initial commit of ebook 10771HEADmain

4 files changed, 3778 insertions, 0 deletions

diff --git a/old/10771-8.txt b/old/10771-8.txt
new file mode 100644
index 0000000..e4d4cb7
--- /dev/null
+++ b/old/10771-8.txt
@@ -0,0 +1,1889 @@
+Project Gutenberg's Philippine Folklore Stories, by John Maurice Miller
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Philippine Folklore Stories
+
+Author: John Maurice Miller
+
+Release Date: January 21, 2004 [EBook #10771]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PHILIPPINE FOLKLORE STORIES ***
+
+
+
+
+Produced by Jeroen Hellingman
+
+
+
+
+PHILIPPINE FOLKLORE STORIES
+
+
+
+By
+John Maurice Miller,
+Boston, U.S.A.
+
+
+
+1904
+
+
+
+Preface
+
+As these stories are only legends that have been handed down from
+remote times, the teacher must impress upon the minds of the children
+that they are myths and are not to be given credence; otherwise the
+imaginative minds of the native children would accept them as truth,
+and trouble would be caused that might be hard to remedy. Explain
+then the fiction and show the children the folly of belief in such
+fanciful tales.
+
+
+
+Contents
+
+The Tobacco of Harisaboqued
+The Pericos
+Quicoy and the Ongloc
+The Passing of Loku
+The Light of the Fly
+Mangita and Larina
+How the World Was Made
+The Silver Shower
+The Faithlessness of Sinogo
+Catalina of Dumaguete
+The Fall of Polobolac
+The Escape of Juanita
+The Anting-Anting of Manuelito
+When the Lilies Return
+
+
+
+The Tobacco of Harisaboqued
+
+A legend of the volcano of Canlaon on the island of Negros. It is
+told generally in Western Negros and Eastern Cebu. The volcano is
+still active, and smoke and steam rise from its crater.
+
+Long before the strange men came over the water from Spain, there
+lived in Negros, on the mountain of Canlaon, an old man who had great
+power over all the things in the earth. He was called Harisaboqued,
+King of the Mountain.
+
+When he wished anything done he had but to tap the ground three times
+and instantly a number of little men would spring from the earth
+to answer his call. They would obey his slightest wish, but as he
+was a kind old man and never told his dwarfs to do anything wrong,
+the people who lived near were not afraid. They planted tobacco on
+the mountain side and were happy and prosperous,
+
+The fields stretched almost to the top of the mountain and the plants
+grew well, for every night Harisaboqued would order his dwarfs to
+attend to them, and though the tobacco was high up it grew faster
+and better than that planted in the valley below.
+
+The people were very grateful to the old man and were willing to do
+anything for him; but he only asked them not to plant above a line
+he had ordered his little men to draw around the mountain near the
+top. He wished that place for himself and his dwarfs.
+
+All obeyed his wish and no one planted over the line. It was a pretty
+sight to see the long rows of tobacco plants extending from the towns
+below far up to the line on the mountain side.
+
+One day Harisaboqued called the people together and told them that
+he was going away for a long time. He asked them again not to plant
+over the line, and told them that if they disregarded this wish
+he would carry all the tobacco away and permit no more to grow on
+the mountain side until he had smoked what he had taken. The people
+promised faithfully to obey him. Then he tapped on the ground, the
+earth opened, and he disappeared into the mountain.
+
+Many years passed and Harisaboqued did not come back. All wondered
+why he did not return and at last decided that he would never do
+so. The whole mountain side was covered with tobacco and many of the
+people looked with greedy eyes at the bare ground above the line,
+but as yet they were afraid to break their promise.
+
+At last one man planted in the forbidden ground, and, as nothing
+happened, others did the same, until soon the mountain was entirely
+covered with the waving plants. The people were very happy and soon
+forgot about Harisaboqued and their promise to him.
+
+But one day, while they were laughing and singing, the earth suddenly
+opened and Harisaboqued sprang out before them. They were very much
+frightened and fled in terror down the mountain side. When they reached
+the foot and looked back they saw a terrible sight. All the tobacco
+had disappeared and, instead of the thousands of plants that they
+had tended so carefully, nothing but the bare mountain could be seen.
+
+Then suddenly there was a fearful noise and the whole mountain top
+flew high in the air, leaving an immense hole from which poured fire
+and smoke.
+
+The people fled and did not stop until they were far away. Harisaboqued
+had kept his word.
+
+Many years have come and gone, but the mountain is bare and the
+smoke still rolls out of the mountain top. Villages have sprung up
+along the sides, but no tobacco is grown on the mountain. The people
+remember the tales of the former great crops and turn longing eyes
+to the heights above them, but they will have to wait. Harisaboqued
+is still smoking his tobacco.
+
+
+
+The Pericos
+
+Throughout the Visayan islands almost every family owns a pericos,
+kept as American children keep canary birds. The pericos is about
+the size and color of a Crow, but has a hard white hood that entirely
+covers its head. The people teach it but one phrase, which it repeats
+continually, parrot fashion. The words are, "Comusta pari? Pericos
+tao." (How are you, father? Parrot-man.) "Pari" means padre or
+priest. The people address the pericos as "pari" because its white
+head, devoid of feathers, seems to resemble the shaven crowns of the
+friars and native priests.
+
+
+I
+
+
+In his small wooden box
+That hangs on the wall
+Sits a queer-looking bird
+That in words sounds his call.
+From daybreak to twilight
+His cry he repeats,
+Resting only whenever
+He drinks or he eats.
+He never grows weary,--
+Hear! There he goes now!
+"Comusta pari?
+Pericos tao."
+
+
+
+II
+
+
+And all the day long
+You can hear this strange cry:
+"How are you, father?
+A parrot-man I."
+He sits on his perch,
+In his little white cap,
+And pecks at your hand
+If the cage door you tap.
+Now give him some seeds,
+Hear him say with a bow,
+"Comusta pari?
+Pericos tao."
+
+
+
+III
+
+
+Poor little birdie!
+How hard it must be
+To sit there in prison
+And never be free!
+I'll give you a mango,
+And teach you to say
+"Thank you," and "Yes, sir,"
+And also "Good day."
+You'll find English as easy
+As what you say now,
+"Comusta pari?
+Pericos tao."
+
+
+
+IV
+
+
+I'll teach you "Good morning"
+And "How do you do?"
+Or "I am well, thank you,"
+And "How are you too?"
+"Polly is hungry" or
+"It's a fine day."
+These and much more
+I am sure you could say.
+But now I must go,
+So say with your bow,
+"Comusta pari?
+Pericos tao."
+
+
+
+
+Quicoy and the Ongloc
+
+This story is known generally in the southern Islands. The Ongloc
+is feared by the children just as some little boys and girls fear
+the Bogy Man. The tale is a favorite one among the children and they
+believe firmly in the fate of Quicoy.
+
+Little Quicoy's name was Francisco, but every one called him Quicoy,
+which, in Visayan, is the pet name for Francisco. He was a good
+little boy and helped his mother grind the corn and pound the rice
+in the big wooden bowl, but one night he was very careless. While
+playing in the corner with the cat he upset the jar of lubi lana,
+and all the oil ran down between the bamboo strips in the floor and
+was lost. There was none left to put in the glass and light, so the
+whole family had to go to bed in the dark.
+
+Quicoy's mother was angry. She whipped him with her chinela and then
+opened the window and cried:
+
+
+"Ongloc of the mountains!
+Fly in through the door.
+Catch Quicoy and eat him,
+He is mine no more."
+
+
+Quicoy was badly frightened when he heard this, for the Ongloc is a big
+black man with terrible long teeth, who all night goes searching for
+the bad boys and girls that he may change them into little cocoanuts
+and put them on a shelf in his rock house in the mountains to eat
+when he is hungry.
+
+So when Quicoy went to his bed in the corner he pulled the matting over
+his head and was so afraid that he did not go to sleep for a long time.
+
+The next morning he rose very early and went down to the spring where
+the boys get the water to put in the bamboo poles and carry home. Some
+boys were already there, and he told them what had taken place the
+night before. They were all sorry that his mother had called the
+Ongloc, but they told him not to be afraid for they would tell him
+how he could be forever safe from that terrible man.
+
+It was very easy. All he had to do was to go at dusk to the cocoanut
+grove by the river and dig holes under two trees. Then he was to climb
+a tree, get the cocoanut that grew the highest, and, after taking
+off the husk and punching in one of the little eyes, whisper inside:
+
+
+"Ongloc of the mountains!
+Ongloc! Ugly man!
+I'm a little cocoanut,
+Catch me if you can!"
+
+
+Then he was to cut the cocoanut in halves, quickly bury one piece in
+one of the holes, and, running to the other tree, bury the remaining
+half in the other hole. After that he might walk home safely, being
+sure not to run, for the Ongloc has always to obey the call of the
+cocoanut, and must hunt through the grove to find the one that called
+him. Should he cross the line between the holes, the buried pieces
+would fly out of the holes, snap together on him, and, flying up the
+tree from which they came, would keep him prisoner for a hundred years.
+
+Quicoy was happy to think that he could capture the Ongloc, and
+resolved to go that very night. He wanted some of the boys to go with
+him, but they said he must go alone or the charm would be broken. They
+also told him to be careful himself and not cross the line between
+the holes or he would be caught as easily as the Ongloc.
+
+So Quicoy went home and kept very quiet all day. His mother was sorry
+she had frightened him the night before, and was going to tell him
+not to be afraid; but when she thought of the lubi lana spilled on
+the ground, she resolved to punish him more by saying nothing to him.
+
+Just at dark, when no one was looking, Quicoy took his father's bolo
+and quietly slipped away to the grove down by the river. He was not
+afraid of ladrones, but he needed the bolo because it is not easy
+to open a cocoanut, and it takes some time, even with a bolo, to get
+the husk chopped from the fruit.
+
+Quicoy felt a little frightened when he saw all the big trees around
+him. The wind made strange noises in the branches high above him,
+and all the trees seemed to be leaning over and trying to speak to
+him. He felt somewhat sorry that he had come, but when he thought of
+the Ongloc he mustered up courage and went on until he found an open
+space between two high trees.
+
+He stopped here and dug a hole under each of the trees. Then he put his
+feet in the notches and climbed one of the trees. It was hard work,
+for the notches were far apart; but at last he reached the branches
+and climbed to the top. The wind rocked the tree and made him dizzy,
+but he reached the highest cocoanut, threw it to the ground, and then
+'started down the tree. It was easy to come down, though he went
+too fast and slipped and slid some distance, skinning his arms and
+legs. He did not mind that, however, for he knew he had the cocoanut
+that would capture the Ongloc. He picked it up, chopped off the husk,
+punched in one of the little eyes, and whispered inside:
+
+
+"Ongloc of the mountains!
+Ongloc! Ugly man!
+I'm a little cocoanut,
+Catch me if you can!"
+
+
+He then chopped it in halves and buried one piece, and, running
+to the other tree, buried the remaining piece. Just as he finished
+he thought he heard a noise in the grove, and, instead of walking,
+he started to run as fast as he could.
+
+It was very dark now, and the noise grew louder and made him run
+faster and faster, until suddenly a dreadful scream sounded directly in
+front of him, and a terrible black thing with fiery eyes came flying
+at him. He turned in terror and ran back toward the trees. He knew it
+was the Ongloc answering the call of the cocoanut, and he ran like mad,
+but the monster had seen him and flew after him, screaming with rage.
+
+Faster and faster he ran, but nearer and nearer sounded the frightful
+screams until, just as he felt two huge claws close on his neck, there
+was a bump, a loud snap, and he felt himself being carried high in the
+air. When the shock was over he found that he was squeezed tightly
+between two hard walls, and he could hear the Ongloc screaming and
+tearing at the outside with his claws. Then he knew what had happened.
+
+He had crossed the line between the buried pieces and they had snapped
+on him and carried him up the tree from which they came. He was badly
+squeezed but he felt safe from the Ongloc, who finally went away in
+disappointment; for, although he likes cocoanuts, he cannot take one
+from a tree, but must change a boy or girl into the fruit if he wishes
+to eat of it.
+
+Quicoy waited a long, long time and then knocked on the shell in the
+hope that some one would hear him. All that night and the next day
+and the next he knocked and cried and knocked, but, though people
+passed under the tree and found the bolo, he was so high up they did
+not hear him.
+
+Days and weeks went by and the people wondered what had become of
+Quicoy. Many thought he had run away and were sorry for his poor
+mother, who grieved very much to think she had terrified him by calling
+the Ongloc. Of course the boys who had sent him to the grove could
+have told something of his whereabouts, but they were frightened and
+said nothing, so no one ever heard of poor little Quicoy again.
+
+If you pass a cocoanut grove at night you can hear a noise like some
+one knocking. The older people say that the cocoanuts grow so closely
+together high up in the branches that the wind, when it shakes the
+tree, bumps them together. But the children know better. They say,
+"Quicoy is knocking to get out, but he must stay there a hundred
+years."
+
+
+
+The Passing of Loku
+
+The tale of Loku is applied to a large, ugly lizard which climbs
+to the rafters of houses and gives the peculiar cry that suggests
+its name. This lizard, although hideous, is harmless; it lives on
+centipedes. Its strange cry may be heard everywhere in the Philippine
+Islands.
+
+Hundreds of years ago a very wicked king named Loku ruled the
+Philippines. He was cruel and unjust, and condemned to death all who
+refused to do his bidding. He had vast armies and made war on all
+until his name was feared everywhere.
+
+His power was very great. He conquered every nation that opposed him
+and killed so many people that the god, viewing the slaughter from
+his throne above, sent an angel to order him to cease from warfare
+and to rule the land in peace.
