TABLE OF CONTENTS

I. Definitions of Oral Lore from Pre-Colonial Times

II. Brief Historical Background of the Period
A. Riddles and Proverbs

B. Myth
a. Tungkung Langit and Alunsina
b. The Great Flood
c. The Second Creation

C. Folktales
a. The Story of the Orphan Girl
b. The Monkey and the Turtle

D. Legend
a. How the Angels Built Lake Lanao

E. Epic
a. Lam-ang
b. Tuwaang Attends a Wedding
c. Hinilawod
d. Bantugan
e. Indirapatra at Sulayman

III. References
 II. Oral Lore from Pre-Colonial Times (— 1564)

I. Definitions:
Oral Lore
 Oral means through the word of mouth, and lore means the knowledge and
stories, usually traditional, about a subject.
 Also called “oral tradition”.
 Form of human communication wherein knowledge, art, ideas, and cultural
materials are received, preserved, and transmitted orally from one generation to
another.
 The transmission is through speech or song or may include folktales, ballads,
chants, prose or verses.
 Made it possible for a society to transmit oral history, oral literature, oral law, and
other oral knowledge across generations without a writing system (or in parallel to
a writing system).
Pre-colonial Literature
 Refers to the literature of the ancient inhabitants of the Philippines before the
colonial period.
 Folks, tales, epics, poems, and marathon chants existed in most ethnolinguistic
groups that we passed from one generation to another through word of mouth.
 Pre-colonial inhabitants of the Philippine islands showcase a rich past through
their notable literature which affirms our ties with our Southeast Asian
neighbours.

II. Brief historical background of the period

 First period of the Philippine literary history is the longest.
o Discovery of the “Tabon Man” in a cave in Palawan in 1962 has stretched
Philippine pre-history as far as 50,000 years back.
o Much can be reliably inferred about precolonial Philippine literature from
an analysis of collected oral lore of Filipinos. Especially whose ancestors
were able to preserve their indigenous culture by living beyond the reach
of Spanish colonial administrators.
 The oral literature of the precolonial Filipinos bore the marks of the community.
o Subject was invariably the common experiences of the people constituting
the village-food-gathering, creature and objects of nature, work in the
home, field, forest or sea, caring for children, etc.
 The language of oral literature was the language of daily life.
o Any member of the community was a potential poet, singer or storyteller
as long as they knew the language.
 Pre-Colonial period literature characterized based on oral traditions, crude on
ideology and phraseology.
 Pre-colonial literary pieces transferred in traditional narratives, speeches, and
songs. Consisted of both written and oral literature.
o Baybayin (to spell), an inscription akin to Sanskrit, was the pre-colonial
writing system in the Philippines, which for many years the script was
incorrectly referred to as “alibata”.
  Of Asokan origin, consisted of 17 letters: 3 Vowels (a, i-e, u-o) +
14 consonants (b, d, g, h, k, l, m, n).
 The script was used not only to record but also to write poetry,
incantations, and letters. The bulk of these early literature,
however, was just passed on through oral recitation and
incantation, and were transcribed into the Roman alphabet only
centuries later by Spanish chroniclers and other scholars.
- It is believed that replacement of the baybayin by the
Roman alphabet must have obliterated a significant aspect
of indigenous Philippine literature.
 Syllabary fell into disuse among the Christianized Filipinos which
led to loss of valuable information about pre-colonial literature.
 Two ways by which the uniqueness of indigenous culture survived colonization:
(1) resistance to colonial rule, and (2) inaccessibility of settlements.
o How the Maranaws, the Maguindanaws, and the Tausogs of Mindanao and
Igorots, Ifugao, Bontocs and Kalingas of the Mountain Province were able
to preserve the integrity of their ethnic heritage. And how the Tagbanwas,
Tagabilis, Mangyans, Bagobos, Manuvus, Bilaan, Bukidnons, and Isneg
could cling on the traditional way of life.
 These descendants of ancient Filipinos who did not come under the
cultural sway of Western colonizers that we turn when we look for
examples of oral lore.
o Oral lore they have been preserved are the likes of epics, tales, songs,
riddles, and proverbs that are now windows to a past with no written
records which can be studied.

A. RIDDLES AND PROVERBS

a. Riddles
 These are statements that contain superficial words, but they function
figuratively and as metaphors and are in the form of questions.
 These are questions that demand deeper answers, and are used to test the
wits of those who are listening to them. Riddles were usually used in a
battle of wits and alertness of minds, where locals—young and old—join
and/or watch to see who is the smartest.
 Usually deals with everyday life, and usually has mundane things as
answers.
 Filipino riddles is characterized by their flippant nature—they seem to be
referring to something laughable, but in reality, the answer is more serious
than expected.
 Tagalog riddles are called bugtong, while the Ilocanos call these
burburtia. Usually, riddles are made to rhyme and utilize the talinghaga, a
form of metaphor whose signification eventually conveys the meaning of
the answer to the riddle.

