Abstract / Excerpt:

Although several studies and researches have been made on Philippine folk literature, a vast treasury of tribal literature still remains unstapped and unrecorded. There is an urgent need to preserve these materials before they are completely lost. One of these valuable pieces of literature is the epic of the Mandaya in Caraga, Davao Oriental.
The purpose of this study is to record , translate, analyze, and preserve this Mandaya epic. It further seeks to answer the following questions:
1) what are the qualities of "Yang Mangngagaw" as an epic?
2) What tribal values and traditions are revealed in the epic?
The study is guided by the following basic assumptions:
1) The epic "Yang Mangngagaw" possesses the elements of the Philippine epic.
2) Values as well as timeless tribal customs and traditions are portrayed in "Yang Mangngagaw".
The study is limited to a recording, analysis, and preservation of one Mandaya epic from Caraga, Davao Oriental, entitled "Yang Mangngagaw". Two magdadawot {q^q. singers) Madugilay Madanlo and Beniang Punto chanted the dawot (epic), while two other natives, Laurencio Madenancil and Josefa Piamonte, transcribed it and translated it into Visayan. Three other native informants, namely Romeo Banaball Banugan, Inambuya Felix Lanus, and Arlenda Tomanggong, related their own versions of the epic as they heard it from their parents and grandparents. This helped establish the five- version test.

Full Text

    Introduction

Although several studies and researches have been made on Philippine folk literature, a vast treasury of tribal literature still remains untapped and unrecorded. There is an urgent need to preserve these materials before they are completely lost. One of these valuable pieces of literature is the epic of the Mandaya in Caraga, Davao Oriental.

The purpose of this study is to record, translate, analyze, and preserve this Mandayan epic. It further seeks to answer the following questions:

1) What are the qualities of "Yang Mangngagaw" as an epic?
2) What tribal values and traditions are revealed in the epic?

The study is guided by the following basic assumptions:

1) The epic "Yang Mangngagaw" possesses the elements of a Philippine epic.
2) Values as well as timeless tribal customs and traditions are portrayed in "Yang Mangngagaw".

The study is limited to a recording, analysis, and preservation of one Mandaya epic from Caraga, Davao Oriental, entitled "Yang Mangngagaw". Two magdadawot (epic singers) Madugilay Madanlo and Beniang Punto chanted the dawot (epic), while two other natives, Laurencio Madenancil and Josefa Piamonte, transcribed it and translated it into Visayan. Three other native informants, namely Romeo Banaball Banugan, Inambuya Felix Lanus, and Arlenda Tomanggong, related their own versions of the epic as they heard it from their parents and grandparents. This helped establish the five-version test.

The epic was translated into English for study purposes. For the analysis, the researcher hewed to Prof. Manuel's methodologies, which include specificity, subject coverage, documentation, and follc.loricity. She also took note of the essential elements of a Philippine epic (in Manuel. 1965)

The Mandaya of Caraga, Davao Oriental

That the Mandaya is a product of interracial marriages in the past is evident in their facial and physical features: Valderrama (1987) states that "the ancestors of the Mandaya are Malay-Indonesian-Chinese and Mandaya-Portuguese-Spanish."

The Mandaya are always in their bare feet, although many of them, influenced by their contemporaries in town, have started wearing slippers and shoes. As part of their adornment, they wear colorful and embroidered blouses and vests, with native jewelry. The typical Mandaya female wears handcrafted jewelry from her hair down to her ankles. The male wears a necklace of crocodile teeth. He also carries with him a bolo (knife) with a scabbard belt around his waist. A symbol of courage and masculinity, the bolo also serves as protection against adversaries or wild animals that may cross his path.The Mandaya woman expects to be protected by the male, which is why he has to be prepared to do such duty.

The tribe still performs traditional rituals to mark significant occasions, such as birth, wedding, harvest, or death. These rituals, which are characterized by chants, songs, and prayers, are presided over by priestesses known as the balyan, or any respected leader, especially during wedding ceremonies.

The Mandaya family is patriarchal. The members of a family look up to the husband or the eldest male member as the head of the clan. The wife is subservient to the husband. In a group, the Mandaya turn to a particular leader, as in the old days when they had the likad, maniklad, and the bagani (warrior). (Valderrama, 1987)

The Mandaya are a social people, especially within their group. They celebrate feasts with dancing, singing, playing music, and—though infrequently now—by recounting ancient myths, tales, legends, and epics. The Mandaya from the far barrios interact freely with their relatives and acquaintances in town. They participate in the social and political affairs of the town. They are endlessly wooed, and often won ()Niel., by persistent politicians.

Tourism has paved the way for the Mandaya's awareness of their own socioeconomic potentials. Their exquisite arts and crafts, exotic dances and songs, even their native costumes are indeed assets to the industry. The idea of being exploited has made many of the natives wary and cautious of visitors from the outside. This is also one reason why the Caraguenos do not easily welcome investors from outside Caraga. This explains why Caraga has very few business establishments. The existing commercial outlets are generally operated and owned by Caragueflos. It takes a lot of persuasion and explanation to gain their confidence. One needs even to learn how to speak their dialect before they open up to a visitor. But once their confidence and trust are won, they become naturally amiable and hospitable. As Valderrama (1987) puts it, "the Mandayas are generally shy only to people who do not speak their tongue."

                     The Epic

The verse form of the epic consists of 2,020 lines subdivided into ten (10) episodes based on the narrative flow of the epic and likewise in the change of setting.

Episode I, "Sabong" deals with Sabong's agitation over his love for Sadya. Episode 2, "Sadya" describes Sadya and her sisters. Episode 3, "Yang Pagpangandam" (The Preparations) describes Sabong's preparations for his journey to Ullaynun to court Sadya. Episode 4, "Yang Panaw" (The Journey) describes Sabong and his brothers' journey towards Ullaynun. Episode 5, "Ullaynun" narrates their arrival in Ullaynun. Episode 6, "Syulingan ni Makaway" (The Wine of Makaway) describes the reception at Dyuyan's (Sadya's brother) house. Episode 7, "Ing Sukat" (The Dowry) presents the marriage customs of the Mandaya and the tasks undertaken by Sabong to win Sadya. Episode 8, "Pagpangagawkang Sadya" (The Abduction of Sadya) describes Sabong's ravishment of Sadya. Episode 9 "Yang
Pagdindin" (The Battle) describes the fight waged by Tibay against Sabong. Episode 10, "Maglipig Mal-langitnin" describes the role of Lipig, the god of peace, in putting an end to the war between the brothers from Byadbadan and Kadigi.

