The Social Cancer by José Rizal (ereader for comics .txt) 📕

of trouble in the Philippines. Moreover, the Spanish ministers themselves appear to have been in sympathy with the more moderate wishes of the Filipinos, a fact indicated by the number of changes ordered from time to time in the Philippine administration, but they were powerless before the strength and local influence of the religious orders. So matters dragged their weary way along until there was an unexpected and startling development, a David-Goliath contest, and certainly no one but a genius could have polished the “smooth stone” that was to smite the giant.

It is said that the idea of writing a novel depicting conditions in his native land first came to Rizal from a perusal of Eugene Sue’s The Wandering Jew, while he was a student in Madrid, although the model for the greater part of it is plainly the delectable sketches in Don Quixote, for the author himself possessed in a remarkable degree that Cervantic touch which raises the commonplace, even the mean, into the highest regions of art. Not, however, until he had spent some time in Paris continuing his medical studies, and later in Germany, did anything definite result. But in 1887 Noli Me Tangere was printed in Berlin, in an establishment where the author is said to have worked part of his time as a compositor in order to defray his expenses while he continued his studies. A limited edition was published through the financial aid extended by a Filipino associate, and sent to Hongkong, thence to be surreptitiously introduced into the Philippines.

Noli Me Tangere (“Touch Me Not”) at the time the work was written had a peculiar fitness as a title. Not only was there an apt suggestion of a comparison with the common flower of that name, but the term is also applied in pathology to a malignant cancer which affects every bone and tissue in the body, and that this latter was in the author’s mind would appear from the dedication and from the summing-up of the Philippine situation in the final conversation between Ibarra and Elias. But in a letter written to a friend in Paris at the time, the author himself says that it was taken from the Gospel scene where the risen Savior appears to the Magdalene, to whom He addresses these words, a scene that has been the subject of several notable paintings.

In this connection it is interesting to note what he himself thought of the work, and his frank statement of what he had tried to accomplish, made just as he was publishing it: “Noli Me Tangere, an expression taken from the Gospel of St. Luke, [7] means touch me not. The book contains things of which no one up to the present time has spoken, for they are so sensitive that they have never suffered themselves to be touched by any one whomsoever. For my own part, I have attempted to do what no one else has been willing to do: I have dared to answer the calumnies that have for centuries been heaped upon us and our country. I have written of the social condition and the life, of our beliefs, our hopes, our longings, our complaints, and our sorrows; I have unmasked the hypocrisy which, under the cloak of religion, has come among us to impoverish and to brutalize us, I have distinguished the true religion from the false, from the superstition that traffics with the holy word to get money and to make us believe in absurdities for which Catholicism would blush, if ever it knew of them. I have unveiled that which has been hidden behind the deceptive and dazzling words of our governments. I have told our countrymen of our mistakes, our vices, our faults, and our weak complaisance with our miseries there. Where I have found virtue I have spoken of it highly in order to render it homage; and if I have not wept in speaking of our misfortunes, I have laughed over them, for no one would wish to weep with me over our woes, and laughter is ever the best means of concealing sorrow. The deeds that I have related are true and have actually occurred; I can furnish proof of this. My book may have (and it does have) defects from an artistic and esthetic point of view—this I do not deny—but no one can dispute the veracity of the facts presented.” [8]

But while the primary purpose and first effect of the work was to crystallize anti-friar sentiment, the author has risen above a mere personal attack, which would give it only a temporary value, and by portraying in so clear and sympathetic a way the life of his people has produced a piece of real literature, of especial interest now as they are being swept into the newer day. Any fool can point out errors and defects, if they are at all apparent, and the persistent searching them out for their own sake is the surest mark of the vulpine mind, but the author has east aside all such petty considerations and, whether consciously or not, has left a work of permanent value to his own people and of interest to all friends of humanity. If ever a fair land has been cursed with the wearisome breed of fault-finders, both indigenous and exotic, that land is the Philippines, so it is indeed refreshing to turn from the dreary waste of carping criticisms, pragmatical “scientific” analyses, and sneering half-truths to a story pulsating with life, presenting the Filipino as a human being, with his virtues and his vices, his loves and hates, his hopes and fears.

