A Literary Criticism of “Noli me Tangere” using the Marxist  Approach

By: Smile Granada

The works of Jose Rizal have been a turning point in the early centuries in the
Philippines. The words “Touch me not” were first uttered by the resurrected Christ himself to
Mary Magdalene. The title itself suggests one of the important messages of the novel: “one
careless step, you’ll be stumbled; one wrong move and you’ll be dead”.
The country during Rizal’s time was weak and helpless. People were misguided. Direct
and indirect oppressions were everywhere especially those done by friars (depicted by the
characters Padre Damaso, Padre Salvi, Padre Camorra, and Padre Sibyla). His novel illustrates,
through his characters, Spaniards’ abuse, oppression, greed, and manipulation done to the
Filipinos. Crisostomo Ibarra, in particular, depicts a typical character that represents the
oppressed along with Sisa, Juli, Crispin and Basilio, Isagani, and others. Tragic episodes
happened in their lives are the result of growing tyranny of Spaniards. Hypocrisy, vices
(gambling, etc.), social climbing by desperate Filipinos can also be the results of these
oppressions.
Friars became the main oppressors in the novel. Government officials were under these
friars and all these represent the ‘superstructures’ of community (base), in which they continue to
spread their power, their abusive manipulations by using the weaknesses of Filipinos (the
proletariats) to fulfil their own interests. The friars have the greatest power in the community
capable of collecting taxes, putting a particular person to death, dictating how towns and
communities should be run, and becoming a political leader themselves through the help of
course by the Governor Generals and Civil Guards.
Though the main reason why Rizal wrote the novel was to expose oppressions, he,
however, did not approve bloody revolution as a primary suggestion for eliminating these
oppressions. He addresses revolution as only an alternative if reform is not possible for a shout
for independence. Famous Charles Dickens also addresses reform as initial move. This belief
was represented through Ibarra himself during his talk with Elias.
Rizal’s ideology about revolution would later spark an uprising led by Andres Bonifacio.
Though Rizal never approved the idea of a revolt as a primary action to independence, it was
shown in Ibarra’s character that he might do the same if the need arises. Rizal still believed
through Ibarra that the Spaniards would reconsider their actions and treat Filipinos fairly, and if
Spain wouldn’t do so, he called for revolt as an outright solution.
Noli me Tangere was just a beginning of Rizal’s exposition and call for reform in the
Spanish rule. El Filibusterismo, his next, would show how an untimely revolution could be
dangerous. Noli’s Ibarra was still somewhat confused of how he’ll be able to tolerate the tyranny
shown by the Spaniards especially the friars. He changed a lot in Fili. And in a Marxist point of
view, the change is typical to those who were oppressed by capitalists and authorities who have
no other thought but to gain more power and dominion all over the land it colonised.
Theme as an element of fiction is the idea that runs through the whole novel, repeated
again and again in various forms and way. The theme of Noli me Tangere comes from the
Gospel of John. The Noli me Tangere is a similar theme of longing and unfulfillment. There is
no more tragic love and of course no greater love than the two beings unable to reach each other,
since such  love eternally remains unblemished. It persistently unmasks contemporary Spaniards
in the Philippines of every kind. Rizal exposes corruption and brutality of the civil guards which
drive good men to crime and banditry. He focuses on an administration crawling with self-
seekers, out to make their fortune at the expense of the Filipinos, so that the few officials who are
honest and sincere are unable to overcome the treacherous workings of the system, and their
efforts to help the country often end up in frustration or in self-ruin. Noli me TAngere exposé of
corrupt friars who have made the Catholic religion an instrument for enriching and perpetuating
themselves in power by seeking to mire ignorant Filipinos in fanaticism and superstition. Instead
of teaching Filipinos true Catholicism, they control the government by opposing all progress and
persecuting members of the ilustrado unless they make themselves their servile flatterers.
Rizal does not, however, spare his fellow countrymen. The superstitious and hypocritical
fanaticism of many who consider themselves religious people; the ignorance, corruption, and
brutality of the Filipino civil guards; the passion for gambling unchecked by the thought of duty
and responsibility; the servility of the wealthy Filipino towards rirs and government officials; the
ridiculous efforts of Filipinos to dissociate themselves from their fellowmen or to lord it over
them--all these are ridiculed and disclosed.
Rizal nevertheless balances the national portrait by highlighting the virtues and good
qualities of his unspoiled countryman: the modesty and devotion of the Filipina, the unstinting
hospitality of the Filipino family, the devotion of parents to their children and children to their
parents, the deep sense of gratitude, and the solid common sense of untutored peasant. Iy calls on
the Filipino to recover his self-confidence, to appreciate his own worth, to return to the heritage
of his ancestors, and to assert himself as the equal of the Spaniard. It insists on the need of
education, of dedication to the country, and of absorbing aspects of foreign cultures that would
enhance the native traditions.
Rizal creates other memorable characters whose lives manifest the poisonous effects of
religious and colonial oppression. Capitan Tiago; the social climber Doña Victorina Espadaña
and her toothless Spanish husband., the Guardia Civil head and his harridan wife; the sorority of
devout women; the disaffected peasants forced to become outlaws; in sum, a microcosm of
Philippine society. In the afflictions that plague them, Rizl paints a harrowing picture of his
beloved but suffering country in a work that speaks eloquently not just to Filipinos but to all who
have endured or witnessed oppression.