Episode I. "Sabong"

Sabong of Kadigi works on an attractive garment, "beautiful as the moonlight," sewn with the brightness of reds, yellows, and oranges. But for yet unknown reasons, the garment "misbehaves," making it impossible to finish. Sabong who is in a troubled state of mind, finally loses his patience, takes a sharp bolo and rips the garment into shreds. The ruined dress then bursts into flame. Sabong then sulks and refuses to talk to anyone.

Lanus curiously observes the proceedings but refrains from inquiring about the outburst, afraid as he was of the bagani's temper. So he calls Mal-lumuntad Diwata, the eldest brother, and persuades him to go and ask Sabong what the matter is. Lumuntad approaches Sabong and asks why he is in such a fighting mood. Sabong confesses his desire to get married, which Lumuntad lauds. But when Sabong adds that the woman he wishes to marry is the bride-to-be of another man, Lumuntad feels equally troubled. He tries to convince Sabong of the foolishness of his decision, but Sabong will not be dissuaded. The woman he wants to many is Sadya, the maiden of Ullaynun and sister of Dyuyan. She is the bride-to-be of Ombang, the younger brother of Tibay who is the leader of Byadbadan.

Lumuntad summons all his brothers and their sister Malimbungon na Panday and holds a conference regarding Sabong's decision.

Episode II "Sadya"

The women of Ullaynun get ready for Sadya's betrothal. After dressing up and combing their hair, the sisters, Inung Masadyang Kilat, Omallag sa Maglimbay, and Magallowaing Samtan, head for the room where Sadya is to stay while the negotiations are underway between her elder brother, Dyuyan, and Ombang's brothers. The corridor leading towards Sadya's room is blocked with so many partitions and obstacles that it would take a long time for anyone to enter or leave the room. The virgin's room is filled with golden ornaments, draperies and carpets of different shades of brown.

Inside the room Makailaw sa Baybay, Ombang's sister, and Al-lag, Sadya's sister watch over Sadya. While the discussions are going on outside, the door opens and closes as the women  try to listen in. Al-lag stays at the doorway lest Sadya attempts to leave the room.

Episode III. "Yang Pagpangandam" (The Preparations)

In Kadigi, Sabong prepares to depart for Ullaynun. Linimbong, his sister, takes over the difficult task of combing his hair. Sabong's tresses are "as thick as bamboo [poles], its length reaching the floor". Only a flute can take out the tangles in the bagani's hair.

Malimbungon na Panday likewise applies oil to the hair until it shines "like gold, dazzlingly beautiful like the moon." The hair is arranged into seven braids and trimmed with a small knife so sharp it almost injures Linimbong. Malimbungon na Panday then proceeds to heed Luntad's summons. When she is seated on a dagmay mat, Luntad reveals to her their brother's wish to marry Sadya. Everyone disapproves of Sabong's plan, but Sabong's insistence on marrying no one else but Sadya even if he had to abduct her finally subdues their protests.

Sabong then prepares himself for the courtship in the faraway land of Ullaynun. He adorns himself with every piece of jewelry he owns—rings, necklaces that hang down his back and shine as brightly as the stars and the full moon. The women adore Sabong's magnificence.

Linimbong then takes out the golden chest that contains the bagani's innumerable clothes. Sabong takes his time in choosing his clothes. He finally decides on a vest that emphasizes his strength and masculinity and a dazzling golden belt. The bagani then steps out with his spear and shield, and leads the way.

Episode IV "Im Panaw" (The Journey)

All of Sabong's brothers accompany him on his journey to Ullaynun. Like Sabong, they wear their most attractive clothes. Sabong alone rows and steers the boat through raging rivers. They sail through seven seas and eight rivers and hurdle numerous obstacles that only a boatman as strong and powerful as Sabong can tackle.

The boat sails on at great speed, gliding by places so beautiful the brothers would have wanted to go ashore. The bagani, however, does not tarry even briefly until he sees the brightness of Ullaynun.

From afar, the exquisite beauty of Ullaynun and its amazing treasures can already be discerned. Beautiful garments, sharp bolos and shields, colorful threads, and jewelry float in the sea. The fragrance of its flowers and trees likewise hovers in the air. As the travelers approach the shore, a fog creeps in, lightning flashes and thunder rolls like drums. Aboard the boat, everyone strains to see through the fog as priceless treasures bob in the sea.

Episode V Ullaynun/Bullawanun

As they step ashore, Lanus hears Sabong wondering about the famed place, which was revealed to him in a dream. Soon they begin their trek inland where many more of Bullawanun's treasures abound — beautiful flowers, enchanted trees and plants decked with jewelry to secure them against the storms of Lintawun and the strong winds of Lingayin.

In the flower garden of Sadya, Sabong picks one blossom and whispers to it as if to Sadya, "You're the only flower I shall wed and possess. If need be, I shall crawl under the house, and you shall be mine and no one else's."

Meanwhile, Mandagyo Mal-liyognon, Sadya's brother, entertains his guests Tibay of Byadbadan and his brothers. They discuss the coming wedding of Sadya and Ombang in voices so loud the new arrivals could hear them out in the yard. Dagyo's slave who chances to look out the window sees Sabong and his brothers arrive. She tells a slightly intoxicated Dagyo about the visitors. A disbelieving Dagyo orders his brother, Maungat, to find out what is happening. Maungat then heads for the yard where he meets Mal-lumuntad Diwata. He asks him aboutthe purpose of their visit, and Lumuntad vaguely responds that they seek either war or fortune. Maungat invites them to come up and rest, and to witness the coming out of his sister, Sadya.

Lanus patiently watches as Sabong ascends the stairs, hesitate at the doorway before peremptorily sitting beside Mallapog, one of Sadya's brothers. Sadya's elder brother, Dyuyan, seems suspicious of Sabong. Dyuyan is as strong and handsome and courageous as the bagani Sabong. Sabong's brother Luntad waits at the doorway and politely requests to be allowed to enter. Dagyo then directs him to sit, and the inquiry about their journey to Ullaynun begins.

