The Reign of Greed

"T he Reign of Greed" by José Rizal is a novel written in 1891. This sequel follows Crisóstomo Ibarra, who returns to the Philippines after thirteen years, now disguised as the wealthy jeweler Simoun. Abandoning his earlier hopes for peaceful reform, he plots a violent revolution against Spanish colonial rule. As Simoun manipulates powerful figures and stockpiles weapons, he seeks vengeance and liberation for his oppressed countrymen. The novel's dark tone marks a dramatic shift from its predecessor, reflecting the protagonist's transformation from idealistic reformer to revolutionary conspirator.One morning in December the steamer Tabo was laboriously ascending the tortuous course of the Pasig, carrying a large crowd of passengers toward the province of La Laguna. She was a heavily built steamer, almost round, like the tabú from which she derived her name, quite dirty in spite of her pretensions to whiteness, majestic and grave from her leisurely motion. Altogether, she was held in great affection in that region, perhaps from her Tagalog name, or from the fact that she bore the characteristic impress of things in the country, representing something like a triumph over progress, a steamer that was not a steamer at all, an organism, stolid, imperfect yet unimpeachable, which, when it wished to pose as being rankly progressive, proudly contented itself with putting on a fresh coat of paint. Indeed, the happy steamer was genuinely Filipino! If a person were only reasonably considerate, she might even have been taken for the Ship of State, constructed, as she had been, under the inspection of Reverendos and Ilustrísimos....Bathed in the sunlight of a morning that made the waters of the river sparkle and the breezes rustle in the bending bamboo on its banks, there she goes with her white silhouette throwing out great clouds of smoke-the Ship of State, so the joke runs, also has the vice of smoking! The whistle shrieks at every moment, hoarse and commanding like a tyrant who would rule by shouting, so that no one on board can hear his own thoughts. She menaces everything she meets: now she looks as though she would grind to bits the salambaw, insecure fishing apparatus which in their movements resemble skeletons of giants saluting an antediluvian tortoise; now she speeds straight toward the clumps of bamboo or against the amphibian structures, karihan, or wayside lunch-stands, which, amid gumamelas and other flowers, look like indecisive bathers who with their feet already in the water cannot bring themselves to make the final plunge; at times, following a sort of channel marked out in the river by tree-trunks, she moves along with a satisfied air, except when a sudden shock disturbs the passengers and throws them off their balance, all the result of a collision with a sand-bar which no one dreamed was there.