BIAG NI LAM-ANG
EPIC
BACKGROUND
The poem's first transcription is
sometimes attributed to the blind
Ilocano poet-preacher Pedro
Bucaneg, but historian E. Arsenio
AUTHOR Manuel instead attributes its first
written documentation to Fr. Blanco
of Narvacan, working with the
publicist and folklorist Isabelo de los
Reyes.
Biag ni Lam-ang (English: "The Life
of Lam-ang") is an epic poem of the
Ilocano people from the Ilocos
region of the Philippines. It is notable
for being the first Philippine folk epic
to be recorded in written form, and
was one of only two folk epics
ORIGIN documented during the Philippines'
Spanish Colonial period, along with
the Bicolano epic of Handiong. It is
also noted for being a folk epic from
a "Christianized" lowland people
group (the Ilocano people), with
elements incorporated into the
storytelling.
As oral literature, the poem is
WHY THAT believed to have originated in pre-
KIND OF colonial times, evolving as it is
NARRATIVE passed on from poet to poet and
STARTED generation to generation.
The tale of Lam-ang, as a story
passed on for generations as oral
literature and recorded well into the
Spanish colonial period, is notable
for incorporating Roman Catholic
elements into the story, such as
references by the characters of
DIFFERENT Lam-ang and Ines Kannoyan to
VERSIONS marriage as a sacrament. Folklorist
Mellie Leandicho Lopez notes that
"later versions of the epic differ from
the early texts due to the addition of
more Christian and Spanish
elements in the adventures of the
Culture hero Lam-Ang."
POINT OF VIEW
EXCERPT
“When Namongan was about to give birth, the Igorot tribe
attacked the village and killed many of Don Juan's men. In
a fit of rage, Don Juan attacked the Igorots to avenge his
men. Don Juan could not return to his village. The news
was that he was beheaded by the Igorots.
Namongan gave birth to her child. The baby spoke
immediately and he chose the name Lam-ang and he also
chose his godfather.
When Lam-ang finds out what happened to his father, he
vows to take revenge. At just nine months old, he was
strong, muscular and a big man. Although his mother did
not want to allow him to search for his father's body, Lam-
ang also insisted on leaving.”
 THEME/MESSAGE OF THE NARRATIVE
The narrator exists outside the events of
the story and relates the actions of the The moral of the epic is that life is full of trials and problems;

THIRD- characters by referring to their names or one must be strong and must accept this reality. Lam-ang

PERSON by the third-person pronouns he, she, or is a great person because he has a supernatural power that

NARRATION. they. Third-person narration can be he uses to help other people around him. He does anything

further classified into several types: just to win the heart of the woman he loves.

omniscient, limited, and objective.

NATURE AND PURPOSE OF THE FOLK

The The
The limited NARRATIVE
objective omniscient
third
third third The epic of Biag ni Lam-Ang portrays the qualities and
person
person person several characteristics of Filipinos. The fact that the traits,
attitudes, and values being shown in this phenomenal epic
The The The are all reflections of our ancestors, especially the Ilocanos
narrator narrator narrator who were the source of this fictitious piece during the pre-
knows or describes knows and Spanish period. It depicts unwavering bravery, justice, love,
reveals the internal at least romance, relationship, journey and even friendship. The
KINDS OF nothing thoughts, partially vastness and heroism in the story are filled with idealistic
THIRD- about the feelings, reveals the imagination and fantasy.
PERSON characters' and drives internal
NARRATIVE internal of one thoughts,
thoughts, character, feelings, CHARACTERS
feelings, usually the and drives
and main of all the Protagonist-the major character of the

motivations character. characters. story.

but sticks to
the external
facts of the Son of Namongan and Don Juan
LAM-ANG
story. Panganiban.

The epic of Biag ni Lam-ang is in the objective third He had the unusual power of speech

person. and physical form.

DON JUAN
Father of Lam-ang
PANGANIBAN

NAMONGAN Wife of Don Juan Panganiban

 They have strong powers and helped
Wife of lam-ang Lam-ang in courting Ines

A beautiful maiden, daughter of the These animals brought Lam-ang back

richest man of the town of Kalanutian, to life when he got swallowed by the
INES KANOYAN
and a shark

Lady who was loved and married by Antagonist- The villains whose main
Lam-ang. function is to go to any extent to
oppose the hero or whom the hero
must annihilate.
SUMARANG
Antagonist- The villains whose main
function is to go to any extent to
IGOROT oppose the hero or whom the hero Rival of Lam-ang in courting Ines
TATUAN must annihilate. Kanoyan

Tribe that killed Lam-ang’s father

SIRANDANG Was attracted to Lam-ang

Antagonist
LAKAY Old man who got tasked to collect the
RARANG MARCOS bones of Lam-ang
Traditional fish that is caught by
newlywed males
CHARACTERS' PARTICIPATION OF THE
STORY BIAG NI LAM-ANG
Antagonist- The villains whose main
The son of Don Juan and Namongan
function is to go to any extent to
LAM-ANG who looked for his father and had
oppose the hero or whom the hero
unique adventures while on his journey
BERKAKAN / must annihilate.
BERKAHAN

The father of Lam-ang who went to the

Shark that ate and swallowed the life of
DON JUAN mountains to punish his Igorot enemies,
Lam-ang
but he disappeared

ASO AT
2 animals taken care of by Lam-ang
TANDANG NAMONGAN Wife of Don Juan

INES
Wife of Lam-ang
KANNOYAN
SUMARANG The enemy of Lam-ang
SETTING, TIME, AND PLACE
The story was handed down orally for generations before
it was written down around 1640 assumedly by a blind
Ilokano bard named Pedro Bucaneg. Don Juan and his
wife Namongan lived in Nalbuan, now part of La Union in
the northern part of the Philippines.
Nalbuan- somewhere in the Valley of
SETTING Naguilan River in La Union where Lam-
ang and his parents lived.
It is notable for being the first Philippine
folk epic to be recorded in written form,
and was one of only two folk epics
TIME
documented during the Philippines'
Spanish Colonial period, along with the
Bicolano epic of Handiong
Biag ni Lam-ang ( lit. 'The Life of Lam-
ang') is an epic story of the Ilocano
PLACE
people from the Ilocos region of the
Philippines.
PLOT
SUMMARY OF BIAG NI LAM-ANG
Don Juan and his wife Namongan lived in Nalbuan, now
part of La Union in the northern part of the Philippines.
They had a son named Lam-ang. Before Lam-ang was
born, Don Juan went to the mountains in order to punish a
group of their Igorot enemies. While he was away, his son
Lam-ang was born. It took four people to help Namongan
give birth. As soon as the baby boy popped out, he spoke
and asked that he be given the name Lam-ang. He also
chose his godparents and asked where his father was.
After nine months of waiting for his father to return, Lam-
ang decided he would go look for him. Namongan thought
Lam-ang was up to the challenge, but she was sad to let
him go.
During his exhausting journey, he decided to rest for
awhile. He fell asleep and had a dream about his father’s
head being stuck on a pole by the Igorot. Lam-ang was
furious when he learned what had happened to his father.
He rushed to their village and killed them all, except for
one whom he let go so that he could tell other people
about Lam-ang’s greatness.
Upon returning to Nalbuan in triumph, he was bathed by
women in the Amburayan river. All the fish died because
of the dirt and odor from Lam-ang’s body.
There was a young woman named Ines Kannoyan whom
Lam-ang wanted to woo. She lived in Calanutian and he
brought along his white rooster and gray dog to visit her.
On the way, Lam-ang met his enemy Sumarang, another
suitor of Ines whom he fought and readily defeated.
Lam-ang found the house of Ines surrounded by many
suitors all of whom were trying to catch her attention. He
had his rooster crow, which caused a nearby house to fall.
This made Ines look out. He had his dog bark and, in an
instant, the fallen house rose up again. The girl’s parents
witnessed this and called for him. The rooster expressed
the love of Lam-ang. The parents agreed to a marriage
with their daughter if Lam-ang would give them a dowry
valued at double their wealth. Lam-ang had no problem
fulfilling this condition and he and Ines were married.
It was a tradition to have a newly married man swim in the
river for the rarang fish. Unfortunately, Lam-ang dove
straight into the mouth of the water monster Berkakan.
Ines had Marcos get his bones, which she covered with a
piece of cloth. His rooster crowed and his dog barked and
slowly the bones started to move. Back alive, Lam-ang
and his wife lived happily ever after with his white rooster
and gray dog.
ELEMENTS OF A PLOT
It is the background information on
the characters and setting
explained at the beginning of the
story. The EXPOSITION will often
EXPOSITION
have information about events that
happened before the story began.
The EXPOSITION is often the very
first part of the PLOT.
resolved. It is often the most
exciting part of the story: when the
hero saves the princess, discovers
the buried treasure, or slays the
dragon. Imagine when you read a
story that you are climbing up a
mountainside. The CLIMAX is the
mountain peak.
The point in a story in which the
conflict is resolved. Borrowed from
French, the word derives from
Latin and literally means “untie the
DENOUEMENT
knot,” which refers to the narrative
entanglements the author has
woven through the first four stages
of plot development
The end of the story. It is when you
learn what happens to the
RESOLUTION
characters after the CONFLICT is
resolved.

The rising action starts right after

the period of exposition and ends
at the climax. Beginning with the
inciting incident, rising action is the
RISING ACTION bulk of the plot. It is composed of a
series of events that build on the
conflict and increase the tension,
sending the story racing to a
dramatic climax

CLIMAX The CLIMAX of the story is when

the CONFLICT of the PLOT is
ELEMENTS OF A PLOT IN BIAG NI LAM-
ANG

It talks about the backstory of Lam-

ang, wherein it talked about his
parents, Don Juan and Namongan
EXPOSITION
who lived in Nalbuan. It talks about
how his father was a warrior and had
left to fight his enemies.

Lam-ang was in search of his father.

His mother was sad to let him go but
RISING
let him. He fell asleep and had a
ACTION
dream about his father’s head being
stuck on a pole by the Igorot.

When he realized what actually

happened, he killed everyone in the
village but one to tell everyone about
CLIMAX his greatness. Lam-ang had a girl he
wanted to woo and even fought his
enemy and one of her suitors and
won.

Lam-ang dove straight into the

mouth of the water monster
Berkakan. Ines had Marcos get his
DENOUEMENT
bones, which she covered with a
piece of cloth. His rooster crowed
and his dog barked and slowly he
came back alive.

The married couple lived happily

RESOLUTION ever after with his white rooster and
gray dog
 JUAN TAMAD AND THE FLEA KILLER
TRICKSTER TALE

BACKGROUND There are a series of such stories

told in Batangas, not just for
The original author of the trickster amusement but also to impart
tale, Juan Tamad, is unknown. lessons on good behavior upon
the young. These stories are about
the character Suan, something of
However, in 1957, Manuel E. a “Juan Tamad” version of
Arguilla and Lyd Arguilla wrote the Batangas. Batangas’ version of
book Philippine Tales and Fables Suan, was characterized as
DIFFERENT
which included the stories of Juan VERSIONS extremely lazy like Juan.
AUTHOR Tamad.

Versions include Suan and His

In 1965, playwright Alberto Mother’s Rice Cakes, which is a
Florentino re-took the Arguillas' re- story is about Suan’s mother
telling of Juan Tamad and asking him to sell puto (rice cakes)
published it as Stories of Juan in the neighborhood
Tamad, part of a series of 3
booklets for young readers.

POINT OF VIEW

Juan Tamad started out as a book The author is telling a story about

entitled “Buhay na Pinagdaanan the characters and uses the third

ni Juan Tamad na Anac ni Fabio person pronouns "he/she/they" to
THIRD-PERSON
at ni Sofia sa Caharian nang POINT OF VIEW refer to them. This point of view is
ORIGIN separated into omniscient and
Portugal” published by an
unknown author in 1919 in Manila. limited third person.
It was about Juan Tamad’s life and
adventures in Portugal.
“Juan bought a nice pot and set
off for home. On his way back, a
In oral traditions, trickster tales are flea got inside his clothes and bit
WHY THAT him. He yelled and threw out his
used to entertain and often to
KIND OF EXCERPT
NARRATIVE teach lessons about how to arms and scratched himself as he
STARTED pranced around. In all this
behave and treat other people.
confusion the pot fell on the
ground and broke into a dozen
pieces.”
 THEME OF THE NARRATIVE
“Juan took back home no cooking
All of Juan Tamad's stories are moral stories, but
pot, but instead a bag of coins.
perhaps this last story makes their message extreme:
His mother was pleased. But she
if you don't work hard, you'll be embarrassed to die. In
still wanted her rice pot, so she
addition, Juan's iconic attempt (and a failure to lighten
sent him back to town the next
his own burden) reveals another purpose of the story:
day.”
discouraging creativity and damaging credibility.
Settlers saw hard labor not only as a means of profit,
but also as a means of managing the population. In this
The narrative is recounted from
respect, Ilustrados forms an interesting counterpoint to
the perspective of a third-person
Juan Tamad. The latter is an imitation of laziness and
omniscient narrator who
attempts to think outside the box are by no means half-
understands the thoughts and
hearted. Illustrados' success, on the other hand,
THIRD-PERSON feelings of many characters in the
OMNISCIENT depended on criticizing the colonial government and
story. The narrator may describe
stimulating widespread support for independence was
the story from the views of
based on excellence in creative pursuits.
numerous characters in third-
person omniscient point of view.
NATURE AND PURPOSE OF THE FOLK
NARRATIVE
“One weakness leads to another.
Purpose was to encourage young people to believe in
So it was with Juan Tamad’s
themselves, to show that what some perceive as
laziness. As his body was lazy, so
liabilities can in fact be blessings, and that one cannot
was his mind. Truth being often
know what his or her true potential is until one tries to
hard to tell, he took recourse to
realize it.
lies, which came easy to him.
Telling lies became his second

EXCERPT nature.”