+
+Loku was in his palace, planning an assault on his neighbors, when
+a soft light filled the chamber, and a beautiful angel appeared and
+delivered the mandate of the master.
+
+The cruel king paid no heed, but dismissed the holy messenger
+in scorn. "Tell your master," said he, "to deliver his message in
+person. I do not deal with messengers. I am Loku. All fear my name. I
+am the great Loku."
+
+Hardly had he spoken when the palace shook to its foundations and a
+mighty voice thundered, "Is it thus thou Slightest my word? Thou art
+Loku. All shall indeed know thy name. From every crevice thou shalt
+forever cry it in a form that suits thy ill nature."
+
+The courtiers, alarmed by the shock, rushed to the king's chamber,
+but Loku was nowhere to be found. The royal robes lay scattered on
+the floor and the only living thing to be seen was an ugly lizard
+that blinked at them from among the plans on the table.
+
+They searched far and wide, and when no trace of the king could be
+found the courtiers divided the kingdom and ruled so wisely and well
+that there was peace for many years.
+
+As for Loku, you may still hear him fulfilling his punishment. From
+crack and crevice, tree and shrub, he calls his name from dark till
+dawn: "Lok-u! Lok-u! Lok-u!"
+
+And he must cry it forever.
+
+
+
+The Light of the Fly
+
+The firefly abounds everywhere in the Islands.
+
+
+I
+
+
+The King of the Air was in terrible rage,
+For some one had stolen his ring;
+And every one wondered whoever could dare
+To do such a terrible thing.
+He called all his subjects together and said,
+"To him that shall find it I'll give
+Whatever he asks, and this bounty of mine
+Shall last while his family live."
+
+
+
+
+II
+
+
+Away went his good loyal subjects to search,
+And no one remained but a fly.
+"Be off!" said the King, "go and join in the search;
+Would you slight such a ruler as I?"
+Then up spoke the fly with his little wee voice:
+"The ring is not stolen," he said.
+"It stuck to your crown when you put it away,
+And now it's on top of your head."
+
+
+
+III
+
+
+The King in surprise took the crown from his head,
+And there, sure enough, was the ring.
+"No wonder you saw it, with so many eyes;
+But what is your wish?" said the King.
+"O King," said the fly, "I work hard all the day,
+And I never can go out at night.
+I should like to go then and be gay with my friends,
+So all that I wish is a light."
+
+
+
+IV
+
+
+"You shall have it at once," said the gratified King,
+And he fastened a light to the fly,
+Who straightway returned to his home with the prize
+That was worth more than money could buy.
+So now you can see him at night with his light
+And from him this lesson may learn:
+To keep your eyes open and see the least thing,
+And Fortune will come in its turn.
+
+
+
+
+Mangita and Larina
+
+This is a tale told in the lake district of Luzon. At times of rain
+or in winter the waters of the Laguna de Bai rise and detach from the
+banks a peculiar vegetation that resembles lettuce. These plants,
+which float for months down the Pasig River, gave rise, no doubt,
+to the story.
+
+Many years ago there lived on the banks of the Laguna de Bai a poor
+fisherman whose wife had died, leaving him two beautiful daughters
+named Mangita and Larina.
+
+Mangita had hair as black as night and a dark skin. She was as good
+as she was beautiful, and was loved by all for her kindness. She
+helped her father mend the nets and make the torches to fish with at
+night, and her bright smile lit up the little nipa house like a ray
+of sunshine.
+
+Larina was fair and had long golden hair of which she was very
+proud. She was different from her sister, and never helped with the
+work, but spent the day combing her hair and catching butterflies. She
+would catch a pretty butterfly, cruelly stick a pin through it,
+and fasten it in her hair. Then she would go down to the lake to see
+her reflection in the clear water, and would laugh to see the poor
+butterfly struggling in pain. The people disliked her for her cruelty,
+but they loved Mangita very much. This made Larina jealous, and the
+more Mangita was loved, the more her sister thought evil of her.
+
+One day a poor old woman came to the nipa house and begged for a
+little rice to put in her bowl. Mangita was mending a net and Larina
+was combing her hair in the doorway. When Larina saw the old woman
+she spoke mockingly to her and gave her a push that made her fall
+and cut her head on a sharp rock; but Mangita sprang to help her,
+washed the blood away from her head, and filled her bowl with rice
+from the jar in the kitchen.
+
+The poor woman thanked her and promised never to forget her kindness,
+but to her sister she spoke not a word. Larina did not care, however,
+but laughed at her and mocked her as she painfully made her way again
+down the road. When she had gone Mangita took Larina to task for
+her cruel treatment of a stranger; but, instead of doing any good,
+it only caused Larina to hate her sister all the more.
+
+Some time afterwards the poor fisherman died. He had gone to the big
+city down the river to sell his fish, and had been attacked with a
+terrible sickness that was raging there.
+
+The girls were now alone in the world.
+
+Mangita carved pretty shells and earned enough to buy food, but,
+though she begged Larina to try to help, her sister would only idle
+away the time.
+
+The terrible sickness now swept everywhere and poor Mangita, too,
+fell ill. She asked Larina to nurse her, but the latter was jealous
+of her and would do nothing to ease her pain. Mangita grew worse
+and worse, but finally, when it seemed as if she would soon die,
+the door opened and the old woman to whom she had been so kind came
+into the room. She had a bag of seeds in her hand, and taking one
+she gave it to Mangita, who soon showed signs of being better, but
+was so weak that she could not give thanks.
+
+The old woman then gave the bag to Larina and told her to give a seed
+to her sister every hour until she returned. She then went away and
+left the girls alone.
+
+Larina watched her sister, but did not give her a single seed. Instead,
+she hid them in her own long hair and paid no attention to Mangita's
+moans of pain.
+
+The poor girl's cries grew weaker and weaker, but not a seed would
+her cruel sister give her. In fact, Larina was so jealous that she
+wished her sister to die.
+
+When at last the old woman returned, poor Mangita was at the point of
+death. The visitor bent over the sick girl and then asked her sister
+if she had given Mangita the seeds. Larina showed her the empty bag
+and said she had given them as directed. The old woman searched the
+house, but of course could not find the seeds. She then asked Larina
+again if she had given them to Mangita. Again the cruel girl said
+that she had done so.
+
+Suddenly the room was filled with a blinding light, and when Larina
+could see once more, in place of the old woman stood a beautiful
+fairy holding the now well Mangita in her arms.
+
+She pointed to Larina and said, "I am the poor woman who asked for
+rice. I wished to know your hearts. You were cruel and Mangita was
+kind, so she shall live with me in my island home in the lake. As for
+you, because you tried to do evil to your good sister, you shall sit
+at the bottom of the lake forever, combing out the seeds you have
+hidden in your hair." Then, she clapped her hands and a number of
+elves appeared and carried the struggling Larina away.
+
+"Come," said the fairy to Mangita, and she carried her to her beautiful
+home, where she lives in peace and happiness.
+
+As for Larina, she sits at the bottom of the lake and combs her
+hair. As she combs a seed out, another comes in, and every seed that
+is combed out becomes a green plant that floats out of the lake and
+down the Pasig.
+
+And to this day people can see them, and know that Larina is being
+punished for her wickedness.
+
+
+
+How the World Was Made
+
+This is the ancient Filipino account of the creation.
+
+Thousands of years ago there was no land nor sun nor moon nor stars,
+and the world was only a great sea of water, above which stretched
+the sky. The water was the kingdom of the god Maguayan, and the sky
+was ruled by the great god Captan.
+
+Maguayan had a daughter called Lidagat, the sea, and Captan had a
+son known as Lihangin, the wind. The gods agreed to the marriage of
+their children, so the sea became the bride of the wind.
+
+Three sons and a daughter were born to them. The sons were called
+Licalibutan, Liadlao, and Libulan, and the daughter received the name
+of Lisuga.
+
+Licalibutan had a body of rock and was strong and brave; Liadlao
+was formed of gold and was always happy; Libulan was made of copper
+and was weak and timid; and the beautiful Lisuga had a body of pure
+silver and was sweet and gentle. Their parents were very fond of them,
+and nothing was wanting to make them happy.
+
+After a time Lihangin died and left the control of the winds to his
+eldest son Licalibutan. The faithful wife Lidagat soon followed her
+husband, and the children, now grown up, were left without father or
+mother. However, their grandfathers, Captan and Maguayan, took care
+of them and guarded them from all evil.
+
+After a time, Licalibutan, proud of his power over the winds, resolved
+to gain more power, and asked his brothers to join him in an attack on
+Captan in the sky above. At first they refused; but when Licalibutan
+became angry with them, the amiable Liadlao, not wishing to offend
+his brother, agreed to help. Then together they induced the timid
+Libulan to join in the plan.
+
+When all was ready the three brothers rushed at the sky, but they
+could not beat down the gates of steel that guarded the entrance. Then
+Licalibutan let loose the strongest winds and blew the bars in every
+direction. The brothers rushed into the opening, but were met by
+the angry god Captan. So terrible did he look that they turned and
+ran in terror; but Captan, furious at the destruction of his gates,
+sent three bolts of lightning after them.
+
+The first struck the copper Libulan and melted him into a ball. The
+second struck the golden Liadlao and he too was melted. The third
+bolt struck Licalibutan and his rocky body broke into many pieces
+and fell into the sea. So huge was he that parts of his body stuck
+out above the water and became what is known as land.
+
+In the meantime the gentle Lisuga had missed her brothers and started
+to look for them. She went toward the sky, but as she approached the
+broken gates, Captan, blind with anger, struck her too with lightning,
+and her silver body broke into thousands of pieces.
+
+Captan then came down from the sky and tore the sea apart, calling
+on Maguayan to come to him and accusing him of ordering the attack on
+the sky. Soon Maguayan appeared and answered that he knew nothing of
+the plot as he had been asleep far down in the sea. After a time he
+succeeded in calming the angry Captan. Together they wept at the loss
+of their grandchildren, especially the gentle and beautiful Lisuga; but
+with all their power they could not restore the dead to life. However,
+they gave to each body a beautiful light that will shine forever.
+
+And so it was that golden Liadlao became the sun and copper Libulan
+the moon, while the thousands of pieces of silver Lisuga shine as
+the stars of heaven. To wicked Licalibutan the gods gave no light,
+but resolved to make his body support a new race of people. So Captan
+gave Maguayan a seed and he planted it on the land, which, as you will
+remember, was part of Licalibutan's huge body. Soon a bamboo tree grew
+up, and from the hollow of one of its branches a man and a woman came
+out. The man's name was Sicalac, and the woman was called Sicabay. They
+were the parents of the human race. Their first child was a son whom
+they called Libo; afterwards they had a daughter who was known as
+Saman. Pandaguan was a younger son and he had a son called Arion.
+
+Pandaguan was very clever and invented a trap to catch fish. The very
+first thing he caught was a huge shark. When he brought it to land,
+it looked so great and fierce that he thought it was surely a god,
+and he at once ordered his people to worship it. Soon all gathered
+around and began to sing and pray to the shark. Suddenly the sky and
+sea opened, and the gods came out and ordered Pandaguan to throw the
+shark back into the sea and to worship none but them.
+
+All were afraid except Pandaguan. He grew very bold and answered that
+the shark was as big as the gods, and that since he had been able to
+overpower it he would also be able to conquer the gods. Then Captan,
+hearing this, struck Pandaguan with a small thunderbolt, for he did not
+wish to kill him but merely to teach him a lesson. Then he and Maguayan
+decided to punish these people by scattering them over the earth,
+so they carried some to one land and some to another. Many children
+were afterwards born, and thus the earth became inhabited in all parts.
+
+Pandaguan did not die. After lying on the ground for thirty days he
+regained his strength, but his body was blackened from the lightning,
+and all his descendants ever since that day have been black.
+
+His first son, Arion, was taken north, but as he had been born before
+his father's punishment he did not lose his color, and all his people
+therefore are white.
+
+Libo and Saman were carried south, where the hot sun scorched their
+bodies and caused all their descendants to be of a brown color.
+
+A son of Saman and a daughter of Sicalac were carried east, where the
+land at first was so lacking in food that they were compelled to eat
+clay. On this account their children and their children's children
+have always been yellow in color.
+
+And so the world came to be made and peopled. The sun and moon shine in
+the sky and the beautiful stars light up the night. All over the land,
+on the body of the envious Licalibutan, the children of Sicalac and
+Sicabay have grown great in numbers. May they live forever in peace
+and brotherly love!
+
+
+
+The Silver Shower
+
+Every night in Manila, when the bells of the city boom out the Angelus
+and lights begin to appear in the windows, the walks are filled with
+people hurrying toward the bay. In the streets hundreds of carriages,
+their lamps twinkling like fireflies, speed quickly by, as the cocheros
+urge on the little Filipino ponies. All are bound for the Luneta to
+hear the evening concert.
+
+A pretty place is the Luneta, the garden spot of the city. It is laid
+out in elliptical form and its green lawns are covered with benches
+for the people. A broad driveway surrounds it and hundreds of electric
+lights transform the night into day.
+
+A band stand is located at each end of the oval, and at night concerts
+are given by the military bands.
+
+Thousands of people gather to listen to the music. The bright uniforms
+of officers and men, the white dresses of American ladies, the black
+mantillas of the dark-eyed seņoritas, and the gayly colored camisas
+of the Filipino girls show that the beauty and chivalry of Manila
+have assembled at the concert.
+
+The band plays many beautiful selections and finally closes with the
+"Star-Spangled Banner." At once every head is bared and all stand
+at rigid attention till the glorious old song is finished. Then the
+musicians disperse, the carriages drive away, and people return to
+their homes.
