Chapter VIII: El Filibusterismo

El Filibusterismo is Jose Rizal’s second novel written as the sequel of his Noli Me
Tangere. Commonly nicknamed El Fili or simply Fili, the novel was written also in Spanish.
Its commonly known English alternative title is The Reign of Greed.

The Writing and Printing of Fili

Rizal started writing El Filibusterismo in October 1887 in Calamba during

his first homecoming. The novel was thus written against the background of
threats and oppressions he and his family suffered because of the Noli and the so-
called Calamba agrarian trouble.

He continued working on it, making some revisions, in London in 1888.

Rizal then went on to write the novel in Paris,and then in Brussels where
distractions were less, and the cost of living was cheaper. Being able to focus on
finishing the book, Rizal had finally completed it by March 29, 1891 in Biarritz.

Jose Alejandrino, Rizal's roommate in Belgium related that he was the one
who looked for a printing press for El Fili. He delivered proofs and revisions to F.
Meyer van Loo in Ghent. For his assistance, Rizal gave him the El Fili's corrected
proofs and the pen used in doing the corrections. Unluckily, these historical
souvenirs were either lost or destroyed during the revolution (Ocampo, 2012, p.
111). (For Rizal's collaboration and relation with Jose Alejandrino, read Appendix
O: "Rizal's Relations with Other Filipino Patriots and Heroes.")

Alejandro, who later became a general in the Philippine revolution have

possibly been the first person to read the novel aside from the author the honor of
being called “the savior of the Fili” had gone to Valentin Ventura – Rizal’s friend
who partially financed the novel's publication (Ventura’s steal of the title, one may
argue, is another classic elucidation of the expression. “That's what money can
do.”)

Initially, Rizal financed El Fili’s printing by pawning his properties. In a letter

to Jose Basa dated July 9, 1891, he related: “For the past three months I have not
received single centavo, so I have pawned all that I have in order to publish this
book. I will continue publishing it as long as I can; and when there is nothing to
pawn I will stop…” (“El Filibusterism0,” n.d.)

Rizal’s next letter to Basa carried the sad news that the printing had to be
suspended for lack of funds, and it was at this point where Valentin Ventura came
into the picture. Having known Rizal's predicament, Ventura offered him financial
help. In hindsight, we can assume that Ventura was bothered by his conscience,
hence his generous monetary assistance for Rizal’s novel. Remember that
 Ventura was one of the Filipinos who promised to co-author Rizal’s proposed first
book but ended up contributing nothing.

But even with Ventura's help, Rizal found it necessary to fundamentally shorten the
novel erasing 47 whole pages from the 279-page manuscript to save expenses
(Ocampo, 2012. P. 111). Thus, the printed El Fili, which came off the press by the
middle of September 1891 turned out comprising only 38 chapters compared with
the 64 of the Noli—contrary to his original plan to make a longer sequel.

For Ventura's salvific act, Rizal gave him the novel's original manuscript, a
pen, and an autographed printed copy. In 1925, the Philippine government bought
the El Fili manuscript from Ventura for a large sum of 10,000 pesos (G. Zaide & S.
Zaide, 1984, p. 194). It is now being kept in the National Library.

Filibustero and Gomburza

The Filibusterismo in the novel's title is derived from the simpler term
filibuster. Rizal defined the word ('filibustero') to his friend Ferdinand Blumentritt who
encountered but did not fully comprehend the word in the Noli. Rizal, thus. explained
in a letter ("El Filibusterismo," 2011):

"The word filibustero is little known in the Philippines heard it for the
first time in 1872 when the tragic executions [of the Gomburza] took place.
I still remember the panic that this word created. Our father forbade us to
utter it, as well as the words Cavite, Burgos (one of the executed priests),
etc. The Manila newspapers and the Spaniards apply this word to one
whom they want to make a revolutionary suspect. The Filipinos belonging to
the educated class fear the reach of the word. It means a dangerous patriot
who will soon be hanged or well, a presumptuous man."

The word filibustero thus, contextually means subversive, dissident,

revolutionary, seditious. insurrectionary, and treasonous. Fittingly, Rizal dedicated
the book to the memory of the Gomburza, the three Filipino patriotic priests who
were accused of being filibustero and, thus, executed. In his dedication, Rizal
fearlessly declared his conviction that the Spanish officials’ treatment of the priests'
case was unjust -as [their] complicity in the Cavite Mutiny is not clearly proved."