Episode VI "Syulingan ni Makaway" (The Wine of Makaway)

As the guests make themselves comfortable, the women are summoned. Inung Masadyang Kilat, Omal-lag sa Maglimbay, and Magallowaing Samtan are allowed to come out for a time being to meet the visitors. They proceed to the living room, spread out dagmay mats, and ask questions one after the other.

Sadya is the last to ask. Sabong tells her that it is the wind that has brought him to Ullaynun. Soon after, the women leave to prepare the betel nut chew, choosing only the best for the visitors.

Then Dyuyan tells Dagyo to fetch the best wine. Dagyo carries the jar and throws it against the wall. Dyuyan somehow catches it. Because most of the wine spilled over, Dagyo fetches another jar. He offers wine to the women, who decline. The visitors, however, partake of the delicious wine.

After a while Dagyo proposes a toast to the women of Byadbadan and offers them wine. The eldest, Ballobaynun nam Bullan, refuses, but Salingkugon sa Baybay, the youngest sister, takes some. Dagyo urges Ballobaynun nam Bullan to drink. She finally yields, afraid that her refusal might bring down a curse on Byadbadan. Salingkugon sa Baybay asks for another glass of wine and offers this to Luntad and to the bagani. Luntad holds the hand of Salingkugon sa Baybay, and her ornate gold necklace falls. This incident elicits the furious attention of Tibay.

All this time, Sadya is cooped up in her room. Her sister, Omallag, arranges Sadya's hair and dresses her up with jewelry. Al-lag tells the bride-to-be she bears the name of Ullaynun when she goes to Byadbadan and advises her not to dishonor Ullaynun. Soon, Inung Masadyang Kilat is ready to come out of the room.

Episode VII. "Ing Sukat" (The Dowry)

On her way out, Sadya is forestalled by Dyumabok Manginsawan, her would-be brother-in-law, because she has yet to ask for her dowry. She goes back to her room and promises to come out only after the suitor has passed the test.

The bagani gives Dyuyan the seven necklaces that he wears. Sadya once more attempts to leave the room but Ballobaynun nam Bullan, her would-be sister-in-law, holds on to her skirt, fearful that misfortune might befall Sadya if she slips.

Unaware of the events, Dallmun, Sadya's elder brother, heads for his room. With her elder brother fast asleep, Sadya slowly walks out of the room. Her progress is very slow since she will only step over every block on her way out if gold is laid at her feet. But the doorway is barred by a huge jar of wine. If the jar breaks, misfortune is said to befall the bride. Suddenly Dyumabok Manginsawan takes the jar, drinks the wine and flings the empty jar on the floor. It breaks into many pieces. The women are outraged. Sadya declares that she will only proceed if Manggob's sister, Makailaw sa Baybay, offers her necklace, but the latter refuses. Sabong then declares his intentions and promises Sadya lots of priceless jewelry lovelier than those of her sisters.

Sadya finally leaves the room. She sits on the red dagmay mat and is warned not to face west, lest misfortune befalls her. Ballobaynun nam Bullan glances at her brother Taga-ombang Kilat and wonders why he doesn't sit beside Sadya. She tells him to heed her advice.

Episode VIII "Pagpangagaw Kang Sadya" (The Abduction of Sadya)

Sabong begins to speak in earnest in an attempt to attract Sadya's attention. Hoping that she will speak to him, he talks about the precious ornaments and the fragrance of the beautiful flowers that float on the river. He describes the enchanted boat that has arrived in the port of Ullaynun. Designed like a crocodile, the boat looks like a huge dragon with exquisite carvings. Sadya is fascinated but feels that something terrible is about to happen as the port fills up with many good-looking men who "look like warriors."

Everyone in the house stands up and looks towards the port. The house trembles in anticipation and its posts shake. While everyone's attention is focused on the men at the port, Sabong quickly grabs Sadya. She struggles against Sabong but the he holds her tightly and then kisses her. Dazed, Sadya cries out. Her cries are loud enough to waken the dead, frightening her brothers into thinking she might be bringing down a curse on Ullaynun.

Still holding Sadya, Sabong leaves as the alarmed women scurry away in different directions. Ballobaynun nam Bullan watches helplessly as Sabong abducts her sister-in-law to-be.

Ombang declares that he will still marry Sadya regardless of the abduction.

Episode IX "Yang Pagdindin" (The Battle)

In extreme anger, Tibay takes his spear and thrusts it at Sabong who skillfully parries it with a laugh. Sabong jeers at Tibay, telling him that this is no way to treat a guest. This fuels Tibay's anger. He grabs Sabong by the hair and pushes him against Sadya. The bagani simply laughs. The house then speaks up and begs the men not to fight inside the house. To show the house some respect, the men descend the stairs and proceed to the fields to continue the battle.

Lanus tells Mal-lumuntad Diwata that they must go and fight with their brother since the enemies outnumber him. But Luntad refuses to leave Salingkugon sa Baybay. In an attempt to stop the fight, Luntad brings Salingkugon sa Baybay to the battlefield. At the top of his voice, he then declares his desire to marry her. The warriors stare at Luntad and Salingkugon sa Baybay in amazement. An outraged Tibay grabs his sister from Luntad and tells her to sit with Aybay, her sister.

Meanwhile Obang, Sabong's brother, sits beside Aybay who is deeply agitated over the battle. Obang holds her hands and reassures her that he does not intend to take part in the fight, it being his brother Sabong's fault. He then, brings Aybay to the battlefield. As the couple approaches, the fighting stops long enough to give Obang a chance to announce his intentions toward Aybay. The brothers from Kadigi stare at the Aybay's beauty.

Tibay trembles in anger upon seeing the enemy take one more sister. But there is not much he can do since the damage has been done. The warriors rest awhile to contemplate the sudden turn of events, but soon they resume the battle.

Episode X "Maglipig Mal-langitnin"

Meanwhile in the skyworld Sabang, the goddess Biya Dyomallaiyak rouses her brother Maglipig Mal-langitnin, the god of peace. She tells him to hurry and stop the battle in Ullaynun.

Lipig leaves for Ullaynun in great haste. He hears the sounds of battle as he draws near. Spears whiz past him then break into pieces when he steps on them. Lipig surveys the battleground and feels sorry for the crushed plants and flowers. He raises his voice and prays to heaven. His voice reaches the sky even before he stops talking.

Lipig looks on as the water rushes to the shores of Ullaynun and hits the rocks. The warriors hear the noise and stop fighting momentarily when they see Lipig and Biya Dyomallaiyak.

