EL FILI’s DESCRIPTION

Rizal began writing El Filibusterismo in October 1887 while he was in Calamba, Laguna. In
1888, he revised the plot and some chapters in London. Rizal continued to work on his
manuscripts in Paris. Then, he moved to Brussels, Belgium where, the cost was cheaper
and there were less distractions so he could focus on finishing the book. He finally
completed the book on March 29, 1891 in Biarritz, France and was published in September
of that year in Ghent.

The novel is said to have been written against the background of threats and oppressions
that Rizal and his family suffered because of the Noli and the so-called Calamba agrarian
trouble.

According to history, (Ocampo, 2012) it was Rizal’s roommate in Belgium, Jose Alejandrino,
who canvassed the printing press for El Fili. He delivered the proofs and revisions to F.
Meyer Van Loo in Ghent, which is why, 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.

Alejandrino, who later became a general in the Philippine revolution, may have been the
first person to read the novel aside from the author but the honor of being called ‘the savior
of the Fili’ had been given to Valentin Ventura — Rizal’s friend who partially financed the
publication of the novel. Clearly, Ventura’s steal of the title is another classic interpretation
of the expression, “That’s what money can do.”

At first, Rizal financed El Fili’s printing by placing his properties as collateral. In a letter to
Jose Basa dated July 9, 1891, he related: “For the past three months I have not received a
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 …”

However, Rizal’s next letter to Basa carried the sad news that the printing had to be
suspended due to lack of funds, and it was at this point that Valentin Ventura came into the
picture. If you can still recall, Ventura was one of the Filipinos who promised to coauthor
Rizal’s Noli but ended up contributing nothing? In retrospection, it can be assumed that
Ventura was bothered by his conscience— having known Rizal’s predicament, he offered
his generous monetary assistance for Rizal’s El Fili.

On the contrary, 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. Thus, the printed El Fili, which came off the press by mid-September 1891,
turned out comprising only 38 chapters compared to the 64 of the Noli — contrary to his
original plan to make a longer sequel.

For Ventura’s saving 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 (Zaide,1984). At present, it is now being kept
in the National Library.
FILIBUSTERO DEFINED

Rizal had to define the word filibuster to his German friend Ferdinand Blumentritt who did
not understand his use of word in Noli Me Tangere. In a letter, Rizal explained: “The word
filibuster is little known in the Philippines. The masses do not know it yet. I heard it for the
first time in 1872 when the tragic executions (of 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 does not have the meaning of
freebooters; it rather means a dangerous patriot who will soon be hanged or well, a
presumptuous man.”

By the end of the 19th century, the word filibuster had acquired the meaning
“subversive” in the Philippines, hence the book is about subversion.

Note that the ‘Filibusterismo’ in the novel’s title is derived from the simpler term ‘filibustero’,
which 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…”

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 Fili indicated: “To The Filipino People and Their Government”. The
original manuscript also includes a “warning” and an “inscription” on the title page written by
the author’s friend, Ferdinand Blumentritt.

Given the reaction to his first book, Rizal tried to avoid allowing the second one to fall into
the hands of the Spaniards. He had after all written El Filibusterismo not for the Spaniards
but for the Filipino people to read. After distributing the copies of the first edition to his
friends in Europe, Rizal designated most of the remainder to be sent to the Philippines. The
books were first sent to his residence in Hong Kong, to be smuggled to the Philippines by
his friends. Upon shipment, the copies were immediately seized by the authorities, making it
a rare book overnight.
EL FILI IN BRIEF

The story in El Filibusterismo revolves around its main character Simoun who is an affluent
jeweler. Simoun is actually Crisostomo Ibarra of the Noli whom everyone thought had been
killed by the Guardia Civil at Laguna de Bay. He had 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.

Yet, 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.

PREMISES OF EL FILI
In actual fact, the El Filibusterismo is a continuation of the Noli Me Tangere, which still
exposes the real picture of the Filipino society at the hands of the Spanish government
officials. Issues concerning socio-political activities that were mentioned in the Noli are also
dealt with in its sequel such as 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 sets El Fili apart from Noli is that it offers various means (ideal for Rizal) of attaining
social reform. There were dialogues and incidents that seemed to suggest the apparent
unlikelihood of any radical socio-political change. The main character’s persistence to push
through with the rebellion, on the other hand, seemed to suggest that independence is
attainable through revolution. However, the closing chapters rather imply that freedom must
be attained without bloodshed as the story ends with the failure of Simoun’s planned
uprising.

The ending, some scholars explain however, should not be interpreted as Rizal’s
categorical stand against revolution. In fact, Rizal can be said to be against unprepared and
disorganized rebellion of an uneducated people, which could have a slight 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. If truth be told,
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 is, what Rizal would never subscribe to is the “useless spilling of blood,” but
not the uprising as such.
CHARACTERS AND IMAGERIES OF EL FILI

A number of other characters from the Noli reappear in this second novel. As the El Fili
aims to focus on attacking the Spanish corruption, greed, exploitation and injustice, Rizal
did not spare his fellow Filipinos from his harsh criticism of the regime. He condemned them
for their greed, corruption, hypocrisy, and cowardice, which contributed so much to the
abuses of the civil guards and friars. These personalities are shown in the more important
characters that can be interpreted symbolically.

