Category: rizal

Heroism

RANDY DAVID

Heroes are exemplary individuals who embody a community’s highest values and ideals. “Heroes” and “nation” typically go together because a country’s best-known heroes are those whose lives are intertwined with the nation’s emergence, emancipation, and transformation.

Without any doubt, the Filipino people’s two greatest heroes are Jose Rizal and Andres Bonifacio. Rizal, for offering through his writings and exemplary life a vision of Filipinos as a people capable of attaining the highest achievement within the reach of nations, including that of self-rule. Bonifacio, for organizing and initiating the revolution that eventually freed the country from Spanish colonial rule.

The Filipino nation regularly celebrates their lives and holds them up as models of patriotism, to be emulated by generations of its citizens, particularly the youth. Other communities have their respective heroes, too. The Catholic Church has its martyrs and saints. Revolutionary movements have their ideologues and warriors.

At about this time every year, the Ramon Magsaysay Award Foundation plucks out of anonymity some four or five Asians, and casts a light upon the heroic work they do to make the world a better place, especially for the poor and neglected sectors of society. Offering innovative solutions to new and existing problems, often in the face of great adversity, these Magsaysay laureates are living heroes in their own way. They serve as models of an alternative life worth living in a materialistic and self-absorbed world.

A hero is thus the closest personification of a value or set of values that a given community desires to preserve, reinforce, and promote. The battle for a nation’s memory is, at bottom, a battle to maintain its core values in a rapidly changing world. There are, however, times when swiftly unfolding events bring out a change in the national mood that contradicts values enshrined in existing state commemorations.

If the theory is right, the resulting cognitive dissonance compels either a revision in action — for example, by abolishing the commemoration of an event, or a change in attitude, such as by offering a different and less dissonant interpretation of what happened.

The 2022 presidential election brought the son and namesake of the former dictator Ferdinand Marcos to Malacañang. The meaning of Marcos Jr.’s election by a big majority of Filipino voters seems to clash with everything that Ninoy Aquino Day, commemorated on Aug. 21 every year, seeks to represent. This special nonworking national holiday, instituted in honor of the former senator and martial law detainee, unavoidably recalls that fateful day in 1983 when, coming home from foreign exile, he was shot to death at the airport while under military escort.

As I argued in last week’s column, Ninoy Aquino’s assassination triggered a national outrage that eventually brought down the Marcos Sr. dictatorship. His martyrdom to the cause of democracy was immediately recognized and was undisputed in the years that followed. The people’s memory and appreciation of his heroism remained stable even after nearly three decades, when his son Noynoy was elected president.

It is remarkable that in a 2011 Social Weather Stations opinion poll on the personalities that Filipinos regard as genuine Filipino heroes, Ninoy ranked No. 3 — after Rizal and Bonifacio. (Thanks to Mahar Mangahas for bringing this out in his column the other day.) Together with Cory Aquino at No. 4, Apolinario Mabini at No. 5, and Emilio Aguinaldo at No. 6 — these names were the only ones that received double-digit percentage mentions. One wonders how the Aquinos would fare if the same poll were conducted today.

What is certain is that President Marcos Jr.’s administration has not seen it fit to remove Feb. 25 (the people power revolution) and Aug. 21 (Ninoy Aquino Day) from the list of official national commemorations. Neither has the administration signified any support for one lawmaker’s proposal to rename the Ninoy Aquino International Airport. It’s not hard to understand this. Not only will doing so appear vindictive, it also directly challenges the Filipino public’s sense of values.

This, however, does not mean that attempts to rewrite history to make it conform with the current political configuration is about to come to an end. As the film “Maid in Malacañang” indicates, the drift of current efforts appears to be toward a reinterpretation of the past in order to paint the Marcoses less as whimsical wielders of power and more as ordinary people with little control over events, and their political enemies less as the self-sacrificing heroes they are held out to be, but more as vicious and opportunistic power players.

Like everything in society, values change. Therefore, our conception of heroism and who our real heroes are is also bound to change. In 1981, writes historian Alfred W. McCoy, Marcos Sr. requested Pope John Paul II to ride a helicopter to bless the giant steel cross atop Mt. Samat in Bataan. By doing so, the visiting pope made Mt. Samat a shrine, “and by analogy honored Marcos as a hero, just as he would soon beatify (Lorenzo) Ruiz as a martyr.”

But only two years later, McCoy continues, Ninoy Aquino came home “to die a martyr before military executioners, stealing the Rizal-like heroism that Marcos so assiduously cultivated and subverting the ideological foundations of his authoritarian regime.”

The relevance of Rizal’s “Indolence of the Filipino”

FILOMENO S. STA. ANA III

On Jose Rizal’s death anniversary on Dec. 30, it’s worth returning to his essay, The Indolence of the Filipino (1890). It continues to illuminate more than 130 years since its publication.

READ ON…

rizal on christ: a divine man

Today is Christmas Eve. This is the feast that I like to celebrate best. It reminds me of the many happy days not only of my childhood but also of history. Whether Christ was born or not exactly on this day, I don’t know; but chronological accuracy has nothing to do with tonight’s event. A grand genius had been born who preached truth and love; who suffered because of his mission, but on account of his sufferings, the world has become better, if not saved. Only it gives me nausea to see how some persons abuse his name to commit numerous crimes. If he is in heaven, he will certainly protest! Consequently, Merry Christmas! Let us celebrate the anniversary of a divine man!