“Great was the dismay of Juan

Tamad when he arrived in town
and was soon set upon by angry
men and women shaking their
fists in his face and cursing him.”
 CHARACTERS
Juan Tamad is the main character of
the story. He is normally portrayed or
identified as a child, although in some
interpretations, he is said to be a young
man.
Juan Tamad has a collection of stories
that would portray his iutmost laziness
to the point of stupidity that it comes
comedic. These are the follow popular
stories of Juan Tamad:
CHARACTERS' PARTICIPATION OF THE
STORY OF JUAN TAMAD AND THE FLEA
KILLER
The child that tricked the towns people
into buying the “flea-killer”. He decided
to trick them because he was afraid of
JUAN TAMAD
facing his mother’s wrath so he wants
to sell the “flea-killer” so that he could
have money to give to his mother.

Juan Tamad and Juan Tamad and

PROTAGONIST the Crab She tasked Juan to buy her cooking pot
the Flea Killer
(Alimango) JUAN and she also sent him back to into town
TAMAD’S
to buy the pot as he came empty
MOTHER
Juan Tamad Juan Tamad handed the day before.
Escapes a Takes a Bride
Beating

Juan Tamad Juan Tamad They are the victims of Juan’s trick.
Courts Mariang (Lazy John) They confronted Juan about his lies
TOWNSFOLK
Maipag
and reported him to his mother

Juan Tamad and Juan Tamad and

the Guava Fruit the Rice Cakes

The townsfolk - these are Juan

Tamad’s neighbors who were tricked
ANTAGONIST by Juan. They were the ones who
confronted Juan about his tricks and
told his mother about his tricks.

Juan Tamad’s mother - she is the one

OTHERS that tasked Juan to buy something in
the market which was the cooking pot.
 SETTING, TIME, AND PLACE
The story of Juan Tamad has been passed down orally
through generations before being published in 1919. It
was entitled Buhay na Pinagdaanan ni Juan Tamad na
Anac ni Fabio at ni Sofia sa Caharian nang Portugal
("The Life lived by Juan Tamad, son of Fabio and Sofia,
in the Kingdom of Portugal")
South Luzon - he lives with his parents
somewhere in a village by the Sea.
However, it has not been clearly stated
in this story and in the other stories of
Juan Tamad aside from Juan Tamad
SETTING and the Alimango. So, this short story
indicated that they lived by the sea
because when Juan was going home
he got distracted by friends. So, he
decided to teach the crabs on how to
go home to his mother, but the crabs
went back to the sea after they were
released by Juan.
The story takes places during the
Spanish colonial Period. As, the
TIME laziness if the Filipinos was seen and
reported by many Spansih reports as
an endemic quality of the Filipinos.
Juan Tamad and the Flea Killer is a
PLACE
trickster story from Southern Luzon.
PLOT
SUMMARY OF JUAN TAMAD AND THE FLEA KILLER
One day Juan Tamad was sent to town by his mother to
buy a cooking pot. The townspeople were afflicted by
fleas and nobody knew where they came from. Juan
bought a nice pot and set off for home. On his way home,
a flea got inside his clothes and bit him. He yelled and
threw his arms out and scratched himself. The pot fell on
the ground and broke into pieces. Juan squatted before
the now broken pot and imagined his mother’s wrath, so
he did some quick thinking.
He collected the broken pieces and grounded them very
fine. He then wrapped up the now powdered pot in
several banana leaves and went back to town. He went
up and down the road shouting “Buy flea-killer! Buy flea-
killer!”
The townsfolk crowded around him and bought all the
packages. Juan went back home with no cooking pot but
with a bag of coins. His mother was pleased but still
wanted the pot so she sent Juan to the town the next day.
As Juan arrived in town, he was set upon by angry men
and women shaking their fists in his face and cursing him.
“We shall tear you limb by limb! For you sold us no flea-
killer but common sand. You cheat! Now tell us your story
so you should not die like a dog. But the story has to be
convincing or you will not be spared.”. Juan then asked
the people how they used the flea-killer and they
answered “We dusted it on the fleas. How else?”. Juan
then answered “Ah, that is what I feared. Have you any
powder left?” but no one had any powder left.
“What a pity, for I could have shown you how to kill the
fleas. First, you catch the flea and then open its eyes. It is
very simple.” Juan said, the townsfolk laughed at Juan
and one said “It is hard enough to see a flea and catch it,
let alone open its eyes!”, then a woman continued “Juan,
why not tell the truth for a change!”. Juan then told them
the truth since he had no way to escape. As some men
 lunged forward to pounce on him, the woman stopped
them and said “Let the fool go this time. But listen boy, try
your tricks again on us and God save you!”. The people
were then set to Juan’s house to tell his mother and left
Juan standing alone, worried about his mother’s wrath.
ELEMENTS OF A PLOT
It is the background information
on the characters and setting
explained at the beginning of the
story. The EXPOSITION will often
EXPOSITION
have information about events
that happened before the story
began. The EXPOSITION is often
the very first part of the PLOT.
The rising action starts right after
the period of exposition and ends
at the climax. Beginning with the
inciting incident, rising action is
RISING ACTION the bulk of the plot. It is
composed of a series of events
that build on the conflict and
increase the tension, sending the
story racing to a dramatic climax
The CLIMAX of the story is when
the CONFLICT of the PLOT is
resolved. It is often the most
exciting part of the story: when
the hero saves the princess,
CLIMAX
discovers the buried treasure, or
slays the dragon. Imagine when
you read a story that you are
climbing up a mountainside. The
CLIMAX is the mountain peak.
The point in a story in which the
conflict is resolved. Borrowed
from French, the word derives
from Latin and literally means
DENOUEMENT
“untie the knot,” which refers to
the narrative entanglements the
author has woven through the first
four stages of plot development
The end of the story. It is when
you learn what happens to the
RESOLUTION
characters after the CONFLICT is
resolved.
ELEMENTS OF A PLOT IN JUAN AND THE
FLEA-KILLER
It is a story about a young man, Juan
Tamad, who is extremely lazy and gets
himself in trouble after being asked by
his mother to by a cooking pot. It talks
EXPOSITION
about how Juan Tamad was forced to
tell the truth after deceiving people with
what he was selling.
Juan Tamad broke the pot to pieces
and grounded it very fine. He wrapped
them up in banana leaves and sold
RISING
ACTION them to the townsfolk saying it was a
flea-killer. He then sold all the
packages he had.
He was sent back by his mother the
next day to buy a cooking pot. But as
he arrived, the people were crowding
him and calling him out for selling them
common sand and not a flea-killer. He
CLIMAX
tried to work his way around his lie
telling the people that they should open
the eyes of the fleas to make the
powder work, but the people were too
smart for Juan to lie to.
As men lunged forward to pounce on
DENOUEMENT
him for lying, an old woman stopped
them and told them to let Juan go just
 this time but warned Juan about his
tricks.

The people then went to Juan’s house

to tell his mother about what he did,
RESOLUTION
leaving Juan alone, worrying about his
mother’s wrath.
 VELEZ COLLEGE
COLLEGE OF NURSING
PHILIPPINE HISTORY (LUZON EPICS)

WRITTEN REPORT

Adolfo, Neil
Casia, Joshua
Escobilla, Felix
Fernandez, John Phillip
Mabini, Michael
Raboy, Philip
Tabanag, John Jeff
Tacuyan, Arnold Joshua

Submitted to:
Ralphy T. Velmonte
 IBALON
Background
● The Ibálong, also known as Handiong or Handyong, is a 60-stanza fragment of a
Bicolano full-length folk epic based on the Indian Hindu epics Ramayana and
Mahabharata from the Bicol region of the Philippines. A native poet named Kadunung is
claimed to have narrated the epic in poem form.
● Little is known about the full-length folk epic, even in Kabikolan itself, and it was
presumably jotted down in its complete Bicol narrative by Fray Bernardino de
Melendreras (1815-1867), a Franciscan missionary in Ginobatan, Albay, from a minstrel
referred to in the epic as Kadunung and who could be the same wandering bard
described years later by another Franciscan, Fray Jose Castaño (b. 1854), as “Homero
de Ibalon.”
● Presumably jotted down in its complete Bicol narrative by Fray Bernardino de
Melendreras (1815-1867)
● Put afterwards into Spanish by Melendreras in Ibal, a 400-page manuscript in verse on
the ancient custom of the Indios of Albay, its sixty-stanza portion was later included in a
treatise on the Bicol Region by Castaño in 1895 as un pequeño fragmento inedito en
verso.
● But because no credit was given to Melendreras by Castaño in the work, students of the
Ibalong have since presumed that it was recorded and translated by Castaño himself.
Until a copy of the Bicol original is found, it would seem that what is left of the Ibalong –
at least its sixty stanzas – is only the text in Spanish.
● The Ibalong portrays deeds in heroic proportions, centering on white men or
tawong-lipod who were warrior-heroes named, among others, Baltog, Handyong, and
Bantong. They came from Boltavara, settling and ruling Bicolandia and its inhabitants.
The epic is set in the land of Aslon and Ibalong. The mountains Asog, Masaraga, Isarog,
and Lingyon were prominent features of the area.
● A non-religious festival called the Ibalong Festival is celebrated annually in honor of the
epic Ibalong as a commemoration of the Ibalon geography. It is unusual because
Spaniards introduced saints and fiestas and all religious-related activities except Ibalong.
It is also a celebration of the province's people and their resiliency, given the string
calamities that regularly befall the region given its typhoon-prone geographical location.

Point of View
● Fray Bernardino de Melendreras (1815-1867). The story of Ibalon is heard by Fr. Jose
Castano. It was shared to him by an adventuring musician named Cadugnong. The story
of Ibalon is told in the 3rd person point-of-view

Nature / Purpose
● To take care of the environment
● Being concern for the future of the environment
● Recreating an imaginary world and bringing the audience into it is a challenge

Characters
 ● Its three culture heroes – Baltog, Handyong, and Bantong – share glory in freeing Old
Bicol of predatory and foraging beasts, of the sarimao and other monsters.
● BALTOG
○ The first hero of Ibalon
○ The one who killed Tandayag
○ He introduced agriculture
● HANDIONG
○ The second hero who fought thousands of battles and defeated Triburon,
Sarimao, Oryol and the crocodiles
○ He also promoted agriculture
● BANTONG
○ The third hero of Ibalon
○ A good friend of Handyong
○ The one who killed Rabut
● Sural, Dinahong, Hablon, Kimantong,
● Oryol

● Tandayag

● Giant Crocodile and Carabao, Triburon, Sarimao, Rabot

Setting
● Bikolandia (Ancient Bicol). The epic is set in the land of Aslon and Ibalong.
 ● Famous landmarks:

MORAL LESSONS
● "A good leader must always be ready." - We need to remember that being a good leader
takes a lot of courage to lead in change within one specific place. A leader must learn
how to empower people, lead to change, share vision and most of all is to inspire the
people around you.
● "Always be brave." - Try to be brave even if you're not. Let's be honest, we people have
a lot of fears in life but if we're not going to let go of those things nothing will happen. Be
brave even if you know that you are risking your life.

Story of Ibalon
● A long, long time ago, there was a rich land called Ibalong. The hero Baltog, who came
from Botavora of the brave clan of Lipod, came to this land when many monsters were
still roaming in its very dark forests. He decideed to stay and was the first to cultivate its
field and to plant them with gabi.
● Then one night, a monstrous, wild boar known as Tandayag saw these field and
destroyed the crops. Upon knowing this, Baltog decided to look for this boar with all his
courage and patience. At last, as soon as he saw it, he fearlessly wrestled with it, with all
his might. Baltog was unafraid. He was strong and brave. Though the Tandayag had
very long fangs, he was able to pin down the monstrous, wild boar and break apart its
very big jawbones. With this, Tandayag fell and died.
● After this fight, Baltog went to his house in Tondol, carrying the Tandayag’s broken
jawbones. Then, he hung it on a talisay tree in front of his house. Upon learning of the
victory of their Chief Baltog, the people prepared a feast and celebrated. The very big
jawbones of the dead boar became an attraction for everyone. Thus, came the tribes of
Panikwason and Asog to marvel at it.
● The second hero who came to the land of Ibalong was Handyong. Together with his
men, he had to fight thousands of battles, and face many dangers to defeat the
monsters. As warriors, they first fought the one-eyed monster with three necks in the
land of Ponong known as Dambuhala. For ten months, they fought without rest. And
they never stopped fighting until all these monsters were killed.
● Handyong and his men made their next attack against the giant flying sharks called
Triburon which had hardy flesh and sawlike teeth that could crush rocks. They continued
fighting until the defeat of the last Triburon.
● They tamed the wild carabaos. They even drove away the giant and very fierce Sarimao
which had very sharp fingernails. And using their spears and arrows, they killed all the
crocodiles which were as big as boats. With all these killings, the rivers and swamps of
Ibalong turned red with blood. It was at this time that the savage monkeys became
frightened and hid themselves.
● Among the enemies of Handyong and his men, the serpent Oryol was the hardest to kill.
Having a beautiful voice, Oryol could change its image to deceive its enemies. To
capture it, Handyong tried different ways. But Oryol escaped every one of it and
disappeared.
● So, alone and unafraid, Handyong decided to look for Oryol in the heart of the forest. He
followed the beautiful voice and was almost enchanted by it in his pursiut. Days and
nights passed until Oryol came to admire Handyong’s bravery and gallantry. Then, the
serpent helped the hero to conquer the monsters, thus restoring peace to the entire
Ibalong.
● In one of the areas of Ibalong called Ligmanan, Handyong built a town. Under his
leadership and his laws, slaves and masters were treated equally. The people planted
rice and because of their high regard of him, they named this rice after him. He built the
first boat to ride the waves of Ibalong’s seas.
● Through his good example, his people became inspired and came up with their own
inventions. There was Kimantong who made the plow, harrow, and other farming tools;
Hablom who invented the first loom for weaving abaca clothes; Dinahong, an Agta, who
created the stove, cooking pot, earthen jar, and other kitchen utensils; and Sural who
brilliantly thought of the syllabary and started to write on a marble rock. This was a
golden period in Ibalong.
● Then suddenly, there came a big flood caused by Unos, with terrifying earthquakes. The
volcanoes of Hantik, Kulasi and Isarog erupted. Rivers changed their direction and the
sea waves rolled high. Destruction was everywhere. Soon, the earth parted, mountains
sank, a lake was formed, and many towns in Ibalong were ruined.
● Then, appeared the giant Rabot, half-man and half-beast, with awesome and terrifying
powers. People were asking who will fight against Rabot. So, Bantong, the third hero
was called. He was a good friend of Handyong. He was ordered to kill the new monster
in Ibalong. To do this, he took with him a thousand warriors to attack Rabot’s den. But
using his wisdom against Rabot, he did not attack the giant right away. He first observed
Rabot’s ways. Looking around the giant’s den, he discovered that there were many rocks
surrounding it, and these were the people who were turned into rocks by Rabot.
● Bantong also learned that Rabot loved to sleep during the day and stayed awake at
night. So, he waited. When Rabot was already sleeping very soundly, Bantong came
hear him. He cut the giant into two with his very sharp bolo and without any struggle,
Rabot died, So, Ibalong was at peace once more.
 SI PAGONG AT SI MATSING
Background:
● Author
○ Jose Rizal

● ORIGIN
○ This tale told by the Ilocano is well known among both the Christianized and the
wild tribes of the Philippines, and also in Borneo and Java. However, the Ilocano
is the only version, so far as known, which has the explanatory element: the
reason is given here why monkeys do not eat meat. The turtle is accredited with
extraordinary sagacity and cunning. It is another example of the type of tale
showing the victory of the weak and cunning over the strong but stupid."