+
+Many, however, linger on the benches or stroll along the beach,
+watching the water curling upon the shore. As the waves reach the land
+a soft light seems to spring from them and to break into thousands
+of tiny stars. Now and then some one idly skips a stone over the
+water. Where it touches, a little fountain of liquid fire springs
+upward, and the water ripples away in gleaming circles that, growing
+wider and wider, finally disappear in a flash of silvery light.
+
+Of all the beauties of the Islands, the water of Manila Bay at night
+ranks among the first. And those who ask why it flashes and glows
+in this way are told the story of the silver shower that saved the
+Pasig villages from the Moro Datto Bungtao.
+
+Hundreds of years ago messengers came hurrying from the south of Luzon
+with the news that the great Datto Bungtao, with many ships and men,
+was on his way to the island to burn the villages and carry the people
+away into slavery.
+
+Then great fear came into the hearts of the people, for the fierce
+Datto was the terror of the eastern seas, and all the southern islands
+were reported captured. Nevertheless, they resolved to defend their
+homes and save their people from shame and slavery.
+
+The news proved true, for the Moro chief landed a great army on the
+shore of the Bay of Batangas, and his fierce followers, with fire
+and sword, started north to lay waste the country.
+
+For a time they drove all before them, but soon Luzon was up in
+arms against them and great numbers of warriors hurried southward to
+battle with the Moros. All tribal feeling was forgotten and Tagalos,
+Macabebes, Igorrotes, and Pangasinanes hurried southward in thousands.
+
+The Moros presently found themselves checked by a large army of men
+determined to save their homes or to die fighting.
+
+Near the present town of Imus, in Cavite, a battle was fought and
+the Moros were defeated. They then retreated southward, but great
+numbers of Vicoles and Tinguianes rushed up from the southern part
+of the island and blocked their way.
+
+On the shore of the great Lake Bombon the final battle was fought. The
+Moros were killed to a man, and with great rejoicing the tribes
+returned north and south to their homes.
+
+But in the meantime Bungtao had not been idle. After landing his men,
+with his two hundred ships he set sail northward, never doubting that
+his army would sweep all before it. A typhoon carried his fleet far
+south into the China Sea, but he steered again for Luzon and three
+weeks later was in sight of Corregidor Island.
+
+He sailed down Manila Bay and drew up his fleet in front of the
+villages on the Pasig River, the present site of Manila. On the shore
+the people gathered in terror, for all the warriors had gone to fight
+the invading army, and only old men and women and children remained
+in the villages.
+
+Hastily they called a council and finally decided to send a messenger
+out to the Moro chief with all the gold and things of value they
+possessed, thinking thus to satisfy the fierce Datto and save their
+villages from harm.
+
+Accordingly the women gave their rings and bracelets and the men
+their bangles and chains. Everything of value was taken from the
+houses. Even the temples of prayer were stripped and all the ornaments
+taken. So great was the fear of the people that they even sent the
+gold statue of the great god Captan that was the pride of the tribe,
+whose members came miles to worship it.
+
+As Bungtao was preparing to land and attack the town with his sailors,
+the messenger in his canoe came alongside the ship and was at once
+taken before the Datto. Trembling with fear, the old man, with signs,
+begged for mercy for the people on the shore. He pointed to the
+presents and offered them to Bungtao. Then, placing the golden image
+of Captan at the feet of the Moro and bowing low, he again pleaded
+for the women and children.
+
+Bungtao laughed in scorn at the offer. On his island was gold enough to
+satisfy his people. He needed slaves to work in the fields, for it was
+beneath the dignity of such warriors as himself and his companions to
+labor. So he kicked the messenger from him and, with a curse, picked
+up the sacred golden image and threw it far over the water. Instantly
+the sky grew dark and blackest night covered the land. The messenger
+felt himself seized by invisible hands and carried to the shore.
+
+Then suddenly the heavens opened, and a shower of silver fire rained on
+the Moro boats. In vain the Moros tried to escape. The fire hemmed them
+in on every side. Many leaped from the burning ships into the boiling
+water. When the darkness cleared, boats and Moros had disappeared.
+
+Joyfully the people on the shore ran to the temple of worship to pray
+to Captan. What was their surprise to find the golden image of the
+god in its usual place, and around it the bracelets and rings offered
+to the Moros!
+
+When the warriors, a few days later, returned from their great victory
+in the south, they could hardly believe the story of the wonderful
+escape of their people. But at night, when they saw the heretofore dull
+waters dashing and breaking on the shore in crystals of silvery light,
+they knew that it was Captan who had saved their homes and families.
+
+The villages are a thing of the past. The modern city of Manila now
+stands on the banks of the Pasig.
+
+The nights here are very beautiful. The breeze sighs softly through
+the palm trees and the golden moon gleams on the waters of Manila Bay.
+
+On the shore the waves break gently and little balls of silver light
+go rushing up the beach. Wise men say that the water is full of
+phosphorus. But they have never heard the story of the Silver Shower.
+
+
+
+The Faithlessness of Sinogo
+
+Somewhere off the northern coast of Mindanao a strong current begins
+to travel northward. It runs to the island of Siquijor and then,
+turning slightly to the east, goes racing between the islands of Cebu
+and Negros. At the narrow entrance between San Sebastian and Ayucatan
+it breaks up into hundreds of small whirlpools that make the water
+hiss and bubble for a distance of nearly three miles.
+
+For steamers and large boats there is not the slightest danger,
+but to the native in his little sacayan with its bamboo outriggers
+these whirlpools are objects of dread and fear. He will go miles out
+of his way to escape them. If you inquire as to the reason, he will
+explain that the Liloan, or whirlpool, is a thing always to be avoided,
+and then he will tell you the story of Sinogo.
+
+Years and years ago, when Maguayan ruled the sea and the terrible
+Captan launched his thunderbolts from above, the water and air were
+filled with swimming and flying monsters. Those that lived in the air
+were armed with great teeth and sharp claws; but, though they were
+fierce and savage, they lived together in peace, for they feared the
+anger of their master Captan.
+
+In the sea, however, all was not so peaceful, for some of the
+monsters were so huge and savage and so confident in their strength
+that Maguayan could do nothing with them. He lived in constant fear
+of attack from these fierce subjects and finally, in despair, called
+on Captan to help him in his trouble.
+
+Accordingly Captan sent his swift messengers to every part of the
+earth, air, and sea, and ordered that a council of all the creatures
+in the world should be held. He named the little island of Caueli in
+the center of the Sulu Sea as the meeting place, and commanded all
+to hasten there without delay.
+
+Soon the members of the council began to arrive, and the sky was
+darkened by flying monsters, and the water boiled as the terrible
+reptiles of the sea rushed to the place appointed.
+
+In a short time the little island was crowded with these dreadful
+creatures. There were huge Buayas from Mindanao, fierce Tic-bolans
+from Luzon, savage Sigbins from Negros and Bohol, hundreds of Unglocs
+from Panay and Leyte, and great Uak Uaks and other frightful monsters
+from Samar and Cebu. They grouped themselves in a large circle around
+a golden throne on which sat Captan and Maguayan, and while waiting
+the commands of their master filled the air with shrieks and howls.
+
+At length Captan raised his hand and the noise instantly stopped. Then
+he announced his decree. He said that Maguayan was his brother god
+and should be treated with the same respect. He commanded all his
+subjects to obey the god of the sea and told them that he would kill
+with a thunderbolt any that disobeyed this order. Then he desired all
+to return to their own regions, and again the air was filled with a
+noise of thunder and the sea roared and foamed as the monsters went
+back to their homes.
+
+Soon there remained on the island only Captan, Maguayan, and
+three messengers of Captan, who were called Sinogo, Dalagan, and
+Guidala. These were giants in size and had large wings which enabled
+them to fly with great swiftness. They had long spears and sharp
+swords and were very brave and powerful. Of the three, Dalagan was
+the swiftest, Guidala the bravest, and Sinogo the handsomest and best
+loved by Captan.
+
+When all the creatures were gone Maguayan thanked Captan, but
+the great god said that he had only done his duty in helping his
+brother. Then he gave Maguayan a little golden shell and explained
+to him its wonderful power. Maguayan had but to put it in his mouth
+and he could change his form to that of any creature he pleased. In
+case a monster, defying Captan's orders, should attack him, he had
+simply to change himself into a stronger monster of twice the size
+of his enemy, and then fight and kill him easily.
+
+Again Maguayan thanked his brother god and, taking the shell, placed
+it on the throne beside him. Then Captan ordered his messengers to
+bring food and drink, and soon the two gods were feasting merrily.
+
+Now it happened that Sinogo had been standing behind the throne and
+had heard all that had been said. He was filled with a desire to own
+the wonderful shell, and in spite of the many favors he had received
+from Captan he resolved to steal it. The more he thought of its great
+power, the more he longed for it. With it he could rule the earth and
+sea as a god, and, by hiding, he might avoid the anger of Captan. So
+he watched for an opportunity to make away with it. Finally his chance
+came. While handing Maguayan some food, he slyly caught up the shell,
+and soon afterwards quietly slipped away.
+
+For some time his absence was not discovered, but all at once Captan
+called for his favorite messenger and, receiving no reply, ordered
+Dalagan to search for him. Soon Dalagan returned and reported that
+Sinogo could not be found on the island. At the same time Maguayan
+noticed that the golden shell was gone.
+
+Then Captan knew that his messenger had stolen the shell and
+escaped. He flew into a great rage and swore he would kill Sinogo. He
+ordered Dalagan and Guidala to hasten to the north in search of the
+faithless messenger and to bring him back a prisoner.
+
+Swiftly northward over the blue sea flew the messengers, and near the
+island of Guimaras caught sight of Sinogo. He saw his pursuers and
+flew all the swifter, but he was no match for them in speed. Nearer
+and nearer they came and then, drawing their swords, rushed forward
+to seize him.
+
+But Sinogo was not to be easily caught. Quick as a flash, he placed
+the shell in his mouth and dived down into the water, at the same
+time changing himself into a huge crocodile-shaped Buaya with scales
+like armor of steel.
+
+In vain Dalagan and Guidala rained blows on the monster. The swords
+could not pierce the heavy scales.
+
+Up through Guimaras Strait the chase went on, and Sinogo tore up
+the water in his flight. So great was the disturbance of the ocean
+that, as they rounded the northern coast of Negros, the waves dashed
+completely over the little island of Bacabac, sweeping away the hills
+and bringing the land to the level of the sea.
+
+Still the rapid flight went on. Straight for Bantayan headed Sinogo,
+but suddenly changing his course he dashed into the narrow channel
+between Negros and Cebu. Then Dalagan, leaving Guidala to continue the
+chase alone, flew swiftly back to Caueli and told Captan that Sinogo
+was in the little strait. Up sprang the god and, flying directly east,
+he posted himself at the southern entrance of the channel. In his
+hand he held an enormous thunderbolt, and thus armed he waited for
+the appearance of Sinogo.
+
+Down into the narrow entrance sped the faithless messenger, tearing
+up the water in his mad flight, while the brave Guidala struck in
+vain at his huge body. Suddenly a roar of thunder sounded and the
+thunderbolt fell on the back of the monster, bearing him down beneath
+the waves and then, stiffening like a bar of iron, pinning him to the
+bottom far below. In vain he struggled to free himself; the bar held
+him fast and sure. In his struggles the shell fell from his mouth,
+but a little Tamban caught it and brought it safely to Captan.
+
+Thousands of years have passed, but far under the water, like a fly
+on a pin, Sinogo struggles in the form of a huge Buaya. The water
+bubbles around him and for three miles little whirlpools go racing up
+the channel. And the native in his little sacayan avoids the narrow
+entrance where the water boils and foams, for Sinogo still twists
+and squirms, and the Liloan is a thing to be feared and dreaded.
+
+
+
+Catalina of Dumaguete
+
+This is a legend of Dumaguete, the capital of the province of Negros
+Occidental. From this town can be seen five islands, viz., Negros,
+Cebu, Bohol, Mindanao, and Siquijor.
+
+There is no one on the great island of Negros who does not love the
+name of Catalina. Even the wild mountain men speak it with respect,
+and down in the coast towns at night, when the typhoon is lashing the
+waters of Taņon Strait, and the rain and wind make the nipa leaves
+on the roofs dance and rattle, the older people gather their little
+black-eyed grandchildren around the shell of burning cocoanut oil
+and tell them her story.
+
+Many years ago there lived in Dumaguete a poor tuba seller named Banog,
+who made his daily rounds to the houses just as the milkman does in
+far-off America. But instead of a rattling wagon he had only a long
+bamboo from which he poured the drink, and in place of sweet milk he
+left the sap of the cocoanut tree.
+
+The bad custom of mixing tuņgud, a kind of red bark, with the sap,
+and thus making of it a strong liquor, had not yet been known, so
+Banog, though poor, was respected, and the people tried in every way
+to help him and his daughter Catalina.
+
+Catalina was a beautiful girl of sixteen and very good and industrious,
+but with many strange ways. She scarcely ever spoke a word and spent
+most of her time in looking out over the sea. Sometimes she would
+suddenly stand erect and, clasping her hands, would remain for a long
+time looking up at the sky as if she saw something that no one else
+could see. On account of these strange manners the people thought
+her a wonderful girl and she was supposed to have mysterious powers.
+
+One day many ships came up from the island of Mindanao and hundreds
+of fierce Moros landed. Shouting and waving their terrible knives,
+they fell upon the peaceful people and killed many, among them poor
+Banog. Then they robbed and burned the houses and, seizing all the
+women they could find, set sail for their great southern island. Among
+the prisoners was Catalina. With her eyes fixed on the sky she sat
+very quiet and still in the bow of one of the boats, and though her
+companions spoke often to her she made no reply.