Examples of Riddles:
Bisaya
Baboy sa lasang
(A wild pig of the forest)
Ang tunok puro lansang
(Is covered with spikes)
Others:
Nagtago si Pedro
(Pedro hides)
Pero nakalabas ang ulo
(But his head is exposed)
 Isda sa Marevilis
(Fish in Marevilis)
Nasa loob ang kaliskis
(Its scales are inside)

 Sometimes, the riddles are relayed through familiar indigenous forms of

poetry such as the ambahan, which is a mono-rhyming heptasyllabic
poem attributed to the Hanunuu-Mangyan ethnic group in Mindoro.
 A poetic form similar to the ambahan is the tanaga. Unlike the ambahan
whose length is indefinite, the tanaga is a compact seven-syllable quatrain.
o Poets test their skills at rhyme, meter and metaphor through the
tanaga because not only is it rhymed and measured but also exacts
skillful use of words to create a puzzle that demands some kind of
an answer.

b. Proverbs
 Proverbs were used in conversation, in story-telling, or merely as a means
of clarifying points made, or intensifying the meaning of words and
sentences.
o To express broader truths, proverbs often use metaphors.
 They are simple and concrete saying, popularly known and repeated,
which expresses a truth based on common sense or experience.
 These has been customarily used and served as laws or rules on good
behavior by our ancestors. To others, these are like allegories or parables
that import lessons for the young ones.
 These are statements that are considered as wise, which are usually given
by parents or elders of the community to inculcate wisdom or life lessons.
 Philippine proverbs contain sayings which prescribes norms, imparts a
lesson or simply reflects standard norms, traditions and beliefs in the
community.
 Tagalog proverbs are called salawikain or sawikain while they are termed
sarsarita in Iloko.
 Professor Damiana Eugenio classifies Philippine proverbs into six groups
according to subject matter.
o These are: (1) proverbs expressing a general attitude towards life
and the laws that govern life; (2) ethical proverbs recommending
certain virtues and condemning certain vices; (3) proverbs
expressing a system of values; (4) proverbs expressing general
truths and observations about life and human nature; (5) humorous
proverbs and (6) miscellaneous proverbs. From her study, Eugenio
observes that it is possible to formulate a fairly comprehensive
philosophy of life of the Filipino. The following proverb for
instance, which is one of the most popular, signifies the importance
of looking back at one’s roots and origins. In a way, this proverb
also echoes the Filipino value of “utang na loob” or one’s debt of
gratitude to those who have contributed to his or her success.

Ang hindi lumilingon sa A person who does not remember

pinanggalingan hindi makararating where he/she came from will never
sa paroroonan. reach his/her destination.
B. MYTH
 Stories
- A myth is a story, a traditional story that was made up by people who wanted
to explain how or why our world works, how it came to be, who we should
treat each other’s, why hurricanes happen, and so on.

 Oral histories
- Myths were sort of like our ancient ancestors' version of science. Myths
explained how natural events occurred like where thunder comes from or why
snow falls from the sky and are set in really ancient times; before history even
began.

 Shared culture
- These myths are generally passed on from parents to kids, and when those
kids grew up to be parents, they would also tell their kids, and so on.
The main characters in myths are usually gods, demigods, or supernatural humans. This
is why myths are closely linked to religion and they confirm society’s religious values
and norms.

A. Tungkung Langit and Alunsina

Author
Rene O. Villanueva (September 1954–December
2007) was a Filipino Dramatist and Children's Story
Writer who made his mark in Philippine Literature in
the late 1970s and well into the first decade of the 21st
century. He had a remarkable contribution to Filipino
culture as shown in his prolific output which generates
continuing interest in his plays and books for young
people.
Rene O. Villanueva

I. Summary
In the beginning, there were two gods: Tungkung Langit and Alunsina.
These gods were in love and they were married. While Tungkung Langit was
away for his jobs, Alunsina was only idle, used all her time to beautify her hair
and appearance and doubted Tungkung Langit's faith in love.
She started getting jealous and sent some breeze to spy on Tungkung
Langit.
Tungkung Langit found out, confronted Alunsina and sends her away.
After the gods' quarrel, Alunsina ran away from her beloved partner and never
came back. She vanished forever.
Tungkung Langit terribly missed her, became depressed and looked for
Alunsina but he just got upset every time he tried to find her.
Because of this, he made wonderful seas, the earth, flowers and trees to
attract Alunsina. Tungkung Langit thought he would succeed and would make
Alunsina come home but she didn't.
 Tungkung Langit, then, used Alunsina's jewels to add stars in the skies
and lastly, her favorite comb as the moon to add the brightest light in the night
sky.
II. Story Elements
A. Characters
 Tungkung Langit- is the supreme god and ruler of Ibabawnon (Upperworld)
 Alunsina- is the wife of Tungkung Langit also the goddess of jealousy
B. Settings
 Long time ago, in Ethereal Space.

C. Conflict
 Alunsina was a jealous Goddess and because she was jealous, she sent
someone a spy to the sea breeze to follow Tungkung Langit that made
Tungkung angry.
D. Plot
Exposition
 The world is made of mist of formless and shapeless things from this
confusion rose two Gods, Tungkung Langit and Alunsina.
Rising Action
 Tungkung Langit took the responsibilty in writing the world
Climax
 Tungkung Langit found out that, Alunsina sent someone a spy to the sea
breeze to follow him and he was not pleased.
Falling Action
 Tungkung Langit became very lonely but he doesn’t know where to find
Alunsina.
Denouement
 Tungkung Langit made the sea and the earth and he filled it with trees and
flowers.
E. THEME
 Love
 Trust