Because the god of peace has personally come, Tibay decides to stop fighting. Sabong's brother, Lanus, however, is incredulous, saying, "Although it is true that we have decided to end the battle, what will we do if there is still anger in the mind?" To this Sabong replies, "Once we decide on it, the agreement shall hold true and binding."

Sabong then turns to Lipig and asks him who he is: The god reveals that they are brothers, born of the same father, Dyabongan, who threw the ugly Lipig into the ocean to drown him. Lipig was washed ashore into the land of the gods where he has lived since then.

Maglipig Mal-langitnin then calls all the warriors to him and declares that the war is over. He tells them to, "exchange and share betel nut, for there is no more war. Let there be peace."

 Analysis and Discussion

Dilam and Sabong

According to Fr. Emmanuel Nabayra, there are seven Mandaya epics still extant. He translated "Yangagaw si Dilam," (Dilam Takes Tibay's Betrothed by Force) said to be the second of these epics. The researcher failed to to find a copy of the epic. The title "Yangagaw si Dilam" and Madugilay Madanlo's version of the epic, however, are enough bases for comparing the epic with "Yang Mangngagaw."

Indeed, the plots of "Yangagaw si Dilam" and "Yang Mangngagaw," are basically the same. The theme of abduction is also common. Character names hold similarity only with Tibay. But it is also here where the differences begin.

In the Nabayra translation, Dilam in "Yangagaw si Dilam" is the abductor of Tibay's bride. In "Yang Mangngagaw," Tibay is the eldest brother of Taga-ombang Kilat, Sadya's betrothed, the one who arranges their marriage. It is Dilam who abducts Sadya in "Yangagaw si Dilam," but in "Yang Mangngagaw," the abductor is Sabong. The heroes' names may be different, but it may well be concluded that they refer to the same person.

In an interview, Manay Gilay of Pantuyan and Beniang Punto of Lobganon stated that the name of the hero of the epic changes depending on the place where it is chanted. Manay Gilay said that in Pantuyan the hero is called Dilam. On the other hand, Beniang Punto explained that in Lobganon the hero's name is Sabong. When asked which of the names is the hero's real name, nobody can say, inasmuch as the present singers and storytellers use what those before hem used.

As Fr. Nabayra stated, the dawot is handed down to the magdadawot by word of mouth, so its origins are not known. The Mandaya who have taken it as their own give the epic an important status in their cultural tradition.

"Yang Mangngagaw" as an Epic

In analyzing the characteristics of "Yang Mangngagaw" as an epic, the researcher used Prof Manuel's criteria (1965), namely, "sustained length, based on oral tradition, heroic deeds, supernatural events, in the form of verse, either chanted or sung, with a certain seriousness of purpose, embodying or validating beliefs, customs, ideals, or life values of the people."
Sustained length. According to Prof Manuel, an oral tradition can qualify as an epic if the song involves more than 1,000 lines. "Yang Mangngagaw" contains 2,020 lines, qualifying it as a mesoepic.

Based on oral tradition, either chanted or sung. Two epic singers, namely, Madugilay Madanlo and Beniang Punto, both natives of Caraga, sang the dawot in the presence of the researcher. Parts of the epic were chanted, although the bulk of it was sung. According to the singers and translators, their parents and grandparents passed the dawot to them by word of mouth. No written record of the epic existed prior to this study. This study also produced the first actual recording ever made of the epic.

Heroic deeds. The hero in most epics is endowed with extraordinary prowess and supernatural powers that aid him as he sets out to fulfill a difficult task or to achieve an ultimate goal. He possesses virtues, such as nobility, strength of character, and physical beauty. A character analysis of Sabong, the hero of "Yang Mangngagaw," shows that his qualities as an epic hero are not those of a conventional epic hero's.

In the first place, Sabong's major intent is to abduct someone else's bride, an act that is ignoble. His action triggers the battle between the brothers from Byadbadan and those from Kadigi. Sabong becomes an offender rather than a defender of a noble cause, as he places the rest of the characters in grave danger by instigating the chaos.

But this doesn't place Sabong into an entirely negative light. In the first part of the epic, Sabong is seen as an agitated man, suffering from a troubled state of mind, obviously weighing the pros and cons of his intention to marry Sadya. Feared by many because of his temper, Sabong vents his anger on a piece of garment and not on the people around him.

His extraordinary strength and prowess as well as strength of character are revealed in Episode IV, "The Journey to Ullaynun." Lines 396 to 412 recount how Sabong takes full charge of the whole expedition, steering the boat through raging rivers and dangerous passes.

395 Maynabong nal Layag, hands on hips,
sat and leaned
took and held the paddle,
sat holding the paddle.

400 Mal-lumuntad Diwata
sat in the middle, in the middle of the boat.
Maynabong nal Layag
steered and paddled,

405 firmly steered the boat
through dangerous whirlpools,
struggled against the currents.
Look, the journey has begun

410 Maynabong nal Layag
maneuvered skillfully,
paddled and steered well,

A significant event in the epic is Sabong's abduction of Sadya. True, passion is the major reason for the abduction, but the act itself is not completely antagonistic. In lines 1418 to 1426, Ballobaynun nam Bullan wonders why her brother Taga-ombang Kilat, Sadya's betrothed, does not sit beside Sadya when he is expected to. Is this an indication of his indifference towards the bride? Lines 1545 to 1546 show Sadya's obvious attraction to Sabong.

1545 the newcomer is handsome,
very good-looking.

but not a single line in the epic mentions her thoughts or reactions towards Ombang.

Sabong, on the other hand, expresses his passionate love for Sadya in many parts of the epic, such as lines 595 to 600, where he picks a flower from Sadya's garden and lovingly whispers to it.

595 "You're the only flower,
the flower I picked,
I shall wed,
shall possess
Flower I wouldn't give [away],

600 [I] would even crawl under,
crawl under the house,

then in lines 1153 to 1155 where he promises to give everything to Sadya,

1153 "I shall give everything.
I shall offer all my jewels
to Inung Masadyang Kilat."

Sabong's abduction of Sadya, which is considered ignoble,  may now be viewed in a positive light. The elder brothers and not Ombang and Sadya arrange the marriage of Ombang and Sadya. It seems as if there is no passion involved as observed in the indifference of both parties towards each other. A marriage sans love and passion may prove to be disastrous, even if it serves a function. Thus, although his act may be primarily seen as self-serving, Sabong's purpose is not necessarily to disrupt the arrangements, but to save Sadya from a life of misery. This is clearly noble and heroic.