+
+Suddenly she sprang into the water and a wonderful thing occurred,
+for, instead of sinking, she walked lightly over the waves toward the
+distant shore. The Moros were so astonished that they did not try to
+stop her and she reached the land safely.
+
+Many people who had hidden in the forests ran out to meet her but she
+spoke to no one. With her eyes still fixed above she walked through
+the burning town and along the road to Dalugdug, the Thunder mountain,
+that lies behind Dumaguete.
+
+On Dalugdug there lived a terrible Sigbin. Its body was like that of
+a monstrous crow, but just under its neck were two long legs like
+those of a grasshopper, which enabled it to leap great distances
+without using its wings. It ate any one who came near its home,
+so when the people saw Catalina start to climb the mountain they
+begged her to come back. She paid no heed to their cries, however,
+but went up higher and higher, till her white dress seemed merely a
+speck on the mountain side.
+
+All at once she seemed to stop and raise her hands. Then a fearful
+shriek was heard, and the fierce Sigbin came rushing down the
+mountain. It appeared to be greatly frightened, for it took tremendous
+leaps and screamed as if in terror. Over the heads of the people
+it jumped, and, reaching the shore, cleared the narrow channel and
+disappeared among the mountains of the island of Cebu.
+
+When the people saw that the Sigbin had gone they ran up the mountain
+and searched everywhere for Catalina, but they could find no trace of
+her. Sorrowfully they returned to their homes and busied themselves
+in building new houses and in making their town beautiful once more.
+
+Several years passed in peace and then again the Moro boats came up
+from Mindanao. The men hurriedly gathered on the beach to meet them,
+and the women and children hid in the cocoanut groves.
+
+This time the Moros had no quick and easy victory, for the Visayans,
+armed with bolos and remembering their lost wives and sisters, fought
+furiously, and for a time drove the enemy before them. But more Moro
+boats arrived and numbers told against the defenders. Slowly but
+surely they fell fighting until but a few remained.
+
+Suddenly a bridge of clouds unfolded from Dalugdug to the town, and
+across it came the lost Catalina holding a beehive in her hands. Then
+she spoke and thousands of bees flew from the hive to the ground. Again
+she spoke and waved her hand, and the bees changed into little black
+men with long sharp spears, who charged the Moros and killed every
+one of them.
+
+Then Catalina, the hive still in her hand, went back over the bridge
+and disappeared once more in the mountain.
+
+The people came out of their hiding places, crowding around the little
+black men and questioning them, but they received no answer. Instead
+the little warriors gathered together and ran into the forest and up
+the mountain side, where they were soon lost to view.
+
+Such is the story of Catalina, Since that time Dumaguete has been safe
+from the Moros. The Sigbin has never returned to Negros. It still
+lives in the mountains of Cebu and the people are so afraid of it
+that they lock themselves in their houses after dark and can hardly
+be induced to come out. Up in the mountains of Negros live the little
+black men. They are called Negritos and are very savage and wild.
+
+The savior of Dumaguete still lives in Dalugdug and is worshiped by the
+people. And in the town, now grown into a big busy city, the old people
+for years to come will tell their grandchildren the story of Catalina.
+
+
+
+The Fall of Polobulac
+
+This is a tale from Panay. It probably originated with the Spanish
+fathers, who wished to impress the doctrine of the Seven Deadly Sins
+on the natives. The islands are just off Iloilo.
+
+A little way from Iloilo there once was a beautiful island called
+Polobulac, or Isle of Flowers. Its shores were covered with beautiful
+trees and plants; splendid gardens of flowers were found everywhere;
+fruits grew in abundance; fountains sparkled in the sunlight; and
+the people were the happiest in the world. They danced and sang to
+gay music, and were free from every care and sorrow.
+
+Filled with confidence in their good fortune, and proud of their
+beautiful island, they began to slight the people of the neighboring
+islands, and to treat them with insolence and scorn.
+
+One night the sky was darkened, the lightning flashed, the rain fell
+in torrents, and a voice cried from the clouds, above the roar of
+the thunder:
+
+"I am Pride. Avoid me or perish."
+
+Terrified, they prayed to God for protection, but with the morning
+sun their fears left them and they continued as before.
+
+Days passed and the people grew richer, but, not satisfied with their
+wealth and with their own beautiful island, they longed to possess
+the lands of their neighbors.
+
+Again came the storm, and again a voice cried from the heavens:
+
+"I am Covetousness. Come to me and die."
+
+Once more they appealed for protection, but they did not change
+their ways.
+
+Weeks went by, and with wealth came low and base desires. The storm
+came as before and brought the warning:
+
+"I am Evil Desire. Fly from me or be lost."
+
+But again it sounded to sealed ears. Months rolled on. The people
+quarreled with their neighbors, and sent forth an army to make war
+upon them. The voice thundered:
+
+"I am Anger. I give eternal torment."
+
+Years followed, and the tables of the people of Polobulac were loaded
+with the finest foods and wines. Day and night found them feasting. The
+cry sounded above them:
+
+"I am Gluttony. I devour my children."
+
+The winds alone echoed the warning.
+
+Time flew by. Each man sought to outdo the others in display of luxury
+and magnificence. The poor grudged the rich their fortunes, and sought
+in every way to injure them. Again a voice came through the darkness:
+
+"I am Envy. My people are condemned."
+
+But they closed their ears and would not hear.
+
+More wealth brought greater luxury. They lolled in idleness. They
+idled in the midst of magnificence. The voice warned:
+
+"I am Sloth. I bring final warning."
+
+They were used to the voices now, and gave them not the slightest
+heed. Their insolence and greed grew greater. The fair island shook
+with dissension and strife.
+
+One day the sun was hidden by blackness. A fearful tempest burst over
+the land. The people on the other islands saw Polobulac wrapped in
+seven huge pillars of flame.
+
+When the sky cleared, Polobulac was nowhere to be seen. In its place,
+seven blackened rocks marked the spot where stood the beautiful isle.
+
+They are there to this day. You can see them as you leave the harbor
+for southern ports. Sometimes they appear as one. Again they seem to
+group in twos and threes. But there are seven.
+
+They are called the Deadly Sins.
+
+
+
+The Escape of Juanita
+
+
+
+Have you heard of the terrible Tic-balan,
+A tall and thin and very black man,
+With terrible teeth and a horse's head,
+And covered with hair that is long and red?
+
+
+He lives in the awful Balete tree,
+And to pass the place you must say "Tabi";
+If you do not, the Asuang comes at night,
+And throws big stones till you die of fright.
+
+
+Now once there lived in Santa Cruz town
+A little girl known as Juanita Calaon;
+She was gentle and sweet and as good as could be,
+And she always bowed low to the Balete tree.
+
+
+One day to the forest alone she did roam
+To get some good wood for the fire at home;
+She gathered some twigs that she found on the ground,
+And all of them fast in a bundle she bound.
+
+
+Then happy and free, with the pack on her head,
+She followed the road that back to town led.
+She sang as she walked, and so happy was she
+That alas! she bowed not to the Balete tree.
+
+
+All at once then she heard a most terrible roar,
+And the Tic-balan fierce through the air seemed to soar.
+He seized poor Juanita, and quick as could be
+He shut her inside of the Balete tree.
+
+
+Two days passed, and when the girl failed to come back,
+Her parents went out, and no friends did they lack
+To help in the search, for the whole pueblo came,
+And loudly they shouted poor Juanita's name.
+
+
+At last when they thought that the search brought no good,
+One man found Juanita's neat bundle of wood;
+He called the good news, and as more came to see,
+Loud knocking was heard in the Balete tree.
+
+
+Then many were frightened, but many were brave,
+And wondered by what means the girl they could save;
+For they knew that it must be Juanita who knocked,
+And that inside the Balete tree she was locked.
+
+
+Soon they ordered that candles and music be brought,
+And a crucifix holy was what they next sought;
+And when all was ready they closed round the tree,
+While they prayed to the true God to set the girl free.
+
+
+They lighted the candles and then the band played,
+And Juanita's mother, who was not afraid,
+Advanced with the crucifix held in her hand,
+And tapped with the cross on the evil tree grand.
+
+
+Then a roar shook the forest and chilled all their hearts,
+And the awful Balete split into two parts;
+Then they saw in the center, as each big half fell,
+Their darling Juanita all smiling and well.
+
+
+She ran from the tree to her fond mother dear,
+While the band played and every one gave a loud cheer;
+Then back to the pueblo they danced in delight,
+And kept up their singing through all the long night.
+
+
+Still there to this day lies the Balete tree,
+But no more do the people that pass say "Tabi."
+And the spirit no more can molest any man,
+For God has more power than the fierce Tic-balan.
+
+
+
+
+The Anting-Anting of Manuelito
+
+The Anting-Anting is a stone or other small object covered with
+cabalistic inscriptions. It is worn around the neck, and is supposed
+to render its owner impervious to knife or bullet. Many are wearing
+these charms, especially the Tulisanes or outlaws. The Anting-Anting
+must not be confused, however, with the scapular, a purely religious
+symbol worn by a great number of the Christian Filipinos.
+
+Many of the older Filipinos remember Manuelito, the great Tulisane,
+who, more than fifty years ago, kept all the Laguna de Bai district
+in a state of fear. His robber band was well organized and obeyed his
+slightest wish. He had many boats on the lake and many hiding places
+in the mountains, and throughout the country there was no villager
+who did not fear to oppose him, or who would refuse to help him in
+any way when required to do so.
+
+In vain the Guardia Civil hunted him. Many times they surrounded the
+band, but Manuelito always escaped. Many shots were fired at him,
+but he was never hit; and once, when he was cut off from his men
+and surrounded, he broke through the line, and though fifty bullets
+whistled around him he did not receive a scratch.
+
+The officers of the Guardia Civil blamed their men for the bad
+marksmanship that allowed Manuelito to escape. They told all the
+people that it should never occur again, and promised that the next
+fight should end in the death of the outlaw. The people, however,
+did not believe that Manuelito could be killed, for he wore on his
+breast a famous Anting-Anting that he had received from Mangagauay,
+the giver of life and death.
+
+This charm was a stone covered with mysterious signs. It was wrapped
+in silk and hung by a string from the robber's neck, and even if a
+gun were fired within a few feet of him the Anting-Anting was sure to
+turn the bullet in another direction. It was this charm that always
+saved him from the Guardia Civil.
+
+Manuelito was very proud of his Anting-Anting, and many times, when
+a fiesta was being held in some town, he and his band would come down
+from the mountains and take part in the games. Manuelito would stand
+in the town plaza and allow his men to shoot at him, and each time
+the Anting-Anting would turn aside the bullets. The people were very
+much impressed, and though a few of the wiser ones secretly thought
+that the guns were only loaded with powder, they were afraid to say
+anything; so the greater number thought it very wonderful and believed
+that there was no charm so powerful as the Anting-Anting of Manuelito.
+
+For years the Tulisane, protected by his charm, continued to rob and
+plunder. The Guardia Civil hunted him everywhere, but could never
+kill him. He grew bolder and bolder, and even came close to Manila
+to rob the little towns just outside the city.
+
+At last the government grew tired of sending out the Guardia Civil,
+and ordered a regiment of Macabebes to hunt and kill the Tulisane
+and his men.
+
+Manuelito was at Pasay when news was brought to him that the Macabebes
+were coming. Instead of running from these fierce little fighters, he
+decided to meet them, and many people offered to help him, believing
+that the Anting-Anting would turn away all bullets and give them
+victory. So Manuelito and many men left the town, built trenches in the
+hills near San Pedro Macati, and waited for the Macabebes to appear.
+
+They had not long to wait. The Macabebes, hurrying from Manila, reached
+San Pedro Macati and soon found that Manuelito was waiting to fight
+them. They left the town at once and advanced on the Tulisane trenches.
+
+It was a great fight. From the other hills close by many people watched
+the battle. Five times the Macabebes advanced, and were forced to
+fall back before the fierce fire of the Tulisanes. But the Macabebe
+never knows defeat, and once more their line went forward and in one
+terrible charge swept over the trenches and bayoneted the outlaws. In
+vain Manuelito called on his men to fight. They broke and ran in every
+direction. Then, seeing that all was lost, Manuelito started to follow
+them; but a volley rang out, and, struck by twenty bullets, he fell to
+the ground dead. The Macabebes chased the flying Tulisanes and killed
+that of all the band only a few many, safely reached the mountains.
+
+While the Macabebes were chasing the outlaws, many people came down
+from the hills and stood around the body of Manuelito. They could
+hardly believe their eyes, but the many wounds and the blood staining
+the ground proved that the great Tulisane was indeed dead.
+
+What of the Anting-Anting? Had it lost its power?
+
+One man timidly unbuttoned the shirt of the dead robber and pulled out
+the charm. The mystery was explained. Fixed firmly in the center of the
+Anting-Anting was a silver bullet. There was but one explanation. The
+Macabebes had melted a statue of the Virgin and used it to make bullets
+to fire at Manuelito. Against such bullets the charm was useless,
+but against ordinary lead it never would have failed. Had not the
+people seen Manuelito's own men fire at him?
+
+The charm was taken from the neck of the dead Tulisane and many
+copies were made of it. Even to this day hundreds of people are
+wearing them. They will tell you about Manuelito's great fight and
+also about his famous Anting-Anting.
+
+"But," you say, "the Anting-Anting was useless. Manuelito was killed."
+
+They answer, "Yes, Seņor, it is true; but the Macabebes used bullets
+of silver. Had they used lead the story would have been different. Poor
+Manuelito!"