POV of the narrative

● Third Person POV

Theme of the Narrative

● "the weak but the cunning can be a lot stronger than the powerful. one shouldn 't be
daunted by the apparent strength of a stronger foe, but instead, use ones intellect and
unity "

Characters

● Pagong
 ● Matsing

Setting
● The story happened one day, in broad daylight in most likely a forest setting. When the
monkey and the turtle came back for the fruit-bearing trees they ’ ve planted, they were
disappointed to see that the monkey ’ s tree has died but since the turtle cannot climb
trees, the monkey volunteered.

Plot
● The Turtle and Monkey are best friends. One day, The Monkey is eating all of the
bananas before they can fall to the Turtle on the ground. With resourceful thinking, the
Turtle prevents this by putting spikes around the tree where the Monkey climbs. Seeking
revenge, the Monkey decides to chop the Turtle into pieces and then cook it for dinner.
The Turtle is ready to counter by arguing that it is impossible to cut him up because of
his hard shell. He suggests that in order to kill him, the Monkey must throw him in the
 river. Only after the angry Monkey throws the Turtle in the river does he realize he can
swim. Since then, Matsing has changed. They never saw Turtle again.

Moral lesson
● Think about how others will feel and the consequences of what you do. If I use it in my
life I will avoid hurting other people. I will not take advantage of others
 VELEZ COLLEGE
COLLEGE OF NURSING
F. Ramos St. Cebu City

variants include Vakonawa, Baconaua,

or Bakonaua
Section: 3A
Group No: G3
The original legend serves more
Date: April 30, 2022
religious descriptions than those retold
Clinical Instructor: Mr. Ralphy T. Velmonte
over and over again, but they most
Members:
likely did not intend to leave the
Brigola, Karyl
evangelical meanings of the story
Carpio, Thallia F.
throughout various interpretations.
Co, Nicolle Audry G.
Ever since the legend's retelling,
Delabahan,Cristine Joy C.
people have expanded the story by
Santos, Erika
giving each of the moons their names
Sarigumba, Loren B.
by associating them with various
Tagab, Lans Mikael C.
Philippine mythical gods, deities,
Tollero, Belle Therese Mariae C.
heroes, and heroines. These
Uy, Mary Evengeline A.
mythological characters also paved the
way for epic conflicts within the
folklore variations and retellings.
BAKUNAWA AND THE SEVEN MOONS

WHY THAT The Bakunawa, a huge serpent-like

BACKGROUND
AUTHOR Fernando Buyser was a Filipino Visayan
poet, writer, and priest. He compiled
Cebuano traditional oral poetry and old
verse forms, which he published in
anthologies that were considered
seminal in Cebuano literature. He also
wrote over 20 books in various genres,
was one of the early authors who
wrote short stories, and initiated the
study of Visayan folklore.
ORIGIN Bakunawa is believed to be originally a
compound word meaning "bent
snake,"from
Proto-Western-Malayo-Polynesian
ba(ŋ)kuq ("bent," "curved") and sawa
("large snake," "python"). Spelling
KIND OF dragon that coiled around the earth
NARRATIVE and ruled the oceans, first fell in love
STARTED with the heavenly magnificence of the
"seven sisters" such that he envied the
almighty for his creations. But to the
people of earth's collective dismay and
disappointment, the dragon swallowed
the moons one-by-one, each night, as
he yearned to possess them all. This
growing yearning turned into envy and
into greed, so as the Bakunawa arose
again and again from the waters to
swallow the moons. The towering,
ferocious dragon successfully devoured
all — but one.
DIFFERENT The myth of the Bakunawa and the
VERSIONS Seven Moons can be interpreted as a
real-life phenomenon when the moon
 moves into the Earth's shadow, also
known as a lunar eclipse. While Bathala
is deemed as the almighty being in
various Filipino folklore, having many
and different names, the dragon, as
well as the others similarly depicted in
other folklore, is also believed to be
the god of the underworld.
The myth of the Bakunawa and the
Seven Moons can be interpreted as a
real-life phenomenon when the moon
moves into the Earth's shadow, also
known as a lunar eclipse. While Bathala
is deemed as the almighty being in
various Filipino folklore, having many
and different names, the dragon, as
well as the others similarly depicted in
other folklore, is also believed to be
the god of the underworld.
POINT OF VIEW
The story is told in the third person in Bakunawa and
the Seven Moons, a re-telling of the myth by Damiana
Eugenio in her collection "Philippine Folk Literature:
The Myths." The narrator exists outside of the story in
third person and calls the characters by name or as
"he/she/they" and "him/her/them." The narrator is
omniscient in the story. This signifies he has all-seeing
and all-knowing abilities. The narrator can tell the
story from the beginning of the seven moons until
just one moon remains. Bakunawa's motives, deeds,
and thoughts are all known to the narrator. The
narrator was also able to describe how mankind had
defended the moon from bakunawa for generations.
NATURE AND PURPOSE
“Philippine Folk Literature: The Myths“
● To appreciate the beauty that bathala has
made such as the seven moons.
● The people on earth learned to armed
themselves and protect the last moon.
● To let the people remember the 7 churches in
Asia, 7 golden candelabra ,7 Stars and the 7
“lamps” that Saint John settled in Apoc.
CHARACTERS
PROTAGONIST Bathala - a superior entity or god,
created seven moons that lighted
the planet, one for each of the
week's dark nights.
THE SEVEN MOONS: One theory for
the 7 moons in Bakunawa's account
is that they reflected the 7 months
in their 12 month lunar calendar for
sowing and harvesting. Many
ancient societies, including the
Romans, Celts, and Germans in
Europe, and Babylonians and
Hebrews in the Levant, observed
the practice of beginning a month
upon the first sighting of a new
moon. All of these peoples,
including the Ilongos, began their
month when they first saw a young
crescent in the sky.
● Subang - it's the new moon.
He was a symbol of new
beginnings and
transformations. Bakunawa
was the first to devour him.
● Bulan - the waxing crescent,
He was portrayed as a very
attractive young lad. He was
supposed to have
unparalleled beauty,
capable of taming any wild
beast with only a glance at
his face. He represents
attraction, luck, and positive
change. He is very naive and
childish. He was married to
the death god Sidapa and
spends most of his time
sleeping in his lover's arms
under a tree on top of their
mountain.
● Haliya - the quarter moons,
she was the twin of Bulan.
She was said to be the
quieter, more reserved
counterpart of Bulan. She
was also known for her
exceptional beauty. She was
a maiden warrior who
fought the giant serpent
Bakunawa after her
brothers got devoured. She
turned out to be very
serious and adamant. She
wielded a sword made of
silvery starlight.She also had
a mask constructed out of
the same material to keep
unwelcomed glances away
from her captivating beauty.
She also used it to cover her
grief after her siblings were
consumed directly in front
of her and the other moons
abandoned her in the sky.
● Mayari - the waxing
gibbous, She was a deity
who fell in love and spared
a mortal from committing
suicide. She was a
renowned divinity in
another part of the country
who challenged the sun to a
battle for the leadership of
the entire globe, which she
lost. In the process, she lost
an eye.
● Libulan - the full moon, He
represents transformation,
fertility, and mental
strength. In terms of beauty
and grace, he is unrivalled.
He was frail and fearful. He
was also eccentric,
soft-spoken, and
well-mannered. He was said
to be the father of a
demigoddess.
● Banilig - the waning
gibbous, He was known to
be good at dancing. He was
eaten by Bakunawa while
defending Haliya.
● Banolor - the waning
crescent, He was the twin of
Banilig. He represented the
time for ending bad habits
and relationships. He was
an archer and a protector of
the younger moons. He was
eaten by Bakunawa while
defending Haliya.
Because of these moons, every
evening was ever so bright and
lovely, as the moons provided joy
and happiness to the people of the
planet. This, on the other hand,
enthralled one specific dragon, who
desired them all.
ANTAGONIST Bakunawa - a huge serpent-like
dragon that coiled around the earth
and ruled the oceans, first fell in
love with the heavenly magnificence
of the "seven sisters" such that he
envied the almighty for his
creations.But to the people of
earth's collective dismay and
disappointment,the dragon
swallowed the moons one by one
each night as he wanted to possess
them all. As the Bakunawa risen
again and again from the waters to
engulf the moons, this rising hunger
developed into envy and greed. All
but one were successfully
consumed by the enormous,
terrible dragon.
SETTING
● The Bakunawa and the Seven Moon is a mythical
story of the Pre-colonial Cebuanos from the
Visayas region of the Philippines.
● The story happened on an evening setting in
Banwa, a private island where a huge serpent,
the Bacunawa rules the sea.
● The story of Bakunawa and the Seven Moons
was first documented in Mga Sugilanong Karaan
1913 by Buyser. The story gained wider
recognition when it was published in 1926 as
part of the Mga Sugilanong Pilinhon (Folklore
Filipino) collection where Buyser ends with his
personal experience surrounding the belief in
Bakunawa.
PLOT
EXPOSITION A long, long time ago when the
world was still young, there were
seven orbs in the night sky each
called “buwan” (moon). Each moon
is an embodiment of a lunar
“diwata” (deity). Bathala — a
supreme being or god — created the
seven moons to illuminate the
earth, with one illuminating each of
the dark nights of the week. Every
evening was ever so bright and so
beautiful because of these moons
and they brought joy and happiness
to the people of the earth. This,
however, mesmerized one particular
dragon that wished to have them all.
RISING ACTION The Bakunawa, which is a huge
serpent-like dragon with a mouth
the size of a lake, its tongue red as
blood, whiskers, gills, small wires at
its sides, and two sets of wings, one
that is large and ash-gray while the
other is small and is further down its
body, a creature that coiled around
the earth and ruled the oceans.
Bakunawa rose from the sea each
night to watch the moons pass over
his head. He loved beauty and
beautiful things and so, he fell in
love with the heavenly magnificence
of the "seven sisters" such that he
envied the almighty for his
creations. Each night, he loved the
moons a little more, and in time it
came to be that he loved the moons
so much that he wanted them for
his own.
On a summer night, when
the air was still and the Folk played
with the lightning bugs and the
 moons were bright and full,
Bakunawa rose up from the depths
and flew up into the sky. He flew
higher and higher and grew bigger
and bigger until he soared above the
sky and could be seen by the whole
world like a silvery ribbon.
CLIMAX The people below saw all
this and they were frightened. They
rushed out of their homes into the
streets and fields, shouting and
stamping their feet and banging pots
and pans, trying to scare Bakunawa
away. But to the people of earth's
collective dismay and
disappointment, Bakunawa didn’t
hear them down on the ground and
continued to swallow one moon.
Inordinately proud of his feat, he
slunk back down to his watery
domain. Unfortunately, he soon
realized that the moon inside him
was melting away like candle wax.
He wants to take a moon that would
last and so, the dragon swallowed
the moons one-by-one, each night.
This growing yearning turned into
envy and into greed, so as the
Bakunawa arose again and again
from the waters to swallow the
moons, and each time it melted
away inside him. The towering,
ferocious dragon successfully
devoured all — but one.
Bathala became conscious
of the mysterious disappearance of
the moons. He tried to find out what
had happened to them but failed.
One night he was awakened by a
deafening sound of drums and the
shouts of men and women. He woke
up and he saw that the last moon
was being swallowed by Bakunawa
and the whole earth was in
consternation for it was in complete
darkness. Bathala battled with
Bakunawa, and they fought through
the night but no matter how hard he
was struck, he would not spit out
the moons. Bakunawa was so full
from his meal that he could not fight
Bathala off.
DENOUEMENT Bakunawa was chased out of the sky
and back into the depths of the
ocean, so deep that no one could
follow him. There in the darkness,
he coiled around himself and fell
asleep. He sleeps there still
dreaming of the moon that escaped
him.
RESOLUTION The moon was left soaring in the
skies and to prevent Bacunawa from
swallowing it up, Bathala planted a
bamboo tree in its midst. The
bamboo tree can still be seen as a
dark spot in the face of the moon.
However, Bakunawa has never given
up; at times he tries again to
swallow it up. But the people are
always on the alert. They shout and
make all sorts of noise when he tries
to do so to call on Bathala and scare
him away, and it is supposed that as
long as the bamboo tree is not
killed, he cannot succeed in his
malicious enterprise.