When Tibay, in anger, thrusts Sabong with his spear, Sabong parries it with the extraordinary agility expected of a hero. In lines 1738 to 1761, Sabong once more acts nobly as he and Tibay respect the house's request that they do battle in the fields and not inside the house.

1738 Due to the fight,
the house spoke,

1740 "Do have mercy,
It is better [to fight] down there,
out there in the yard.
[It is] not good to fight and kill each other
here inside the house."

Upon hearing this,
sat and leaned,
took and held the paddle,
sat holding the paddle.

Sabong and Tibay,
though very angry,
began to realize [it].
1750 "Why involve the house?
Why harm the house?
It didn't approve
of the abduction
the abduction of the woman,"
[they] thought [hard] and agreed.
"Let us go down
away from the house
there to continue the fight."

Both decided —
1760 there in the fields
[to] continue the battle.

Finally, with the intervention of Maglipig Mal-langitnin, the god of peace and Sabong's long-lost brother, both Tibay and Sabong immediately agree upon ending the battle despite the obvious anger they still feel against one another. In lines 1988 to 1990, Sabong says, "If we have decided, the agreement holds true," when his brother Lanus expresses his doubts over the settlement. This is another revelation of Sabong's noble character as he sets aside his warrior's temper for a noble cause, which is peace. This is a heroic intention.

Supernatural events. Listeners and audiences love extraordinary happenings in stories. These supernatural events add color and excitement to a narrative as lengthy as the epic. They break the monotony of commonplace incidents. The folk epic abounds with supernatural events that surround the adventures of the hero and the other characters. These magical events account for the epic's appeal to native audiences who always look forward to the continuation of the narrative, which takes several days and nights to complete. Some of these supernatural events include: the gods, goddesses and spirits, as characters in the epic; the major characters possessing supernatural powers; and natural elements, plants and animals, and inanimate objects taking active part in the action.

"Yang Mangngagaw" contains several supernatural events. The epic begins with Sabong, the hero, working on a garment. As he tries to sew and embroider the cloth, it somehow "misbehaves," an act that is not expected of an ordinary inanimate object. The cloth's "misbehavior" prevents Sabong from completing it. When he loses his temper, he hacks the dress into pieces, which scatter on the ground. The pieces then "shone brightly," as if enflamed.

35 The dress was mined,
the dress was no more,
scattered on the ground,
sown all over the yard,
sown all over the yard

40 until it shone.
The pieces brightened,

In Episode III, as Sabong prepares for the journey, his sister, Linimbong, is tasked with combing his hair, which is "as thick as the bamboo" that only a flute can tame it:

183 Linimbong combed and combed,
tried hard to comb.
[She] never dropped the comb,
held the comb firmly,
but [she] couldn't comb [through],
was unable to comb
hair [so] like the bamboo,
190 so similar in thickness.
Only one thing can comb,
comb through his hair
a comb of flute.

When the brothers from Kadigi approach the shores of Ullaynun, they see precious ornaments, knives and shields, garments, pieces of jewelry floating on the river and the sea (lines 468 to 475).

468 From the water across [him],
red floated on the river.
Red garments cast afloat.
Bolos floated,
sharp knives floated away.
[He] looked across the river,
the shields floated,
475 brought by the current

No matter how heavy these things are, not a single piece sinks. As Sabong and his companions proceed inland, they see the flowers and plants tied securely to fences and trees with necklaces and pieces of jewelry. So securely are they fastened that even amidst the strongest winds and storms they never fall.

560 abundant with flowers.
Fences were made,

565 tied to the allumon tree,

567 secured with jewels,
tied with jewels,
strengthened by plants.

571 tightly secured by strands,
strong and steady,
even through a storm,
even [when hit] by [the] strong winds,

578 flowers buffeted by a storm
would not fall.
Flowers would not be ruined.

Another supernatural episode involves the talking house. After Sabong grabs and kisses Sadya, Tibay angrily pulls Sabong by the hair and shoves him. The fight begins. Then the house speaks, begging the two warriors to continue their fight in the fields. This same house trembles in anticipation in an earlier event where Sabong talks about their arrival to Ullaynun, and how the warriors gather in its port. Its posts move as though getting ready to bolt towards safety:

1575 The house trembled,
then began to shake.
The walls shook.

1578 The posts moved.

In Episode X, Maglipig Mal-langitnin, the spirit-brother of Sabong and the god of peace, goes down to Ullaynun to intervene and to stop the battle. His goddess-sister, Biya Dyomallaiyak, accompanies him. In lines 1939 to 1955, he calls on the spirits of the skyworld who send the ocean towards dry land to call the attention of the warriors.

1939 Lipig thought.
[He] prayed to heaven,

1948 Even before he stopped speaking,
his voice had reached,
reached the heavens.
Then [he] looked to the ocean,

1954 It came rushing forth
and hit the rocks.
All [these] could be seen,
seen by Tibay.
All watched,
wanting to continue
1960 the fight and the killings,
but couldn't do more.

Lipig is unharmed by the spears that fly in his direction. They all break into pieces when the god steps on theni (lines 1925 to 1929)

1925 many times [was] almost hit
by the sharp spears.
[He] merely stepped over [them].
Pity the spears,
1929 broken into pieces.

In the form of verse. It is difficult to analyze the metrical elements of a folk epic when it is chanted. Analysis was only possible when the chanted version was transcribed. Still,' the way the magdadawot chants the lines of the epic, however, is different from the way an ordinary reader would read them.

The magdadawot has a different pattern of scaling the epic's verses. Her pitch level rises and falls depending on the emotional intensity attendant to the action in the narrative, and not according to metrical feet involving unaccented and accented syllables. Because the epic is mostly chanted, it lacks a regular tempo and rhythm. The researcher further observes that the magdadawot seems to have a hypnotic effect on the audience. As she chants the epic, she uses rhythmic gestures and utterances in place of poetic rhythm. With these the listeners are likewise driven to respond emotionally to each episode.

The whole epic is divided into ten (10) episodes based on the progression of the events in the narrative. Stanzas are used to separate the character's dialogues from the descriptive or narrative lines. They are also used to distinguish a whole descriptive stanza from another stanza that describes or narrates a different scene or action. The written version of "Yang Mangngagaw" is in verse form. It adheres to certain mechanics of verse, such as stanza, rhyme, and figurative expression.

