Philippine Folk-Tales — Context and Discussion
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This digital edition of Philippine Folk-Tales — Context and Discussion is described by source-level measurements including 64,855 words, 4 hr 42 min estimated reading time, and 6 detected text sections.
The text analysis averages about 17.8 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Folklore -- Philippines,” connecting these edition facts with the source record’s subject description.
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Monkey was up in a flash; and, seating himself comfortably, he began to eat the finest of the fruit, and forgot to drop any down to the Turtle waiting below. The Turtle called for some, but the Monkey pretended not to hear. He ate even the peelings, and refused to drop a bit to his friend, who was patiently begging under the tree.
At last the Turtle became angry, very angry indeed: "so he thought he would revenge" (as my informant puts it). While the Monkey was having a good time, and filling his stomach, the Turtle gathered sharp, broken pieces of glass, and stuck them, one by one, all around the banana-tree. Then he hid himself under a cocoanut-shell not far away. This shell had a hole in the top to allow the air to enter. That was why the Turtle chose it for his hiding-place.
The Monkey could not eat all the bananas, for there were enough to last a good-sized family several days; "but he ate all what he can," and by and by came down the tree with great difficulty, for the glass was so sharp that it cut even the tough hand of the Monkey. He had a hard time, and his hands were cut in many places. The Turtle thought he had his revenge, and was not so angry as before.
But the Monkey was now very angry at the trick that had been played upon him, and began looking for the Turtle, intending to kill him. For some time he could not find his foe, and, being very tired, he sat down on the cocoanut-shell near by. His weariness increased his anger at the Turtle very much.
He sat on the shell for a long time, suffering from his wounds, and wondering where to find the Turtle,--his former friend, but now his enemy. Because of the disturbance of the shell, the Turtle inside could not help making a noise. This the Monkey heard; and he was surprised, for he could not determine whence the sound came. At last he lifted his stool, and there found his foe the Turtle.
"Ha! Here you are!" he cried. "Pray now, for it is the end of your life."
He picked up the Turtle by the neck and carried him near the riverbank, where he meant to kill him. He took a mortar and pestle, and built a big fire, intending to pound him to powder or burn him to death. When everything was ready, he told the Turtle to choose whether he should die in the fire or be "grounded" in the mortar. The Turtle begged for his life; but when he found it was in vain, he prayed to be thrown into the fire or ground in the mortar,--anything except be thrown into the water. On hearing this, the Monkey picked the Turtle up in his bleeding fingers, and with all his might threw him into the middle of the stream.
Then the Turtle was very glad. He chuckled at his own wit, and laughed at the foolishness of the Monkey. He came up to the surface of the water and mocked at the Monkey, saying, "This is my home. The water is my home."
This made the Monkey so angry that he lost his self-possession entirely. He jumped into the middle of the river after the Turtle, and was drowned.
Since that day monkeys and turtles have been bitter enemies.
How the Farmer Deceived the Demon. [3]
Very many years ago, in a far-away land where the trees never changed their green leaves and where the birds always sang, there lived on an island a farmer with a large family. Though all alone on the island and knowing nothing of people in the outer world, they were always happy,--as happy as the laughing rills that rippled past their home. They had no great wealth, depending from year to year on the crops which the father raised. They needed no money, for they lacked nothing; and they never sold their produce, for no people were near to buy.
One day in the middle of the year, after the crops were well started, a loud, unusual roar was heard. Suddenly a stiff gale blew up from the southwest, and with it came clouds which quickly hid the entire sky. The day turned to night. The birds ceased to sing and went to their nests. The wild beasts ran to their caves. The family sought shelter in the house from a heavy downpour of rain which continued for many days and nights. So long did it last that they became very anxious about the condition of things around them.
This volume gathers four articles originally published in the Journal of American Folk-Lore between 1902 and 1913, each presenting tales collected from different Philippine linguistic groups. The stories range from comic animal fables—such as the monkey and the turtle—to elaborate myths of the Bagobo people, including cosmogonic accounts and adventures of culture heroes like Lumabat. A striking feature across the collections is the repeated appearance of a character named Juan, who appears in Tagalog and Visayan tales as a trickster, a fool, or a lucky simpleton. The editors have preserved the original scholarly apparatus, including comparative notes and occasional glosses on native terms, making the volume a valuable primary source for folklorists.
Recurring Patterns in the Juan Cycle
The Tagalog and Visayan sections contain numerous tales centered on a protagonist named Juan, yet his character is far from uniform. In some stories, such as “Juan, the Student” and “Juan Gathers Guavas,” he is a clever trickster who outwits authority figures or gains wealth through wit. In others, like “Juan the Drunkard who Visited Heaven” and “The Juan who Visited Heaven,” he is a naive fool whose adventures lead to accidental rewards or comic misadventures. This dual portrayal suggests that the name “Juan” may have functioned as a generic placeholder for a folk hero, adaptable to different narrative functions. The tales also share structural similarities: Juan often encounters a supernatural being or a test, and the resolution hinges on his quick thinking or, conversely, his gullibility. The editors note that some of these stories have parallels in European folklore, indicating a complex history of cultural exchange.
Bagobo Cosmogony and the Role of the Buso
Laura Watson Benedict’s collection of Bagobo myths presents a distinct worldview centered on the interactions between humans, spirits, and the natural world. The cosmogonic myths explain the origins of the sky, sun, moon, and stars through narratives that often involve trickery or conflict. For instance, “Why the Sky Went Up” recounts how the sky was once low enough for people to touch, until a woman’s actions caused it to rise. A prominent class of spirits called buso appears frequently; they are malevolent beings that can be seen only by certain individuals, and many tales describe how humans outwit or escape them. The myth “How the Moon Tricks the Buso” exemplifies the use of cleverness to overcome supernatural threats. These stories also incorporate moral lessons about hospitality, bravery, and the consequences of violating taboos, reflecting the social values of the Bagobo people.
Contrasts Between Wealth and Poverty in Tagalog Tales
Several Tagalog stories in this collection explicitly contrast the circumstances of the rich and the poor, often using this tension as a narrative engine. In “The King, the Princess, and the Poor Boy,” a destitute orphan rises to prominence through faithful service and a chance encounter with a cryptic sentence that challenges the king’s assumptions. Similarly, “The Covetous King and the Three Children” pits greedy rulers against resourceful youngsters. These tales frequently involve hidden treasures, magical objects, or unexpected inheritances that redistribute wealth. The poor characters are typically portrayed as virtuous or clever, while the wealthy are often depicted as miserly or cruel. However, the resolutions do not always follow a simple moral arithmetic; some stories end with the poor protagonist becoming rich, while others emphasize the futility of hoarding wealth. This nuanced treatment suggests a folk commentary on social inequality that goes beyond mere wish-fulfillment.
Readers approaching this collection should be aware that the tales are presented as scholarly transcriptions, often with minimal editorial smoothing. The language retains the flavor of oral performance, including formulaic openings and repetitions. The volume is best read as a mosaic of distinct regional traditions rather than a unified narrative. Comparing the treatment of similar motifs—such as the trickster figure or the enchanted object—across the Visayan, Tagalog, and Bagobo sections can reveal both shared cultural patterns and local innovations. The editors’ original footnotes provide useful context for unfamiliar terms and customs.
Those early Philippine collectors found the trickster’s quiet grin and the beggar’s hidden luck, much as I recall when turning through More Russian Picture Tales — More Russian Picture Tales — Inside the Classic. There, too, a humble creature outwits grandeur, and poverty wears a kindly face. They never met, those books, but they share a fond whisper about cleverness and grace.
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