Simoun

He is Crisóstomo Ibarra in disguise, presumed dead at the end of Noli Me Tangere and has
returned as the wealthy jeweler Simoun. He appears to be tanned, with sparse beard, long
white hair, and large blue-tinted glasses. His manners were described to be crude and
confrontational, presenting an arrogant elitist on the outside but secretly plans a violent
revolution in order to avenge himself for his misfortunes as Crisóstomo Ibarra, as well as
hasten Elias' reformist goals.

He could represent the portion of the Filipino society who got tired of the oppressors’
rule, desperately wanted to overthrow the said rule at all cost. Because of his past
failures and disappointments, he turned cynical and revolutionary but had no systematic
plan for the new society, if the old one is overthrown.

Basilio

Known to be the son of Sisa and another character from Noli Me Tangere, he is now an
aspiring and so far, successful physician on his last year at the University in El FIli, waiting
for his license to be released upon his graduation. After his mother's death in the Noli, he
applied as a servant in Captain Tiago's household in exchange for food, lodging, and being
allowed to study. Eventually he took up medicine, and with Tiago having retired from
society, he also became the manager of Tiago's vast estate. He is a quiet, contemplative
man who is more aware of his immediate duties as a servant, doctor, and member of the
student association than he is of politics or patriotic endeavors. His sweetheart is Juli, the
daughter of Kabesang Tales whose family took him in when he was a young boy fleeing the
Guardia Civil and his deranged mother.

Aware of the rampant injustices and cruelty against his own family, he still remains hostile to
any revolution. As a medical student, he is that educated Filipino who has become numbed
and ignorant of the well-being of his fellow Filipinos and his country because of his brutal
experiences in the past.

Isagani

He is Basilio's friend and is described as a poet, taller and more robust than Basilio
although younger. He is the nephew of Padre Florentino, but is also rumored to be
Florentino's son with his old sweetheart before he was ordained as a priest. During the
events of the novel, Isagani is finishing his studies at the Ateneo Municipal and is planning
to take medicine. A member of the student association, Isagani is proud and naive, and
tends to put himself on the spot when his ideals are affronted. His unrestrained idealism and
poeticism clash with the more practical and mundane concerns of his girlfriend, Paulita
Gomez. When Isagani allows himself to be arrested after their association is outlawed,
Paulita leaves him for Juanito Peláez. In his final mention in the novel, he was bidding
goodbye to his landlords, the Orenda family, to stay with Florentino permanently.

His sense of unproven and unpredictable idealism symbolizes the educated Filipino youths
at that time. He may be inspired by his ideals for his country but at crucial moments, he
unconsciously forgets those ideals for selfish reasons.

Captain Tiago
Also a character in the Noli, he had several landholdings in Pampanga, Binondo, and
Laguna, as well as taking ownership of the Ibarras' vast estate, too. However, he fell into a
depression following María Clara’s entry into the convent. He alleviated this by smoking
opium, which quickly became an uncontrolled vice, exacerbated by his association with
Padre Írene who regularly supplied him with the substance. Tiago hired Basilio as a capista,
a servant who was given the opportunity to study as part of his wages. Tiago died of shock
upon hearing of Basilio's arrest and Padre Írene's embellished stories of violent revolt.

Don Custodio
He is Custodio de Salazar y Sánchez de Monteredondo, a famous "contractor" who was
tasked by the Captain-General to develop the students association's proposal for an
academy for the teaching of Spanish, but was then also under pressure from the priests not
to compromise their prerogatives as monopolizers of instruction. Some of the novel's most
scathing criticism is reserved for Custodio, who is portrayed as an opportunist who married
his way into high society, who regularly criticized favored ideas that did not come from him,
but was ultimately, laughably incompetent in spite of his scruples.

As an average, unqualified Spanish official who holds several positions in the country,
he does not welcome any idea from others. In the novel, Rizal portrayed him as one
who finds pleasure in developing a feeling of inferiority among the people.

Maria Clara
Symbolically speaking, she represents the friar-dominated Filipino culture, which, at that
time, is ripe for revolution. After suffering from untold physical and spiritual abuse for at
least 13 years, Maria Clara dies — hence, there was no eventual union between Simoun
and Maria Clara, not even meeting together since they parted 13 years ago (because
Simoun was not permitted to do so).
Kabesang Tales
Also known as Telesforo Juan de Dios, a former kabesa of Barrio Sagpang in Tiani. He was
a sugarcane planter who cleared lands he thought belonged to no one, losing his wife and
eldest daughter in the endeavor. When the Dominicans took over his farm, he fought to his
last money to have it retained in his possession. While his suit against the Dominicans was
ongoing, he was kidnapped by the bandits while he was out patrolling his fields. Having no
money to pay his captors, his daughter Juli was forced to become a maid in exchange for
her mistress paying his ransom. When his son Tano was conscripted into the Guardia Civil,
Tales had no money (again) to pay for Tano's exclusion from the draft. When Tales lost the
case, he not only lost his farm but was also dealt with a heavy fine. He later joined the
bandits and became one of their fiercest commanders. Tandang Selo, his father, would later
on join his band after the death of Juli.

