The Social Cancer: A Complete English Version of Noli Me TangereRizal, José
History
The Social Cancer: A Complete English Version of Noli Me Tangere
Rizal, José
Historical fiction; Philippines -- History -- 1812-1898 -- Fiction
Their tables are luxuriously furnished. In the center is a well-modeled
artificial pineapple in which are arranged toothpicks elaborately
carved by convicts in their rest-hours. Here they have designed a
fan, there a bouquet of flowers, a bird, a rose, a palm leaf, or a
chain, all wrought from a single piece of wood, the artisan being a
forced laborer, the tool a dull knife, and the taskmaster's voice the
inspiration. Around this toothpick-holder are placed glass fruit-trays
from which rise pyramids of oranges, lansons, ates, chicos, and even
mangos in spite of the fact that it is November. On wide platters
upon bright-hued sheets of perforated paper are to be seen hams from
Europe and China, stuffed turkeys, and a big pastry in the shape of
an Agnus Dei or a dove, the Holy Ghost perhaps. Among all these are
jars of appetizing _acharas_ with fanciful decorations made from
the flowers of the areca palm and other fruits and vegetables, all
tastefully cut and fastened with sirup to the sides of the flasks.
Glass lamp globes that have been handed down from father to son are
cleaned, the copper ornaments polished, the kerosene lamps taken out
of the red wrappings which have protected them from the flies and
mosquitoes during the year and which have made them unserviceable;
the prismatic glass pendants shake to and fro, they clink together
harmoniously in song, and even seem to take part in the fiesta as
they flash back and break up the rays of light, reflecting them on
the white walls in all the colors of the rainbow. The children play
about amusing themselves by chasing the colors, they stumble and break
the globes, but this does not interfere with the general merriment,
although at other times in the year the tears in their round eyes
would be taken account of in a different way.
Along with these venerated lamps there also come forth from their
hiding-places the work of the girls: crocheted scarfs, rugs, artificial
flowers. There appear old glass trays, on the bottoms of which are
sketched miniature lakes with little fishes, caymans, shell-fish,
seaweeds, coral, and glassy stones of brilliant hues. These are heaped
with cigars, cigarettes, and diminutive buyos prepared by the delicate
fingers of the maidens. The floor of the house shines like a mirror,
curtains of piña and husi festoon the doorways, from the windows
hang lanterns covered with glass or with paper, pink, blue, green, or
red. The house itself is filled with plants and flower-pots on stands
of Chinese porcelain. Even the saints bedeck themselves, the images
and relics put on a festive air, the dust is brushed from them and
on the freshly-washed glass of their cases are hung flowery garlands.
Public-domain text, read in full here on John Shaqi.
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