The dedication partly reads: "To the memory of the priests, Don Mariano
Gomez (85 years old), Don Jose Burgos (30 years old), and Don Jacinto Zamora
(35 years old). Executed in the Bagumbayan Field on the 28th of February, 1872…
I have the right to dedicate my work to you as victims of the evil which I undertake
to combat…” (“El Filibusterismo,” n.d.)

Rizal however, made mistakes in indicating the ages of the priests and the
date of their execution. During their martyrdom on the 17th (not 28th) of February
1872, Gomez was then 73 (not 85), Burgos was 35 (not 30) and Zamora was 37
(not 35). Like many other students today (especially men), Rizal was perhaps not
that good in memorizing historical details, like dates and ages.

The foreword of the Fill was nonetheless addressed "To The Filipino People
and Their Government.” The original manuscript also included a "warning" and an
“inscription” on the title page written by the author's friend, Ferdinand Blumentritt.

Themes of Fili

Indeed a continuation of the Noli, the El Filibusterismo exposes the real

picture of Filipino society at the hands of the Spanish authorities. Socio-political
issues mentioned in the Noli are also dealt with in its sequel: the abuses and
hypocrisy of the members of the Spanish Catholic clergy, superstitions disguising as
religious faith, the need for reform in educational system, the exploitation and
corruption of government officials, and the pretenses of some social-climbing
Filipinos and Spaniards.

What makes El Fili essentially different from its prequel is that it offers various
means of attaining social reform and somewhat hinted what the author believed was
ideal. Some dialogues and incidents seem to suggest the apparent improbability of
any radical socio-political change. The main character’s persistence to push through
with the rebellion, on the other hand, seems to suggest that independence is
attainable through revolution. However, the closing chapters rather insinuate that
freedom must be attained without bloodshed as the story ends with the failure of
Simoun’s planned uprising.

The novel's ending, some scholars explain, however, should not be interpreted as
Rizal’s categorical stand against revolution. At best, Rizal can be said to be against
unprepared and disorganized rebellion of uneducated people, which could have
a slim chance of victory. It is important to note that Rizal once commented that
an upright, patriotic, and selfless individual like Noli's Elias would be a viable
revolutionary leader In fact, Rizal was said to have confessed that he seriously
regretted having killed Elias instead of Ibarra. These seem to prove that Rizal,
though practically promoting the attainment of reforms peacefully also advocated
the idea of armed revolution under some conditions. Intelligent as he was, what
Rizal would never subscribe to is the "useless spilling of blood,” but not the uprising
per se.

Noli vs. Fili

Rizal wrote the El Filibusterismo about four years after the Noli. The
experiences he had in those four years spelled a lot of differences in the way he
treated his two novels.

In depicting the social conditions in the country both novels employ satires
and caricatures. El Fili however is more serious as there is less humor and more
bitterness in the treatment of situations.
In the Noli, the author reveals the cruelty and exploitation suffered by the natives
at the hands of colonizers. In El Fili, Rizal depicts a society at the brink of rebellion
as the natives' minds have been awakened and revolutionary forces have been
formed.

Generally, El Fili presents a gloomier depiction of the country under the

Spanish regime. More radical and revolutionary, the novel has less idealism and
romance than the Noli. The El Fili manifests Rizal's more mature and less hopeful
attitude toward the socio-political situation in the country. The grimmer outlook and
more tragic mood can be attributed to the persecutions and sufferings the author
and his family experienced from the Spanish friars and officials in the years he was
writing the novel.

