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Noli Me Tangere
Noli Me Tangere
Noli Me Tangere
GROUP 3
What we'll discuss
What does Noli Me Tangere mean?
Characters and their symbolism
Summary of Noli Me Tangere
Comparison of the Past-and-Present
“The people do not complain because they have no voice; do
not move because they are lethargic, and you say that they do
not suffer because you have not seen their hearts bleed.”
― José Rizal, Noli Me Tángere
(Touch Me Not)
What does Noli Me Tangere mean?
“Noli Me Tangere” or can be translated as “Touch Me Not” authored by Jose Rizal,
draws its title from Jesus Christ's words to Mary Magdalene, symbolizing sensitive
topics nobody dared to address during Rizal's era. The novel delves into the
Church and State's evils, topics considered taboo. Rizal, inspired by Luna's
"Spolarium," saw it as a portrayal of human suffering and envisioned it reflecting
the societal struggles of his time. Motivated by the desire to redeem the
Philippines from oppression, he wrote "Noli Me Tangere." The novel was penned
from 1884 to 1887 in various European cities and was published in 1877 with
support from Maximo Viola. It serves as Rizal's metaphorical "Spolarium" for the
nation's redemption.
Characters and their Symbolism
Juan Crisostomo Ibarra
He represented the wealthy and liberal European-educated Filipinos.
Being democratic, unrestricted, and nationalistic, he aspired to watch his
people better enlightened. Jose Rizal had avision for the Philippines' youth,
and Crisostomo Ibarra embodied that ideal.
Elias
In the story, he was a character who embodied the people ofthe Philippines.
Theordinary Filipino image, he did everything he could to fight for the people's
rights against the oppressive Spaniards. Elias represents the desire of Filipinos
to free their compatriots from the oppression theyhave endured, as wellas
their awareness of the grievances they have suffered. Andres Bonifacio's alleged
embodiment is claimed to be represented by him
Characters and their Symbolism
Maria Clara
As the object of Ibarra's love and affection, Rizal presented Filipino womanhood
trained in a convent and immersed in education basically religious in
orientation. She symbolizes the Filipino womanhood in their fidelity, coyness,
and modesty.
Sisa
Rizal uses Sisa to depict the typical characteristics of Filipino mothers who are
aware of their children's attributes and fiercely defend them against injustice.
Through Sisa's character, Rizal sheds light on societal issues and the protective
nature of Filipino mothers
Characters and their Symbolism
Padre Damaso
He represents the wealthy Filipinos who use their position of powerand wealth
tooppress their fellow citizensin exchange forpersonal benefit and financial
gain. He is a metaphor for Rizal's Spanish friar era anda slam againstSpanish
colonial rule.
Capitan Tiago
In "Noli Me Tangere," Capitan Tiago is portrayed as a wealthy landlord involved
in illegal opium trade, embodying the cacique mentality. Despite professing
religiosity, he relies on his wealth rather than prayer during difficulties. Rizal uses
Capitan Tiago to symbolize the subservient Filipino to authorities, emphasizing
his prioritization of personal and business interests over broader societal
concerns.
Characters and their Symbolism
Doña Victorina
As a social climber, she married Don Tiburcio de Espadaña to support her
claim of being a Spaniard. She despised everything Filipino and imitated
what was Spanish. Thus, Rizal used her in the novel to symbolize colonial
mentality among some Filipinos during his time.
Doña Patrocinio
As the mistress of the Alferez, she was noted to be imprudent, vulgar, cruel, and
quarrelsome. As such, she symbolized the mentality of the Guardia Civil. Being
the only competitor of Capitan Tiago in godliness, she did everything to
pretend that she was really religious by showing off to the public what she could
contribute for the Church.
Characters and their Symbolism
Pilosopo Tasyo
He represented Rizal's epitome of a philosopher. He was perceived to be a sage
by the educated and a weird or lunatic by those who did not know him.