B. The Great Flood (Tinggians)

Author
He was never called Felipe. He was always F.Landa.
F. Landa Jocano, National Scientist, Professor Emeritusand
eminent anthropologist, passed away on Sunday, October
27due to cardiac arrest. News of his passing saddened many
in UP,for no one expected that after the long weekend they,
especiallyhis former students, would be paying their last
respects to the Man whom National Artist forLiterature F.
Sionil Jose Dubbed as “the country’s foremost cultural
anthropologist.” Jocano was known for his pioneeringworks in the field of Philippine
anthropology, themost notable of which was documenting andtranslating the Central
Visayan folkepic Hinilawod. F. Landa
Jocano
I. Summary
One day, Aponi-tolau went down on the lowlands. He wandered aimlessly
through the plains until he reached the seashore. Until he came to the edge of the
world. He saw a towering rock in that place. The mountain lord was attracted by
the nine beautiful guards who was playing around the palace gates. Aponi-tolau
inquired what place it was and the maiden guards laughed at him and lured him
further inside the palace walls. This made him very angry and lashed his magic
hook at the unsuspecting maidens. He hit the youngest and the most beautiful
among them. The young diwata gave allowed and piercing scream and struggle
desperately to free herself from Aponi-tolau's grip. A wild uproar followed as the
guards screamed and field the gates. Tau-mari-u went out of his abode to see what
the commotion was all about but it was too late. Tau-mari-u get mad. He
immediately called a meeting of the gods and demigods of the seas and oceans.
Lang-an knew the plan. He warned her son and instructed mountain lord to go to
the highest peak of the Cordillera mountains. The flood came higher and higher.
Humitau give a desperate cry because she know that she can't swim and no longer
live in the water. Despite his anger, the water lord took pity upon his favourite
Humitau. When the water subsided, Aponi-tolau and his wife went down to the
lowlands and from them the people came of the world.
II. Story Elements
A. Characters
 Tinggians- a group of pagan people living the interior hills of abra.
 Aponi-tolau- mountain warrior
- God-hero of the Tinggians
 Humitau- a sea-maiden guard of the lord of the sea.
 Tau-mari-u - lord of the sea
 Lang-an - mistress of the wind and rain
- mother of Aponi-tolau
 Nine Beautiful Guardians- the daughter of Tau-mari-u

B. Settings
 Cordillera Mountains
 The edge of the world. There in a place where the sea and the sky meet, there's
a towering rock, home of Tau-mari-u

C. Conflict
 When the maiden guards laughed and lured Aponi-tolau that made him angry
and hurt Humitau.

D. Plot
Aponi-tolau go to the towering rock humiliated with a beautiful guards. A wild
uproar followed as the guard screamed and fled the gates. Aponi-tolau hurriedly
picked up the unconscious body of the sea maiden, loaded it on his rattan raft and
rowed shoreward.
Tau-mari-u knows the commotion be punished the dwellers of the land and brings
destructive waves to the land. But Lang-an knows it and told it to her son that they
must go to the mountain of cordillera and be saved by the flood.
 The flood came and destroy the villages, plants, animals and its inhabitant.
Humitau gave a desperate cry because she have already became an ordinary person
when she tasted the mountain food that her husband given to her. She can no longer
swim or live in the water.
Tau-mari-u took pity upon his favorite Humitau. So he called back the water and
waves. But he promised that henceforth he would sinks men's boats and drown
passengers until Aponi-tolau crime would the appeased. When the water subsided,
Aponi-tolau and his wife went down to lowlands and from them came the people of
the world.
E. Theme
 People who makes mistake should always be forgiven.

F. Moral lesson
 Learn to forgive
 Control our anger

C. The Second Creation (Tiruray)

Author

Tiruray (Tirurai) or Teduray are predominantly pagan people in the western

part of Cotabato province, central Mindanao, Philippines that is studied by…
Stuart Schlegel is an anthropologist who spent nearly 2 years in the mid-1960s in
a Philippine rainforest with the Teduray people (known until recently as "Tiruray) -- and
wishes he could have never left! He was given recognition by the Philippine
Anthropological Association for his lifetime of Philippine research in 2002. He was born
on December 11, 1932 and died on November 8, 2018 at the age of 85. He was a
professor and an Episcopal priest who was active in community peace and justice
programs. Stuart is also an author of numerous books and scholarly articles in several
languages that mostly concerns the Teduray rainforest including The Myth of The Second
Creation as part of "Tiruray Constellations: The Agricultural Astronomy of a Philippine
Hill People in 1967.
The Second Creation, a Tiruray myth, explains the origin of the “Tiruray
Constellations”, which the Tirurays use as basis for their traditional agricultural calendar.
The tribes people, who live in the northwestern part of South Cotabato in the island of
Mindanao, claim that by studying the position of certain heavenly bodies and omen calls,
they get signals for the cultivation cycle particularly for the marking of swidden sites.
I. Summary
In during the days of Lagey Lengkuwos the people were undergoing
hardships with their farming. They did not yet have the right knowledge of
farming, which included knowing when the winds would be right for burning,
when the rains would come to signal the start of planting, and how to tell good
and bad omens that could spell the difference between success and failure in
swidden agriculture. It is said that Lagey Lengkuwos, who was the leader of all
human beings in the world, was only too aware of the people’s predicament. Near
his place, there was a settlement where six farmers lived. They had a pet bird, a
forest dove known as the lemugen. The time came for Lagey Lengkuwos to lead
his people to the celestial abode of Tulus, since their stay in the world was
finished. But Lagey Lengkuwos, who indeed wanted a second creation of human
beings in the world to clear the forests, did not want the next people to have such
a difficult time farming. He asked two things of the six farmers: that they leave
their pet bird lemugen behind so that it could give the necessary bird omen-calls
for the next generations of swidden farmers; and that they live in the sky as
constellations forever or for as long as there is a world peopled by swidden
farmers. Since then, the lemugen bird has given omens to the farmers to let them
know what to do and what not to do, while the six constellations have appeared
regularly to signify seasonal changes that guided the people in the agricultural
cycle of burning, planting, harvesting, and letting the land lie fallow.
II. Story Elements
A. Characters
 Tiruray– it is the people who believe that a religious leader will lead them into
the land of Tulus
 Lagey Lingkuwos– their greatest legendary hero
 Three Unmarried Men: Kufukufu, Baka, and Seretar (don’t include: they were
cousins)
 Keluguy -“the widower” and the leader of the settlement, his nickname
“Fegeferafad”
 Singkad - the group only married man who live in his wife
 Kenogon - Sinkad’s Wife
 Lemugen – a forest dove