+
+
+
+When the Lilies Return
+
+A legend of the Chinese Invasion. Quiapo, even at the time of the
+early Spaniards, and for years after, was a deserted field. The story
+is an old one and generally known to the Tagallos.
+
+At the time when the Pasig flowed peacefully along between flowery
+banks; when its breast was not torn by puffing steamers; and when
+only a few clustering huts marked the present site of Manila, there
+grew on the banks of the river a beautiful field of lilies.
+
+The lilies glistened like silver in the sunlight, and their sweet
+odor filled the air with delicious perfume. No hand plucked them from
+the earth, and no foot trampled out their fragrance; for an ancient
+prophecy had said that while the lilies stood the happiness of the
+people should endure.
+
+But after a time there came dark days in the history of the
+Philippines. Yellow hordes swept across the water and carried all
+before them. The people could hardly expect to resist the invaders,
+for their warrior king, Loku, had profaned the word of the god, and,
+in the form of a lizard, was fulfilling his punishment. Their armies
+were weak and scattered, and the conquerors marched on in triumph.
+
+As report after report of disaster reached Luzon, the people trembled
+for the safety of their fair land. Warriors gathered hastily for the
+defense of the nation, and all waited for the enemy to appear.
+
+One day the water was dotted with the junks of the invaders. They
+came slowly down the bay, and anchored near the mouth of the Pasig.
+
+Then from the boats poured the yellow warriors. Spears rained
+upon them, stones and arrows laid them low, but their numbers were
+countless. The people were swept back along the river banks.
+
+Fiercely they fought, but numbers told against them. Foot by foot
+they were pressed back, till they stood on the border of the field
+of lilies, where they made their last stand. But it was to no purpose.
+
+The invaders poured from the ships, and in one desperate charge
+drove back the ranks of the people, who fought and died among their
+sacred lilies.
+
+All through the night the battle raged, and at daybreak, when the
+victorious invaders rested on their spears, the beautiful field was
+no more.
+
+The lilies were crushed and torn. The bodies of dead and dying warriors
+lay everywhere, and the crushed flowers were stained with the blood
+of friend and foe. The peace of the land was lost.
+
+Many years have passed since then. New races have come to the Islands,
+and new manners and customs have been introduced. The Pasig still
+flows on to the sea, but its banks are harnessed by bridges. Lofty
+dwellings and stores take the place of the little huts, and a great
+city marks the site of the little village.
+
+Where once was the beautiful field is now a busy part of the great
+city. It is called Quiapo, after the lilies. Many of the older people
+remember the prophecy and wonder if the lilies will ever return.
+
+The land is now a peaceful and contented one. Comfort and happiness
+may be found among its inhabitants. Perhaps the fair, strange women
+from the great land over the sea are the lilies. Who can tell?
+
+
+
+
+Glossary
+
+
+balete tree = a type of tree, Ficus indica, often believed to be the
+home of evil and vengeful spirits.
+camisas = shirts.
+chinela = slipper.
+cocheros = drivers of horse-drawn carriages.
+Datto = chief.
+Guardia Civil = Spanish police.
+ladrones = thieves.
+lubi lana = coconut oil.
+Moro = Muslim's from the southern islands of the Philippines.
+Negritos = Negroid people indigenous in some parts of the Philippines.
+nipa = palm leaf of which the roofs of cheap houses are made.
+sacayan = small outrigger boat.
+tuba = alcoholic drink made from the sap of the coconut tree.
+tuņgud = the red bark of a mangrove tree.
+
+
+
+
+
+End of Project Gutenberg's Philippine Folklore Stories, by John Maurice Miller
+
+*** END OF THIS PROJECT GUTENBERG EBOOK PHILIPPINE FOLKLORE STORIES ***
+
+***** This file should be named 10771-8.txt or 10771-8.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/0/7/7/10771/
+
+Produced by Jeroen Hellingman
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Each eBook is in a subdirectory of the same number as the eBook's
+eBook number, often in several formats including plain vanilla ASCII,
+compressed (zipped), HTML and others.
+
+Corrected EDITIONS of our eBooks replace the old file and take over
+the old filename and etext number.  The replaced older file is renamed.
+VERSIONS based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
+are filed in directories based on their release date.  If you want to
+download any of these eBooks directly, rather than using the regular
+search system you may utilize the following addresses and just
+download by the etext year.
+
+     https://www.gutenberg.org/etext06
+
+    (Or /etext 05, 04, 03, 02, 01, 00, 99,
+     98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
+
+EBooks posted since November 2003, with etext numbers OVER #10000, are
+filed in a different way.  The year of a release date is no longer part
+of the directory path.  The path is based on the etext number (which is
+identical to the filename).  The path to the file is made up of single
+digits corresponding to all but the last digit in the filename.  For
+example an eBook of filename 10234 would be found at:
+
+     https://www.gutenberg.org/1/0/2/3/10234
+
+or filename 24689 would be found at:
+     https://www.gutenberg.org/2/4/6/8/24689
+
+An alternative method of locating eBooks:
+     https://www.gutenberg.org/GUTINDEX.ALL
+
+
diff --git a/old/10771-8.zip b/old/10771-8.zip
new file mode 100644
index 0000000..bb8bf5a
--- /dev/null
+++ b/old/10771-8.zip
diff --git a/old/10771.txt b/old/10771.txt
new file mode 100644
index 0000000..392a8de
--- /dev/null
+++ b/old/10771.txt
@@ -0,0 +1,1889 @@
+Project Gutenberg's Philippine Folklore Stories, by John Maurice Miller
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Philippine Folklore Stories
+
+Author: John Maurice Miller
+
+Release Date: January 21, 2004 [EBook #10771]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PHILIPPINE FOLKLORE STORIES ***
+
+
+
+
+Produced by Jeroen Hellingman
+
+
+
+
+PHILIPPINE FOLKLORE STORIES
+
+
+
+By
+John Maurice Miller,
+Boston, U.S.A.
+
+
+
+1904
+
+
+
+Preface
+
+As these stories are only legends that have been handed down from
+remote times, the teacher must impress upon the minds of the children
+that they are myths and are not to be given credence; otherwise the
+imaginative minds of the native children would accept them as truth,
+and trouble would be caused that might be hard to remedy. Explain
+then the fiction and show the children the folly of belief in such
+fanciful tales.
+
+
+
+Contents
+
+The Tobacco of Harisaboqued
+The Pericos
+Quicoy and the Ongloc
+The Passing of Loku
+The Light of the Fly
+Mangita and Larina
+How the World Was Made
+The Silver Shower
+The Faithlessness of Sinogo
+Catalina of Dumaguete
+The Fall of Polobolac
+The Escape of Juanita
+The Anting-Anting of Manuelito
+When the Lilies Return
+
+
+
+The Tobacco of Harisaboqued
+
+A legend of the volcano of Canlaon on the island of Negros. It is
+told generally in Western Negros and Eastern Cebu. The volcano is
+still active, and smoke and steam rise from its crater.
+
+Long before the strange men came over the water from Spain, there
+lived in Negros, on the mountain of Canlaon, an old man who had great
+power over all the things in the earth. He was called Harisaboqued,
+King of the Mountain.
+
+When he wished anything done he had but to tap the ground three times
+and instantly a number of little men would spring from the earth
+to answer his call. They would obey his slightest wish, but as he
+was a kind old man and never told his dwarfs to do anything wrong,
+the people who lived near were not afraid. They planted tobacco on
+the mountain side and were happy and prosperous,
+
+The fields stretched almost to the top of the mountain and the plants
+grew well, for every night Harisaboqued would order his dwarfs to
+attend to them, and though the tobacco was high up it grew faster
+and better than that planted in the valley below.
+
+The people were very grateful to the old man and were willing to do
+anything for him; but he only asked them not to plant above a line
+he had ordered his little men to draw around the mountain near the
+top. He wished that place for himself and his dwarfs.
+
+All obeyed his wish and no one planted over the line. It was a pretty
+sight to see the long rows of tobacco plants extending from the towns
+below far up to the line on the mountain side.
+
+One day Harisaboqued called the people together and told them that
+he was going away for a long time. He asked them again not to plant
+over the line, and told them that if they disregarded this wish
+he would carry all the tobacco away and permit no more to grow on
+the mountain side until he had smoked what he had taken. The people
+promised faithfully to obey him. Then he tapped on the ground, the
+earth opened, and he disappeared into the mountain.
+
+Many years passed and Harisaboqued did not come back. All wondered
+why he did not return and at last decided that he would never do
+so. The whole mountain side was covered with tobacco and many of the
+people looked with greedy eyes at the bare ground above the line,
+but as yet they were afraid to break their promise.
+
+At last one man planted in the forbidden ground, and, as nothing
+happened, others did the same, until soon the mountain was entirely
+covered with the waving plants. The people were very happy and soon
+forgot about Harisaboqued and their promise to him.
+
+But one day, while they were laughing and singing, the earth suddenly
+opened and Harisaboqued sprang out before them. They were very much
+frightened and fled in terror down the mountain side. When they reached
+the foot and looked back they saw a terrible sight. All the tobacco
+had disappeared and, instead of the thousands of plants that they
+had tended so carefully, nothing but the bare mountain could be seen.
+
+Then suddenly there was a fearful noise and the whole mountain top
+flew high in the air, leaving an immense hole from which poured fire
+and smoke.
+
+The people fled and did not stop until they were far away. Harisaboqued
+had kept his word.
+
+Many years have come and gone, but the mountain is bare and the
+smoke still rolls out of the mountain top. Villages have sprung up
+along the sides, but no tobacco is grown on the mountain. The people
+remember the tales of the former great crops and turn longing eyes
+to the heights above them, but they will have to wait. Harisaboqued
+is still smoking his tobacco.
+
+
+
+The Pericos
+
+Throughout the Visayan islands almost every family owns a pericos,
+kept as American children keep canary birds. The pericos is about
+the size and color of a Crow, but has a hard white hood that entirely
+covers its head. The people teach it but one phrase, which it repeats
+continually, parrot fashion. The words are, "Comusta pari? Pericos
+tao." (How are you, father? Parrot-man.) "Pari" means padre or
+priest. The people address the pericos as "pari" because its white
+head, devoid of feathers, seems to resemble the shaven crowns of the
+friars and native priests.
+
+
+I
+
+
+In his small wooden box
+That hangs on the wall
+Sits a queer-looking bird
+That in words sounds his call.
+From daybreak to twilight
+His cry he repeats,
+Resting only whenever
+He drinks or he eats.
+He never grows weary,--
+Hear! There he goes now!
+"Comusta pari?
+Pericos tao."
+
+
+
+II
+
+
+And all the day long
+You can hear this strange cry:
+"How are you, father?
+A parrot-man I."
+He sits on his perch,
+In his little white cap,
+And pecks at your hand
+If the cage door you tap.
+Now give him some seeds,
+Hear him say with a bow,
+"Comusta pari?
+Pericos tao."
+
+
+
+III
+
+
+Poor little birdie!
+How hard it must be
+To sit there in prison
+And never be free!
+I'll give you a mango,
+And teach you to say
+"Thank you," and "Yes, sir,"
+And also "Good day."
+You'll find English as easy
+As what you say now,
+"Comusta pari?
+Pericos tao."
+
+
+
+IV
+
+
+I'll teach you "Good morning"
+And "How do you do?"
+Or "I am well, thank you,"
+And "How are you too?"
+"Polly is hungry" or
+"It's a fine day."
+These and much more
+I am sure you could say.
+But now I must go,
+So say with your bow,
+"Comusta pari?
+Pericos tao."
+
+
+
+
+Quicoy and the Ongloc
+
+This story is known generally in the southern Islands. The Ongloc
+is feared by the children just as some little boys and girls fear
+the Bogy Man. The tale is a favorite one among the children and they
+believe firmly in the fate of Quicoy.
+
+Little Quicoy's name was Francisco, but every one called him Quicoy,
+which, in Visayan, is the pet name for Francisco. He was a good
+little boy and helped his mother grind the corn and pound the rice
+in the big wooden bowl, but one night he was very careless. While
+playing in the corner with the cat he upset the jar of lubi lana,
+and all the oil ran down between the bamboo strips in the floor and
+was lost. There was none left to put in the glass and light, so the
+whole family had to go to bed in the dark.
+
+Quicoy's mother was angry. She whipped him with her chinela and then
+opened the window and cried:
+
+
+"Ongloc of the mountains!
+Fly in through the door.
+Catch Quicoy and eat him,
+He is mine no more."
+
+
+Quicoy was badly frightened when he heard this, for the Ongloc is a big
+black man with terrible long teeth, who all night goes searching for
+the bad boys and girls that he may change them into little cocoanuts
+and put them on a shelf in his rock house in the mountains to eat
+when he is hungry.
+
+So when Quicoy went to his bed in the corner he pulled the matting over
+his head and was so afraid that he did not go to sleep for a long time.
+
+The next morning he rose very early and went down to the spring where
+the boys get the water to put in the bamboo poles and carry home. Some
+boys were already there, and he told them what had taken place the
+night before. They were all sorry that his mother had called the
+Ongloc, but they told him not to be afraid for they would tell him
+how he could be forever safe from that terrible man.
+
+It was very easy. All he had to do was to go at dusk to the cocoanut
+grove by the river and dig holes under two trees. Then he was to climb
+a tree, get the cocoanut that grew the highest, and, after taking
+off the husk and punching in one of the little eyes, whisper inside:
+
+
+"Ongloc of the mountains!
+Ongloc! Ugly man!
+I'm a little cocoanut,
+Catch me if you can!"
