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
Upon this theme he continued to preach for half an hour. The alcalde
snored, and Maria Clara nodded, for the poor child could no longer keep
from sleeping, since she had no more paintings or images to study,
nor anything else to amuse her. On Ibarra the words and allusions
made no more impression, for he was thinking of a cottage on the top
of a mountain and saw Maria Clara in the garden; let men crawl about
in their miserable towns in the depths of the valley!
Padre Salvi had caused the altar bell to be rung twice, but this was
only adding fuel to the flame, for Padre Damaso became stubborn and
prolonged the sermon. Fray Sibyla gnawed at his lips and repeatedly
adjusted his gold-mounted eye-glasses. Fray Manuel Martin was the
only one who appeared to listen with pleasure, for he was smiling.
But at last God said "Enough"; the orator became weary and descended
from the pulpit. All knelt to render thanks to God. The alcalde rubbed
his eyes, stretched out one arm as if to waken himself, and yawned
with a deep _aah_. The mass continued.
When all were kneeling and the priests had lowered their heads while
the _Incarnatus est_ was being sung, a man murmured in Ibarra's ear,
"At the laying of the cornerstone, don't move away from the curate,
don't go down into the trench, don't go near the stone--your life
depends upon it!"
Ibarra turned to see Elias, who, as soon as he had said this,
disappeared in the crowd.
CHAPTER XXXII
The Derrick
The yellowish individual had kept his word, for it was no simple
derrick that he had erected above the open trench to let the heavy
block of granite down into its place. It was not the simple tripod
that Ñor Juan had wanted for suspending a pulley from its top, but
was much more, being at once a machine and an ornament, a grand and
imposing ornament. Over eight meters in height rose the confused
and complicated scaffolding. Four thick posts sunk in the ground
served as a frame, fastened to each other by huge timbers crossing
diagonally and joined by large nails driven in only half-way, perhaps
for the reason that the apparatus was simply for temporary use and
thus might easily be taken down again. Huge cables stretched from all
sides gave an appearance of solidity and grandeur to the whole. At
the top it was crowned with many-colored banners, streaming pennants,
and enormous garlands of flowers and leaves artistically interwoven.
Public-domain text, read in full here on John Shaqi.
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