B. Settings
 Land of Tulus or Sualla (it is a farm and forest like place)

C. Conflict
 People have difficult time in their farming
D. Plot
Introduction

 During the days of the legendary Lagey Lingkuwos, people had a trouble that
concerns with their farming. They wanted to impress Tulus yet unsuccessful
as they’re unsure predicting the rainy season, the winds for burning, when is
the right time to plant and other agricultural problems.

Rising Action

 Lagey was aware of the unfortunate experiences and struggles of the people.
Determined to do something, the six people who lived near the settlement who
 are his followers whom he lead to the place beyond the sky and asked the
special favors of the six people.
Climax

 Knowing that Tulus would not leave the world without human beings to make
swiddens in the forests, and wanting the next creation to have an easier time
than the last. He asked those six followers to leave their pet bird behind in the
forest, where its call could become the needed giver of omens and also asked
them to remain in the sky.
Falling Action

 They agreed both request from their leader. The lemugen’s call gives the
farmers much needed agricultural omens and the six constellations move
across the night sky, assisting this new creation of people to properly anchor
their swidden cycle.
Denouement

 That six constellations is the six followers who seem like themselves, to be
always proceeding to work in their swiddens - the three young cousins ahead,
followed by their uncles and headman. A sign that farmers used as an anchor
in the annual round of seasons.

E. Point of View
 3rd person

F. Theme
 Sacrifice, Obedience and Good Leadership

C. FOLKTALES
 A folktale is an old story that's been told again and again, often for generations. If
you're interested in learning more about your heritage, you might read some
folktales from the country in which your great-great-grandparents grew up.

 Folktales are stories in the oral tradition, or tales that people tell each other out
loud, rather than stories in written form. They're closely related to many
storytelling traditions, including fables, myths, and fairy tales. Every human
society has its own folktales; these well-known stories, handed down between
generations, are an important way of passing along knowledge, information, and
history.

A. The Story of the Orphan Girl

Author
The writer of this story is Emerson B. Christie. He
was a government official and ethnologist. He was born in
March 17, 1878 and died on November 29, 1967. A linguist
and teacher in the Philippines from 1901 to 1904.He was
became an assistant in the Ethnological Survey of the
Philippines from 1904 to 1907.In 1901, he wrote the
Subanons of Sindangan Bay. He also worked with the
Subanon people of the Philippine Island. He worked for the
State Department as a special assistant and was a Chief of its Translation Bureau between
1928 to 1944. And lastly, he also worked to mediated the ‘’Chaco’’ boundary between
Bolivia and Paraguay.

I. Summary
In the beginning of the story, the orphan girl dreamed about a beautiful woman
who warned her to leave her place. The girl did not act upon on it. On the dawn of the
third day, a giant spider approached her and reminded her about the dream and so the
girl quickly put her clothes on and start running. As soon as they reached the well, the
spider had pointed out the direction to where the girl should flee and so she fled up to
path he had pointed out, for she was now filled with terror. Quickly, the Manamat
chased her until she reached the top of the ridge. On the second day, she saw a hut
from where a young man lives and because of exhaustion, the girl fell on the floor.
One of the Manamat tried to seize the widow’s son by the waist, but receiving a great
blow and so was killed. The fight went on between the serving man and the widow’s
son on one side until all the latter were killed, save the chief the Gunluh, whose name
was Makayaga. The sultan heard about the orphan girl and send a representative to
ask her hand for his son but the widow’s son refused. The sultan asked his men to kill
the widow’s son but the Shareef and the wise men reminded him that he should not
kill the widow’s son. The marriages were arranged between the widow’s son and the
orphan girl and the sultan according to the line of his hands, will marrya beautiful
woman in Mecca.

II. Story Elements

A. Characters
 The orphan girl
 The widow’s son
 Manamat
 Sultan
 Shareef
 The huge spider
 The beautiful woman
 Makayaga

B. Settings
 The setting of the story is at somewhere in Zamboanga Peninsula

C. Conflict
 When manamat want to devour the orphan girl and the sultan ask her hand for
his son but the widows son refused to let the girl because he believes it’s not
right to marry her without consulting her relatives.

 When the sultan asks one of his men to bring him into his presence. He
ordered to kill the widows son because he refused to let the girl marry the
sultans son, saying that she might have relatives somewhere and it was not
right to marry her without consulting them. When the wise man said the
widows son should not be killed. The spirit of wise man in Mecca comes to
the house of the chief to make peace between the sultan and the young man.
D. Plot
 The story started when the sultan of the neighboring region heard of the
orphan girl, for she was very beautiful, with straight eyebrows, and very
skillful in all womanly arts, such as weaving.

E. Theme
  There are several themes portrayed in the story "the orphan girl" of Emerson
B. Christie. One of the major themes that has been clearly elucidated from the
written piece is the essence of love. As we all know, the story talks about the
tragic love of an orphan girl and the widow’s son. The widow’s son fought a
good fight for love with such bravery in his heart to protect the orphan girl.