+
+
+Then he was to cut the cocoanut in halves, quickly bury one piece in
+one of the holes, and, running to the other tree, bury the remaining
+half in the other hole. After that he might walk home safely, being
+sure not to run, for the Ongloc has always to obey the call of the
+cocoanut, and must hunt through the grove to find the one that called
+him. Should he cross the line between the holes, the buried pieces
+would fly out of the holes, snap together on him, and, flying up the
+tree from which they came, would keep him prisoner for a hundred years.
+
+Quicoy was happy to think that he could capture the Ongloc, and
+resolved to go that very night. He wanted some of the boys to go with
+him, but they said he must go alone or the charm would be broken. They
+also told him to be careful himself and not cross the line between
+the holes or he would be caught as easily as the Ongloc.
+
+So Quicoy went home and kept very quiet all day. His mother was sorry
+she had frightened him the night before, and was going to tell him
+not to be afraid; but when she thought of the lubi lana spilled on
+the ground, she resolved to punish him more by saying nothing to him.
+
+Just at dark, when no one was looking, Quicoy took his father's bolo
+and quietly slipped away to the grove down by the river. He was not
+afraid of ladrones, but he needed the bolo because it is not easy
+to open a cocoanut, and it takes some time, even with a bolo, to get
+the husk chopped from the fruit.
+
+Quicoy felt a little frightened when he saw all the big trees around
+him. The wind made strange noises in the branches high above him,
+and all the trees seemed to be leaning over and trying to speak to
+him. He felt somewhat sorry that he had come, but when he thought of
+the Ongloc he mustered up courage and went on until he found an open
+space between two high trees.
+
+He stopped here and dug a hole under each of the trees. Then he put his
+feet in the notches and climbed one of the trees. It was hard work,
+for the notches were far apart; but at last he reached the branches
+and climbed to the top. The wind rocked the tree and made him dizzy,
+but he reached the highest cocoanut, threw it to the ground, and then
+'started down the tree. It was easy to come down, though he went
+too fast and slipped and slid some distance, skinning his arms and
+legs. He did not mind that, however, for he knew he had the cocoanut
+that would capture the Ongloc. He picked it up, chopped off the husk,
+punched in one of the little eyes, and whispered inside:
+
+
+"Ongloc of the mountains!
+Ongloc! Ugly man!
+I'm a little cocoanut,
+Catch me if you can!"
+
+
+He then chopped it in halves and buried one piece, and, running
+to the other tree, buried the remaining piece. Just as he finished
+he thought he heard a noise in the grove, and, instead of walking,
+he started to run as fast as he could.
+
+It was very dark now, and the noise grew louder and made him run
+faster and faster, until suddenly a dreadful scream sounded directly in
+front of him, and a terrible black thing with fiery eyes came flying
+at him. He turned in terror and ran back toward the trees. He knew it
+was the Ongloc answering the call of the cocoanut, and he ran like mad,
+but the monster had seen him and flew after him, screaming with rage.
+
+Faster and faster he ran, but nearer and nearer sounded the frightful
+screams until, just as he felt two huge claws close on his neck, there
+was a bump, a loud snap, and he felt himself being carried high in the
+air. When the shock was over he found that he was squeezed tightly
+between two hard walls, and he could hear the Ongloc screaming and
+tearing at the outside with his claws. Then he knew what had happened.
+
+He had crossed the line between the buried pieces and they had snapped
+on him and carried him up the tree from which they came. He was badly
+squeezed but he felt safe from the Ongloc, who finally went away in
+disappointment; for, although he likes cocoanuts, he cannot take one
+from a tree, but must change a boy or girl into the fruit if he wishes
+to eat of it.
+
+Quicoy waited a long, long time and then knocked on the shell in the
+hope that some one would hear him. All that night and the next day
+and the next he knocked and cried and knocked, but, though people
+passed under the tree and found the bolo, he was so high up they did
+not hear him.
+
+Days and weeks went by and the people wondered what had become of
+Quicoy. Many thought he had run away and were sorry for his poor
+mother, who grieved very much to think she had terrified him by calling
+the Ongloc. Of course the boys who had sent him to the grove could
+have told something of his whereabouts, but they were frightened and
+said nothing, so no one ever heard of poor little Quicoy again.
+
+If you pass a cocoanut grove at night you can hear a noise like some
+one knocking. The older people say that the cocoanuts grow so closely
+together high up in the branches that the wind, when it shakes the
+tree, bumps them together. But the children know better. They say,
+"Quicoy is knocking to get out, but he must stay there a hundred
+years."
+
+
+
+The Passing of Loku
+
+The tale of Loku is applied to a large, ugly lizard which climbs
+to the rafters of houses and gives the peculiar cry that suggests
+its name. This lizard, although hideous, is harmless; it lives on
+centipedes. Its strange cry may be heard everywhere in the Philippine
+Islands.
+
+Hundreds of years ago a very wicked king named Loku ruled the
+Philippines. He was cruel and unjust, and condemned to death all who
+refused to do his bidding. He had vast armies and made war on all
+until his name was feared everywhere.
+
+His power was very great. He conquered every nation that opposed him
+and killed so many people that the god, viewing the slaughter from
+his throne above, sent an angel to order him to cease from warfare
+and to rule the land in peace.
+
+Loku was in his palace, planning an assault on his neighbors, when
+a soft light filled the chamber, and a beautiful angel appeared and
+delivered the mandate of the master.
+
+The cruel king paid no heed, but dismissed the holy messenger
+in scorn. "Tell your master," said he, "to deliver his message in
+person. I do not deal with messengers. I am Loku. All fear my name. I
+am the great Loku."
+
+Hardly had he spoken when the palace shook to its foundations and a
+mighty voice thundered, "Is it thus thou Slightest my word? Thou art
+Loku. All shall indeed know thy name. From every crevice thou shalt
+forever cry it in a form that suits thy ill nature."
+
+The courtiers, alarmed by the shock, rushed to the king's chamber,
+but Loku was nowhere to be found. The royal robes lay scattered on
+the floor and the only living thing to be seen was an ugly lizard
+that blinked at them from among the plans on the table.
+
+They searched far and wide, and when no trace of the king could be
+found the courtiers divided the kingdom and ruled so wisely and well
+that there was peace for many years.
+
+As for Loku, you may still hear him fulfilling his punishment. From
+crack and crevice, tree and shrub, he calls his name from dark till
+dawn: "Lok-u! Lok-u! Lok-u!"
+
+And he must cry it forever.
+
+
+
+The Light of the Fly
+
+The firefly abounds everywhere in the Islands.
+
+
+I
+
+
+The King of the Air was in terrible rage,
+For some one had stolen his ring;
+And every one wondered whoever could dare
+To do such a terrible thing.
+He called all his subjects together and said,
+"To him that shall find it I'll give
+Whatever he asks, and this bounty of mine
+Shall last while his family live."
+
+
+
+
+II
+
+
+Away went his good loyal subjects to search,
+And no one remained but a fly.
+"Be off!" said the King, "go and join in the search;
+Would you slight such a ruler as I?"
+Then up spoke the fly with his little wee voice:
+"The ring is not stolen," he said.
+"It stuck to your crown when you put it away,
+And now it's on top of your head."
+
+
+
+III
+
+
+The King in surprise took the crown from his head,
+And there, sure enough, was the ring.
+"No wonder you saw it, with so many eyes;
+But what is your wish?" said the King.
+"O King," said the fly, "I work hard all the day,
+And I never can go out at night.
+I should like to go then and be gay with my friends,
+So all that I wish is a light."
+
+
+
+IV
+
+
+"You shall have it at once," said the gratified King,
+And he fastened a light to the fly,
+Who straightway returned to his home with the prize
+That was worth more than money could buy.
+So now you can see him at night with his light
+And from him this lesson may learn:
+To keep your eyes open and see the least thing,
+And Fortune will come in its turn.
+
+
+
+
+Mangita and Larina
+
+This is a tale told in the lake district of Luzon. At times of rain
+or in winter the waters of the Laguna de Bai rise and detach from the
+banks a peculiar vegetation that resembles lettuce. These plants,
+which float for months down the Pasig River, gave rise, no doubt,
+to the story.
+
+Many years ago there lived on the banks of the Laguna de Bai a poor
+fisherman whose wife had died, leaving him two beautiful daughters
+named Mangita and Larina.
+
+Mangita had hair as black as night and a dark skin. She was as good
+as she was beautiful, and was loved by all for her kindness. She
+helped her father mend the nets and make the torches to fish with at
+night, and her bright smile lit up the little nipa house like a ray
+of sunshine.
+
+Larina was fair and had long golden hair of which she was very
+proud. She was different from her sister, and never helped with the
+work, but spent the day combing her hair and catching butterflies. She
+would catch a pretty butterfly, cruelly stick a pin through it,
+and fasten it in her hair. Then she would go down to the lake to see
+her reflection in the clear water, and would laugh to see the poor
+butterfly struggling in pain. The people disliked her for her cruelty,
+but they loved Mangita very much. This made Larina jealous, and the
+more Mangita was loved, the more her sister thought evil of her.
+
+One day a poor old woman came to the nipa house and begged for a
+little rice to put in her bowl. Mangita was mending a net and Larina
+was combing her hair in the doorway. When Larina saw the old woman
+she spoke mockingly to her and gave her a push that made her fall
+and cut her head on a sharp rock; but Mangita sprang to help her,
+washed the blood away from her head, and filled her bowl with rice
+from the jar in the kitchen.
+
+The poor woman thanked her and promised never to forget her kindness,
+but to her sister she spoke not a word. Larina did not care, however,
+but laughed at her and mocked her as she painfully made her way again
+down the road. When she had gone Mangita took Larina to task for
+her cruel treatment of a stranger; but, instead of doing any good,
+it only caused Larina to hate her sister all the more.
+
+Some time afterwards the poor fisherman died. He had gone to the big
+city down the river to sell his fish, and had been attacked with a
+terrible sickness that was raging there.
+
+The girls were now alone in the world.
+
+Mangita carved pretty shells and earned enough to buy food, but,
+though she begged Larina to try to help, her sister would only idle
+away the time.
+
+The terrible sickness now swept everywhere and poor Mangita, too,
+fell ill. She asked Larina to nurse her, but the latter was jealous
+of her and would do nothing to ease her pain. Mangita grew worse
+and worse, but finally, when it seemed as if she would soon die,
+the door opened and the old woman to whom she had been so kind came
+into the room. She had a bag of seeds in her hand, and taking one
+she gave it to Mangita, who soon showed signs of being better, but
+was so weak that she could not give thanks.
+
+The old woman then gave the bag to Larina and told her to give a seed
+to her sister every hour until she returned. She then went away and
+left the girls alone.
+
+Larina watched her sister, but did not give her a single seed. Instead,
+she hid them in her own long hair and paid no attention to Mangita's
+moans of pain.
+
+The poor girl's cries grew weaker and weaker, but not a seed would
+her cruel sister give her. In fact, Larina was so jealous that she
+wished her sister to die.
+
+When at last the old woman returned, poor Mangita was at the point of
+death. The visitor bent over the sick girl and then asked her sister
+if she had given Mangita the seeds. Larina showed her the empty bag
+and said she had given them as directed. The old woman searched the
+house, but of course could not find the seeds. She then asked Larina
+again if she had given them to Mangita. Again the cruel girl said
+that she had done so.
+
+Suddenly the room was filled with a blinding light, and when Larina
+could see once more, in place of the old woman stood a beautiful
+fairy holding the now well Mangita in her arms.
+
+She pointed to Larina and said, "I am the poor woman who asked for
+rice. I wished to know your hearts. You were cruel and Mangita was
+kind, so she shall live with me in my island home in the lake. As for
+you, because you tried to do evil to your good sister, you shall sit
+at the bottom of the lake forever, combing out the seeds you have
+hidden in your hair." Then, she clapped her hands and a number of
+elves appeared and carried the struggling Larina away.
+
+"Come," said the fairy to Mangita, and she carried her to her beautiful
+home, where she lives in peace and happiness.
+
+As for Larina, she sits at the bottom of the lake and combs her
+hair. As she combs a seed out, another comes in, and every seed that
+is combed out becomes a green plant that floats out of the lake and
+down the Pasig.
+
+And to this day people can see them, and know that Larina is being
+punished for her wickedness.
+
+
+
+How the World Was Made
+
+This is the ancient Filipino account of the creation.
+
+Thousands of years ago there was no land nor sun nor moon nor stars,
+and the world was only a great sea of water, above which stretched
+the sky. The water was the kingdom of the god Maguayan, and the sky
+was ruled by the great god Captan.
+
+Maguayan had a daughter called Lidagat, the sea, and Captan had a
+son known as Lihangin, the wind. The gods agreed to the marriage of
+their children, so the sea became the bride of the wind.
+
+Three sons and a daughter were born to them. The sons were called
+Licalibutan, Liadlao, and Libulan, and the daughter received the name
+of Lisuga.
+
+Licalibutan had a body of rock and was strong and brave; Liadlao
+was formed of gold and was always happy; Libulan was made of copper
+and was weak and timid; and the beautiful Lisuga had a body of pure
+silver and was sweet and gentle. Their parents were very fond of them,
+and nothing was wanting to make them happy.
+
+After a time Lihangin died and left the control of the winds to his
+eldest son Licalibutan. The faithful wife Lidagat soon followed her
+husband, and the children, now grown up, were left without father or
+mother. However, their grandfathers, Captan and Maguayan, took care
+of them and guarded them from all evil.
+
+After a time, Licalibutan, proud of his power over the winds, resolved
+to gain more power, and asked his brothers to join him in an attack on
+Captan in the sky above. At first they refused; but when Licalibutan
+became angry with them, the amiable Liadlao, not wishing to offend
+his brother, agreed to help. Then together they induced the timid
+Libulan to join in the plan.