Notwithstanding the sufferings caused by the Spaniards to the Rizal family,

the Fili, its author claimed, is not a matter of revenge. Jose wrote to Blumentritt: "I
have not written in it [Fili] any idea of vengeance against my enemies, but only for
the good of those who suffer, for the rights of Tagalogs…”

Some of Rizal's friends, like Blumentritt and Graciano Lopez Jaena,

expressed that Fili was superior to Noli. Rizal himself apparently once believed in the
superiority of the Fili. When its printing had to be stopped for lack of funds, he wrote
to Basa: “It is a pity because it seems to me that this second part [the Fili] is more
important than the first [the Noli]." ("The El Filibusterismo," 2013)

After the Fili was published, nonetheless, Rizal appeared to have a change
of heart. In his October 13, 1891 letter to Marcelo Del Pilar, he said: "I appreciate
what you say about my work, and I value your opinion highly that considered my
Filibusterismo inferior to the Noli. I, too frankly, without irony or words with a double
meaning, share your opinion. For me, the Filibusterismo as a novel is inferior to the
Noli… You are the first one to tell me the truth and I agree with you. This flatters me
as it proves that I still know how to judge myself. (“Rizal and Other Reformers,” n.d.)

As regards his friends who told him that Fili was better, Rizal explained in the
same letter: "Blumentritt, all those in Paris and Barcelona, for their benevolence
towards me say it [the Fili] is superior. I attribute it only to their benevolence.”

Synopsi
s

The story in El Filibusterismo revolves around its main character Simoun who
is affluent jeweler. Simoun is actually Crisostomo Ibarra of the Noli everyone
thought had been killed by the Guardia Civil at Laguna de Bay. He has in fact
escaped, fled to Cuba, become wealthy, and made connections with influential
Spanish officials. Upon his return to the Philippines after many years, he becomes
very influential as the governor-general, who owes so much to him, consults him in
making decisions.

In reality however, everything Simoun does is just part of his grand plan to
take revenge against the Spanish officials and rescue Maria Clara from the convent.
Planning to stage a revolution, he smuggles arms and looks for followers, mainly
from the exploited and abused natives. One of his recruits is Basilio, the son of Sisa,
who with Capitan Tiago’s help was able to study in Manila. Simoun also makes an
alliance with the revolutionary group of Kabesang Tales, a former ‘cabeza de
barangay’ who suffered maltreatments from the hands of the friars. Using his
influence, Simoun encourages corruption, decadence, and more oppressive
government policies so that the citizens may become more infuriated.

However, the planned revolt one night was not carried out because Simoun, upon
hearing that Maria Clara died in the nunnery, decided not to give the signal for the
outbreak of the uprising.

Another plan was made some months later. At the venue of the wedding
reception of Juanito Pelaez and Paulita Gomez, Simoun planted many explosives—
enough to kill the invited guests, primarily the friars and government officials.
According to the plot, the big explosion shall be started by the gift he would give to
the newlyweds at the reception—a kerosene lamp with an explosive. When the lamp
flickers and someone turns the wick, it will result into a big explosion that will become
a signal to the revolutionary troops to simultaneously attack all the government
buildings in Manila.

During the reception, Simoun gives his gift to the newly-weds. Before
hurriedly leaving the venue, he leaves a piece of mysterious paper bearing the
message “You will die tonight” signed by Juan Crisostomo Ibarra.

Meanwhile, Isagani, the rejected lover of Paulita, is standing outside the

reception. His friend Basilio tells him to leave the place because the lamp will soon
blow up.

When Father Salvi identifies the handwriting in the note and confirms that it
was indeed Ibarra’s, the guests begin to panic. When the lamp flickers, Father Irene
tries to turn the wick up. But Isagani, wanting to save Paulita’s life, rushes into the
house, grabs the lamp, and throws it into the river where it explodes.

Simoun’s revolutionary plot was thus known and he is thus hunted by the law
enforcers. He managed to escape but was seriously wounded. Carrying his jewelry
chest, he finds shelter in the home of Padre Florentino by the sea. Learning of his
presence in the house of the priest, the lieutenant of the Guardia Civil informs Padre
Florentino that he will come in the evening to arrest Simoun.

Simoun then takes poison that he would not be caught alive. As the poison’s
effects start to take toll on his body, he confesses to Florentino his true identity and
his plan of revenge through bloody revolution. After the emotional and agonizing
confession of the dying man, the priest absolves the dying man from his sins,
saying: “God will forgive you Señor Simoun. He knows that we are fallible. He
has seen that you have
suffered … He has frustrated your plans one by one … first by the death of
Maria Clara, then by a lack of preparation, then in some mysterious way. Let us bow
to His will and render Him thanks!”

