Truth About the Noli Essay Example
Truth About the Noli Essay Example

Truth About the Noli Essay Example

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According to most historians, it is widely accepted that the Noli Me Tangere is historically accurate. The novel accurately depicts the characters, events, and places of nineteenth century Philippines. Rizal himself stated that he had faithfully and fearlessly reproduced the condition of his country, uncovering some of the hidden evils and sacrificing his self-love for the sake of truth. (Ozaeta)

According to Zaide (1999, p. 100), the events narrated in the novel are factual and can be proven. The novel represents India's psyche and Capitan Tiago is the perfect embodiment of it, with his pompous attitude, false appearance, and submissive behavior towards the friars (Ozaeta, 1949, p. 78).

According to Zaide (1949, p. 74), Capitan Hilario Sunico of San Nicolas was identified as the specific person mentioned in the text. Additionally, Rizal's elder brother Paciano, who is

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portrayed as a philosopher with aspirations for a better future but struggles to achieve it, is also discussed by Zaide (1999).

On page 100, it is stated that the character Ibarra in the novel cannot be directly equated with Jose Rizal, although their ideals align. However, the character Elias is depicted as the most enigmatic and idealized figure in the story. He embodies the virtues of a villager, such as gratitude, selflessness, sacrifice, and patriotism. Rizal devotedly crafted Elias with great fervor. (Ozaeta)

According to (1949, p. 74), Elias can be seen as a real character as he can be compared to different individuals, in contrast to Capitan Tiago and Tasio who embody specific personalities. Nevertheless, Elias stands out due to his spiritual traits, the way he juxtaposes light and shade, and the dramatic environment that surrounds him.

The author,

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Ozaeta, suggests that Elias is not a realistic character but rather a symbolic creation. Elias represents the suffering, aspirations, and prejudices of his time, which makes him relatable to the Filipino people. In contrast, Maria Clara is portrayed as a beautiful and virtuous woman named Leonor Rivera.

Dona Agustina Medel, also known as Dona Victorina, is portrayed in the novel as being "crazy and ludicrous, pro-Hispanic." The book serves as a clear critique of the Spanish government and also reflects Rizal's disdain for the friars. Rizal describes Padre Damaso as a domineering and arrogant friar who was immoral and held anti-Filipino sentiments. Additionally, Padre Salvi is believed by Rizalists to be based on Padre Antonio Piernavieja, an Augustinian friar from Cavite who was killed during the revolution.

(Zaide. 1999. p. 100) The existence of the places, particularly that of Capitan Tiago's house, has been verified.

According to the story, the actual owner of the house was Balvino Mauricio. In order to evade arrest, deportation, and execution, he fled the country and sold his house to a wealthy businessman named Telesforo Chuidian. Mauricio ended up dying in poverty and loneliness in the Crown Colony. However, he had commissioned Jose Honorato Lozano to paint a literary figure that depicted various scenes of the house. The painting showcased the wide staircase, Chinese lanterns, entrance hall, grand mirrors, sparkling chandeliers, and the magnificent grand piano that were described in Noli Me Tangere as part of Capitan Tiago's house. (Ocampo. 1990. pp.)

79-81) The author discusses the corrupted education system controlled by the friars in the novel's depths. Rizal believes that Filipinos, like people in other parts of the world, have their desires,

emotions, loves, prejudices, vices, and virtues. However, their education is flawed and only acknowledges their imitative and stunted virtues, resembling those of animals. This limited intelligence attributed to Filipinos is a result of their education. Moreover, the Spanish fear the Filipinos rising above their social standing, which is evident behind the mockery they face. The discrimination between Peninsulares and Insulares and the latter's discrimination against Indios is also mentioned by historians from the 19th century. Bowring mentions that the Hijos del pays, who are descendants of Spanish settlers, avoid mixing with native Indian blood.

Complaints arise from the growing gap between the Filipinos and the Peninsulares, as they suffer from a political system characterized by violent and biased administration of justice. The rights of many Filipinos are trampled upon, as they are persecuted, falsely implicated in conspiracies, or banished from their towns. The people's lack of confidence in public administration leads to fear-based governance. During this period, the dominance of the friars is evident, as no liberal reforms can be implemented without their agreement. They have transformed Catholicism into a tool for control and tainted it with superficial practices aimed at benefiting the religious orders. Criticisms are also directed towards the oppressive civil guards.

According to Rizal, the colonizers were responsible for the murder and exploitation of lower-class citizens, primarily Indios, who have not been proven guilty of any crimes. Rizal also stresses that the revolution will not be initiated by Filipinos, but rather forced upon them by the colonizers themselves (Ozaeta, 1949).

pp. 77-78) Overall, the Noli Me Tangere gives us a vivid portrayal of life in nineteenth-century Philippines. It's important to remember that Rizal had

a specific intention when he wrote this novel - to advocate for political reform.

Hence, it is undeniable that Rizal had his biases when writing the novel. The novel presents the social, political, and economic conditions of the Philippines according to Rizal. We can't rely solely on reading the Noli Me Tangere to understand the full picture. Similarly, solely relying on one history book is not enough.

Examining additional sources is essential in order to ascertain the truth, as reading extensively does not necessarily equate to gaining knowledge. Instead, it involves distinguishing factual information from the false.

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