Most of the lines of "Yang Mangngagaw" are hepta- or octosyllabic, i.e., they contain seven (7) to eight (8) syllables, which render a definite poetic rhythm to the epic. Shorter lines, on the other hand, contain as few as two (2) to five (5) syllables.

The rhyming scheme is masculine, where the last syllables of certain words contained in certain lines rhyme. This principle is illustrated in lines 1, 4, 6, and 10, where the last words are "Sabong," "ballugnon," "pagkallayon," and "pyapadayon," respectively:

1 Ban mo agaw si Sabong

4 bangkaw guwall ballugnon

6 guwall ni pagkallayun
10 di magsalla pyapadayon

Lines 23, 24, 25, and 30 are also rhyming examples with their last words "dogokan," "tyagnusan," "kallandungan," and "sabitan."

23 syasakay kang dogokan
kang byagid tyagnusan

25 kang kallandungan

30 padullgi kang sabitan

Lines containing end rhymes do not come in succession, as in lines 1, 4, 6, and 10. Two or more lines usually come in between these lines. On the other hand, lines 23, 24, 25, and 30, which contain rhymes come successively. Both these rhyme structures occur throughout the epic.

Figurative language is an important element of verse. The Mandaya are a truly poetic people. The figurative expressions used in "Yang Mangngagaw" reveal this quality.

For instance, all the characters of the epic are given poetic names that embody their distinctive personal qualities. Tibay is Magliwodo ng Pudong (Peace-provider), and he exhibits this quality in the last part of the epic when he willingly decides to end the battle as a sign of respect to Lipig, the god of peace.

1967 Tibay replied,
"It is over.
In the mind there is peace,

1974 "My mind is at peace
because the god has come
whose name is Lipig."

Ombang is Taga-ombang Kilat (Handsome Lightning), dazzlingly handsome, yet frightening like the lightning. Probably by coincidence, his bride-to-be, Sadyi, or Inung Masadyang Kilat (Beautiful Cheerful Lightning) is named after the same element, unpredictable, beautiful, and awesome. Sabong, on the other hand, is Maynabong nal Layag (Lucky Boat), a name that fits his adventurous spirit that is revealed when he sets out on an uncertain journey and conquered not only the ocean but also his beloved.

The women's names express the Mandaya's respect for and adoration of celestial bodies, such as the moon, -stars, and lightning, which are considered symbols of beauty and light: Ballobaynun nam Bullan (Light of the Moon), Makailaw sa Baybay (Light of the Shore), Omal-lag sa Maglimbay (Light for the Traveller), and Busngag nam Pagkallayun (Light of the New Moon).

Any beautiful sight is compared to the moon, such as the hands of the women of Ullaynun (lines 144 to 146),

144 Hands shone as they moved,
fingers shone as they moved,
like the shining moon.

Sabong's hair anointed with oil (lines 214 to 218),

214 shiny braids of seven
beautifully arranged,
braided masterfully,
as beautiful as the moon

218 dazzlingly bright.

the necklace and other pieces of jewelry worn by Sabong (lines 291 to 298),

291 Do not forget the jewelry.
Do not leave the necklace.
A necklace is acceptable.
Only one [is] worn
beautiful as the moon,
bright as the stars,
shining like the full moon,

298 bright as the moon,

his belt (lines 345 to 347),

345 then [he] put on the belt,
the shining belt,
shiny like the moon.

and Sadya's beauty (lines 1092 to 1094)

1092 [were] examined and admired.
Like gazing at the moon,
the beauty was admired.

Gold is another recurring image in the epic, symbolic of chastity, purity, and preciousness as in the name of Ullaynun (Chaste) which is also known as Bullawanun (Golden). To the Mandaya, a woman's chastity is a priceless treasure that makes every woman as precious as gold.

Sabong, in lines 94 to 96, compares Sadya to gold. Like the imagery of the moon, gold also parallels beauty and worth.

94 One so good so beautiful,
gold so attractive,
she is whom I want to wed,

Lines 205 to 209 and 824 to 827 once again express the parallelism between beauty and gold,

205 the tangles of his hair,
shining like gold,
looked very shiny,

209 beautiful with oil.

825 offered the betel nut.
[They] had chosen the best [nuts]
as beautiful as gold,

Sadya's room is described as filled with gold (lines 140 and 141), worthy for a chaste bride: "to the virgin's room / [a] room filled with gold."

Sadya's house is likewise said to be a "house of gold / house of treasure," (lines 601 — 603).

All their jewelry are made of gold, the Mandaya's most precious metal. Symbolic of wealth, gold is clearly seen as worthy of respect and adoration.

Another figurative expression is illustrated in lines 600 — 603, which describe Sabong's willingness to "crawl under the house," which tells of a stealthy, secretive intent. Sabong does not literally "crawl under the house," but he uses cunning when he grabs Sadya when everyone else's attention is focused on another direction. He gets what he wants before anyone realizes what he is up to.

A very intimate and symbolic scene in the epic is expressed in lines 588 — 598, when Sabong picks a flower from Sadya's garden. The act is actually a foreshadowing of the abduction of Sadya. The picking of the flower without the owner's consent parallels that of the abduction of Sadya, who is another man's bride-to-be.

588 Sabong began to pick
a flower of Masadya

without the owner's consent,
but, he went ahead,
continued to do so.

Sabong smiled.
Bagani smiled.

595 "You're the only flower,
the flower I picked,
I shall wed, 5
98 shall possess.

Prior to the taking of the flower, lines 581 — 585 symbolically describe the strong winds and the storms of Lingayin and Lintawanun in the flower garden, calamities that have come to test the strength and the security of the flowers. In lines 571 — 579, the flower garden is described as safe and secure; this invulnerability, however, is challenged by the coming of the strong winds. This again is symbolic of Sabong's abduction of Sadya.

