a theme tied to marriage, suggesting its importance within the community However, fierce resistance is shown among the men, who harshly express their objections to the song Despite Victoria's singing ability, she excuses herself from performing due to a claimed sore throat This possibly hints at the song's melancholic or controversial nature within the context of marriage Rizal describes "The Wedding Song" as a poignant and beautifully crafted Tagalog elegy that focuses on the challenges and sorrows that are associated with marriage, notably omitting the happier aspects This explains the divided reactions to its suggested performance between the group's young and old It is implied that the song's content might reflect traditional views or cautionary tales about marriage The group's attention now shifts to María Clara, encouraging her to contribute musically after the prior performances and conversations [sets the stage for a deeper exploration of her emotions and character] María Clara expresses a hesitation to sing, noting that her repertoire consisted only of sorrowful songs The melancholic nature of the songs would obviously not concur with festive mood of the gathering This could suggest an inner world or disposition imbued with sad experiences and sorrowful themes 15. sinigang → A sour soup or stew in Filipino cuisine, usually characterized by its tangy tamarind avor. 16. camias → The native Tagalog name for bilimbi (also rendered as kamias), a fruit-bearing tree of the genus Averrhoa (Averrhoa bilimbi) believed to have originated from the Maluku Islands of Indonesia but is now prevalent throughout Southeast Asia. It is widely grown in the Philippines, where its fruit, known for its sourness, is often used in Filipino cuisine as a base or ingredient to add acidity in various dishes. It is closely related to the carambola (Averrhoa carambola), a tropical tree bearing the golden-yellow fruit of the same name, popularly referred to as "star fruit" due to its cross-sectional shape resembling a star. 17. paayap → A native Tagalog word for the cowpea (Vigna unguiculata), an annual herbaceous legume cultivated in a variety of subspecies for its edible beans, which are an essential source of protein in many tropical and subtropical regions. They are used for human consumption, fertilizer, and as animal fodder. fl 15 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES - Nevertheless, the group dismisses María Clara's concern regarding the melancholic nature of her songs This shows their eagerness to hear her perform despite the mood of the song that she is about to sing Reflects a common human tendency to find beauty and value in the expression of heartfelt emotions, regardless of their nature [it also illustrates the group's desire for both connection and understanding] - Without further hesitation, María Clara accepts the request to sing [she is open in sharing her emotions] She begins her performance by skillfully playing an introduction on the harp, followed by singing in a voice that is both strong and emotive [this indicates she has an innate talent and passion for music] - It suggests her awareness of the communal and comforting power of music, even in its sad forms - The song that follows, known as "The Song of María Clara" (in Spanish, Canto de María Clara), is one of Rizal's outstanding poems, embracing themes of patriotism, homeland, family, love, and martyrdom The original Spanish text of Rizal's song consists of three stanzas of four hendecasyllabic lines each - In prosody, a hendecasyllable is a line made up of eleven syllables [from Greek ἕνδεκᾰ (héndeka), meaning "eleven" and σῠλλᾰβή (sullabḗ), meaning "syllable"]; a common meter in Spanish poetry Below is the original Spanish-language song by Rizal, followed by an in-depth line-by-line analysis: ¡Dulces las horas en la propia patria Donde es amigo cuanto alumbra el sol, Vida es la brisa que en sus campos vuela, Grata la muerte y más tierno al amor! Ardientes besos en los labios juegan, De una madre en el seno al despertar, Buscan los brazos á ceñir el cuello, Y los ojos sonriendo al mirar. Dulce es la muerte por la propia patria, Donde es amigo cuanto alumbra el sol: ¡Muerte es la brisa para quien no tiene Una patria, una madre y un amor! 1) ¡Dulces las horas en la propia patria → "The hours are sweet in one's homeland" - The opening verse of the song sets a tone of nostalgia and deep affection for one's homeland It suggests that time spent in one's native land is cherished and imbued with preciousness 2) Donde es amigo cuanto alumbra el sol, → "Where everything the sun shines upon is a friend," - The following line highlights a sense of belonging, unity, and fellowship within the homeland All that the sunlight touches [symbolizing warmth and life] is seen as friendly and familiar - Thus, it conveys an idealized connection between the individual and their surroundings 3) Vida es la brisa que en sus campos vuela, → "Life is the breeze that flies over its fields," - Continuing on to the next line, the breeze perhaps represents the homeland's vitality and spirit It could be an embodiment of the vital force that animates its landscapes and its inhabitants It implies that the air of the homeland is invigorating and free, enhancing identity and unity 4) Grata la muerte y más tierno el amor! → "Death is pleasant and love is more tender!" - The next line juxtaposes death