The young man then became a horse, and his father took him to the enchanter, who gave him twenty pesos. As soon as the money was in the father"s hand, he dropped the halter, and the horse at once became a bird which flew away. The enchanter metamorphosed himself into a hawk and followed. The bird was so hard pressed by the hawk that it dived into the sea and became a fish. The hawk followed and became a shark. The fish, being in danger from the shark, leaped out on to the dry ground and took the shape of a crab, which hid in a spring where a princess was bathing. The shark followed in the shape of a cat, which began to search under the stones for the crab, but the crab escaped by changing itself into a ring on the finger of the princess.
Now it chanced that the father of the princess was very sick, and the enchanter went to the palace and offered to cure him for the ring on the finger of the princess. To this the king agreed, but the ring begged the princess not to give him directly to the enchanter, but to let him fall on the floor. The princess did this, and as the ring touched the floor it broke into a shower of rice. The enchanter immediately took the form of a c.o.c.k and industriously pecked at the grains on the floor. But as he pecked, one of the grains changed to a cat which jumped on him and killed him.
The young man then resumed his own form, having proven himself a greater man than his master.
Fletcher Gardner.
Bloomington, Ind.
PART IV
A Filipino (Tagalog) Version of Aladdin.
Once on a time a poor boy and his mother went far from their home city to seek their fortune. They were very poor, for the husband and father had died, leaving them little, and that little was soon spent. The boy went into the market-place to seek for work, and a travelling merchant, seeing his distress, spoke to him and asked many questions. When he had inquired the name of the boy"s father, he embraced him with many kind words, and told him that he was the father"s long-lost brother, and that as he had no children of his own the boy should be his heir and for the present live with him as his son. He sent the boy to call his mother, and when she came he kissed her with many words of endearment, and would have it that she was his sister-in-law, though she told him that her husband had no brother. He treated her well and made her many presents, so that she was forced to believe he really was her brother-in-law.
The merchant then invited the boy to go for a visit with him, promising that the mother should soon follow. Mother and son consented, and the merchant set off with his nephew in the afternoon. They went far and came to a mountain which they crossed, and then to a second, which seemed very high to the poor boy so that he begged to rest. The man would not allow this, and when the boy cried, beat him till he agreed to do whatever he was told. They crossed this mountain also, and came to a third, and on the very top they stopped. The merchant drew a ring from his own finger and put it on that of the boy. Then he drew a circle around the boy and told him not to be frightened at what would happen, but to stretch out his arms three times, and that the third time the ground would open, and that then he must descend and get a tabo [24] that he would find, and that with that in their hands they could quickly return. The boy, from fear of the man, did as he was told, and when the ground opened, went down into the cave and got the tabo. As he reached up his hand to be pulled from the cave, the man took the ring from his finger, and told him to hand up the vessel, but the boy, now much frightened, refused unless he were first helped out himself. That the man would not do, and after much talk drew another circle around the cave-mouth, bade it close, and left the boy a prisoner in most evil plight.
Alone and helpless for three days in the underground darkness, the boy was a prey to awful fear, but at the end of the third day, having by accident rubbed slightly the tabo with his hand, at once a great sinio [25] or multo [26] stood before him, saying that he was the slave of the tabo, and that all things earthly were within his power. At once mindful of his mother, he told the multo to take him home, and in the winking of an eye, still carrying the tabo in his hand, he stood before his mother. He found her very hungry and sorrowful, and recounted all that had happened and again rubbed the tabo lightly. The multo reappeared and the good woman hid her face for terror at the sight, but the lad bade the multo bring him a dinner for them both on a service of silver with everything to match.
After they had dined well for several days on the remnants of the food, the boy went to the market and sold the spoons that the multo had brought for two gold pieces, and on that they lived a long time: and as from time to time their money became exhausted, he sold more, till at last there was nothing left. Then, as he had become a young man, he required the multo to bring him a great chest of money, and soon became known as a very rich and generous person.
Now there was in that city a woman who had a very handsome daughter whom she wished to marry to the young man, and by way of opening the matter, she and her daughter went one day to try to buy some of the rich table ware which he had, or at least so they pretended. The young man was not of a mind for that kind of alliance, and so told the old woman to rub the magic vessel. She did so and the multo at once whisked her inside. The daughter also went in to inquire for her mother, and as she admiringly touched the tabo the multo made her prisoner, and the two became the slaves of the young man and were never heard of again.
A variant of this tale has been printed in Tagalog. It has probably reached the Phillppines through the medium of Spanish.
Fletcher Gardner.
Bloomington, Ind.
PART V
Some Games of Filipino Children.
Os-Os.
This is a game used by older persons to amuse small children, exactly as our game of the "Five Little Pigs."
The child is grasped by the wrist with the left hand of the elder, who repeats "Ang ama, ang ina, ang kaka, ang ali, ang nono, toloy, os-os sa kili-kili mo." That is, "The father (thumb), the mother (forefinger), the elder brother (middle finger), the elder sister (ring finger), the grandparent (little finger) straight up to your armpit." The armpit is then tickled. Os-os is a verb meaning "to go up stream." This is a common game among the Tagalogs of Mindoro Island.
Marbles.