571 tightly secured by strands,
strong and steady,
even through a storm,
even [when hit] by [the] strong winds
of Lingayin [and the]
storms of Lintawanun.
Even if struck by a storm,
flowers buffeted by a storm
would not fall.
Flowers would not be ruined.
Strong winds of Lingayin,
storms of Lintawanun,
steadily approached,
are coming closer.
The flowers of Masadya,

The flowers in the garden symbolize Sadya. The jewels and strong strands that attach the flowers to the trees symbolize the security she is expected to gain from her marriage to Ombang. They symbolize the strength and safety she experiences with the authoritarian rule of her brothers and the support they provide her. This security and certainty is challenged, and soon broken, with the coming of Sabong, symbolized by the winds and the storms of Lingayin and Lintawanun that have come to ravage the flower garden.

Customs and Beliefs of the Mandaya

The epic contains vivid descriptions of the Mandayan tribal customs and beliefs. One of these is the ritual of sharing and offering betel nut as a sign of goodwill and hospitality. Lines 790 and 791 and 821 to 825 shomi how the women of Ullaynun prepare the betel nut chew to be offered to the guests from Kadigi. Though the hosts are not yet aware of their intent, Sabong and his brothers are welcomed warmly as visitors and invited to partake of the betel nut chew.

790 The women were summoned
"Go and fetch betel."

821 the young women
fetched and offered
the bowl of betel nut,
offered the betel nut.

825 [They] had chosen the best [nuts]

In lines 2012 to 2020, Maglipig Mal-langitnin, the god of peace, calls the warriors together and as a symbol of the end of the battle, enjoins them to share and chew betel nut:

2012 [He] said, "It is good
because the war is over.
It is ended.
I wish to see
2016 you share betel nut,
[Let us] exchange betel nut
for there is no more war
in the mind.
2020 Let there be peace."

This practice of showing goodwill is still observed by the Mandaya. But in consideration of non-Mandayan guests, the natives usually refrain from offering betel nut chew. They offer coffee, softdrinks, or cigarettes in its stead.

Another custom that signifies hospitality is the offering of wine, as revealed in Episode IV, where Dyuyan, the leader of Ullaynun, commands his brother Dagyu to fetch the best wine for the guests. Prior to the arrival of the brothers from Kadigi, Dyuyan has been entertaining the group of Tibay with the wine of Makaway.

A traditional wedding practice of the Mandaya involves the marriage dowry. Episode VII describes how Sadya is prevented from coming out of her room in the absence of a dowry. The bride's room is built in such a way that the corridor leading to it is blocked with several partitions or walls low enough for a person to step over. Offerings of gold, jewelry, or whatever the bride demands must be laid at her feet before the bride crosses each block (lines 1177, 1179-1184, 1190-1191, 1197-1201).

1177 [She] must step over blocks,
1179 began to step over the blocks,
crossed the partitions,
passed the divisions,
then [she] returned to [her] bed[room]
"[I] must first give a test, [then]
1184 I promise to come out."

1190 "Before I move [and]
place your payment [here],

1197 offer something beautiful
with the dowry,
you will have me.
Without the dowry,
1201 you couldn't have me."

Her brothers and relatives may likewise demand anything from the suitor (lines 1185-1189, 1202-1204).

1185 "Name the price."
"Dyuyan, [you] must decide
the price of your sister,

1189 your sister's worth."

1202 Bagani gave Dyuyan
seven necklaces,

seven jewels,

The coming out of the bride is also considered a most awaited event when she reveals herself to the guests in full splendor and beauty (lines 1393-1400).

1393 Then [she] slowly came out,
came out of the room.
Look, Andi has come out
as if [she has] already [been] allowed to.
Woman of beauty,
woman so beautiful
went straight towards
1400 where the mat was,

One observable aspect of the epic is that only the elder siblings, as in the case of Tibay and Dyuyan, take charge of the arrangements. In lines 1606 to 1614, Sadya's cry is described as "so loud that her brother feared it might reach the grave of their parents." This fact explains Dyuyan's role in the marriage arrangements of his sister, Sadya. With the parents gone, the eldest sibling takes charge of the family.

Although they are revered for their beauty and virtue, women in the Mandaya culture are ranked lower than men. They usually serve the men and rarely show aggressiveness or disobedience. One example of this is Sadya's inability to protest against her coming marriage to Ombang, a man she obviously does not love. Another example is Malimbungon na Panday assisting her brother, Sabong in his preparations for the journey. She combs and fixes his hair (lines 180-184), and helps him dress up (lines 321-329).

180 sat with her back to the wall.
[She] combed the hair of Sabong,
combed then ruffled [it].
Linimbong combed and combed,
184 tried hard to comb.

321 The young girl stood,
the woman stood up,
took the chest,
the chest of gold,
chest made of gold.
[She] took out the clothes,
set aside
the ones [that were] not chosen,
329 the clothes of Bagani,

Furthermore, the Mandayan women could not leave their rooms unless they are summoned outside or given permission to do so by their elders (lines 241-245, 790, 1076, 1174-1176, and 1395-1396).

241 Malimbungon na Panday
slowly headed outside,
proceeded outside,
[She] seemed to have been permitted,
245 given permission,

790 The women were summoned,

1076 the sister was allowed, outside,
summoned through the doorway.

1174 that Dyuyan
would send his sister out
of her room.

1395 Look, Andi has come out
as if [she has] already [been] allowed to.

Despite this discrimination, a beautiful and chaste woman is always made to sit on a dagmay mat, a sign of respect and fondness, since the dagmay is considered as a special piece of cloth known for its exquisite designs (lines 251-253; 803-805, 1397-1402).

251 "You must sit here
on the red dagmay mat,
253 on the floor laid with red."

803 The most beautiful maiden
went to the living room,
805 spread out a dagmay mat,

1398 woman so beautiful
went straight towards
where the mat was,
the red mat was laid.
1402 [She] then squatted, sat [down].

Superstition is another aspect of Mandaya customs and beliefs. The epic mentions the following superstitious beliefs: when a jar of wine is broken, this would bring bad luck (lines 1314-1319); a bride must sit facing east and not west to avoid misfortune (1404-1417); it is unfortunate if the bride slips on her way out (1220-1222); if a woman declines a glass of wine offered to her, this would bring a curse on her family (991-999). This is the reason, why Ballobaynun nam Bullan finally accepts the wine offered by Luntad; if a woman wails so loud, enough to waken the dead, this would bring a curse to her and her household (1603-1616). The limukon, a bird the Mandaya respects, has a cry which is rarely heard and is unlike other birds' cries. To the Mandaya, its cry is a bad omen (682-683).