and love, suggesting that even death is embraced warmly in the homeland because of the profound love for it [highlights the deep connection to one's country] Love's tenderness in one's land surpasses all, making even the ultimate sacrifice seem sweet 5) Ardientes besos en los labios juegan, → "Burning kisses play on the lips," - This could refer to the intimate mother-child bond [embodies the homeland's nurturing aspect] The imagery of passionate kisses darting on the lips evokes a sense of warmth and affection 6) De una madre en el seno al despertar, → "From a mother's bosom upon awakening," - This invokes the comfort and safety felt in the homeland, akin to a child in a mother's embrace Reinforces the theme of maternal love and protection [homeland is personified as a mother] - Do note that motherhood is a recurring motif in this novel, as earlier exemplified by Sisa Her unconditional love is symbolic of the maternal, nurturing aspects of the homeland 7) Buscan los brazos á ceñir el cuello, → "Arms seek to encircle the neck," - This could symbolize the profound bonds that tie individuals to their homeland and each other This emphasizes the human need for closeness and communal support within the homeland 16 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES 8) Y los ojos sonriendo al mirar. → "And eyes smiling as they look." - This captures the joy and satisfaction found in the homeland's familiarity, warmth, and beauty It reflects a sense of peace and fulfillment in one's surroundings, especially one's homeland 9) Dulce es la muerte por la propia patria, → "Sweet is death for one's own homeland," - The syntax of the line closely mirrors the opening stanza's first line, with one major difference The phrase immediately before "la propia patria" is replaced with "dulce es la muerte por" - Echoing the sentiments from earlier, this line reinforces the notion that sacrificing oneself for the homeland is a honorable and fulfilling act, a show of the ultimate expression of patriotism Implies that such a death (i.e., embracing martyrdom) is seen as a noble and cherished fate This also lends eerie poignancy to the fact that Rizal eventually became a political martyr - He was ultimately executed by the Spanish crown for the reforms he ardently pushed for - His own life and death typifies the idea that some causes are worth the ultimate sacrifice 10) Donde es amigo cuanto alumbra el sol: → "Where everything the sun shines upon is a friend:" - This refrain repeats the first stanza's second line [bolsters the theme of unity in the homeland] 11) ¡Muerte es la brisa para quien no tiene → "Death is the breeze for one who does not have" - This line carries "es la brisa" over from the third line of the first stanza, and mirrors its syntax Also note that "muerte" ("death") substitutes "vida" ("life") from the first stanza's third line - This sets up an antithesis between life and death, echoing lines 3–4 from the first stanza - The negation serves to contrast the previous positive imagery with a sense of loss and absence This suggests that without key elements of identity and belonging, life itself feels like death 12) Una patria, una madre y un amor! → "A homeland, a mother, and a love!" - The final line stresses the essential elements that Rizal believes give life meaning and purpose Specifically, the homeland, maternal affection, and love [they summarize the song's motifs] For Rizal, the absence of these qualities renders existence hollow and lifeless, akin to death - After these twelve verses, María Clara's voice diminishes as the song concludes and the harp is silenced However, everyone remained mutely attentive, gripped by the lingering emotions of the performance - This silence following María Clara's song signifies its profound impact on those who listened to it It suggests a moment of collective introspection and emotional resonance that transcends words - The absence of applause indicates the profound impact of the song on its listeners, particularly the girls They are visibly moved to tears, underscoring the melancholic and raw emotional power of the song - Both Crisóstomo and the young boatman appeared deeply affected, with the former displaying signs of - - pg. 145 - upset and disturbance, and the latter gazing distantly, immobilized by the emotional gravity of the song These reactions underline the song's broad emotional impact, indicating that its themes of love, loss, and patriotism resonate deeply with many people, each absorbed in their own thoughts or memories Suddenly, the silence is shattered by a loud noise, startling the women and causing a reflexive reaction The disruption introduces a jarring break from the somber mood, jolting the group back into reality The frightened reaction of the women underscores how quickly emotions and situations can change - It suggests that even these moments of reflection are fleeting, often interrupted by life's demands The source of the disruption is revealed to be Albino (once again identified as an ex-seminary student) who blows energetically into a tambulí18 [marks a stark contrast from the moment's former solemnity] His action, seemingly frivolous, can be interpreted as an attempt to dispel the heavy atmosphere, an embodiment of the human inclination to find solace in humor and laughter amid underlying sorrows As a result, the mood soon transitions back to joy and amusement, with the