B. The Monkey and the Turtle

Author
Dr. Jose Rizal wrote the fable symbolizing the
colonization of Spain in the Philippines in the 1500s when
Ferdinand Magellan, a Portuguese explorer, reached the
Philippine archipelago in 1521. On July 21 is National
Children’s Book Day in the Philippines. It also marks the
date when Jose Rizal published in English the tale of The
Monkey and the Turtle in the July 1889 issue of Trübner’s
Oriental Record in England.

Dr. Jose Rizal

Originated
The "The Monkey and the Turtle" originally known as (Ang Pagong at ang
Matsing) (Tagalog Folktales Ang Pagong at Ang Matsing) in Tagalog was written by a
Filipino hero, Dr. Jose Rizal, It was considered the first children's folktale in the
Philippines.
Culture
During the 18th century the Spanish people are took control of the Philippines.
The Filipinos planted crops and raised animals to survive, and they have to hide because
the Spanish people will steal their plants and animals and force them to work. Sometimes
the Filipinos are forced to steal because they have nothing to eat. The Monkey and the
Turtle did the same thing but the monkey is selfish and stole the turtles plants.
I. Summary
Near a riverbed, monkey and a turtle first found a banana tree and agreed to split
the tree into two. The monkey took charge and chose the upper half of the tree that
had completely grown bananas at the time, leaving the turtle with the rooted lower
half. The turtle and the monkey met again after some time and shared stories about
the results of their planted tree. The monkey’s half wilted and died, and the half the
turtle planted grew and flourished. In spite of the fact that the turtle tree bears fruit, it
could not climb, so the monkey decided to reap the fruit in return. Sadly, when on the
tree, the monkey consumes all the bananas, throwing the skins down on the turtle.
Angry and deceived, the turtle placed sharp snails along the base of the tree and hid.
After eating all the fruits, the monkey finally climbed down the was wounded by the
sharp snails. The monkey found the turtle out for vengeance and gave the turtle two
choices as punishment; to be crushed with a mortar or thrown into the water. The
wise turtle picked the mortar and claimed to be terrified of drowning. As a result, the
turtle is thrown into the water by the monkey, where the turtle later emerged from the
water laughing.

II. Story Elements

 A. Characters
 the monkey
- antagonist
- strong
- clever
 the turtle
- protagonist
- smart
- hardworking
- weak

B. Settings
 The story happen in a broad daylight near in the river.

C. Conflict
 The conflict is that the Monkey climb the tree of Turtle which bear a banana
fruits but sad to say the greedy and selfishness Monkey cheat to the turtle and
never give fruit to the turtle that waiting to the ground.

D. Plot
 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. It turns out, he did
not share any good fruit with the turtle. So, to get even with the monkey, the
turtle nailed thorns and susông-paitan (a kind of snail with a small and pointed
shell as its house) on the trunk of the banana tree, and went to hide under a
coconut shell. The monkey found the turtle out for vengeance and gave the
turtle two choices as punishment; to be crushed with a mortar or thrown into
the water. The wise turtle picked the mortar and claimed to be terrified of
drowning. As a result, the turtle is thrown into the water by the monkey,
where the turtle later emerged from the water laughing.

E. Theme
 The weak but cunning can be a lot stronger than the strong but stupid. One
shouldn’t be daunted by the apparent strength of a stronger foe, and instead,
use one’s intellect.

F. Moral lesson

 It taught us not to be selfish because it is better to give than to receive. We

need to share our blessings especially to those who is in need of our help.
Treating our friends with utmost kindness was also emphasized. Contentment
was also highlighted in the story where we should be satisfied on the things
that we have.

D. LEGEND
 Believed to be historical but cannot be verified as true. Legends are stories handed
down through generations. These stories are often about famous persons or
events. These may tell of an encounter with marvellous creatures, which the folks
still believe in fairies, ghosts, water spirits, the devil, and the likes. Its meaning
stems from the Medieval Latin term legenda, meaning “things to be read” and
from the Latin legendus.
A. How Angels Built Lake Lanao
Author
This version is narrated by Gregorio F. Zaide. Born
on May 25, 1907 and died on October 31, 1988 at the age
of 81. He was a Filipino historian, author, politician from
the town of Pagsanjan, Laguna. He was known as ‘the
Dean of Filipino Historiographer’ as he also published and
authored some 67 books and 500 articles on history which
were later adopted as textbooks for high schools and
colleges. He was the first Asian to win the United Nations
Study award in 1957.
Gregorio F. Zaide

I. Summary
Archangel Diabarail reported to Allah the imbalance of the Earth because of
Mantapolis' fast-growing population. Sebangan (East) where Mantapoli belongs, was
heavier than Sedpan (West). Allah ordered Diabarail to transfer Mantapolito the
center of the earth with the help of the Angels from the Seven-Regions-Beneath-the
Earth and Seven-Regions-in the-Sky. On the vacated space, Lanao Lake surfaced.
But, water from Lanao Lake were rising fast so Sohara commanded the Four Winds
of the World, Angin-Taupan, Angin-Besar, Angin-Darat,and Angin-Sarsar, to make
an outlet, otherwise, His people will be drowned. The winds blew their best but with
no avail. They cannot make outlet through Tilok Bay because the towering ranges
slow them down, nor through Sugud Bay because it was too far from the sea.
Towards Marawi, after three trials they succeeded to make the outlet called Agus
River and over the cliff the waters cascaded in majestic volume. Thus, arose the
beautiful Maria Christina Falls.
II. Story Elements
A. Characters
 Sultan Abdara Radawi - the great grandfather of Radia Indarapatra; the
mythological hero of the Lanao Muslims and the sultan of Mantapoli
 Archangel Diabarail – the angel version of Gabriel to Christians
 Sohara - the voice of Allah
 Angels – the Seven-Regions-Beneath-the Earth and the Seven-Regions-in-the-
Sky
 Four Winds of the World - Angin-Taupan, Angin Besar, Angin-Darat and
Angin-Sarsar

B. Settings
 Long time ago in Lanao

C. Conflict
 Over population of Mantapoli and the fear of it over turning the Earth that
leads to lifting and placing it in the center.

