Last Sunday, me and my wife Yeyette visited Señor Gómez in Rockwell Center (Ciudad de Macati) where he teaches flamenco. Aside from consoling him for the demise of his daughter, Yeyette was also planning of resuming her flamenco lessons.
At the building where the Great Old Man of Filipinismo teaches, I chanced upon a copy of The Philippine Star’s Modern Living section and saw the name of one of Literatura Filipina‘s most reverred figures: Mª Soledad Lacson vda. de Locsín (who happens to be an auntie of Señor Gómez). It was written by Star columnist Bárbara González, a granddaughter of María Rizal, one of the national hero’s sisters.
Below is the article which appeared last Sunday:
Locsín’s ‘Noli Me Tangere‘
SECOND WIND By Bárbara C. González (The Philippine Star)
I have just finished reading José Rizal’s novel, Noli Me Tangere, translated by Soledad Lacson-Locsín, the late, great mother of one of my late, great friends, Raul Locsín, once publisher of the newspaper Business World. Doña Soledad was a dignified, well-educated lady who grew up speaking beautiful Spanish and therefore translated the novel masterfully. On the first page of her Notes or the book’s glossary, it reads: The title, Noli Me Tangere, is Latin for “Touch Me Not,” and comes from the Gospel of St. John, XX: 17, where Jesus says to Mary Magdalene: “Touch me not, for I am not yet ascended to my Father…” The author relates this to a social cancer “of a breed so malignant that the least contact exacerbates it and stirs in it the sharpest of pains” in his dedication: “To My Motherland (A mi patria). On March 5, 1887, Rizal wrote to the painter Resurrección Hidalgo: “The book (Noli) has matters which no one among ourselves has spoken of until now — so delicate that they cannot be touched by anybody…”
I have had this book for many years but never read it. It was not very easy to read, not because of the content but because of the book’s size and weight, being thick and hardbound, difficult to read in bed where I do most of my reading. I know I have read parts of the Noli before, in English, when I was much younger, but no translation is as good as this one. I know I also read a few chapters in Pilipino — even acted them out for my eldest daughter so she would understand and pass her school year — but nothing was as beautiful or comprehensible as this translation. It is also obvious to me that Doña Soledad Locsín respected the writer and sought to translate exactly what it is he wanted to say.
Rizal wrote each chapter as a piece of a large puzzle, randomly handed to the reader so that in the end we would see not quite the whole picture. In the end we know what happened to everyone, from Capitán Tiago to Padre Dámaso, Doña Victorina to Linares, who became María Clara’s jilted fiancé. We even know that María Clara became a somewhat crazy nun. But we do not know what happened to Crisóstomo Ibarra, except that he was lying at the bottom of a banca that floated away, while the pursuing Spanish police called the Guardia Civil shot at Elias as he jumped out of the banca that he had shared with Ibarra to distract the guards.
If you are over 60, I recommend you read this translation of Noli Me Tangere. You will see fully what life was like when we were under the friars. How petty they were! You will question: what happened to our country? You will see how little has changed or that whatever has changed is very superficial. Filipinos stepped into the shoes of their colonizers and now act exactly the same way as the friars. And you will want to weep like Rizal did. He was executed at Bagumbayan, now the Luneta, in 1896, 115 years ago. Ninoy Aquino was shot at the airport in 1986, just a scrambling of the very same numbers. That was 25 years ago. Two executions. Two heroes. Each one followed by its own brand of uprising and still nothing much has changed.
Last Friday, Aug. 5, I was at the Little Theater watching the musical of Noli Me Tangere, tickets compliments of the National Historical Commission, who gave them to Rizal descendants. I would give the Noli production an “A” for effort. The libretto, if you could understand the words — because the orchestrated minus one was too loud so you couldn’t understand what they were singing — was written by National Artist Bien Lumbera, who was there. The performance, I thought, was too level. I am not sure I can explain it well. Usually you can draw a stage performance in waves, there are high, medium and low points, which shadow the plot. In this case it was like a straight line. Many of the descendants fell asleep. A few developed crushes on Gian Magdangal, who made a very good-looking Crisóstomo Ibarra.
Ryan Cayabyab composed the music but there was no real standout piece. I thought that Sisa’s song, as she was singing it, was the best but I could not even attempt to hum it afterwards, meaning the melody was not compelling enough to stick in the audience’s mind. I was just glad that I was still reading the Noli when I watched the show because, I guess, I understood it more. While the cast and crew deserve congratulations for their work — an A for effort, as I said — it still needs a lot of polishing to make the audience truly understand the Noli. I think that is the point of a stage performance — to enlighten an audience. You perform to make the audience understand the story. That night nobody understood what was going on except that Crisóstomo Ibarra and María Clara were in love and had to say goodbye because Padre Salvi was in love with her. But that was not all of the Noli.
I finished the book last night before going to sleep. I shut the book, put it on the floor beside my bed, and said aloud to no one in particular, “That was beautiful.” It really and truly was.
* * *
Send your comments to 0917-815-5570.
After reading her article, the only words that struck me was her elementary anti-friar remark: “How petty they were!” Since she left her cellphone number out in the open for comments, that is what I did. Below I print our brief SMS exchanges:
ME: RE: Locsín’s Noli Me Tangere’. Please don’t rely solely on Rizal regarding the friars of his time. By saying “how petty they were”, you tend to generalize.
ME: Remember: when Rizal wrote his novels, he was a Freemason. He had his biases and committed a lot of doctrinal errors.
ME: Thank you for your time. PEPE ALAS (http://filipinoscribbles.wordpress.com)
GONZÁLEZ: Thank you.
GONZÁLEZ: You moust (sic) be a priest or a pastor. Don’t read my columns. We will always disagree.
ME: Neither. I’m just an ordinary kid. I’m not a follower of your column. It just so happened that I saw you used Soledad’s name who happens to be one of my
ME: favorite writers. There were bad friars, then as now. But as a journalist, be careful not to generalize. Reassess Philippine History. Thanks.
I tried to be diplomatic with my comment. But what did I get? A “taray” reply a la Maricel Soriano.
Please, ma’am, get your historical facts straight. If you can’t, then please don’t comment on Philippine History anymore. Stay true to the title of the section in which your column belongs: MODERN LIVING.
And speaking of straightening up historical facts — Ninoy was assassinated in 1983, not 1986.