group's laughter returning Even though their eyes teared up from the poignant song, they now shine with the light of happiness It shows the complex interplay of sadness and happiness, capturing the essence of human experience Aunt Isabel scolds Albino loudly, accusing him of heresy for the abrupt and loud sound he earlier made The label "heretic" exaggerates Albino's deviation from conventional, societally acceptable behavior With an exaggerated soberness, Albino counters Aunt Isabel with an allusion to German Romanticism He recounts a story he claims to have heard about a humble trumpet player from the Rhine region in Germany, who, through his musical talent, ends up wooing and wedding a wealthy and noble woman 18. tambulí → A traditional musical instrument made from a carabao's horn (see Footnote 7 on page 9). 17 Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES - Crisóstomo picks up on the tale, acknowledging it as an allusion to "the trumpet player of Säckingen"19 Given Rizal's time spent in Germany, it's no surprise that he would have been familiar with this story - Additionally, sources indicate that the story was widely read and enormously popular in Germany - - around the time in which Rizal would have studied there [almost certainly, he would have read it] The reference to Der Trompeter von Säckingen reflects Rizal's interest in German Romanticism It's also worth noting that this story mirrors the romance between Crisóstomo Ibarra and María Clara Since Crisóstomo is Rizal's literary analog, he also would've likely known the tale during his studies - What remains unclear, though, is how Albino became familiar with the story [the text doesn't say] As an ex-seminary student, it's possible he heard the story from someone who's traveled abroad His acknowledgement of the tale demonstrates his willingness to engage in the group's playful spirit Albino, intrigued that Crisóstomo also knew the tale, expresses a humorous wish for a similar romantic fortune to befall on him due to his musical efforts [this once more highlights Albino's playful character] Him wanting a fortunate match reflects the universal human longing for a change in fortune or status Emboldened by the conversation, Albino plays the horn again, louder than before, playfully aiming its sound at the girl who seems most affected by the previous song, escalating the teasing among the group The sudden loud noise predictably stirs the group, leading the older women to comically discipline him by pinching him or hitting him with their slippers, a humorous and affectionate reprimand for his antics The reaction of the older women of resorting to physical reprimands demonstrates the clash between youthful exuberance and the more restrained, conventional conduct expected by the older generation - It displays a social dynamic where respect for elders and adherence to etiquette are highly valued Albino jokingly laments the negative reception of the Philippine women to the music he'd been playing He bemoans that "Philippine women are no Rhenish maidens," since they have punished him instead of rewarded him ["Rhenish maidens" likely refers to the trumpeter's love interest in Scheffel's poem] He invokes the Latin phrase O tempora, o mores!20, contrasting his romantic aspirations with reality - The contrast is between the hoped-for romantic outcome and the punishment he actually receives He laments that some women are awarded estates, while other women are only gifted with hair shirts - The original Spanish text contains a linguistic subtlety that doesn't translate perfectly into English In Rizal's Spanish urtext, the sentence is: "¡A unos les dan encomiendas y á otros sambenitos!" - Literal translation into English: "To some they give encomiendas and to others sambenitos!" Note that the two underlined terms, "encomiendas" and "sambenitos," are untranslatable - English has no direct equivalents for these terms, as both carry historical connotations that aren't immediately accessible to those unfamiliar with Spanish or European history 19. "the trumpet player of Säckingen" → This is an allusion to a humorous narrative poem written by the German poet and novelist Joseph Victor von Scheffel (1826–1886) known in German under the title Der Trompeter von Säckingen ("The Trumpeter of Säckingen"), published in 1854 and later adapted into an 1884 opera by the Alsatian composer Viktor Nessler (1841–1890). The story is set in the 17th century immediately after the Thirty Years' War and tells the tale of a poor trumpeter named Werner Kirchhofer who falls in love with Margaretha, a baron's daughter. Despite social barriers posing an obstacle to their relationship, Werner's music and character win over the baron, and he eventually marries Margaretha. The poem's story is based on the actual historical romance between Franz Werner Kirchhofer and the noblewoman Maria Ursula von Schönau in the 17th century. The real town of Bad Säckingen, where the story takes place, is in the Waldshut district in the state of Baden-Württemberg in Germany. It is situated on the southern edge of the Black Forest (Schwarzwald) along a portion of the Rhine River forming part of the border between Germany and Switzerland. The town is often nicknamed Der Trompeterstadt (German for "the town of the trumpeter") due to its association with the poem by J. Victor von Scheffel. 