THEME
“Greed”| Greed is the intense and selfish desire for
something which was recognized in the Antagonist of
the story. Thus the message of the story, the
Bakunawa and the Seven Moons is that love does not
always prevail, because there are times that greed
will triumph over love. This in turn will not lead to
good outcomes like in this myth, the Bakunawa was
banished into the depths of the sea by Bathala as a
punishment for his wrong doings.
CONCLUSION
Morale- As it was discussed on the theme of the
narrative, Loving too much has its own consequences.
True love does not envy nor covet, nor is it selfish.
The morale of the story is that, if it is really love, you
will let it grow and shine, and you will want the best
for the one you love. This is like what Buddha
answered to a person who asked “what is the
difference between like and love?” Buddha answered
“if you like a flower, you pluck it, but when you love a
flower, you water it daily.”--- True love is satisfied for
what it can give and does not ask for what cannot be
given. Another lesson of this story is that, It teaches
us the difference between love and greed. Greed can
consume and destroy--self, create emesis, and
instead of gaining, you will lose more than what you
will have and will turn you into someone who will
never be satisfied with what you have or achieve.
The Rice Myth (Bohol)
BACKGROUND
AUTHOR Martina Leonne Patriarca
ORIGIN From Bohol comes a story which tries
to explain why rice is white. However,
rice which has the same myth also
attempts to explain.
WHY THAT The Rice Myth (Bohol Version) In olden
KIND OF days, a famine gripped the land. The
NARRATIVE desperate people implored their
STARTED goddess to save them. Moved by pity,
the goddess descended to the earth.
Her name is "Sappia". The land was
parched with drought, with only a few
hardly weeds on the ground The
goddess bared her bosom and
squeezed milk into each barren ear of
the weeds. When her milk run out she
saw that there were still empty ears,
she asked the heaven to give her more
milk. But she pressed her bosom again,
only blood came out. When she done,
she then bent low over the plants and
pleaded with them to flourish and feed
again. Week passed and the weeds
grew and became heavy with grain.
DIFFERENT Long time ago all the land bordering
VERSIONS the sea, was ruled by the mighty Aglao,
the King of the “Spirit Hunters”. These
spirits were powerful and numerous.
Their chief recreation was to spend
their time hunting deer, unless Aglao
needed them to drive away to their
common enemy, the terrible spirit of
the sea, Bacobaco, who is also very
 fond of deer’s meat. He would
transform as a giant turtle and then
sally forth into the hunting grounds of
the hunters and gorge himself with
deer to the neck. Aglao would greatly
resent this, but he was powerless
compared to this monster. So one day
he consulted Wasi, one of the spirit
hunters. Wasi then suggested to ask
Blit, his brother; the spirit othe wind,
for assistance because he is the one
who is capable of killing the giant
turtle.
POINT OF VIEW
The story is in the third person point of view. The
narrator exists outside of the story and addresses the
characters by name or as “he/she/they” and
him/her/them.
Third person limited narration, the narrator still exists
outside the events of the story, but does not know
the motivations or thoughts of all the characters.
Rather, one character (Sappia) is the driver of the
story, and the reader is given a closer peek into that
character’s psyche than the others.
NATURE AND PURPOSE
Educational type of myth
● To educate the people why rice is white.
● To give importance to every grain of rice.
CHARACTERS
PROTAGONIST Sappia - Goddess of Mercy , who
took pity on the hungry people.
Everyday she watched the useless
weeds grow heavy with grain. She
watched as the hungry gathered the
ripened stalks.
People of Bohol - the ones who
were asking the goddess for help.
SETTING
● The story Rice Myth takes place in Bohol,
where all land was brown, scorched, and a
lengthy drought left the soil parched, with
only the most hardy weeds surviving the
long, rainless months, and people were
already dying of hunger.
PLOT
EXPOSITION A long time ago, a famine gripped
Bohol. All the land was brown and
dried up. A long drought left the
land parched. Only the hardiest
weeds survived the long, rainless
months, and already, people were
dying because of hunger.
RISING The people begged Sappia, the
ACTION goddess of mercy, to give them
food. Sappia took pity on them and
came down to earth. Her heart,
swelling with pity, Sappia bared her
bosom and squeezed a drop of milk
into each barren ear of weeds.
CLIMAX She emptied one breast and then
the other but there were still a few
more weeds with empty ears. She
implored heaven to give more milk
but when she pressed her breast
 again, blood, not milk, dropped into
the remaining fruitless ears. Having
given all her blood, she bent low and
whispered, “Oh, plants, bear thou in
abundance, and feed my hungry
people.” Sappia then vanished from
the Earth. She returned to heaven
where every day she watched the
useless weeds grow heavy with
grain. She watched as hungry people
gathered the ripened stalks.
DENOUEMENT When people pounded the harvest,
most of the grains were milky white.
These came from the ears, which
Sappia filled with her milk. Some
grains were red, and these came
from those which were filled with
her blood. However, red or white,
the people cooked the grains, found
them good to eat, and best of all,
these grains nourished them back to
strength.
RESOLUTION They saved some of the seeds,
which they planted when the rains
came soon after. The seeds gave a
bountiful harvest. From her
heavenly home, Sappia rejoiced with
the people. This life-giving grain,
which was her gift to the
famine-stricken people of Bohol, is
what we know as rice.
THEME
“Selfless love” | Sappia as the Goddess of Mercy
pitied the people on Earth who experienced famine.
She loved her people regardless of your personal
needs and without any personal gain. Merely to help
the people in need.
CONCLUSION
Morale or value of the narrative- We should give
importance to what is provided for us, because there
are things that we don’t deserve to have but yet are
still given freely, may it be out of love or pity. And be
thankful to those who make an effort just so we can
have it. Another is that we should always be kind to
others as we do not know the circumstances they are
going through. We may not be able to give as Sappia
did, but at least, we can give what we can without
expecting anything in return. If you give, give without
regret and with a grateful heart.
References:
Clark, J (2016) BAKUNAWA: The Moon Eating Dragon of
Philippine Mythology
https://www.aswangproject.com/bakunawa/
The seven moons
https://aminoapps.com/c/mythology/page/item/the-se
ven-moons/2Ge3_GBCwIMPmLGKoVJNEwRBqDRgNb2g
xm
Paciente, D. (2022) Bakunawa: The Tale of a Dragon and
Seven Moons
https://owlcation.com/humanities/bakunawa-and-the-s
even-moons
Darius Razzle Paciente. (2020, September 7). Bakunawa:
The Tale of a Dragon and Seven Moons. Owlcation;
Owlcation.
https://owlcation.com/humanities/bakunawa-and-the-s
even-moons?fbclid=IwAR1Y9Q1lOBqAQLSfgYiZYjWDnjR
OYMwvZ8K5M_cyUAyTXIiFZzL9Eusj1L4
‌

PPT
 VELEZ COLLEGE
COLLEGE OF NURSING
F Ramos St., Cebu City

Philippine Literature
Visayan Legend

Submitted by:
Aquino, Trisha Marie V.
Buhay, Alyssa Nicole
Falcone, Jasmine Mae K.
Gabiana, Trisha Ariana
Literato, Sophia
Miranda, Shannen
Truz, Ericka Dominique
Yap, Mary Anne Janale J.

Group 4
BSN-3A

Submitted to:
Ralphy T. Velmonte
 “HINILAWOD”
Background of the Narrative and its Origin
● 30-hour epic poem
● Recounts the story of the exploits of three Suludnon demigod brothers—Labaw Donggon,
Humadapnon, and Dumalapdap
● The English translation of “Hinilawod” is the “Tales from the Mouth of the Halawod River.”
● Originated in the Visayan region of the Philippines; specifically, in Panay
● Classified as a Western Visayan folk epic poem
● Orally passed on by early inhabitants of Sulod (central area of Panay)
● Discovered by accident when the author became interested in native folklore
● Portions of the story were sung to the author, F. Landa Jocano, and his colleagues by an old man
named Ulang Udig. It was this trip with his colleagues that got his attention to the long and
popular tale of Hinilawod.

1956: The author returned where Ulang Udig resided and brought a radio technician from Central
Philippine University, who recorded a portion of the story on tape. However, the recording was not
complete.

1957: The author returned to where Ulang Udig resided to completely record the full story. However,
Ulang Udig could only recall the Epic of Labaw Donggon and could no longer recall the Epic of
Humadapnon. Weeks later, Ulang Udig introduced the author to his aunt, an old babaylan named
Udungan. However, she could only recall some parts of the Humadapnon Epic. Because of that, the
author was introduced to Udungan’s niece, a mountain singer named Hugan-an, who after much
persuasion, allowed herself to be taped recounting both her story and the Hinilawod. It took 3 weeks to
complete the 30-hour epic poem recording.

Author
F. Landa Jocano
● Filipino anthropologist, educator and author known for his work,
“Hinilawod”
● Born in Cabatuan, Iloilo, Philippines on February 5, 1930
● One of the earliest Filipino-born researchers to receive proper
scholarly training in anthropology
● Worked as a professor at the Asian Center of the University of the
Philippines and Executive Director of PUNLAD Research House, Inc.
● Professor emeritus of UP Asian Center
● He went to the University of Chicago to earn a master’s degree in
anthropology. He graduated in 1962. He also took up a teaching
position there and got his Ph.D. in anthropology later on.
 ● He went back to the Philippines to teach in the University of the Philippines until his retirement
31 years later. In that time, he served among other functions such as:
○ Chairman of the UP Department of Anthropology
○ Director of Philippine Studies Program at the UP Asian Center
○ Dean of the UP Institute of Philippine Studies
○ Head of Asian Center Museum Laboratory
● Dubbed “the country’s first and foremost cultural anthropologist” by National Artist (Phil. Lit.) F.
Sionil Jose
● Known for his significant body of work in the field of Philippine cultural anthropology
● Proponent of the Core Population Theory of the peopling of Southeast Asia

1999: He was awarded a special citation for a lifetime of writing and publishing on various aspects of
Philippine culture by the Manila Critics Circle.

Versions
● Original: Orally passed on in Hiligaynon (language used in Panay Island)
● Recorded in Hiligaynon and translated to English by F. Landa Jocano

Point of View
Omniscient Limited
Definition: Focusing a third-person narration through the eyes of a single character

Characters Description

Parents of the Triplet Demigods

● Virgin goddess of the Eastern Sky also known as Laun Sina "The
Unmarried One"
Alunsina ● “Unmarried One,” “The One from Foreign Skies,” and “One who is
Foreign”
● Patron Goddess of single women

● The mighty ruler of Halawod

Datu Paubari ● Who Alunsina chose to marry
● Remained in the east

Triplet Demigods

● Eldest of the triplets

Labaw Donggon
● Brother of Humadapnon and Dumalapdap
 ● Strong and perseveres
● Deranged
● Went to the north

● Went to the south

● Took revenge to the people of Saragnayan
Humadapnon
● Good leadership
● On a journey to search for a maiden that will equate to his greatness

● Went to the west

● Youngest
● Not naturally born: made from a ceremonial plate, a golden rim, and
Dumalapdap drops of blood from each kin
● Good fighter and skilled in defense
● Created to accompany Humadapnon in his adventures and search for a
perfect maiden

Gods, Goddesses, Sorceress, Lords, and Rulers

● God of the plains who called a meeting of the council of gods

● The one who planned the revenge
Maklium–sa-t’wan ● One of the primary earth deities due to his vast association with the land,
the flora and the fauna
● Has the power of duality by being able to split himself into male or female

● Goddess and guardian of happy homes

● Sister of Alunsina
● Honored by housewives, mothers, aunts, sisters, and the womenfolk
● Symbolizes compassion and sympathy and is a constant reminder of the
sisterly bonds women of the village share with each other, and women
who look for help and compassion are in her care, and it was said that any
woman who rejects their fellow woman in need in the care of this
Suklang Malayon
goddess is said to incur the anger of Suklang Malayon and would be
punished by chaos and disasters at home as well as loss and unsatisfaction
in life
● Birds, especially the humble maya, is said to be messengers and friends of
this benevolent goddess, since birds make homes themselves in the form
of nests and usually near human settlements and sings happy melodies
especially during mating season.