+
+When all was ready the three brothers rushed at the sky, but they
+could not beat down the gates of steel that guarded the entrance. Then
+Licalibutan let loose the strongest winds and blew the bars in every
+direction. The brothers rushed into the opening, but were met by
+the angry god Captan. So terrible did he look that they turned and
+ran in terror; but Captan, furious at the destruction of his gates,
+sent three bolts of lightning after them.
+
+The first struck the copper Libulan and melted him into a ball. The
+second struck the golden Liadlao and he too was melted. The third
+bolt struck Licalibutan and his rocky body broke into many pieces
+and fell into the sea. So huge was he that parts of his body stuck
+out above the water and became what is known as land.
+
+In the meantime the gentle Lisuga had missed her brothers and started
+to look for them. She went toward the sky, but as she approached the
+broken gates, Captan, blind with anger, struck her too with lightning,
+and her silver body broke into thousands of pieces.
+
+Captan then came down from the sky and tore the sea apart, calling
+on Maguayan to come to him and accusing him of ordering the attack on
+the sky. Soon Maguayan appeared and answered that he knew nothing of
+the plot as he had been asleep far down in the sea. After a time he
+succeeded in calming the angry Captan. Together they wept at the loss
+of their grandchildren, especially the gentle and beautiful Lisuga; but
+with all their power they could not restore the dead to life. However,
+they gave to each body a beautiful light that will shine forever.
+
+And so it was that golden Liadlao became the sun and copper Libulan
+the moon, while the thousands of pieces of silver Lisuga shine as
+the stars of heaven. To wicked Licalibutan the gods gave no light,
+but resolved to make his body support a new race of people. So Captan
+gave Maguayan a seed and he planted it on the land, which, as you will
+remember, was part of Licalibutan's huge body. Soon a bamboo tree grew
+up, and from the hollow of one of its branches a man and a woman came
+out. The man's name was Sicalac, and the woman was called Sicabay. They
+were the parents of the human race. Their first child was a son whom
+they called Libo; afterwards they had a daughter who was known as
+Saman. Pandaguan was a younger son and he had a son called Arion.
+
+Pandaguan was very clever and invented a trap to catch fish. The very
+first thing he caught was a huge shark. When he brought it to land,
+it looked so great and fierce that he thought it was surely a god,
+and he at once ordered his people to worship it. Soon all gathered
+around and began to sing and pray to the shark. Suddenly the sky and
+sea opened, and the gods came out and ordered Pandaguan to throw the
+shark back into the sea and to worship none but them.
+
+All were afraid except Pandaguan. He grew very bold and answered that
+the shark was as big as the gods, and that since he had been able to
+overpower it he would also be able to conquer the gods. Then Captan,
+hearing this, struck Pandaguan with a small thunderbolt, for he did not
+wish to kill him but merely to teach him a lesson. Then he and Maguayan
+decided to punish these people by scattering them over the earth,
+so they carried some to one land and some to another. Many children
+were afterwards born, and thus the earth became inhabited in all parts.
+
+Pandaguan did not die. After lying on the ground for thirty days he
+regained his strength, but his body was blackened from the lightning,
+and all his descendants ever since that day have been black.
+
+His first son, Arion, was taken north, but as he had been born before
+his father's punishment he did not lose his color, and all his people
+therefore are white.
+
+Libo and Saman were carried south, where the hot sun scorched their
+bodies and caused all their descendants to be of a brown color.
+
+A son of Saman and a daughter of Sicalac were carried east, where the
+land at first was so lacking in food that they were compelled to eat
+clay. On this account their children and their children's children
+have always been yellow in color.
+
+And so the world came to be made and peopled. The sun and moon shine in
+the sky and the beautiful stars light up the night. All over the land,
+on the body of the envious Licalibutan, the children of Sicalac and
+Sicabay have grown great in numbers. May they live forever in peace
+and brotherly love!
+
+
+
+The Silver Shower
+
+Every night in Manila, when the bells of the city boom out the Angelus
+and lights begin to appear in the windows, the walks are filled with
+people hurrying toward the bay. In the streets hundreds of carriages,
+their lamps twinkling like fireflies, speed quickly by, as the cocheros
+urge on the little Filipino ponies. All are bound for the Luneta to
+hear the evening concert.
+
+A pretty place is the Luneta, the garden spot of the city. It is laid
+out in elliptical form and its green lawns are covered with benches
+for the people. A broad driveway surrounds it and hundreds of electric
+lights transform the night into day.
+
+A band stand is located at each end of the oval, and at night concerts
+are given by the military bands.
+
+Thousands of people gather to listen to the music. The bright uniforms
+of officers and men, the white dresses of American ladies, the black
+mantillas of the dark-eyed senoritas, and the gayly colored camisas
+of the Filipino girls show that the beauty and chivalry of Manila
+have assembled at the concert.
+
+The band plays many beautiful selections and finally closes with the
+"Star-Spangled Banner." At once every head is bared and all stand
+at rigid attention till the glorious old song is finished. Then the
+musicians disperse, the carriages drive away, and people return to
+their homes.
+
+Many, however, linger on the benches or stroll along the beach,
+watching the water curling upon the shore. As the waves reach the land
+a soft light seems to spring from them and to break into thousands
+of tiny stars. Now and then some one idly skips a stone over the
+water. Where it touches, a little fountain of liquid fire springs
+upward, and the water ripples away in gleaming circles that, growing
+wider and wider, finally disappear in a flash of silvery light.
+
+Of all the beauties of the Islands, the water of Manila Bay at night
+ranks among the first. And those who ask why it flashes and glows
+in this way are told the story of the silver shower that saved the
+Pasig villages from the Moro Datto Bungtao.
+
+Hundreds of years ago messengers came hurrying from the south of Luzon
+with the news that the great Datto Bungtao, with many ships and men,
+was on his way to the island to burn the villages and carry the people
+away into slavery.
+
+Then great fear came into the hearts of the people, for the fierce
+Datto was the terror of the eastern seas, and all the southern islands
+were reported captured. Nevertheless, they resolved to defend their
+homes and save their people from shame and slavery.
+
+The news proved true, for the Moro chief landed a great army on the
+shore of the Bay of Batangas, and his fierce followers, with fire
+and sword, started north to lay waste the country.
+
+For a time they drove all before them, but soon Luzon was up in
+arms against them and great numbers of warriors hurried southward to
+battle with the Moros. All tribal feeling was forgotten and Tagalos,
+Macabebes, Igorrotes, and Pangasinanes hurried southward in thousands.
+
+The Moros presently found themselves checked by a large army of men
+determined to save their homes or to die fighting.
+
+Near the present town of Imus, in Cavite, a battle was fought and
+the Moros were defeated. They then retreated southward, but great
+numbers of Vicoles and Tinguianes rushed up from the southern part
+of the island and blocked their way.
+
+On the shore of the great Lake Bombon the final battle was fought. The
+Moros were killed to a man, and with great rejoicing the tribes
+returned north and south to their homes.
+
+But in the meantime Bungtao had not been idle. After landing his men,
+with his two hundred ships he set sail northward, never doubting that
+his army would sweep all before it. A typhoon carried his fleet far
+south into the China Sea, but he steered again for Luzon and three
+weeks later was in sight of Corregidor Island.
+
+He sailed down Manila Bay and drew up his fleet in front of the
+villages on the Pasig River, the present site of Manila. On the shore
+the people gathered in terror, for all the warriors had gone to fight
+the invading army, and only old men and women and children remained
+in the villages.
+
+Hastily they called a council and finally decided to send a messenger
+out to the Moro chief with all the gold and things of value they
+possessed, thinking thus to satisfy the fierce Datto and save their
+villages from harm.
+
+Accordingly the women gave their rings and bracelets and the men
+their bangles and chains. Everything of value was taken from the
+houses. Even the temples of prayer were stripped and all the ornaments
+taken. So great was the fear of the people that they even sent the
+gold statue of the great god Captan that was the pride of the tribe,
+whose members came miles to worship it.
+
+As Bungtao was preparing to land and attack the town with his sailors,
+the messenger in his canoe came alongside the ship and was at once
+taken before the Datto. Trembling with fear, the old man, with signs,
+begged for mercy for the people on the shore. He pointed to the
+presents and offered them to Bungtao. Then, placing the golden image
+of Captan at the feet of the Moro and bowing low, he again pleaded
+for the women and children.
+
+Bungtao laughed in scorn at the offer. On his island was gold enough to
+satisfy his people. He needed slaves to work in the fields, for it was
+beneath the dignity of such warriors as himself and his companions to
+labor. So he kicked the messenger from him and, with a curse, picked
+up the sacred golden image and threw it far over the water. Instantly
+the sky grew dark and blackest night covered the land. The messenger
+felt himself seized by invisible hands and carried to the shore.
+
+Then suddenly the heavens opened, and a shower of silver fire rained on
+the Moro boats. In vain the Moros tried to escape. The fire hemmed them
+in on every side. Many leaped from the burning ships into the boiling
+water. When the darkness cleared, boats and Moros had disappeared.
+
+Joyfully the people on the shore ran to the temple of worship to pray
+to Captan. What was their surprise to find the golden image of the
+god in its usual place, and around it the bracelets and rings offered
+to the Moros!
+
+When the warriors, a few days later, returned from their great victory
+in the south, they could hardly believe the story of the wonderful
+escape of their people. But at night, when they saw the heretofore dull
+waters dashing and breaking on the shore in crystals of silvery light,
+they knew that it was Captan who had saved their homes and families.
+
+The villages are a thing of the past. The modern city of Manila now
+stands on the banks of the Pasig.
+
+The nights here are very beautiful. The breeze sighs softly through
+the palm trees and the golden moon gleams on the waters of Manila Bay.
+
+On the shore the waves break gently and little balls of silver light
+go rushing up the beach. Wise men say that the water is full of
+phosphorus. But they have never heard the story of the Silver Shower.
+
+
+
+The Faithlessness of Sinogo
+
+Somewhere off the northern coast of Mindanao a strong current begins
+to travel northward. It runs to the island of Siquijor and then,
+turning slightly to the east, goes racing between the islands of Cebu
+and Negros. At the narrow entrance between San Sebastian and Ayucatan
+it breaks up into hundreds of small whirlpools that make the water
+hiss and bubble for a distance of nearly three miles.
+
+For steamers and large boats there is not the slightest danger,
+but to the native in his little sacayan with its bamboo outriggers
+these whirlpools are objects of dread and fear. He will go miles out
+of his way to escape them. If you inquire as to the reason, he will
+explain that the Liloan, or whirlpool, is a thing always to be avoided,
+and then he will tell you the story of Sinogo.
+
+Years and years ago, when Maguayan ruled the sea and the terrible
+Captan launched his thunderbolts from above, the water and air were
+filled with swimming and flying monsters. Those that lived in the air
+were armed with great teeth and sharp claws; but, though they were
+fierce and savage, they lived together in peace, for they feared the
+anger of their master Captan.
+
+In the sea, however, all was not so peaceful, for some of the
+monsters were so huge and savage and so confident in their strength
+that Maguayan could do nothing with them. He lived in constant fear
+of attack from these fierce subjects and finally, in despair, called
+on Captan to help him in his trouble.
+
+Accordingly Captan sent his swift messengers to every part of the
+earth, air, and sea, and ordered that a council of all the creatures
+in the world should be held. He named the little island of Caueli in
+the center of the Sulu Sea as the meeting place, and commanded all
+to hasten there without delay.
+
+Soon the members of the council began to arrive, and the sky was
+darkened by flying monsters, and the water boiled as the terrible
+reptiles of the sea rushed to the place appointed.
+
+In a short time the little island was crowded with these dreadful
+creatures. There were huge Buayas from Mindanao, fierce Tic-bolans
+from Luzon, savage Sigbins from Negros and Bohol, hundreds of Unglocs
+from Panay and Leyte, and great Uak Uaks and other frightful monsters
+from Samar and Cebu. They grouped themselves in a large circle around
+a golden throne on which sat Captan and Maguayan, and while waiting
+the commands of their master filled the air with shrieks and howls.
+
+At length Captan raised his hand and the noise instantly stopped. Then
+he announced his decree. He said that Maguayan was his brother god
+and should be treated with the same respect. He commanded all his
+subjects to obey the god of the sea and told them that he would kill
+with a thunderbolt any that disobeyed this order. Then he desired all
+to return to their own regions, and again the air was filled with a
+noise of thunder and the sea roared and foamed as the monsters went
+back to their homes.
+
+Soon there remained on the island only Captan, Maguayan, and
+three messengers of Captan, who were called Sinogo, Dalagan, and
+Guidala. These were giants in size and had large wings which enabled
+them to fly with great swiftness. They had long spears and sharp
+swords and were very brave and powerful. Of the three, Dalagan was
+the swiftest, Guidala the bravest, and Sinogo the handsomest and best
+loved by Captan.
+
+When all the creatures were gone Maguayan thanked Captan, but
+the great god said that he had only done his duty in helping his
+brother. Then he gave Maguayan a little golden shell and explained
+to him its wonderful power. Maguayan had but to put it in his mouth
+and he could change his form to that of any creature he pleased. In
+case a monster, defying Captan's orders, should attack him, he had
+simply to change himself into a stronger monster of twice the size
+of his enemy, and then fight and kill him easily.
+
+Again Maguayan thanked his brother god and, taking the shell, placed
+it on the throne beside him. Then Captan ordered his messengers to
+bring food and drink, and soon the two gods were feasting merrily.