20. O tempora, o mores! → A Latin phrase attributed to the Roman statesman and rhetorician Cicero (106–43 BC), meaning "Oh, the times! Oh, the customs!". He famously used this exclamation in his rst oration against Catiline (In Catilinam Prima in Senatu Habita), one of Cicero's major political opponents, to decry the moral and political corruption of his day and the perceived degeneration of societal values. Cicero was earlier invoked by Captain Basilio as he grandstanded at the city hall meeting in Chapter 20. fi 18 fi Noli Me Tangere by José Rizal Chapters 22 & 23 DISCUSSION NOTES - Encomiendas, translated as "estates" in the English text, derives from the Spanish verb - - - encomendar, meaning "to entrust" or "to commend" [derives from Latin commendāre] In its ordinary usage, encomiendas generally mean "assignments" or "commissions" Historically, an encomienda referred to a grant by the Spanish crown to a colonist in the Americas conferring the right to demand tribute and forced labor from the native peoples [however, it led to severe exploitation and abuse of indigenous populations] - Rizal refers to this to highlight the exploitation of native Filipinos by the Spanish - Sambenitos originally referred to the garments worn by those condemned as "heretics" and "apostates" by the Spanish Inquisition similar to a scapular, either yellow with red crosses for the penitent or black with emblazoned devils and flames for the impenitent condemned to an auto-da-fé (i.e., the execution of heretics by the Spanish Inquisition) The term itself derives from Latin sacrum benedictum meaning "blessed sacrament" Over time, sambenito came to figuratively mean a mark of disgrace or mortification - Rizal ingeniously juxtaposes these two historical references to contrast the exploitative reward and honor of some with the public ignominy and punishment others get instead The amusement and laughter shared by the group also touched Victoria, who is typically more reserved Meanwhile, Sinang [once again characterized by her bright and spirited demeanor] shares a moment of envy and admiration with María Clara in a low voice, wishing she had the talent to sing greatly as well Her comment highlights the intimate bond and playful rivalry that exists within this group of friends The young boy seen earlier, identified as the fisherman's son, approaches the gate of the fish enclosure Rizal employs dark humor when he imagines the gate, located at the narrower end of the enclosure, as bearing the inscription of Lasciate ogni speranza, voi ch'entrate21 [an allusion to Dante's Inferno] - Here, he cleverly uses this allusion to liken the gates of the fish enclosure to those in Dante's Hell - The sense is that for the fish, entering the enclosure means there is no hope of escape, only death - His usage of the quotation is darkly humorous and ironic in this context, transforming the sinister warning into a playful remark on the fate of the fish in the enclosure, destined for the cooking pot Fish enter this nearly circular enclosure, designed so that the fish only leave it to meet their grim end - The structure, about a meter across, allowed one to stand above and harvest fish using a small net - This description, juxtaposed with the Dantean allusion, further highlights the motif of entrapment The fish, once they enter, have no escape, much like the souls entering Hell in Dante's Inferno - In the narrative, however, the grim imagery is subverted by the context of a joyous gathering Sinang conveys her excitement about the fishing process in the enclosure, contrasting with the potential monotony she associates with traditional rod fishing [this is another instance of her joy and enthusiasm] The group closely witnesses the fisherman's son from afar as he attempts to harvest the fish with the net However, despite their anticipation and his efforts, he fails to catch any fish [not a single one landed] - The vivid imagery of the fish they expect to see contrasts strongly with the disappointing outcome Albino comments in a subdued tone and logically deduces that the enclosure must be densely populated with fish given that it hasn't been disturbed for five days [stems from his expectation of a fruitful catch] This likely originates from an understanding of how these fish enclosures are managed, although this is ironic given our knowledge that the fisherman's son's actual attempt to catch fish was unsuccessful As he retrieves the net, it is found to be empty, with the water dripping it catching the sunlight, creating an imagery that seems to mock their failed attempt [this personifies nature as mocking his vain efforts] The group's reaction is a mixture of awe at the scene, frustration at the outcome, and disappointment over the lack of catch, encapsulated in a collective sigh [shows the shared nature of their experience] - This reflects the complex feelings humans exhibit to their failures and the world's unpredictability 21. Lasciate ogni speranza, voi ch'entrate → This is the original Italian quotation from the Inferno, the rst part of Dante Alighieri's epic allegorical poetic trilogy La Divina Commedia ("The Divine Comedy"), which translates to "Abandon all hope, all ye who enter here" in English. The phrase, which shows up in Canto III, line 9 of the Inferno, is part of an ominous inscription said to be inscribed above the gates of Hell, serving as a warning to the damned souls who enter through it of the eternal sufferi