D. Plot
Introduction

 Long ago there was no lake in Lanao on the place where it is now situated.
There flourished a mighty sultanate called Mantapoli. During the reign of
Sultan Abdara Radawi, this realm expanded by military conquests and by
dynastic marriages so that in time its fame spread far and wide.
 Rising Action

 The world was divided into two regions: Sebangan(East) where Mantapoli’s
belongs was heavier because of numerous and fast increasing population
compare to Sedpan(West). This disequilibrium soon came to the attention of
Archangel Diabrail who flew to the Eighth heaven like a flash of sunlight and
talked to Allah.
Climax

 Allah ordered Diabarail to transfer Mantapoli including its people, houses,

crops and animals to the center of the earth with the help of the Angels from
the Seven-Regions Beneath-the Earth and Seven-Regions in-the-Sky. On the
vacated space, Lanao Lake surfaced.
Falling Action

 But the water from Lanao Lake were rising fast so Allah commanded the Four
Winds of the World, Angin Taupan, Angin Besar, Angin-Darat, and Angin-
Sarsar, to make an outlet. Otherwise, His people will be drowned.
Denouement

 The winds blew their best but with no avail. They cannot make outlet through
Tilok Bay because the towering ranges slow them down, nor through Sugud
Bay because it was too far from the sea. Towards Marawi, after three trials
they succeeded to make the outlet called Agus River, where Maria Cristina
Falls arose.

E. Point of View
 3rd person

F. Theme
 Creation, Obedience, Persistent

E. EPIC
 It is imperative to know the etymology of the word epic. The word epic has been
derived from the Greek word epikos, which means a word, song or speech. An
epic is well-defined as a long story in verse dwelling upon an important theme in
a most elegant style and language.
 According to Webster’s New World Dictionary, “epic is a long narrative poem in
a dignified style about the deeds of a traditional or historical hero or heroes;
typically a poem like Iliad or the Odyssey with certain formal characteristics.”

A. Lam-ang
Biag ni Lam-ang ( 'The Life of Lam-ang') is an epic story 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 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.
Author
 Pedro Bukaneg (March 1592 – c. 1630) was a Filipino poet. He is considered the
"Father of Ilocano literature." Blind since birth, he is the believed to have authored of
parts of the Ilocano epic Biag ni Lam-ang (Life of Lam-ang).

Pedro Bukaneg
I. Summary
Lam-ang is an epic that portrays the life of a young man who possesses
supernatural qualities at a very young age. As a summary, in the quiet place of
Nalbuan, Igorot invades the area of Don Juan and Namongan, Lam-ang's parents.
Their land was affected which convinces Don Juan to punish the enemies by going to
their village. He left Namongan and never came back home even though Lam-ang
was born. Lam-ang looked for his father which made his mother confess that he left
to look for his Igorot enemies. He decided to leave and started to look for his father
but unfortunately, he found his head being hung by enemies. Due to his anger, he
killed them all.
Later on, Lam-ang heard about the beautiful maiden Ines Kannoyan, the daughter
of the richest man in their place. He wanted to pursue her, and he does by even
pressing Sumarang, his rival in heart of the maiden. Ines’ parents ask to double their
wealth and do other traditional norms in accomplishing woman's hand, and Lam-ang
succeeds in doing so.
As part of the tradition for newly married man swim is to 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.
II. Story Elements
A. Characters
 Don Juan Panganiban – the father of Lam-ang; the husband of Namongan
 Lam-ang – the main character in the epic
 Sumarang – the suitor of Ines Kannoyan; the rival of Lam-ang
 Marcos – the diver who helped in collecting the bones of Lam-ang
 Namongan – the mother of Lam-ang
 Ines Kannoyan – the daughter of the richest man in Kalanutian; the girl who
Lam-ang fell in love with Lam-ang
 Igorots – suspect of death of Lam-ang ‘s father
 White Rooster – Lam-ang best friend
 Gray Dog - Lam-ang best friend
 Sarindang - she tried to seduced Lam-ang

B. Settings
 Nalbuan, La Union – Lam-ang’s land
 Kalanutian – place near to Ines’ residence
 Amburayan River – where Lam-ang take a bath
 House of Ines Kannoyan

C. Conflict
  The conflict in the story is when Don Juan went to the mountains in order to
punish a group of Igorot enemies. Lam-ang went to his father disappeared
then he fought for his father's enemies, After nine months of waiting for his
father to return, Lam-ang decided he would go look for him.

D. Plot
Exposition

 Igorot enemies invaded Nalbuan.

Rising Action

 Lam-ang made revenge to Igorots for his father’s death.