The game of marbles is played with conical sh.e.l.ls, propelled by laying on the ground and striking with the ulnar side of the index finger, which is snapped from the thumb against it. The goal is a hole in the ground, in which the stakes, usually consisting of other sh.e.l.ls of the same kind, are deposited. The "taw" is a straight line some six or eight feet away. If a sh.e.l.l is struck, the owner of the striking sh.e.l.l has another shot, and the owner of the sh.e.l.l struck shoots from where he lies. He seems to incur no penalty.
This is a common game on Mindoro, and is played usually at the beginning of the dry season.
Tago-Tago.
Translated, the name means, "Play at hiding." It is played exactly as "I spy" and the counting out beforehand is similar. There is a considerable number of counting-out rhymes to be heard, only one of which I am able to give entire. It is in Filipino Spanish. "Pim, pim, serapim, agua, ronda, San Miguel, arcangel."
In English, "Phim, phim, seraphim, water, the night patrol, St. Michael, the archangel."
Hop-Scotch.
This game is played by marking out in the dust or sand a parallelogram, which is subdivided into a varying number of compartments. A small stone is put into the first subdivision, and the player, standing on one foot, kicks it into each in turn. If it goes out of bounds he is allowed to kick it back, so long as the other foot does not reach the ground. A failure to complete the circuit entails a loss of turn, and on the next round the player begins again at the first compartment.
Jack-stones.
Is played with pebbles or sh.e.l.ls. I am unable to give the special movements, which resemble very much our own game. I suspect that it is of Spanish origin.
Fletcher Gardner.
Indianapolis, Ind.
PART VI
Bagobo Myths
By Laura Watson Benedict
The following stories were obtained from the Bagobo people, one of the groups of pagan Malays in southeastern Mindanao, Philippine Islands. Their habitat is on the eastern folds of the Cabadangan mountain-range, in the vicinity of Mount Apo, the highest peak, and on the foothills thence sloping down to the west coast of the Gulf of Davao. They practise a primitive agriculture--raising corn, rice, camotes, and several vegetables--in fields and little gardens at the edge of the forests. Their garments are of home-grown hemp; and their artistic interests centre largely around the decorative designs produced in dyeing, weaving, and embroidery.
In spite of physical barriers interposed by mountain-spurs, frequent swift-flowing rivers, and dense undergrowth in the forests, there is considerable intercourse between the small villages, each of which contains from two to twenty or more houses. The people take long journeys on horse and on foot over the trails to a.s.semble at ceremonial festivals and for purposes of trade, as well as for social visiting. On such occasions, stories and songs are repeated.
That the component parts of the stories have been drawn from numerous and widely separated sources, is apparent, even at a cursory glance. Among these sources, the folk-lore material of Sanscrit writers seems to have left a distinctive impress upon the Bagobo mythical romance. Against a Malay background, and blended with native pagan elements, are presented chains of episodes, characteristic personalities, methods for securing a magical control of the situation, that suggest vividly parallel literary forms in the Sanscrit saga. Still more, one is conscious of a prevailing Indian atmosphere, that may sometimes elude a.n.a.lysis, yet none the less fails not to make itself felt. But as to the line of ethnic contacts which has transfused this peculiar literary quality into Malay myth,--whether it is to be traced solely to the influence exerted by Hindoo religion and Hindoo literature during ages of domination in the Malay archipelago, or whether we must reconsider the hypothesis of an Indonesian migration,--this is a problem of great complexity, for which no satisfactory solution has yet been offered.
Modern foreign increments that have filtered into the stories from the folk-lore of neighboring wild tribes--notably that of the Bilan, the Tagacolo, and, to a less extent, the Culaman and Ata--will have to be sifted out eventually. In ill.u.s.tration of this point, one tale known to be outside of Bagobo sources is here introduced. The story of "Alelu"k and Alebu"tud" was told by an Ata boy to a Bagobo at the coast, who immediately related it to me. It was unquestionably pa.s.sed on in Bagobo circles, and has become a permanent accession. Yet this was the sole case that came under my observation of a social visit made by an Ata in a Bagobo house; for the Ata live far to the northwest of the Bagobo, and are extremely timid, and "wild" in the popular sense. Recent ethnic influences from higher peoples, pre-eminently the Moro and the Spaniard, will have to be reckoned with. The story of "The Monkey and the Turtle" is clearly modified from a Spanish source.
The myths here presented include only those of which no texts were recorded. A part of the material was given in the vernacular and interpreted by a Bagobo; a part was told in English, or in mixed English and Bagobo. The stories were taken down in 1907, on Mount Merar in the district of Talun, and at Santa Cruz on the coast.
As regards subject-matter, the stories (ituran [27]) tend to cl.u.s.ter into groups fairly distinguishable in type. Foremost in significance for the cultural tradition of the people is the ulit, a long, romantic tale relating in highly picturesque language the adventures of the mythical Bagobo, who lived somewhere back in the hazy past, before existing conditions were established. Semi-divine some of them were, or men possessing magical power. The old Mona people; the Malaki, who portrayed the Bagobo"s ideal of manhood; and the n.o.ble lady called Bia,--these and other well-marked characters figure in the ulit.