Values and Ideals

The Mandaya are a proud people who adhere to certain ideals and values, such as beauty, chastity, material wealth, close family ties, pride, determination, and respect for gods and spirits.

Because the Mandaya are ardent admirers of beauty, they always offer the best and most beautiful gifts to beautiful women.

They adore beauty not only in their women and their heroes, but in the things of nature as well. They love to dress up extravagantly. During special occasions, they adorn themselves with numerous pieces of jewelry, mostly gold, and wear their most beautiful and most attractive dresses. This reveals not only their love for beauty but also their vanity. They enjoy showing off their beauty and their material wealth evident in their extravagant display of golden jewelry and the expensive dowry.

The Mandaya give utmost importance to a woman's chastity. A mere touch from a man is considered degrading and a violation of her virtue. Thus, when Sabong grabs and kisses Sadya, everyone feels sorry for her since she has somehow "lost her chastity," making her the possession of the man who violates her.

When Sabong decides to journey to Ullaynun, his brothers, though somehow opposed to his purpose, accompany him. Although two of his brothers refuse to fight beside him, his other brother, Lanus and the rest come to fight with him.

the journey was on its way.

Bagani came out,
367 started to leave,
and the rest followed.

1763 Lanus called out
[to] his brother Luntad Diwata,

1769 [There are] too many enemies

This supportive attitude is also revealed in the way women take care of each other, especially the way they assist the bride and make sure that she looks her best for her wedding.

166 oh, how Al-lag
guarded the Beloved closely,
watched over the bride
169 who had been paid right.

1069 Sadya had long been
staying inside,

1074 Omal-lag sa Maglimbay,
1077 summoned through the doorway.
[She] sat down to rest,
sat with back turned.
[She] began combing her hair, combing.

1117 already decorated
with each piece of jewelry.
Arranged carefully [was]
every beautiful gem,

bejewelled all over.
1122 "Inung Masadyang Kilat,

1662 Ballobaynun nam Bullan,
sister-in-law, did not leave,
watched carefully.
The bride was guarded,
1666 watched with sympathy.

On the other hand, the women's obedient and servile attitude to their brothers is a sign of respect for their authority. These instances reflect the closeness of the Mandaya family.

The Mandaya are proud. They are quick to defend and fight for their honor. They take what they deem is rightfully theirs, like the way Sabong fights for his love for Sadya, and the way Tibay and Ombang challenge Sabong to a fight for abducting Sadya, the woman engaged to Ombang, the woman whom he has rightfully served, and whose marriage dowry he has paid.

If Sabong had been a weakling, he wouldn't have pushed through with his plan to go to Ullaynun, to try his luck and to abduct his beloved Sadya. He knows that the journey would be difficult and uncertain. But determination and strength of character prevailed, virtues that helped him achieve his goal.

Though it is nearly at the end of the epic that a god from the skyworld takes part in the action, the high regard and respect that the Mandayas give to gods and spirits is evident. Not one among the fighting men dares to disobey Maglipig Mal-langitnin. They humbly stop the battle just to please the god of peace. With this attitude, everything turns out well and the epic has a happy ending.
Their respect for gods and spirits enables the Mandaya warriors to swallow their pride and stop fighting. The intervention of Maglipig Mal-langitnin in the battle illustrates the critical role that gods and spirits play in the lives of the Mandaya.

The Mandaya believes that there are supernatural beings who monitor the affairs of humans. He acknowledges the power that these beings have over ordinary people. These supernatural beings who live in the skyworld and in nature greatly influence the decisions that humans make. To disobey the gods would elicit their anger and thus bring down a curse or a punishment on the errant person. On the other hand, obedience to their commands would mean good fortune and blessings. The gods are both feared and respected. That is why the Mandaya strive to please the gods and the spirits so that no ill-fortune would befall them. Thus, Sabong and Tibay know better than to continue their battle in the presence of Maglipig Mal-langitnin, the god of peace.

Conclusions

1) "Yang Mangngagaw" possesses all of the essential elements of a Philippine epic.

a. Sustained length — It contains 2,020 lines.

b. Based on oral tradition — The native informants learned the epic from their parents and grandparents who taught it to them by word of mouth.

c. Contains supernatural events, such as, a garment that misbehaves and shines brightly when thrown to the ground; knives, shields, jewelry and gold that float on the ocean and the river; a house that trembles in fear and begs the warriors to step down and continue their fight in the field; metal spears that break when the god Lipig steps on them; and the ocean which Lipig summons to stop the battle.

d. Heroic deeds — Sabong doesn't allow his anger to cause him to hurt the people around him, but takes it out on a piece of cloth; Sabong maneuvers the boat alone through raging rivers and oceans; Sabong saves Sadya from an unhappy marriage; Tibay and Sabong respect the house's request, and later, set aside their anger for the sake of peace.

e. Versified form— When chanted, the epic's rhythm is totally derived from the singers' rhythmic gestures and utterances. In its written form, the epic achieves its rhythm from the constancy of seven to eight syllables in each line, and two to five syllables in shorter lines. It also follows a masculine rhyming scheme, although the lines that contain final words that rhyme do not come in succession all the time. The epic is divided into ten parts based on the flow of events, and likewise into stanzas to emphasize the character's dialogues and the descriptive as well as narrative stanzas. Figurative and poetic expressions are also used.

f. Customs and beliefs — Offering betel nut and wine for goodwill and hospitality; the marriage dowry; the authority of the elder siblings to arrange marriages; subservience of women; superstitious beliefs about misfortune related to a broken wine jar, the bride facing west, the bride slipping on her way out of the room, refusal of a proferred glass of wine, a loud cry, and the hearing of the limukon's cry. All these are bad omens or curses.

g. Life-values and ideals — Values both desirable and undesirable are presented in the epic. Desirable values include: beauty, chastity, close family ties, pride, determination and respect for gods, spirits, and nature. Undesirable values include: vanity, love for material wealth, selfishness, and treachery.

2) "Yang Mangngagaw" is an epic that ends happily with the reconciliation of the warriors. There are no casualties in battle.

References Cited and Appendix A Referred to pdf file.

Info

Source Journal	Tambara
Journal Volume	Tambara Vol. XVI
Authors	Genevieve T. Jorolan
Page Count	46
Place of Publication	Davao City
Original Publication Date	December 1, 1999
Tags	Caraga, Davao Oriental, Epic, Mandaya Tribe, Tambara, Yang Mangagaw

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