 — Jose Rizal
25 December 1888

original text in german, from a letter to blumentritt

rizal, elias, and the crocodile

excerpt from Revolutionary Routes: Five Stories of Incarceration, Exile, Murder and Betrayal in Tayabas Province, 1891-1980. 2011pages 256-258.

It’s the strangest thing that I’ve “known” Elias since I was a child, but only as a picturesque presence in the garden, of man subduing beast. This was unchanged even in university where courses on Rizal’s novels focused on Ibarra and Simoun, Maria Clara and Damaso, Sisa and Pilosopo Tasyo. Only now that I’ve found the time and inclination to reread the Noli with eyes on Elias does it dawn on me what Lolo Isidro meant to convey when he asked Don Tomas Mapua to design him a grand mansion with a huge garden and a sculpture of Elias in epic combat with the crocodile, the rare tableau fenced with iron grillwork for all the world to see.

It’s a very small world, of course, that knows of Elias in our garden. Even Tiaong folk know the place only as ang malaking bahay na may buwaya — the big house with the crocodile. Elsewhere in Quezon, formerly Tayabas province, there is great pride, I hear, that Rizal portrayed Elias as a native of Tayabas, but as far as we know, there is no statue honoring him anywhere in the province, except in our garden in the sleepy old town of Tiaong where no one seems to know him by name or why he is depicted atop a crocodile. Neither do any of the books on Rizal and Noli that have come my way dwell on the Elias and crocodile story.

The encounter took place in the middle of a frivolous river picnic that the rich Ibarra was hosting for Maria Clara’s circle of friends and chaperones.

When the boats arrived at the fish trap the nets kept coming up empty. One of the men, Leon, explored the depths of the water with a pole and concluded that there was a crocodile caught in the trap:

‘Hear that? That’s not sand; that’s tough hide, the crocodile’s back. Do you see those stakes shaking? It’s struggling but it’s all coiled up. Wait … it’s a big one. Must be a yard thick all around.’

They all agreed that that the crocodile must be caught, but no one offered to do it. Maria Clara then said she had never seen a live crocodile, and it brought the boats’ pilot, later identified as Elias, who had been “silent and indifferent to all the merry-making” to his feet. Taking a length of rope he stepped up to a platform and dived into the water. Ibarra had drawn his knife for Elias to take but it was too late. They could only watch as “the water boiled and bubbled; it was evident that a struggle was taking place in its depths; the pallisade was shaking.” And then it was quiet, and the young man’s head emerged to everyone’s relief.

The pilot drew himself up to the platform, holding the end of the rope, and started to heave at it, dragging up the crocodile.

It had the rope tied around its neck and under its forelegs. It was as big as Leon had surmised; on its back grew green moss, which is to crocodiles what grey hair is to a man. It was bellowing like a bull, trashing the bamboo fencing with its tail, gripping the stakes, and opening its great black jaws with their long teeth.

The pilot was lifting it up all alone; no one thought of helping him.

Once the crocodile was out of the water and on the platform, he squatted on top of it and snapped its great jaws shut with his powerful hands. He was trying to tie the jaws together when the crocodile, in one last effort, tensed its body and, striking the platform with all the strength of its tail, succeeded in leaping into the lake outside the fish trap, dragging his captor behind him. The pilot was as good as dead! There was a cry of horror.

Then, with lightning speed, another body struck the water; they had hardly time to recognise Ibarra. Maria Clara did not faint because Filipina women do not know how.

Bloodstains spread through the waters. The young fisherman dived in, his native blade in hand, followed by his father. But they had scarcely disappeared when Crisostomo and the pilot emerged, clinging to the reptile’s dead body. Its white belly had been ripped open and the knife was stuck in its throat.

. . . Ibarrra was unscathed; the pilot had only a slight scratch on one arm.[1]

It was a fishing expedition that netted no fish, just an old crocodile caught in a trap that Maria Clara was curious about, never having seen one before. Elias may have thought it was reason enough to go fetch the beast, never mind that it was dangerous business. Armed only with a rope, he of “splendid” physique finally subdued and heaved the predator up to the platform. He was trying to tie the jaws shut, the moment that is frozen in time by the sculptor, the very same moment that the crocodile gathered critical strength and the next moment broke free, leaping back into the lake, dragging Elias along. Finally, Ibarra could stand by no longer, and jumped in with his trusty blade. It took nothing less than the combined efforts of the seething indio and the tisoy sophisticate to eliminate the enemy for good. A message from Rizal set in stone by Lolo Isidro in the time of America, some 83 years ago. He must have known that we would need reminding, he must have seen that America was, in essence, here to stay, and it would take another revolution to regain lost ground.

In the “heyday of the Revolution”, writes Quibuyen, “throughout Luzon and the Visayas, practically all revolutionary units were organized, directed, and led by the local ilustrados, prominent members of the principalia, and even the native clergy.” And let us not forget the Filipino women, who weren’t the fainting kind. “What Elias had hoped for in the Noli”– the masses and the native elite rising as one – “became a reality in the Revolution of 1898.”[2]

[1] Noli Me Tangere by Jose Rizal, 1886. English Translation by Leon Ma. Guerrero. Manila: Guerrero Publishing, 1995. 114-122.

[2] A Nation Aborted: Rizal, American Hegemony, and Philippine Nationalism by Floro C. Quibuyen. QC: Ateneo de Manila University Press. 1999. 310-311.

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read too Adrian Cristobal’s “Elias: The Ethics of Revolution”