The story ends with the priest throwing Simoun’s treasures into the sea so
that they would not be used by the greedy. The priest hopes that when the right time
comes, they would be recovered and used only for the good.

Noli and Fili Stolen

In Rizal's time, the Permanent Commission of Censorship recommended the

absolute prohibition on the importation, reproduction, and circulation of the Noli. The
copies of the Fili, on the other hand, were destroyed by Customs in Manila upon
shipment to the Philippines. The rare surviving copies of the novels were secretly
purchased and "according to one friend of the family, had to be read in the smallest,
most private room in the house—the toilet" (Ocampo, 2012, p. 108).

That was the fate of the first editions of Rizal's novels. But that is nothing
compared to what happened to their original manuscripts about 70 years after their
publication.

The original manuscripts of the Noli and Fili (along with that of the poem "Mi
Ultimo Adios") were stolen from the National Library on the evening of December 8,
1961. After some days, the thieves who outsmarted the building's sleepy guards sent
a ransom note "made of newspaper cutouts" to the Jose Rizal National Centennial
Commission (JRNCC) (Ocampo, 2012, p. 148). The robbers demanded 1.4 million
pesos for the return of the original texts, else Rizal's handiworks would be burned.

To summarize the "historic robbery," the then Education Secretary Alejandro

"Anding" Roces personally met with the burglars and, after some various
negotiations, had retrieved the documents without paying any single centavo. The
manuscripts were returned on installment basis—the "Ultimo Adios” during the first
meeting, the El Fili on the next negotiation, and lastly, the Noli. There was a time
when the demanded ransom was reduced to 100.000 pesos and then to pesos
(Ocampo. 2012. p. 148) But recognizing perhaps that they would get from the
government, the robbers ultimately settled on returning the documents free of
charge. Many still find this “charge-free return of the manuscripts” strange and mind-
blowing. But the following additional details about the story could perhaps shed light
on the account.

During the negotiations, one of the burglars related to Roces that on the night
of the robbery, “the Rizal manuscripts suddenly became heavy [as] a cavan of rice.”
 The thief, thus, exclaimed, “The manuscript must be holy or haunted!” (Ocampo
2012, p. 148). One robber even claimed that he read Rizal’s handwritten novels
described the feeling, “Ang sarap basahin, kinikilabutan ako!” (Ocampo, 2012. p.
148). It is remarkably funny to note, however, that the thief did not understand
Spanish! Nonetheless, these indicate that the stealers were probably bothered by
their conscience, hence the consent to just send back the national hero's works.

Anding promised not to identify the robbers or to be a witness against them

court. Thus, the hilariously controversial thieves were never known.

The Novels' Legacy

For fearlessly depicting the corruptions and abuses by the Spanish clergy and
the colonial government during the Spanish regime in the Philippines, the two novels
are historically very significant. Basically a social sketch of the country then, the Noli
and Fili reveal the true setting and condition of the Filipino society in the era.

As essential sources of sociological and anthropological studies, the books

provide rich insights into the culture of the 19th and 20th century Philippines. Their
realistic depictions expose a conflicted colonial society seriously split between the
oppressors and the suffering local slaves. The novels' characters mimic the various
elements and types of individuals in that society. Furthermore, they show favorable
positive traits of the natives then, like the sense of gratitude, the fidelity of women to
their loved ones, and the yearning for freedom and equality.

For their explicit portrayal of what the locals really wished for their country the
books were instrumental in forming the Filipino's (Indios) sense of national identity.
Indirectly but significantly, the novels influenced the revolution led by the Katipunan
as they inspired Andres Bonifacio and the other revolutionaries in their cause.

Rizal was arrested, exiled to Dapitan, and ultimately executed in 1896 based
principally on his writings. In 1956, the Philippine Congress passed the Rizal Law
(Republic Act 1425) requiring all levels of Philippine schools to teach as part of the
curriculum the hero's two novels.

Originally written in Spanish, the Noli and the Fili had been translated into various
languages like Filipino, English, German, French, Chinese, and some other Philippine
languages. In 2007, an English version of Noli Me Tangere was released to major
Australian bookstores. It was published by Penguin Books Classics as part of the
publication's commitment to publish the major literary classics of the world.

Instructor: Princess Pearl T. Castaño