● Lord of Darkness
Saragnayan
● Husband of Malitong Yawa Sinagmaling Diwata
 ● Undefeated enemy of Labaw Donggon
● Leader of all evil and dark creatures at night
● Deity whom evil sorcerers ask help from in their spellcraft and also to
guide them in their chaoswork
● Parents would often warn their children not to stay out and play at night
for fear they might be kidnapped by the forces of Saragnayan and be
sacrificed to him or be turned into slaves.
● Loves seeing chaos and bloodshed.
● Only worshiped by "manughiwit" (evil witches), anarchists, and other evil
entities

● Lord of the Underworld

Sumpoy
● Brother of Abyang-Doronoon

● A sorceress from Talagas Kuting-tang

Piganun
● Tricked Humadapnon

● Goddess of greed and wealth

● Discovered by Humadapnon during the wedding banquet when a guest
minstrel sang and described the beauty of Burigadang Pada Sinaklang
Bulawan
● Second wife of Humadapnon
● Coveted Gold, Desired/Precious Gold
● One of the "Three Great Beauties", a triad of sister-goddesses who
descended from Maklium sa T'wa
Burigadang Pada ● Goddess who rose from the earth with beautiful golden tanned skin, a
Sinaklang Bulawan seductive body clothed in rich golden fabrics and precious minerals and
gems and a face of perfection, and it was said that her aura was also
"golden" that no man can resist her and her charms
● Loves punishing the greedy, her mere breath can evoke emotions of greed
and jealousy to a mortal
● Popular deity during weddings, in which the guests in attendance give
toast and blessings to the groom and his bride, placing the newlyweds
under the guidance of Burigadang Sinaklang Bulawan, that they may
flourish also in material goods in their married life

● Uncle of Huyung Adlaw

Panlinugun
● Lord of the earthquake

● Ruler of Piniling Tubig

Datu Umbaw
● Allows to give his daughter’s hand in marriage to whoever can remove the
Pinaumbaw
big boulder
 ● True to his words
● Allowed to give his daughter’s hand in marriage to Humadapnon

Buyung Sumagulung An island fortress ruler who is supposed to be married to Nagmalitong Yawa

Maidens and Brides

● Young bride of saragnayan

● From Gadlum
● Deity of Lust and Seduction
● The goddess of empowerment
● The ruler of demons
● The daughter of the gods of war
Malitong Yawa ● Hidden from sight and from sunlight at birth thus literally making her skin
Sinagmaling Diwata so pale and white
● The maiden that Humadapnon pursued
● Helpful maiden because he helped Humadapnon escape by disguising as a
boy
● Married Humadapnon in Halawod
● Ran away to the underworld
● Does not keep her promises and ended up being embarrassed

● Beautiful maiden from Handug

Anggoy-Ginbitinan
● First wife of Labaw Donggon

● Sister of sumpoy
Anggoy-Doronoon ● Maiden from Tarambang Burok
● Second wife of Labaw Donggon

● Dumalapdap's first wife

● Maiden from Burutlakan-ka-adlaw
● Beautiful maiden with deep brown skin and long dark, windswept hair,
dressed in the finest silks made of clouds, stars, and the night sky. She is
elusive, hiding behind the sunset, escaping the sights of all those who try
Lubay-Lubyok to reach for her.
Hanginun si ● Summons a gentle wind that calms the emotions of everyone around her.
Mahuyokhuyokon Her presence radiates with purity that cleanses the surrounding area and
drives away any evil creatures and wards against them.
● If she detects any signs of ungratefulness or if she sees that she is being
used as a means to an end that she does not approve of, she is capable of
showing her more tempestuous nature, weaving the breezes into gale
force winds that will blow anyone out of her pocket dimension
 ● Maiden who Dumalapdan fell in love with
Huyung Adlaw
● Lives in the Upper World

● Sister of sumpoy
Anggoy-Doronoon ● Maiden from Tarambang Burok
● Second wife of Labaw Donggon

Monsters

● The first monster that Labaw Donggon killed

Manalintad
● Tail got cut off for the dowry

● Giant with hundred of arms

Sikay Padalogdog
● Second monster killed by Labaw Donggon

● Two-headed monster
● Guards the ridge that led to the place where Lubay-Lubyok Hanginun si
Balanakon or
Mahuyokhuyokon lives
Uyutang
● A bat-like monster with sharp poisonous claws
● Howled in pain when he was defeated and caused an earthquake

Other Important Characters

Bungot-Banwa The high priest who performed a ritual on the gods of Mount Madya-as

Aso Mangga Son of Labaw Donggon and Angoy Ginbitnan

● Son of Labaw Donggon and Anggoy-Doronoon

Buyung Baranugon
● He set his father free by defeating Saragnayan

● Swordsman from Mount Matiula

Buyong Matanayon ● Well known for his skill in Swordsmanship
● Trusted friend of Humadapnon

● Son of the mighty Datu Balahidyong of Paling Bukid

● Also vying for the hand of Burigadang Pada Sinaklang Bulawan’s
Buyong Makabigting
hand-in-marriage
● Dueled with Humadapnon and lost

● The most powerful wrestler in Madya-as

Dumasig ● Fought Balanokon together with Dumalapdap
● Best friend of Dumalapdap

Taghoy and Duwindi ● Spirit friends of Humadapnon

 ● Told Humadapnon that a lovely maiden lives in a village by the mouth of
the Halawod River

Minstrel Someone who sings with a harp accompaniment

Mother of Huyung Adlaw who lied to her daughter and caused many lives to
Matan-ayon
be lost

Labing Anyag Sister of Humadapnon who brought Nagmalitong Yawa back to life

● Other son of Alunsina

● Half brother of Humadapnon and the two other siblings
Amarotha ● Dueled with Humadapnon in his pursuit of Nagmalitong Yawa
● Died during childbirth but was brought back to life to serve as Alunsina’s
company

Nature or Purpose
The Hinilawod is not just a literary piece but also a source of information about culture, religion and
rituals of the ancient people of Sulod; showing us that ancient Filipinos believed in the "sacred," in the
importance of family honor and in personal courage and dignity.

TEACHES US DIFFERENT LIFE LESSONS

Below are some of the lessons you can learn from the story Hinilawod, more detailed life lessons will be reported
under the “Message of the Narrative” and “Theme.”

YOUR FAMILY ALWAYS GOT YOUR BACK ESPECIALLY WHEN YOU ARE IN TROUBLE
● Labaw Donggon’s children are willing to rescue him from Saragnayan, even though they know
that Saragnayan is the Lord of the Darkness. They were willing to put their lives in danger.
● “Meanwhile, the defeat of Labaw Donggon at the hands of Saragnayan and his subsequent
imprisonment angered his brothers Humadapnon and Dumalapdap. Humadapnon swore by the
gods of Madya-as that he would seek revenge on all of Saragnayan's kinsmen and followers. He
then embarked on a journey to the Eastern Sky, taking with him Buyong Matanayon of Mount
Matiula, a man known for his exceptional swordsmanship. Together, they traveled the same path
that Labaw Donggon had taken.”

YOU DO NOT ONLY HAVE TO WIN THE WOMAN’S HEART BUT ALSO THE HEART OF HER FAMILY,
ESPECIALLY IF YOU ARE COURTING A FILIPINA
“The journey to Handug took several days through plains, valleys, and mountains. When Labaw Donggon
finally arrived, he asked for an audience with Anggoy Ginbitinan's mother and asked for her hand in
marriage. The marriage was finalized when Labaw Donggon's parents met and discussed with Anggoy
Ginbitinan's parents. Using his pamlang (magical charm), Labaw Donggon effortlessly conjured a giant
house with ten rooftops and a hundred doors.”

IT IS SO MUCH BETTER IF YOU ASK FOR OTHER PEOPLE FOR HELP THAN BEING ALONE IN A JOURNEY
● “Meanwhile, Labaw Donggon's two wives each gave birth to a son. Anggoy Ginbitinan called her
child Aso Mangga, while Anggoy Doronoon called her son Buyung Baranugon. Both sons went in
search of their father a few days after they were born. They arrived in the Eastern Sky and asked
Saragnayan to free their father. Saragnayan instead summoned a host of minions from the
underworld to defeat the youths. Wielding bows, Aso Mangga and Buyung Baranugon shot
poisoned arrows, that dealt seven wounds with a single shot, slaying the rest until only
Saragnayan remained.”
● Both of his sons didn’t have a conflict of who can save their father or who is the better son, but
instead they helped each other

IN WINNING, STRENGTH ISN’T THE ONLY THING THAT IS IMPORTANT, INTELLIGENCE AS WELL
● “Saragnayan wrestled with Buyung Baranugon, but the Lord of Darkness was no match for him.
However, Saragnayan could still not die. Buyung Baranugon sought aid from his grandmother,
Alunsina, and learned that Saragnayan's life was housed in the body of a boar in a place called
Paling Bukid. The sons then killed the boar and ate its heart, rendering Saragnayan mortal.”
● Unlike their father who kept on fighting Saragnayan until he was left with no energy, Buyung
Baranagon asked for help from his grandmother, he used both his strength and intelligence while
fighting the antagonist.

NEVER DECIDE CARELESSLY WHEN YOU ARE ANGRY, LET YOURSELF CALM DOWN AND KNOW THE
WHOLE STORY FIRST
● “During the wedding feast, Humadapnon's brother, Dumalapdap fell in love with Huyung Adlaw
and asked his brother to help him talk to the parents of the maiden. Humadapnon left his new
wife and accompanied his brother to the Upperworld where Huyung Adlaw lived. It took the
brothers seven years to come back from their journey to the Upper World. They arrived just in
time for the ceremony that will have Nagmalitong Yawa married to Buyung Sumagulung, an
island fortress ruler, in a ceremony. The brothers were enraged and killed all the guests and the
groom. Humadapnon also stabbed his wife because of the treachery only to feel remorse later
on. He asked his spirit friends and found out that his wife only agreed to marry Buyung
Sumagulung because her mother, Matan-ayon, convinced her that Humadapnon is not coming
back.”
● He let his anger control him, in the end he regretted what he did, because he killed his wife
because he thought that she betrayed him, but in the end his wife just thought that he was
never coming back.
 AIMS TO TEACH US ABOUT THE CUSTOMS, TRADITIONS, AND VALUES OF THE FILIPINO PEOPLE
● The writer says that Philippine culture portrays the importance of honor, love, and family care.
These are the Filipino core values.
● Hinilawod also portrays that they love their culture and traditions.
● They value the customs of their forefathers and still apply them in their lives. They stick to their
roots.
● Filipinos take pride in their families
● Filipinos help one another
● Filipinos value tradition and culture
○ For Filipinos, traditions in their home and in their family are important. They usually set
aside a specific day for a certain celebration like festivals, birthday parties, reunions, etc.
And of course, every gathering is dedicated to keeping up with each other over
sumptuous food.
○ Same with the story, they celebrated when they reunited with Labad donggon
● Hinilawod portrays that indeed we have our own culture, customs and traditions since before
the Spaniards came to our land. It is a story about fighting for one’s true love, the journeys and
struggles of both the mortals and the mystical creatures was truly a literary piece that is a source
of information about culture, religion, and rituals of the Ancient sulod people. It shows the
ancient Filipinos believe in anything that is “sacred”. It shows how people live their everyday
lives and how their beliefs and customs are being applied. It also gave us a deeper understanding
and appreciation why people way back before marry multiple women, and that is to fill the earth
since there is only few people way back before .It proved the fact that we have our own king and
prince and that during those times, Filipinos were very rich, brave and Intelligent.

CAN SERVE AS AN ENTERTAINMENT

● The story about the 3 brothers and supernatural powers can be entertaining for the readers
especially to the children
● Aside from having very eventful story, people reading this can also learn different lessons
● Entertaining stories often have conflict, tension, extraordinary characters or character behavior,
contain dramatic content, surprising revelations and more, and the story of Hinilawod possesses
those characteristics.

TEACHES US VALUES IN LIFE

We have a rich cultural tradition of our people long before Spanish colonialism. As a link to those cultural
memories that in part explain our character as a people, Hinilawod offered not only a sumptuous visual
feast but also a glimpse of the mindset of our forebears:
● Devotion to family,
● love that knows no boundaries,
 ● courage in the face of adversity,
● and belief in the supernatural or spiritual intermingled in the affairs of men and women.

Message of the Narrative

● Not only a literary piece but also a source of information about culture, religion, and rituals of
the ancient people of Sulod, showing us that ancient Filipinos believed in the "sacred", in the
importance of family honor and in personal courage and dignity.
● Covers qualities of the human spirit such as:
○ Devotion to family
○ Love that knows no boundaries
○ Courage in the face of adversity
○ Belief in the supernatural or spiritual intermingled in the affairs of men and women

Theme
Hinilawod or the Tales From the Mouth of the Halawod River is about the story of a goddess named
Alunsina (Goddess of the eastern sky and was also known as Laun Sina "The unmarried one") who has
already reached maidenhood and was decreed for marriage by the King of the Gods - Kaptan. Among her
many suitors who were Gods from different domains, she married a mortal named Datu Paubari, the
mighty ruler of Halawod. The couple bore 3 demigod sons—Labaw Donggon, Humadapnon, and
Dumalapdap, where the story continues and portrays their adventures.
● Main Ideas:
○ Honor, love, care for family
○ True and faithful love shall and always prevails
○ Value of companionship

Plot

Hinilawod recounts the story of the exploits of three Suludnon demigod brothers:
Labaw Donggon, Humadapnon and Dumalapdap of ancient Panay.

The Story of Alunsina and Datu Paubari

Kaptan, the King of the Gods, decreed that the beautiful Alunsina (aka Laun Sina, The
Unmarried One) marry upon reaching her maidenhood. Though all the unmarried
Exposition
gods from every corner of the universe tried to win her hand in marriage, she chose to
marry a mortal, Datu Paubari, ruler of the Halawod.

Naturally, the gods were enraged and decided to flood the Halawod River which led to
the couple fleeing with the help of her sister, Suklang Malayon (Goddess and Guardian
of Happy Homes), who discovered the evil plot and warned them of it. The couple
 sought refuge on higher ground and escaped the gods' wrath undetected. They later
returned to the plains and settled near the mouth of the Halawod after the floods
subsided and lived in secrecy.

After several months, Alunsina became pregnant with triplets. The couple were
ecstatic and Datu Paubari prepared the things needed for childbirth including the
siklot. When the triplets were born, the couple named them Labaw Donggon,
Humadapnon and Dumalapdap.

Immediately after giving birth, Alunsina summoned the high priest Bungot-Banwa to
perform the rites of the gods of the Mount Madya-as to ensure that the triplets will
have good health. Bungot-Banwa burned some alanghiran fronds along with a pinch of
kamangyan (incense) on an altar that he had built. He opened the windows of the
north side of the room after the ceremony and in came a cold wind that transformed
the infants into strong handsome young men.

The Adventures of Labaw Donggon

When he reached adulthood, Labaw Donggon, the eldest of the triplets, decided to go
on a quest to find himself a wife. He heard of the beauty of Angoy Ginbitinan of
Handug and wanted her for a wife. He asked his mother to prepare the things he will
need for the journey — a magic cape, hat, belt, and kampilan (a large, two-handed
sword).

The journey to Handug took several days. When he finally arrives, he asks for an
audience for her hand in marriage. The father agreed on one condition as part of his
dowry. Labaw Donggon must kill the monster Manalintad as part of his dowry.

The Adventures of Humadapnon

Rising Action
Humadapnon was visited by his spirit friends Taghoy and Duwindi in his dream and
told him of a lovely maiden who lived in a village by the mouth of the Halawod River.
The demigod left his dominion to look for the maiden named Nagmalitong Yawa
(Malitong Yawa Sinagmaling Diwata). He brought with him a boat full of crew.
Humadapnon and Nagmalitong Yawa were married soon after in Halawod.