Climax

 Lam-ang won against Igorots. Lam-ang heared about a beautiful maiden, he

decided to go to Kalanutian to court Ines Kannoyan.
Falling Action

 He defeated Sumarang, his rival for Ines even get rid of temptation of
Sarindang. The parents agreed to a marriage with their daughter if Lam-ang
would give them a dowry valued and double their wealth. Lam-ang had no
problem fulfilling this conditions and he and Ines were married.
Resolution

 He was eaten by Berkakan while doing the tradition but 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.

E. Theme
 Bravery
 Courage
 Love
 Death and Life

B. Tuwaang Attends a Wedding

Tuwaang Attends A Wedding is the hero of several epics or songs of the Bagobo,
indigenous group of southern Mindanao, which has several sub- groups. Anthropologist
E. Arsenio Manuel was able to acquire and publish two songs in the late 1950s to 1970s,
The Maiden of the Buhong Sky, A Complete Song from the Manuvu Bagobo Folk Epic
Tuwaang and Tuwaang Attends a Wedding, with key informant Saddani Pagayaw, who
learned the epics from the bard Inuk.

Author
Arsenio Manuel was born in Santo Domingo, Nueva Ecija to a Filipino-
American War veteran. He earned his Ll. at the University of Manila in 1935, his M. at
the University of the Philippines in 1954, and his Ph. at the University of Chicago in
1969. His numerous awards include the 1989 CCP Gawad Para sa Sining, the 1991
National Social Scientist Award, and the 2000 Dangal Alab ng Haraya Award by the
National Commission for Culture and Arts for a lifetime achievement in cultural
research.
 His more-than-half-a-century work in anthropology includes research and
documentation of the Manuvu community in Mindanao and the discovery and publication
of three ethno-epics from three ethnic groups: the Manuvu, the Matigsalug, and the
Ilianon. He also studied Bagobo folklore and made a survey of Philippine folk epics. His
work greatly enriched Philippine anthropology, history, literature, and linguistics.

I. Summary
Tuwaang Attends a Wedding is a Manobo epic that discusses the life of Tuwaang.
To start, Tuwaang heard about the wedding of the Maiden of Monawon. As he is
determined to go, even his aunt failed to dissuade him.
He completely attired himself and brought his shield and spear. Along the way to
Kawkawangan grassland, he met the gungutan bird and decided to go together to the
wedding.
Young men from different lands attend the wedding, especially the groom—the
Young man of Sakadna arrived and shamelessly asks the owner of the house from
dirt. As preliminary activity starts, savakan (bride-wealth consisting of articles and
wrapped food to be paid for by the groom’s kinsmen) are offered one by one until two
of the costliest remain. One is given the value of an ancient gong with ten bosses and
nine relief rings; the other is redeemable only by a golden guitar and a golden flute.
The groom confesses that he is unable to do so which made Tuwaang replace him
so he to be saved from the embarrassing predicament. After what happened, the nut
box of the bride magically stops at Tuwaang which made the bride sit beside him
instead of the groom.
The groom gets shamed which made him challenge Tuwaang to fight with him.
Tuwaang and the gungutan bird fight the hundred men and the six gallants. The
groom smashed him which made him reach the underworld and he met Tuhawa, the
god of the underworld that aware him how to defeat his enemy.
Tuwaang won against the groom and take the bride home to Kuaman where they
live forever.

II. Story Elements

A. Characters
 Tuwaang - protagonist in the story
 Maiden of Monawon - bride of the young man of Sakadna
 Gungutan - a bird who has the power to transform itself into a fowl which
Tuwaang decides to bring.
 Young Man of Panayangan - a gallant
 Young Man of Linawon - a gallant
 Young Man of the Rising Sun - a gallant
 Young Man of Sakadna - groom of maiden of Monawon who fought
Tuwaang
 Aunt - aunt of Tuwaang

B. Settings

 Kawkawangan Grassland

 Wedding Venue of the Young Man of Sakadna and his bride, Maiden of
Monawon

 Place of Tuhawa (gods of underworld)

 Kuaman
 C. Conflict
 When the bride decided to sit beside Tuwaang, the groom blushed away. He
was shamed. He decided to fight with Tuwaang. Tuwaang was thrown agains
aboulder, which turns into dust. Tuwaang gets hold of his foe, throws
himdown so hard hat he sinks into the underworld. This kind of conflict shows
Man Vs Man which is under External Conflict.

D. Plot
Exposition

 Tuwaang informed his aunt that he will be attending a wedding which was
brought by the wind. While on his way he met a gungutan bird with a dagger
like spur. Upon arriving at Monawon he sits on a golden stool then came the
young Man of Panayangan with the other gallants and the groom, the Young
Man of Sakadna and the bride which was staying inside a room.
Rising Action

 Tuwaang breathe magic to produce ancient gong, golden flute and guitar.
Conflict

 The bride decided to sit beside Tuwaang. Young man of Sakadna challenges
Tuwaang to fight.
Climax

 Tuwaang was fighting against the groom while the gungutan bird had also
been fighting against the groom’s men until here were only six gallants
remain.
Falling Action

 Young man of Sakadna thrusts Tuwaang into the earth and sinks into the
underworld. Tuwaha the god of the underworld tells him the secret to
defeating his foe. Summoning the golden flute where the Young Man of
Sakadna’s life is being kept.
Resolution

 Tuwaang used the golden flute to defeat the Young Man of Sakadna. Then he
takes the bride to his home Kaman accompanied by the gungutan bird where
he ruled forever.
E. Theme
 Jealousy
 Love
 Contentment