The publication of Noli Me Tangere suggests the reflection that the story of Achilles’ heel is a myth only in form. The belief that any institution, system, organization, or arrangement has reached an absolute form is about as far as human folly can go. The friar orders looked upon themselves as the sum of human achievement in man-driving and God-persuading, divinely appointed to rule, fixed in their power, far above suspicion. Yet they were obsessed by the sensitive, covert dread of exposure that ever lurks spectrally under pharisaism’s specious robe, so when there appeared this work of a “miserable Indian,” who dared to portray them and the conditions that their control produced exactly as they were—for the indefinable touch by which the author gives an air of unimpeachable veracity to his story is perhaps its greatest artistic merit—the effect upon the mercurial Spanish temperament was, to say the least, electric. The very audacity of the thing left the friars breathless.

A committee of learned doctors from Santo Tomas, who were appointed to examine the work, unmercifully scored it as attacking everything from the state religion to the integrity of the Spanish dominions, so the circulation of it in the Philippines was, of course, strictly prohibited, which naturally made the demand for it greater. Large sums were paid for single copies, of which, it might be remarked in passing, the author himself received scarcely any part; collections have ever had a curious habit of going astray in the Philippines.

Although the possession of a copy by a Filipino usually meant summary imprisonment or deportation, often with the concomitant confiscation of property for the benefit of some “patriot,” the book was widely read among the leading families and had the desired effect of crystallizing the sentiment against the friars, thus to pave the way for concerted action. At last the idol had been flouted, so all could attack it. Within a year after it had begun to circulate in the Philippines a memorial was presented to the Archbishop by quite a respectable part of the Filipinos in Manila, requesting that the friar orders be expelled from the country, but this resulted only in the deportation of every signer of the petition upon whom the government could lay hands. They were scattered literally to the four corners of the earth: some to the Ladrone Islands, some to Fernando Po off the west coast of Africa, some to Spanish prisons, others to remote parts of the Philippines.

Meanwhile, the author had returned to the Philippines for a visit to his family, during which time he was constantly attended by an officer of the Civil Guard, detailed ostensibly as a body-guard. All his movements were closely watched, and after a few months the Captain-General “advised” him to leave the country, at the same time requesting a copy of Noli Me Tangere, saying that the excerpts submitted to him by the censor had awakened a desire to read the entire work. Rizal returned to Europe by way of Japan and the United States, which did not seem to make any distinct impression upon him, although it was only a little later that he predicted that when Spain lost control of the Philippines, an eventuality he seemed to consider certain not far in the future, the United States would be a probable successor. [9]

Returning to Europe, he spent some time in London preparing an edition of Morga’s Sucesos de las Filipinas, a work published in Mexico about 1606 by the principal actor in some of the most stirring scenes of the formative period of the Philippine government. It is a record of prime importance in Philippine history, and the resuscitation of it was no small service to the country. Rizal added notes tending to show that the Filipinos had been possessed of considerable culture and civilization before the Spanish conquest, and he even intimated that they had retrograded rather than advanced under Spanish tutelage. But such an extreme view must be ascribed to patriotic ardor, for Rizal himself, though possessed of that intangible quality commonly known as genius and partly trained in northern Europe, is still in his own personality the strongest refutation of such a contention.

Later, in Ghent, he published El Filibusterismo, called by him a continuation of Noli Me Tangere, but with which it really has no more connection than that some of the characters reappear and are disposed of. [10] There is almost no connected plot in it and hardly any action, but there is the same incisive character-drawing and clear etching of conditions that characterize the earlier work. It is a maturer effort and a more forceful political argument, hence it lacks the charm and simplicity which assign Noli Me Tangere to a preeminent place in Philippine literature. The light satire of the earlier work is replaced by bitter sarcasm delivered with deliberate intent, for the iron had evidently entered his soul with broadening experience and the realization that justice at the hands of decadent Spain had been an iridescent dream of his youth. Nor had the Spanish authorities in the Philippines been idle; his relatives had been subjected to all the annoyances and irritations of petty persecution, eventually losing the greater part of their property, while some of them suffered deportation.

In 1891 he returned to Hongkong to practise medicine, in which profession he had remarkable success, even coming to be looked upon as a wizard by his simple countrymen, among whom circulated wonderful accounts of his magical powers. He was especially skilled in ophthalmology, and his first operation after returning from his studies in Europe was to restore his mother’s sight by removing a cataract from one of her eyes, an achievement which no doubt formed the basis of marvelous tales. But the misfortunes of his people were ever the paramount consideration, so he wrote to the Captain-General requesting permission to remove his numerous relatives to Borneo to establish a colony there, for which purpose liberal concessions had been offered him by the British government. The request was denied, and further stigmatized as an “unpatriotic” attempt to lessen the population of the Philippines, when labor was already scarce. This was the answer he received to a reasonable petition after the homes of his family, including