He embodied those who join the bandits for personal revenge after suffering from the
maltreatments caused by the friars.

Juli

Her full name is Juliana de Dios, the girlfriend of Basilio, and the youngest daughter of
Kabesang Tales. When Tales was captured by bandits, Juli petitioned Hermana Penchang
to pay for his ransom. In exchange, she had to work as Penchang's maid. Basilio ransomed
her and bought a house for her family. When Basilio was sent to prison, Juli approached
Tiani's curate, Padre Camorra, for help. When Camorra tried to rape her instead, Juli
jumped to her death from the church's tower. She symbolized love for honor and chastity
when she took her own life instead of submitting her womanhood to Fr. Camorra.

Placido Penitente

Another young student who desires to go abroad for a better life. Upon learning about
Simoun’s planned revolt, he got so scared that he was undecided whether to join or not. He
is that part of the Philippine society who does not have a sense of nationalism or social
conscience.
THE SEMBLANCE OF NOLI AND EL FILI

Both novels portray an exposure of the ills of the Spanish authorities. In depicting the social
conditions in the country, the use of satires and caricatures were very evident, although El
Fili is more serious, less humorous and more bitter in its treatment of the situations.

The suffering of the native Filipinos from the cruelty and exploitation of the colonizers were
very much depicted in the Noli. On the other hand, there is awakening in El Fili wherein the
natives were described to be at the brink of a rebellion as revolutionary forces have been
formed.

In general, El Fili presents a more miserable representation of the country under the
Spanish regime. The novel is more radical and revolutionary — it has less idealism and
romance as compared to the Noli. The El Fili manifests Rizal’s more mature and less
hopeful attitude toward the socio-political situation in the country. The novel’s poor outlook
and more tragic mood can be attributed to the persecutions and sufferings that Rizal and his
family experienced from the Spanish friars and officials in the years he was writing the
novel.

Nevertheless, the sufferings caused by the Spaniards to the Rizal family is not a matter of
revenge in the El Fili. Rizal 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 the El Fili
was more superior than Noli. Apparently, Rizal himself also believed in the superiority of the
El 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 [El Fili] is more important than the first [Noli].”

After the publication of the El Fili, 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. “
Indeed, the El Filibusterismo is a novel about a failed revolution as organized by Simoun.
His return to the Philippines was to encourage corruption in the government using his
wealth and influence in order to provoke the people take a stand against the Spanish
regime.

Rizal, through Simoun, realized that it is only through independence that the Filipinos will be
eased of their miseries under the colonizers. This was manifested in his conversation with
Basilio that said:

“Instead of aspiring to be a mere province, aspire to be a nation, develop an independent,

not colonial mentality. There are no tyrants where there are no slaves. Basilio’s reply was:
“Science can redeem man from social and other reforms of persecution”

Simoun’s dispute was: “Patriotism will always be a virtue in oppressed people.”

During Simoun’s dying moment, he uttered the words, “Why has God God forsaken me? Is
not God justice? Is it God’s will that the Philippines remain under its present condition?”

Through Fr. Florentino, Rizal spoke of how independence should be won. Fr. Florentino
responded, “If our country is someday to be free, it will not be through vice, it will not be
through the corruption of its sons...Redemption presupposes virtue; virtue, sacrifice; and
sacrifice, love!

Hence, Rizal’s message was very clear: Filipinos should be courageous enough to protest
and proclaim their rights. They have to be willing to sacrifice in the face of oppression and
tyranny — only then can they be deserving of the independence that they desperately want
to attain.

According to Guerrero (1998), Rizal was a reluctant revolutionary. He believed in

independence as a solution to the sufferings of the many Filipinos under the Spanish rule
but he hesitated and backed down. One explanation seemed logical: To Rizal, the Filipinos
during his time were not yet ready for a revolution. Similarly, they were not ready for
independence. They were still unworthy of independence because they have not yet
learned to prioritize the common good over their personal gain. The Filipinos were not yet
ready to become a nation. For Rizal, God will provide the means — be it a revolution or a
peaceful separation from Spain — but they need education, exemplary lives and the
willingness to sacrifice for other people.

RIZAL AFTER FILI

After the publication of El Fili, Rizal gave up on the idea that peaceful liberation is possible
for the Philippines. In his letter to Blumentritt in 1887, he wrote, “peaceful struggle will just
remain a dream, considering that Spain had not learned the lesson of her former colonies in
South America” (Guerrero, 1998).
Rizal then became a separatist upon realizing that reforms will no longer be granted by
Spain. Unlike other separatists, Rizal is exceptional as he learned to leave the attainment of
independence to God.

Subsequently, Rizal was bitterly attacked by his fellow reformers in Madrid. This can be
accounted for by the very radical and revolutionary tone of the novel, which renounced the
propaganda campaign for peaceful reforms and assimilation. As a result, Rizal decided to
end his connection with the propagandists in Madrid and opted to return to the Philippines
to share the misfortunes of his family.