The Adventures of Dumalapdap

Dumalapdap embarked on a quest of his own. He decided to go to
Burutlakan-ka-adlaw and marry the maiden Lubay-Lubyok Hanginun si
Mahuyokhuyokon. After several months of traveling, he is face-to-face with a
two-headed monster called Balanakon, who guarded the ridge that led to the place
where the maiden lived.
 The Adventures of Labaw Donggon
After their wedding, Labaw Donggon and his new bride started on their journey back
to his lands. Upon reaching home, Labaw Donggon asked his mother to care for his
new wife and announced his intent on another quest, this time to the Rugal sa Idalom
(the netherworld) and vie for the hand of the beautiful Anggoy Doronoon.

Labaw Donggon won the hand of the Anggoy Doronoon with little difficulty, and also
took her home to his mother. Thereafter, the demigod went on third quest to the
Eastern Sky. This time the object of his desire is Malitong Yawa Sinagmaling Diwata,
the young bride of Saragnayan, the Lord of Darkness.

Aboard his biday nga inagta (black boat), Labaw Donggon sailed across many seas and
flew across the region of the clouds and the Land of Stones before he found himself at
the shores of the Eastern Sky and the fortress of Saragnayan. Upon setting foot on the
shore, Saragnayan asked who he was and what was his business. When Labaw
Donggon expressed his desire to have Saragnayan's young wife Malitong Yawa
Sinagmaling Diwata, the Lord of Darkness laughed and told him it was impossible. The
young demigod then challenged Saragnayan to a duel.

The duel lasted for years. Labaw Donggon held Saragnayan's head underwater for
Climax seven years but Saragnayan survived. Labaw Donggon then tied Saragnayan to the top
of a rock and beat him hard with a coconut trunk, but this proved futile. Labaw
Donggon then hurled Saragnayan upwards towards the sky, yet failed to kill him. The
two fought for many years until finally, Labaw Donggon weakened. Saragnayan
imprisoned the exhausted demigod under his pig pen.

The Adventures of Humadapnon

After seven months in Tarambang Buriraw, Buyong Matanayon recalled that they
brought some ginger with them. He thought of a plan to break Piganun's spell over his
friend. One evening over dinner, Buyong Matanayon threw seven slices of ginger into
the fire. Upon smelling the burning ginger, Piganun fled the room. Buyong Matanayon
then struck Humadapnon in the head, rendering the latter unconscious. He then
dragged his body away from the place and managed to escape.

Humadapnon rose to the challenge and took off his magic cape. He then used it to lift
the huge boulder off the center of the village and hurled it back towards the
mountain. Datu Umbaw Pinaumbaw honored his word and gave his daughter's hand
in marriage to Humadapnon. The two were married and a big feast was held. During
the banquet, a guest minstrel sang and extolled the beauty of Burigadang Pada
Sinaklang Bulawan, Goddess of Wealth and Greed. Enchanted by the story,
Humadapnon started on a quest to seek the goddess' hand in marriage.
 The Adventures of Dumalapdap
Dumalapdap fought with the Uyutang for seven months. He was able to defeat the
monster when he grabbed its ankle and broke it. Then he took his twang daniwan
(magic dagger) and struck Uyutang under the armpit. The monster howled in pain,
causing an earthquake that broke the ridge they were fighting in into two. Half of the
ridge became an island that is known today as Negros, while the other half became
Panay.

Denouement Datu Paubari celebrated the return of his three sons with a very big feast.

The Adventures of Labaw Donggon

Humadapnon and Dumalapdap then searched for their missing brother, finding Labaw
Donggon under the fishnet in a deranged state. Labaw Donggon's brothers returned
him home to his wives. Anggoy Ginbitinan and Anggoy Doronoon cured Labaw
Donggon from his madness and his former strength returned to him.

The Adventures of Humadapnon

He met Buyong Makabagting, son of the Datu Balahidyong of Paling Bukid, who was
Falling Action
also vying for the hand of Burigadang Pada Sinaklang Bulawan. The two duelled and
Humadapnon emerged victorious, the defeated Buyong Makabagting helping the
former in his quest. Humadapnon eventually married Burigadang Pada Sinaklang
Bulawan and brought her home to his mother.

The Adventures of Dumalapdap

With the monster Uyutang dead, Lubay-Lubyok Hanginun si Mahuyokhuyokan was
free to marry Dumalapdap. He brought her home and was reunited with his family.

Datu Paubari celebrated the return of his three sons with a very big feast. His sons left
for different parts of the world after the feast. Labaw Donggon ventured north,
Humadapnon went south, and Dumalapdap embarked to the west. Datu Parubari was
left to rule in the east.

The Quest of Humadapnon Continues

Humdapnon was visited by his spirit friends Taghoy and Duwindi in his dream and told
Conclusion
him of a lovely maiden who lived in a village by the mouth of the Halawod River. The
demigod left his dominion to look for the maiden named Nagmalitong Yawa. He
brought with him a boat full of crew.

Humadapnon and his men safely traversed a blood-coloured sea with the help of his
spirit friends. They landed on an island that was inhabited by beautiful women and
headed by the sorceress, Ginmayunan. For seven years, Humadapnon and his crew
 were imprisoned in the island until Nagmalitong Yawa helped them escape by
disguising as a boy. Humadapnon and Nagmalitong Yawa were married soon after in
Halawod.

During the wedding feast, Humadapnon's brother, Dumalapdap fell in love with
Huyung Adlaw and asked his brother to help him talk to the parents of the maiden.
Humadapnon left his new wife and accompanied his brother to the Upper World
where Huyung Adlaw lived.

It took the brothers seven years to come back from their journey to the Upper World.
They arrived just in time for the ceremony that will have Nagmalitong Yawa married to
Buyung Sumagulung, an island fortress ruler, in a ceremony. The brothers were
enraged and killed all the guests and the groom. Humadapnon also stabbed his wife
because of the treachery only to feel remorse later on. He asked his spirit friends and
found out that his wife only agreed to marry Buyung Sumagulung because her mother,
Matan-ayon, convinced her that Humadapnon is not coming back.

Upon learning of this, Humadapnon asked his sister, Labing Anyag, to use her powers
to bring Nagmalitong Yawa back to life. Seeing how remorseful he is, Labing Anyag
agreed. However, Nagmalitong Yawa was so ashamed of agreeing to marry Buyung
Sumagulung that she ran away to the underworld and sought the protection of her
uncle Panlinugun, who is lord of the earthquake.

Humadapnon had to kill an eight-headed serpent in his pursuit of Nagmalitong Yawa.

Then he had to duel with a young man who spirited his wife away. The duel ended
when Alunsina intervened and revealed that the young man is also her son, Amarotha.
This son died during childbirth and was brought back from the dead to keep Alunsina
company. Alunsina decided that both Humadapnon and Amarotha deserved a piece of
Nagmalitong Yawa so she cut the girl in half and gave a piece each to her sons. Each
half turned into a whole live person. Humadapnon brought his wife back to Panay.

Symbolisms
● The epic displayed how strong and brave the people of Panay are through the characters. The
capability of the brothers to fight the monsters or the antagonists symbolizes that they will do
everything to get the things that they wanted badly.
● It deals with the true meaning of searching love despite different obstacles
● Ancient Filipinos believed in the sacred, in the importance of family honor and in personal
courage and dignity.

References:
Clutario et al. (2012). Eng 5 hinilawod. SlideShare.
https://www.slideshare.net/ChristineCen/eng-5-hinilawod

Hinilawod Characters. (n.d.). Chegg.

https://www.chegg.com/flashcards/hinilawod-characters-1b8c838b-8eb7-4330-8618-046e0ec54
998/deck

Hinilawod. (n.d.). Wikipedia. https://en.wikipedia.org/wiki/Hinilawod

Jocano, F. (n.d.). Hinilawod: Adventures of Humadapnon. PUNLAD Research House, Inc.

https://sirmykel.files.wordpress.com/2013/08/hinilawod-tarangban-i-pages-1-to-88.pdf

Uy, E. (2011). ‘Hinilawod’: Unearthing a Pinoy epic. The Manila Times.

https://web.archive.org/web/20111228190920/http://www.manilatimes.net/index.php/life-and
-times/showtime/3753-hinilawod-unearthing-a-pinoy-epic
 Rajah IndaraPatra and Sulayman the root word danao and it means that
(Epic of Maguindanao) which is inundated, while Cotabato is
derived from kuta and batu or watu which
TOPIC OUTLINE
mean fort and stone .
Background of the Epic
a. Author Author of Rajah Indara Patra and
b. Origin of the Narrative Sulayman
Different Versions of the Epic The Author of the epic Rajah Indara Patra
Elements of the Story
and Sulayman is Bartolomeo Del Valle. He
a. Protagonists
b. Antagonists was born on September 18, 1912 and died
c. Time in July 1987 at the age of 74 .
d. Setting
Plot He was once a teacher at a known school in
a. Exposition Manila in 1945. He majored in Filipino and
b. Rising Action
History, and in the same school, he became
c. Climax
d. Falling Action the assistant principal. He was a known
e. Denouement writer who also wrote the following works:
f. Conflict Ang Demokrasya, Kung Buhay pa si Rizal,
Point of View Ang Kapangyarihan ng Edukasyon, Ang
Nature and Purpose Bantayog, at Panawagan sa Kabataan.
Theme and Tone Most of his writings tackled social issues of
Symbolism and Moral
the country which focused on the realities,
References
making it an inspiration to the youth.