F. Hinilawod
Author
F. Landa Jocano, Filipino anthropologist became
interested in native folklore. He traveled the hinterlands of
his home province, Panay, with two colleagues collecting
folk songs, stories, and riddles. In 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.
F. Landa Jocano
I. Summary
A long time ago, there is a sky goddess called Alunsina. The king of the gods
Kaptan feared that she cannot marry anyone and urge her to marry.
Many gods made an attempt to woo Alunsina but failed since she chose a mortal
named Paubari, the datu of Halawod.
Alunsina’s choice enraged the gods who failed to court her. They conspired with
each other and agreed, with the leadership of Maklium-sa-t’wan, to hinder the
marriage of Alunsina and Paubari by flooding Halawod.
However, Alunsina and Paubari was saved from the flood with the help of
Suklang Malayon, Alunsina’s sibling. Malayon heard the gods’ plan which prompted
him to tell his sister. Alunsina and Paubari returned to Halawod after the flood.
Months after, Alunsina bore triplets named Labaw Dongon, Humadapnon at
Dumalapdap. After they were born, Alunisina asked Bungot-Banwa to uphold a ritual
to strengthen the triplets, which they did.
The triplets walked their own path, such in the case of Labaw Donggon, who was
imprisoned by Saragnayan after their battle.
Labaw Donggon’s son avenged his father and won against Saragnayan and both
returned to their home.
Humadapnon and Dumalapdap was enraged when they heard their brother’s fate.
Humadapnon decided to hoax Saragnayan and his descendants. While
Dumalapdap married Lubay Lubyok Mahanginun si Mahuyokhuyokan and battled a
two-eaded being named Balanakon.
He also battled Uyutang, a being with large fangs and sharp nails. He battled the
being for seven moons. Dumalapdap won and returned home with Lubay-Lubyok
Hanginun si Mahuyokhuyokan to marry.
When the siblings returned home, Datu Paubari celebrated the siblings’ triumph.

II. Story Elements

A. Characters
 Alunsina – goddess of the eastern sky and the mother of triplets
 Datu Paubari – a mortal; mighty ruler of the Halawod and the father of triplets
 Labaw Dongon – eldest son
 Humadapnon – who has spirit friends
 Dumalapdap – youngest son

B. Settings
 Sulod in the Province of Panay, Philippines

C. Conflict
 The triplets' struggles and adventures for their desired wives.
D. Plot
Exposition

 The goddess of the sky named Alunsina whose father, the king of gods,
kaptan, obliged her to be married.
Many gods in various domains of the universe attempted to win
Alunsina’s heart. However, she chose Datu Paubari, the leader of Halawod
causing the enragement of her admirers.
Rising Action

 Alunsina bore triplets named Labaw Donggon, Humadapnon, andDumalapdap

then asked the help of Bungot-Banwa to perform a ritual to guarantee the
good health of the infants.
After the ceremony, a cold wind came from a window that made the triplets
mighty and good-looking men.
Climax

 Labaw Donggon was imprisoned by Saragnayan after their battle

Falling Action

 Labaw Donggon’s son avenged his father and won against Saragnayan and
both returned to their home.
Denouement

 Datu Paubari was reunited with his three sons and prepared a feast in their
honor.

E. Theme
 Personal Courage and dignity
 Love for Family
 Value the Culture and Tradition
III. References
Online Sources:

 https://shairaleasprd.wordpress.com/2016/03/08/summary-pre-colonial/#:~:text=The
%20oral%20literature%20of%20the,%2C%20caring%20for%20children%2C%20etc
 https://www.scribd.com/presentation/444196160/Oral-Lore-from-Pre-Colonial-Times-
pptx
 https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-arts-sca/
literary-arts/early-philippine-literature/
 https://prezi.com/p/16p4hyvyozng/the-story-of-tungkung-langit-and-alunsina/
 https://archive.org/details/philippinelitera0000unse
 https://muhaz.org/interactive-table-of-contents.html?page=5
 https://www.yodisphere.com/2022/09/Tiruray-Teduray-Tribe-Culture-Traditions.html?
m=1
 https://www.britannica.com›place Lake Lanao | lake, Philippines
 https://www.lakepedia.com/lake/lanao.html#:~:text=Lake%20Lanao%20is%20home
%20to,the%20world%20from%20tipping%20over
 https://www.britannica.com/place/Lake-Lanao
 http://seasite2.niu.edu/philippine-folk-tales/maranao-myths-how-the-angels-built-lake-
lanao/
 http://hannahhyung088.blogspot.com/2013/07/biag-ni-lam-ang-life-of-lam-ang.html?m=1
 https://en.m.wikipedia.org/wiki/Biag_ni_Lam-ang
 https://www.kapitbisig.com/philippines/english-version-of-epics-mga-epiko-tuwaang-
attends-a-wedding-the-second-song-of-the-manuvu-ethnoepic-tuwaang-cycle_1186.html
 https://philnews.ph/2020/01/03/summary-of-hinilawod-an-epic-poem-in-central-panay/
 http://lehcsirk0literature.blogspot.com/2008/11/great-flood.html?m=1
 https://ursacbsit.wordpress.com/category/the-great-flood/
 https://www.google.com/url?sa=t&source=web&rct=j&url=https://arete.ateneo.edu/
assets/site/02-The-Monkey-and-The-Turtle-Full-
Text.pdf&ved=2ahUKEwj_n4mozp77AhVXBYgKHePQA6AQFnoECBAQBg&usg=A
OvVaw15OJcSetyQCMEDaoJjTQTN
 https://www.scribd.com/document/408061672/The-Story-of-the-Oprhan-Girl-ENG14-
Philippine-Literature