Origin and Background of the Epic Different Versions of the Epic

Radia Indarapatra is an ancestor of
Bantugan, a renowned epic hero from the
Maranao epic Darangen, based on the
Ramayana. This story of Rajah Indarapatra,
mythological hero of Magindanao, and his
brother, Sulayman, is based on a myth
recounted by Najeeb M. Saleeby, in one of
his books on the Moros; According to him,
this myth came from Datu Kali, who in turn
learned it from Maharajah Layla of
Magindanao and Alad, a very old and
intelligent Moro.
Magindanao or Mindanao was originally the
town of Cotabato. As the Sultan of
Magindanao became more powerful, his
territory expanded until Magindanao applied
to the entire Rio Grande valley and the
whole seacoast. Magindanao comes from
“Ramayana”
- India
- Radia Indarapatra is an ancestor of
Bantugan, a renowned epic hero
from the Maranao epic Darangen,
based on the Ramayana.
- The Ramayana is a Sanskrit epic
from ancient India. Ramayana is one
of the two Itihasas of Hinduism, the
other being the Mahābhārata.
Elements of the Story
Characters
The main difference between the
Protagonist and the Antagonist is that the
hero is the focal person around whom the
story is woven, and the main antagonist is
the restricting power of the protagonist. The
protagonist and antagonist are two
fundamental jobs in any story.
Protagonists:
The Protagonist is the focal person in a
story. The story is, for the most part, spun
around an issue looked at by the hero and
how the individual discovers an answer for
this issue.
Indarapatra (static)
- He was a brave king and warrior.
- Knowledgeable and skillful in
hunting, farming, weaving,
blacksmithing,healing, fishing, and
herding
- He can fly.
- He is compassionate. He showed
this personality by being very
emotional upon his brother’s death.
- Possesses outstanding leadership
qualities
Sulayman (static)
- He was known to be brave and
obedient to his king.
- Without mental reservation, he sets
out to defend and protect his
countrymen.
- He can also fly at an incredible
speed
Antagonists:
The Antagonist is the head, contradicting
the power of the Protagonist. The
Antagonist is the hindrance that disrupts
the general flow of the protagonist and
accomplishing his definitive objective.
Kurita
- A terrible creature with many limbs
and lived partly on the land and
partly on sea.
Tarabusaw
- An ugly creature in the form of a
man who lived on Mt. Matutum.
Pah
- An enormous bird that was so large
that its wings can cover the sun and
can bring darkness to the earth.
Seven-headed Bird
- A dreadful bird, having seven heads
and has the power to see in all
directions at the same time. It
brought havoc to its region.
Setting
Maguindanao
- It is where the four monsters
attacked.
Kingdom of Mantapuli
- The Kingdom ruled by Indarapatra
Mt. Bita
- Is where Sulayman fought the
monstrous bird, Pah
Mt, Matutum
- Where Sulayman fought the creature
Tarabusaw
Mt. Gurayan
- Where Sulayman fought the dreadful
bird.
Summary of the Story
Long before Kabungsuwan came to
Mindanao, the entire island was covered
with water. The lowland disappeared.
Nothing could be seen but mountains. The
people, to escape death, went to live on the
mountainsides. Here the inhabitants built
their homes and cultivated the highlands.
The peace and prosperity of these highland
dwellers, however, were short lived. There
appeared in the land one day some
horrible, man-eating monsters. One of
these monsters haunted the hillsides of
Kabalalan, eating men and other animals it
could reach. It was called Kurita. It lived
partly on land and partly on sea.
The second monster was called Pah. It was
a winged creature, with razor-edge claws.
Its feet were covered with steel-hard scales.
Whenever this monster flew, its wings
covered the sun and produced darkness
akin to midnight. It haunted the regions east
of Mindanao. It had its abode on top of
Mount Bita.
The third was a huge man-like monster
called Tarabusaw. It inhabited the mountain
of Matutum and plagued the neighbouring
territory. The fourth was also a dreaded
bird, which had seven heads. It lived in
Mt. Gurayu haunted the adjacent
territory.The people were so scared that
they left their farms and homes and went
into hiding. Soon famine crept into the land;
this was followed by pestilence. Many
people died from starvation and disease.
When the news about this awful devastation
reached the nearby settlement of Mantapuli,
the chief of the place, Indarapatra was very
much grieved. He called his warrior brother,
Sulayman, and requested the latter to
proceed to Mindanao and save the people
from the monsters.
Adventurous at heart, Sulayman
immediately consented to go to Mindanao.
While he was preparing, Indarapatra gave
him a ring and a kris. Then taking a young
sapling, Indarapatra planted it beneath the
window of their house. He said to
Sulayman, “If this tree lives, you live; if it
dies, you die. Also by this tree I shall know
when you are in trouble.” Riding on the crest
of the mountain wind, Sulayman reached
Kabalalan. He found the land completely in
ruins. Not a human being was seen
anywhere. A little while later, Sulayman felt
the mountain shaking beneath him. Kurita
appeared and attacked the young warrior.
Sulayman drew his kris and fought back.
The struggle was long and bloody. In the
end, Sulayman was able to conquer Kurita.
From Kabalalan the Mantapuli hero
proceeded to Matutum where he
encountered Tarabusaw. The monster
warned Sulayman not to attack or he would
be devoured. However, the brave warrior
answered that he came on purpose to fight
the monster. Tarabusaw broke big branches
of trees and assailed Sulayman. The young
warrior parried the blows and returned the
attack. At last Tarabusaw became
exhausted. Seeing this, Sulayman gave the
monster a heavy blow with his sword. The
blade found its way through Tarabusaw’s
armpit. The monster gave a horrible cry and
fell. As it lay dying, it looked up to Sulayman
and congratulated the youthful hero. The
latter, however, answered. “Your evil deeds
are responsible for your death and not my
skill in combat.”
Sulayman continued his journey. In Mount
Bita, he saw far greater devastation than
that in Kabalalan and Matutum. Not a
human being remained—all of them were
either devoured by the man-eating monsters
or had fled for safety somewhere else. He
looked around. Suddenly the world became
dark. He looked up and he saw a huge bird
descending upon him. He knew he was in
danger. He took his sword and struck the
attacking creature. The bird fell dead, but its
huge wings fell on Sulayman. This killed the
Mantapuli hero.
Back in Mantapuli, Indarapatra kept
watching the plant. And when he beheld the
drooping leaves of the growing tree, he
knew that something had happened to his
brother. With a heavy heart, Indarapatra
prepared to go after Sulayman. He took his
sword and magic belt. Riding on the back of
the wind, he headed for Kabalalan.
However, he saw only the bones of Kurita.
He knew his brother had conquered the
monster and had proceeded to other places.
Indarapatra’s next stop was in Matutum. He
found in this place the bones of Tarabusaw,
so he continued his way. In Bita he saw a
dead bird. He was about to leave the place
when he saw the severed wing of the bird at
a distance. He went near and turned it
upside down. He saw the bones of a dead
man. He recognized the remains as those of
Sulayman because of the sword lying near
the disintegrating limbs.
Indarapatra cried with grief. He looked for
vines with which he could tie together the
bones of his brother because he decided to
bring these back to Mantapuli. However, he
saw a jar of water not far from him. He knew
that the jar came from the sky. So he
reached for it and poured its content over
the scattered bones of Sulayman. Sulayman
stood up, rubbed his eyes as though he had
just awakened from a long sleep. They
embraced each other in joy. Sulayman went
home to Mantapuli while Indarapatra
proceeded to Mount Gurayu. There he met
the dreadful bird that had seven heads. He
conquered this monster with the use of his
sword, juru pakal.
Having vanquished the monster,
Indarapatra looked for the inhabitants of the
place. He was about to give up, after
several days of futile search, when he saw a
beautiful maiden near a spring. He walked
toward her. But the maiden suddenly
disappeared.Disappointed Indarapatra sat
down on a big stone. Looking around, he
saw at a distance a pot of uncooked rice
and a big fire. Hard pressed by hunger, he
went near the fire. He sat over the fire and
placed the pot on his knees to cook the rice.
As he was cooking, he heard people talking.
One was laughing while the other was
speaking in a hushed voice: “What a
powerful man this stranger must be. Look at
him cooking on his knees.”
When Indarapatra looked back, he saw an
old woman staring at him. From this woman,
Indarapatra learned about Sulayman’s
encounters with the monsters and how the
people went into hiding. After a while, the
old woman led Indarapatra to the cave
where the people had gathered. There the
young man saw the beautiful girl he met
near the spring but who disappeared before
he could talk to her. Indarapatra related his
adventures and that of his brother. He told
the people to go back to their homes
because the monsters were all vanquished.
The people rejoiced to hear the news. They
all went out and returned to their farms. The
chief gave his daughter to Indarapatra in
marriage.
Plot
Exposition - It is the background
information on the characters and setting
explained at the beginning of the story. It will
often have information about events that
happened before the story began.
Exposition of a story (or in a story) is the
means of providing the audience with
important background information that
either advances the story, invests the
audience in the characters (thereby creating
emotional stakes), or provides clarity to
avoid confusion.
Exposition of the Epic
A long time ago, in the island of Mindanao,
only mountains are visible and
you can’t see any plain. Everyone that was Indarapatra received the news when he saw
living there was happy because they are the little tree wither and dry up that
rich in natural resources. symbolises the fate of Sulayman.

Rising Action
Rising action is one of the major points of
a plot, or storyline. Rising action occurs
after the exposition (introduction) and before
the climax (highest point of interest). Rising
action presents and develops the major
conflict in the text.
Falling Action
In storytelling, falling action refers to the
period after the dramatic confrontation of
he The climax. This portion of the narrative
helps deflate the plot's tension and gives the
character time to unwind after the emotional
scene.

Rising Action of the Epic Falling Action of the Epic

Indarapatra went to his brother and got the
Four monsters harassed their peaceful
wing of the bird. Upon looking up, he beheld
home. The first one is Kurita, a terrible
a small jar of water by his side. This, he
creature with many limbs. The second one
knew had been sent from heaven, and he
is Tarabusaw, an ugly creature in the form of
poured the water over the bones, and
a man, the third one is Pah, an enormous
Sulayman came to life again. He ordered
bird that was so large. Lastly, the
Sulayman to go home and he was the one
seven-headed bird, a dreadful bird, has
that continued the fight against the
seven heads and has the power to see in all
seven-headed bird. He succeeded and
directions at the same time. The incident
began searching for some people that are
made the people in Mindanao miserable.
still alive.
Climax
Denouement
In the structure of a play the climax, or
The denouement is the very end of a
crisis, is the decisive moment, or turning
story, the part where all the different
point, at which the rising action of the play
plotlines are finally tied up and all remaining
is reversed to falling action. It may or may
questions answered. It happens right after
not coincide with the highest point of
the climax, the most exciting point in the
interest in the drama.
story, and it shows the aftermath of that
climax, giving the reader some hints as to
Climax of the Epic
what will happen next. The denouement is
Indaraptra commanded his brother,
usually the very last thing your audience
Sulayman, to save those people who are
sees, so it has to be well-written or the story
in need. Sulayman immediately obeyed his
will seem unsatisfying.
brother and went to Mindanao. He fought
against the four monsters. Even though it is
Denouement in the Epic
very tough, he did his best to win against
In the course of his search, he caught sight
each monster. Winning in each battle made
of a beautiful woman at a distance. When
him even more. Unfortunately, Sulayman
he hastened toward her she disappeared
died because when he struck the last
through a hole in the ground where she
monster, it fell dead at his feet, but its wing
stood. After that, he met an old woman that
fell on him that made him crushed.
helped him to see those people who are still
alive. When they found out what Indarapatra
had done for them, the headman gave his
daughter to him in marriage; it turned out
that it was also the girl that he had seen at
the mouth of the cave. Then the people all
came out of their hiding places and returned
to their homes where they lived in peace
and happiness
Conflict
In fiction, those problems are called conflict.
More precisely, conflict means thwarted,
endangered, or opposing desire. It's
basically when a character wants something
but something else gets in the way. Maybe
the character wants a thing but can't get it.
Conflict in the Epic
The conflict in the epic is between man and
the four monsters/ Man vs. society. It is a
form of external conflict. External conflict is
the opposite of internal conflict. It is not a
struggle with one’s self. Instead, external
conflict is the protagonist versus something
or someone other than himself or herself.
Point of View
Point of View is determined by the authors'
descriptions of characters, setting, and
events told to the reader throughout the
story. In the epic “Indarapatra and
Sulayman”, the author used a third
person’s point of view. It is also known as
the Omniscient. It is all-knowing in every
detail of action, thought, and feeling.
Nature and Purpose
The story shows qualities of a true leader.
We can see in the character of Indarapatra
and Sulayman a role model in them,
through their bravery, the love for their
people, a humble heart, and a willingness to
sacrifice their life just to save their people.
The four monsters in the story Indarapatra
at Sulayman represent that life consists of
challenges, struggles , and circumstances
which we may never expect to come. These
monsters are created to represent the
greater odds that man can face in his life.
Natural calamities, diseases, and other
elements that can cause havoc and
destruction to lives and properties also
include in the projection of these
antagonists. The monsters may also
represent tribal enemies.
Theme and Tone
The theme is the main idea that weaves the
story together. The main idea of
“Indarapatra and Sulayman” is the
willingness of the heroes in the epic to
sacrifice their lives to make other people
be saved. Also, the theme of the epic is the
proper usage of abilities to combat and
overcome elements that can cause chaos
and destruction to the area.
The tone of the Epic tells the reader about
the feelings of the author about his or her
subject. In the epic “Indarapatra and
Sulayman'', it is quite aggressive because
of the battles that has been experienced,
but then, the sincerity can be seen clearly
for the story showed the love of someone
not just to his kingdom, but also to his
very own country, and the love that
connects the siblings to each other
Symbolism and Moral
The Indarapatra and Sulayman epic story
tells about a magical and affectionate family
like what we Filipinos have. We, Filipinos,
have a value of helpfulness like what we
have in the story, helping others with our
own initiative and helping those who are in
need even though in a limited amount of
help. This kind of value is the most
important value that reflects the Fililipinos,
and because of this value, it relates the
story Indarapatra and Sulayman
The moral lesson of the epic is that an
individual must not live in fear or else it
may destroy or weaken him/her. He/she
must fight for freedom. He/she must be
brave enough to handle circumstances in
life and never lose hope in living a peaceful
life despite the problems he/she is facing.
The epic made us realise that in life there
will always be the existence of challenges
and problems. The four monsters in the
story Indarapatra at Sulayman represent
that life consists of challenges, struggles,
circumstances which we may never expect
to come. Those monsters represent the
greater odds that man can face in his life.
But despite those challenges, we must not
give up and have the courage to fight and
solve our problem bravely.
Heroes don’t need magic to save lives. True
heroes are natural people that are doing the
right thing for others; are someone who puts
their life at risk so that others might save
from danger; and a leader or role model to
those around them.
Symbolism found in the Epic
Plant
- Serves as the life of sulayman
Ring
- Luck in his journey
Sword
- Weapon/tools in killing the monsters
Sampling
- Life of sulayman and it also signifies
the journey sulayman
Water
- Life that stands as chastity and
purity
Land of Mindanao
- Represent the whole daily of the
philippines
References:
Carenlove. (2022, March 25).
Indarapatra at sulayman author O may-akda
Tagalog. Proud Pinoy. Retrieved May 13,
2022,fromhttps://proudpinoy.ph/epiko/indara
patra-at-sulayman-author-o-may-akda-tagal
og/#:~:text=Ang%20author%20o%20may-a
kda%20ng%20epikong%20Indarapatra%20
at,kilala%20sa%20pagsasatula%20ng%20e
pikong%20Indarapatra%20at%20Sulayman.
Clark, J. (2021, July 27). Indarapatra
and sulayman, summary of the
Maguindanao Story • The Aswang Project.
THE ASWANG PROJECT. Retrieved May
13, 2022, from
https://www.aswangproject.com/indarapatra
-and-sulayman/
Indarapatra at Sulayman -
Indarapatra and sulayman (epic of
magindanao) I. copy of literary text a.
StuDocu. (n.d.). Retrieved May 13, 2022,
fromhttps://www.studocu.com/ph/document/
centro-escolar-university/religion-history-an
d-texts/indarapatra-at-sulayman/20896239
 DIFFERENT VERSIONS OF THE EPIC
BIDASARI The poem, based on the Kembayat Negara
(Mindanao Folk Narrative) annals and mentioned by Dr. J. Leyden in
1807 as Hikaiat Bida Sari (Bidasari
TOPIC OUTLINE
Annals), has some similarities with the
● Origin and Background
● Author western fairy-tale of Snow White published
● Different Versions of the Epic by The Brothers Grimm in their fairy-tale
● Elements of the story compilation in 1812.
○ Antagonists
○ Protagonists ELEMENTS OF THE STORY
○ Time
○ Setting Protagonists:
● Plot 1. Bidasari
○ Exposition
She is the main character in the
○ Rising Action
○ Climax story. A beautiful lady loved by
○ Falling Action Sultan Mongindra.
○ Resolution 2. Sultan Mongindra
○ Conflict He was the Sultan of Indrapura and
● Summary became the husband of Bidasari.
● Point of View
3. Sultan at Sultana ng Kembayat
● Nature and Purpose
● Theme and Tone The biological parents of Bidasari
● Symbolism and Moral 4. Diyuhara
● References A merchant from the kingdom of
Indrapura. Who sheltered and raised
Bidasari.
ORIGIN AND BACKGROUND 5. Sinapati
Bidasari. One of the epics in Mindanao is The sibling of Bidasari
the Bidasari. It is a tale of romance, it is of 6. Anak ni Diyuhara
Malay origin. Bidasari is the final-installment Accompanied Sinapati in their
of a trilogy of Filipino-language stage plays search for the missing sibling
produced and written for Magwayen, the
premier theater group of the University of
Antagonists:
the City of Manila. It was based on the
1. Garuda
original epic of the same name or title.
A monstrous bird, which destroys
AUTHOR crops and human lives. That
The author of the epic Bidasari is Marlon monstrous bird is the Garuda, who
Miguel written in 1965. the humans fear since the latter is its
food.
Marlon Miguel the author or author of
Bidasari is a Palanca Award-winning Filipino 2. Lila Sari
writer. He works at GMA 7 as a senior writer First wife of Sultan Mongindra and
and brainstormer for TV soaps. He is also the envious Sultana of the kingdom
the founder of Magwayen, a theater of Indrapura.
organization based at the University of the 3. Mga tauhan ng Sultanang si Lila
City of Manila. Sari
 They were instructed to look for the
woman (Bidasari) who is more
beautiful than Lila Sira.
TIME
● The story is based on Syair
Bidasari, a very popular romantic
Malay poem during the 18th and
19th century in the Malay world
believed to be written as early as
1750.
SETTING (place)
● The epic of Bidasari is from
Mindanao based on Malay
romance.
● In the kingdom of Kembayat, took
place the invasion of the garuda, a
destructive and man -eating bird.
● In the riverside, it is where Sultana
gave birth to a baby girl (Bidasari).
● In the palace, it is where Lilasari
invited Bidasari and whe was
imprisoned and punished there.
● In the forest, it is where Diyuhara
built a beautiful palace for Bidasari.
● In the kingdom of Indrapura, it is
where Bidasari was seen by his real
parents.
PLOT
Exposition:
Long ago there was a kingdom called
Kembayat but the kingdom was festered by
a winged beast called Garuda, the Garuda
were bird-like creatures, or humanoid birds
with the muscular upper body of a man but
the face and large wings of a great eagle.
They would attack and destroy the fields,
and the people were afraid of them. For
they were strong and they would sometimes
attack and eat humans.
One day the Sultan of Kembayat along with
his beautiful wife were riding a boat in a
river along with their servants and guards.
Then, a group of Garuda came swooping
down and attacked them. In fear, the
Sultan's wife who was pregnant at that time
gave birth to a girl and a golden fish. In their
fear and rush to escape the winged
monsters, they left behind in their boat the
new born baby. The flock of Garuda saw the
boat and the baby as they descended, upon
landing on the water they transformed into
handsome men. They looked at the baby
and sensed it had the same magic as them.
They flew out of the water and as they flew
they transformed back into monstrous
bird-like creatures.
Rising Action:
A merchant from another kingdom named
Diyuhara found the baby. He also noticed
the golden fish that magically turned into a
gold necklace. He brought home the baby
and raised and loved it as if it were his own.
He named the baby Bisari, as Bisari grew,
the lovelier she became. When she reached
maidenhood they called her Bidasari. The
merchant and his family prospered,
believing their good fortune was due to
Bidasari entering their lives. So the
merchant and his wife and along with their
(foundling) daughter became content and
happy.
Climax
In another kingdom called Indrapura, ruled
by the Sultan Mongindra was married to
Lila Sari who was very beautiful but her
heart was always filled with doubt and
insecurity. She feared that the Sultan would
fall in love with someone else and replace
her. So she asked her husband the Sultan if
he would take another wife, the sultan
replied that if there is a woman more
beautiful than her, then he would make her
one of his wives. The Sultan said it out of
jest but Lila Sari ordered his men to find a
girl more beautiful than her, and if they do
they must bring her. Her men found Bidasari
who was lovely. They tricked her into
coming into the kingdom saying she would
be a handmaiden to the Sultan's wife. But
upon arriving in Indrapura, Bidasari was
locked up in a chamber and was tortured.
Bidasari could no longer bare the torture
she was under, she told Lila Sari that in her
fathers garden was a pond, and in that
small pond is a golden fish that turns into a
golden necklace by day. She told Lila Sari
that if she wore this she would be more
beautiful than she already is and that the
fish is connected to Bidasari's life. So Lila
Sari ordered her men to capture the golden
fish, and they did and it was as Bidasari
said. During the day the fish would turn into
a golden necklace and its glow made the
bearer lovelier to behold. When the fish was
worn by Lila Sari, Bidasari falls into a dead
sleep, so during the night when Lila Sari
puts the golden necklace back into the
water and turns back into fish, Bidasari
wakes from her dead like slumber.
Falling Action:
Diyuhara, Bidasari's adoptive father feared
for the condition of his beloved daughter. So
he used his wealth and position to build a
castle in the deep forest. There he placed
Bidasari, she would spend her days
sleeping and secluded. One day the Sultan
of Sultan Mongindra went hunting. He and
his men ventured deep into the forest and
saw a grand palace made of bamboo and
wood with beautiful carvings and gold
decorations. The Sultan was amazed by
the palace, and tried to get it. After a long
time he was able to break down the door.
He climbed the bamboo steps to the highest
chamber. There, he saw a lovely maiden
sleeping. The night came and Bidasari woke
from her slumber. The Sultan, captivated by
her beauty, asked her who she was and
why she was there. Bidasari told the sultan
everything. Upon knowing the truth the
Sultan was enraged and left Lila Sari and
then married Bidasari.
Resolution
In the kingdom of Kembayat, Bidasari's real
parents had another daughter named
Sinapati, she looked exactly like her elder
Sister bidasari. One time Diyuhara sent one
of his sons to Kembayat to trade and sell
goods. He saw the princess of Kembayat,
Sinapati, who looked exactly like his
adopted sister Bidasari. He returned to their
kingdom and told his father what he saw,
Diyuhara in turn told this to Bidasari. They
sent invitations to the kingdom of Kembayat.
The rulers of Kembayat and their daughter
went to the kingdom of Indrapura, when
they arrived they saw that the Sultan's wife
looked exactly like their own daughter. They
had finally found their lost daughter, and the
Sultan of Indrapura found out that her bride
was truly a princess.
SUMMARY
The kingdom of Kembayat is threatened by
a monstrous bird, which destroys crops and
human lives. That monstrous bird is the
Garuda, who the humans fear since the
latter is its food.
As they were chased by the Garuda, the
sultan and sultana, who was bearing a child,
ran in separate ways. The tremendous fear
the sultana felt made her gave birth near the
river, who she hid inside a boat and left it
there.
The merchant Diyuhara, who is from
another kingdom, found the child and raised
her. He named the child Bisari. Bisari grew
into a beautiful woman and loved the
merchant who raised her dear.
In Indrapura, a sultan named Mongindra
was married to Lila Sari for two years. Lila
Sari was worried that the sultan would love
another woman, hence, constantly asking
him if he still loves her, to which he replied
yes.
She was not contented with the answer,
thus, she asked with another question if the
sultan would find someone more beautiful
than her and forget her, to which the sultan
replied that she is still beautiful regardless.
Still unsatisfied, she ordered her subjects to
scout the kingdom to see if there are
someone more beautiful than her.
The henchmen found Bisari who was
indeed more beautiful. The Sultana invited
the maiden to the palace to serve as the
sultan’s dame. However, Bisari was
imprisoned by Lila Sari.
When she was unable to resist the
suffering, she told the sultana that she
would fetch a golden fish from her father’s
garden. The fish will serve as a necklace for
Lila Sari and return to the water at night and
Bidasari will die. The sultana agreed and
sent her home.
Lila Sari wore the necklace in the morning
and returned it to the water at night. As told,
Bidasari is buried on the day and returns
back to life at night. Dyuhara was worried
that his daughter would soon die for real, so
he built a palace in the woods and made
Bidasari live there.
One day, Mongindra was hunting in the
woods. He found a wonderful palace and
saw Bidasari lying on a bed. He was unable
to wake her up and returned home. He went
back to the palace another day and waited
until nighttime. Bidasari woke up eventually.
They both talked and the maiden confessed
everything , including Lila Sari’s harsh
treatment. This enraged the sultan who left
Lila Sari to rule his former kingdom and
married Bidasari, who became queen.
POINT OF VIEW
It is a third person’s point of view wherein
the narrator exists outside the events of the
story, and relates the actions of the
characters by referring to their names or by
the third-person pronouns he, she, or they.
It is also known as the Omniscient which is
all-knowing in every detail of action,
thought, and feeling.
NATURE AND PURPOSE
The story depicts how a resolute heart full of
contempt will only lead to the downfall of
those that become overwhelmed by it. Lila
Sari, consumed by her insecurities and
jealousy is dethroned from her position as
the Sultana upon her husband’s discovery
of her misdeeds. While Bidasari who
remains strong in the face of great adversity
and honest in her actions ends up
triumphant despite the personal torture she
was made to endure.
THEME AND TONE
The theme is about jealousy and discontent.
It was shown how Lila Sari was jealous of
Bidasari and discontented with her life. As a
result, she degraded and faced the
consequences of her actions. The tone of
the story is encouraging. It teaches us
lessons about how we should treat people.
If you treat people with goodness and
kindness, you will also be treated with
kindness and respect. But if you treat
people badly, then people will also treat you
badly.
SYMBOLISM AND MORAL
SYMBOLISM:
Bidasari generates meaning from symbolic
contrasts between life and death; human
and animal, being childless and being
fertile; night and day; being asleep and
being awake. While the Queen has the fish,
Bidasari is neither dead nor fully alive, but in
a kind of zombie state. Bidasari is part
human and part animal, in as much as her
soul resides in a goldfish. Being adopted;
she is part daughter and part not-daughter.
She sleeps during the day and wakes
during the night--which contradicts the usual
association of sleep with night and being
awake with the day.
MORAL/MESSAGE:
The message of this epic focuses on the
idea of ​being good to other people and even
not doing evil against others. Because you
don’t know the consequences of your
wrongdoing to other people. Like Lila Sari,
the jealous Sultana of the kingdom of
Indrapura, her husband left her because of
what she did to Bidasari. We also have to
be content with what we have and be happy
with what others have. Contentment means
respecting the reality of the present. It is
appreciating what we do have and where
we are in life.
REFERENCES
● Carenlove (2022). Bidasari. Retrieved
from
● https://proudpinoy.ph/epiko/bidasari-su
mmary-o-buod-author-characters-plot-s
etting/
● Maestro, R. (2020, July 23). Summary
of Bidasari - Summary About The Epic
of Bidasari. Retrieved from
https://philnews.ph/2020/07/23/summar
y-of-bidasari-summary-about-the-epic-i
n-mindanao/
● Pinoy Collection (2022). Bidasari Buod.
Epikong Mindanao. Retrieved from
https://pinoycollection.com/bidasari/
THE CHILDREN OF THE
LIMOKON
(MANDAYA MINDANAO)
TOPIC OUTLINE
● Origin and Background
● Author
● Different Versions of the Epic
● Elements of the story
○ Characters
○ Setting
● The Story
● Point of View
● Nature and Purpose
● Theme and Tone
● Symbolism and Moral
● References
ORIGIN AND BACKGROUND
The Children of The Limokon story is a
creation mythology, which originated in the
Philippines. It explains how the Mandaya
people were created. In Philippine
mythology, the Limokon was believed by the
Mandaya, Bagobo, and Manobo people of
Mindanao to be an omen bird. The origin of
the story is of a very different type from
those of the Bukidnon and Bagobo. While
the others show foreign influence, this
appears to be typically primitive.The
limokon is the omen bird of the Mandaya. It
is believed to be a messenger from the spirit
world which, by its calls, warns the people
of danger or promises them success. If the
sound of this bird comes from the right side,
it is a good sign, but if it is on the left, in
back, or in front, it is a bad sign, and the
Mandaya knows that he must change his
plans. The Mandaya have one of the richest
cultural heritage among ethnic groups. They
are the greatest ethnic group in Eastern
Mindanao.
AUTHOR
The author of The Children of The Limokon
is Mabel Cook Cole. She was an
anthropologist and author.She specialized in
the study of ancient man and in studying the
people of the Philippines. Her collection
Philippine Folk Tales, published in 1916,
was Cole’s attempt to make a thorough
compilation of folk tales from the nation.
Prior to the book’s publication, tales from
the Philippines have been printed in
scientific publications, but these volumes
weren’t for general public consumption.
Cole’s tales shares the wonder, magic and
superstition of the Philippines.
DIFFERENT VERSIONS OF THE EPIC
In Luzon, a blue bird called the
Tigmamanukan was similarly believed by
the Tagalog people to be an omen bird.
ELEMENTS OF THE STORY
Characters:
1. Limokon - a kind dove
2. Tha man- wished to have a
companion and found the other egg
(the woman) and they got married.
3. The egg at Mayo River- the egg that
became the woman
4. The egg at the mouth of the river-
the egg that became the man
Setting
Mayo River - place mentioned in the story
where the limokon laid eggs
The Story
In the early days before there were many
people on the limokon who were very
powerful and could talk like men. They laid
two eggs, one at the mouth of the Mayo
River and one further up its course. After
some time these eggs hatched, and one
became a man and the other a woman. A
man lived alone on the bank of a river and
wished many times for a companion. One
day something was swept against his legs
with such force that it nearly caused him to
drown. He was determined to go up the
river and find what had been swept against
him. They were then married and had
numerous children, the Mandaya, who now
are still living along the Mayo River.
accomplish something then you will surely
be rewarded either through the lessons you
learn along the way, or by achieving your
goal.
SYMBOLISM AND MORAL
SYMBOLISM:
The hair flowing down the stream
represents opportunities that often pass us
by. The man’s desire to grasp this
opportunity given to him albeit the tough
stream draws a parallel to his strong will.
MORAL/MESSAGE:
Remaining steadfast in your convictions will
lead to the result you desire. As all things in
life require a passion or drive to achieve.

POINT OF VIEW REFERENCES

It is a third person’s point of view wherein
the narrator exists outside the events of the
story, and relates the actions of the ● The children of the Limokon. (n.d.).
characters by referring to their names or by Retrieved May 17, 2022, from
the third-person pronouns he, she, or they. https://www.univie.ac.at/ksa/apsis/aufi/f
olk/folk-m01.htm
NATURE AND PURPOSE ●
The connection to the Mandaya and the
Limokon, is the intimate belief of the
Mandaya created created a unique blend of
nature, spirits and man. It attempts to
explain the nature of the world through the
lives and actions of the story. The majority
of these myths were passed on through oral
tradition, and preserved through the aid of
community spiritual leaders or shamans and
community elders.
THEME AND TONE
The theme is about determination and
patience. It was depicted through the man’s
strong ambition to find a companion
irregardless of the uncertainty of the
situation.

The tone of the story, similar to the last

story, is encouraging. It teaches us lessons
about how results can’t be achieved
instantaneously, if you have the drive to