+
+Now it happened that Sinogo had been standing behind the throne and
+had heard all that had been said. He was filled with a desire to own
+the wonderful shell, and in spite of the many favors he had received
+from Captan he resolved to steal it. The more he thought of its great
+power, the more he longed for it. With it he could rule the earth and
+sea as a god, and, by hiding, he might avoid the anger of Captan. So
+he watched for an opportunity to make away with it. Finally his chance
+came. While handing Maguayan some food, he slyly caught up the shell,
+and soon afterwards quietly slipped away.
+
+For some time his absence was not discovered, but all at once Captan
+called for his favorite messenger and, receiving no reply, ordered
+Dalagan to search for him. Soon Dalagan returned and reported that
+Sinogo could not be found on the island. At the same time Maguayan
+noticed that the golden shell was gone.
+
+Then Captan knew that his messenger had stolen the shell and
+escaped. He flew into a great rage and swore he would kill Sinogo. He
+ordered Dalagan and Guidala to hasten to the north in search of the
+faithless messenger and to bring him back a prisoner.
+
+Swiftly northward over the blue sea flew the messengers, and near the
+island of Guimaras caught sight of Sinogo. He saw his pursuers and
+flew all the swifter, but he was no match for them in speed. Nearer
+and nearer they came and then, drawing their swords, rushed forward
+to seize him.
+
+But Sinogo was not to be easily caught. Quick as a flash, he placed
+the shell in his mouth and dived down into the water, at the same
+time changing himself into a huge crocodile-shaped Buaya with scales
+like armor of steel.
+
+In vain Dalagan and Guidala rained blows on the monster. The swords
+could not pierce the heavy scales.
+
+Up through Guimaras Strait the chase went on, and Sinogo tore up
+the water in his flight. So great was the disturbance of the ocean
+that, as they rounded the northern coast of Negros, the waves dashed
+completely over the little island of Bacabac, sweeping away the hills
+and bringing the land to the level of the sea.
+
+Still the rapid flight went on. Straight for Bantayan headed Sinogo,
+but suddenly changing his course he dashed into the narrow channel
+between Negros and Cebu. Then Dalagan, leaving Guidala to continue the
+chase alone, flew swiftly back to Caueli and told Captan that Sinogo
+was in the little strait. Up sprang the god and, flying directly east,
+he posted himself at the southern entrance of the channel. In his
+hand he held an enormous thunderbolt, and thus armed he waited for
+the appearance of Sinogo.
+
+Down into the narrow entrance sped the faithless messenger, tearing
+up the water in his mad flight, while the brave Guidala struck in
+vain at his huge body. Suddenly a roar of thunder sounded and the
+thunderbolt fell on the back of the monster, bearing him down beneath
+the waves and then, stiffening like a bar of iron, pinning him to the
+bottom far below. In vain he struggled to free himself; the bar held
+him fast and sure. In his struggles the shell fell from his mouth,
+but a little Tamban caught it and brought it safely to Captan.
+
+Thousands of years have passed, but far under the water, like a fly
+on a pin, Sinogo struggles in the form of a huge Buaya. The water
+bubbles around him and for three miles little whirlpools go racing up
+the channel. And the native in his little sacayan avoids the narrow
+entrance where the water boils and foams, for Sinogo still twists
+and squirms, and the Liloan is a thing to be feared and dreaded.
+
+
+
+Catalina of Dumaguete
+
+This is a legend of Dumaguete, the capital of the province of Negros
+Occidental. From this town can be seen five islands, viz., Negros,
+Cebu, Bohol, Mindanao, and Siquijor.
+
+There is no one on the great island of Negros who does not love the
+name of Catalina. Even the wild mountain men speak it with respect,
+and down in the coast towns at night, when the typhoon is lashing the
+waters of Tanon Strait, and the rain and wind make the nipa leaves
+on the roofs dance and rattle, the older people gather their little
+black-eyed grandchildren around the shell of burning cocoanut oil
+and tell them her story.
+
+Many years ago there lived in Dumaguete a poor tuba seller named Banog,
+who made his daily rounds to the houses just as the milkman does in
+far-off America. But instead of a rattling wagon he had only a long
+bamboo from which he poured the drink, and in place of sweet milk he
+left the sap of the cocoanut tree.
+
+The bad custom of mixing tungud, a kind of red bark, with the sap,
+and thus making of it a strong liquor, had not yet been known, so
+Banog, though poor, was respected, and the people tried in every way
+to help him and his daughter Catalina.
+
+Catalina was a beautiful girl of sixteen and very good and industrious,
+but with many strange ways. She scarcely ever spoke a word and spent
+most of her time in looking out over the sea. Sometimes she would
+suddenly stand erect and, clasping her hands, would remain for a long
+time looking up at the sky as if she saw something that no one else
+could see. On account of these strange manners the people thought
+her a wonderful girl and she was supposed to have mysterious powers.
+
+One day many ships came up from the island of Mindanao and hundreds
+of fierce Moros landed. Shouting and waving their terrible knives,
+they fell upon the peaceful people and killed many, among them poor
+Banog. Then they robbed and burned the houses and, seizing all the
+women they could find, set sail for their great southern island. Among
+the prisoners was Catalina. With her eyes fixed on the sky she sat
+very quiet and still in the bow of one of the boats, and though her
+companions spoke often to her she made no reply.
+
+Suddenly she sprang into the water and a wonderful thing occurred,
+for, instead of sinking, she walked lightly over the waves toward the
+distant shore. The Moros were so astonished that they did not try to
+stop her and she reached the land safely.
+
+Many people who had hidden in the forests ran out to meet her but she
+spoke to no one. With her eyes still fixed above she walked through
+the burning town and along the road to Dalugdug, the Thunder mountain,
+that lies behind Dumaguete.
+
+On Dalugdug there lived a terrible Sigbin. Its body was like that of
+a monstrous crow, but just under its neck were two long legs like
+those of a grasshopper, which enabled it to leap great distances
+without using its wings. It ate any one who came near its home,
+so when the people saw Catalina start to climb the mountain they
+begged her to come back. She paid no heed to their cries, however,
+but went up higher and higher, till her white dress seemed merely a
+speck on the mountain side.
+
+All at once she seemed to stop and raise her hands. Then a fearful
+shriek was heard, and the fierce Sigbin came rushing down the
+mountain. It appeared to be greatly frightened, for it took tremendous
+leaps and screamed as if in terror. Over the heads of the people
+it jumped, and, reaching the shore, cleared the narrow channel and
+disappeared among the mountains of the island of Cebu.
+
+When the people saw that the Sigbin had gone they ran up the mountain
+and searched everywhere for Catalina, but they could find no trace of
+her. Sorrowfully they returned to their homes and busied themselves
+in building new houses and in making their town beautiful once more.
+
+Several years passed in peace and then again the Moro boats came up
+from Mindanao. The men hurriedly gathered on the beach to meet them,
+and the women and children hid in the cocoanut groves.
+
+This time the Moros had no quick and easy victory, for the Visayans,
+armed with bolos and remembering their lost wives and sisters, fought
+furiously, and for a time drove the enemy before them. But more Moro
+boats arrived and numbers told against the defenders. Slowly but
+surely they fell fighting until but a few remained.
+
+Suddenly a bridge of clouds unfolded from Dalugdug to the town, and
+across it came the lost Catalina holding a beehive in her hands. Then
+she spoke and thousands of bees flew from the hive to the ground. Again
+she spoke and waved her hand, and the bees changed into little black
+men with long sharp spears, who charged the Moros and killed every
+one of them.
+
+Then Catalina, the hive still in her hand, went back over the bridge
+and disappeared once more in the mountain.
+
+The people came out of their hiding places, crowding around the little
+black men and questioning them, but they received no answer. Instead
+the little warriors gathered together and ran into the forest and up
+the mountain side, where they were soon lost to view.
+
+Such is the story of Catalina, Since that time Dumaguete has been safe
+from the Moros. The Sigbin has never returned to Negros. It still
+lives in the mountains of Cebu and the people are so afraid of it
+that they lock themselves in their houses after dark and can hardly
+be induced to come out. Up in the mountains of Negros live the little
+black men. They are called Negritos and are very savage and wild.
+
+The savior of Dumaguete still lives in Dalugdug and is worshiped by the
+people. And in the town, now grown into a big busy city, the old people
+for years to come will tell their grandchildren the story of Catalina.
+
+
+
+The Fall of Polobulac
+
+This is a tale from Panay. It probably originated with the Spanish
+fathers, who wished to impress the doctrine of the Seven Deadly Sins
+on the natives. The islands are just off Iloilo.
+
+A little way from Iloilo there once was a beautiful island called
+Polobulac, or Isle of Flowers. Its shores were covered with beautiful
+trees and plants; splendid gardens of flowers were found everywhere;
+fruits grew in abundance; fountains sparkled in the sunlight; and
+the people were the happiest in the world. They danced and sang to
+gay music, and were free from every care and sorrow.
+
+Filled with confidence in their good fortune, and proud of their
+beautiful island, they began to slight the people of the neighboring
+islands, and to treat them with insolence and scorn.
+
+One night the sky was darkened, the lightning flashed, the rain fell
+in torrents, and a voice cried from the clouds, above the roar of
+the thunder:
+
+"I am Pride. Avoid me or perish."
+
+Terrified, they prayed to God for protection, but with the morning
+sun their fears left them and they continued as before.
+
+Days passed and the people grew richer, but, not satisfied with their
+wealth and with their own beautiful island, they longed to possess
+the lands of their neighbors.
+
+Again came the storm, and again a voice cried from the heavens:
+
+"I am Covetousness. Come to me and die."
+
+Once more they appealed for protection, but they did not change
+their ways.
+
+Weeks went by, and with wealth came low and base desires. The storm
+came as before and brought the warning:
+
+"I am Evil Desire. Fly from me or be lost."
+
+But again it sounded to sealed ears. Months rolled on. The people
+quarreled with their neighbors, and sent forth an army to make war
+upon them. The voice thundered:
+
+"I am Anger. I give eternal torment."
+
+Years followed, and the tables of the people of Polobulac were loaded
+with the finest foods and wines. Day and night found them feasting. The
+cry sounded above them:
+
+"I am Gluttony. I devour my children."
+
+The winds alone echoed the warning.
+
+Time flew by. Each man sought to outdo the others in display of luxury
+and magnificence. The poor grudged the rich their fortunes, and sought
+in every way to injure them. Again a voice came through the darkness:
+
+"I am Envy. My people are condemned."
+
+But they closed their ears and would not hear.
+
+More wealth brought greater luxury. They lolled in idleness. They
+idled in the midst of magnificence. The voice warned:
+
+"I am Sloth. I bring final warning."
+
+They were used to the voices now, and gave them not the slightest
+heed. Their insolence and greed grew greater. The fair island shook
+with dissension and strife.
+
+One day the sun was hidden by blackness. A fearful tempest burst over
+the land. The people on the other islands saw Polobulac wrapped in
+seven huge pillars of flame.
+
+When the sky cleared, Polobulac was nowhere to be seen. In its place,
+seven blackened rocks marked the spot where stood the beautiful isle.
+
+They are there to this day. You can see them as you leave the harbor
+for southern ports. Sometimes they appear as one. Again they seem to
+group in twos and threes. But there are seven.
+
+They are called the Deadly Sins.
+
+
+
+The Escape of Juanita
+
+
+
+Have you heard of the terrible Tic-balan,
+A tall and thin and very black man,
+With terrible teeth and a horse's head,
+And covered with hair that is long and red?
+
+
+He lives in the awful Balete tree,
+And to pass the place you must say "Tabi";
+If you do not, the Asuang comes at night,
+And throws big stones till you die of fright.
+
+
+Now once there lived in Santa Cruz town
+A little girl known as Juanita Calaon;
+She was gentle and sweet and as good as could be,
+And she always bowed low to the Balete tree.
+
+
+One day to the forest alone she did roam
+To get some good wood for the fire at home;
+She gathered some twigs that she found on the ground,
+And all of them fast in a bundle she bound.
+
+
+Then happy and free, with the pack on her head,
+She followed the road that back to town led.
+She sang as she walked, and so happy was she
+That alas! she bowed not to the Balete tree.
+
+
+All at once then she heard a most terrible roar,
+And the Tic-balan fierce through the air seemed to soar.
+He seized poor Juanita, and quick as could be
+He shut her inside of the Balete tree.
+
+
+Two days passed, and when the girl failed to come back,
+Her parents went out, and no friends did they lack
+To help in the search, for the whole pueblo came,
+And loudly they shouted poor Juanita's name.
+
+
+At last when they thought that the search brought no good,
+One man found Juanita's neat bundle of wood;
+He called the good news, and as more came to see,
+Loud knocking was heard in the Balete tree.
+
+
+Then many were frightened, but many were brave,
+And wondered by what means the girl they could save;
+For they knew that it must be Juanita who knocked,
+And that inside the Balete tree she was locked.
+
+
+Soon they ordered that candles and music be brought,
+And a crucifix holy was what they next sought;
+And when all was ready they closed round the tree,
+While they prayed to the true God to set the girl free.
+
+
+They lighted the candles and then the band played,
+And Juanita's mother, who was not afraid,
+Advanced with the crucifix held in her hand,
+And tapped with the cross on the evil tree grand.
+
+
+Then a roar shook the forest and chilled all their hearts,
+And the awful Balete split into two parts;
+Then they saw in the center, as each big half fell,
+Their darling Juanita all smiling and well.
+
+
+She ran from the tree to her fond mother dear,
+While the band played and every one gave a loud cheer;
+Then back to the pueblo they danced in delight,
+And kept up their singing through all the long night.
+
+
+Still there to this day lies the Balete tree,
+But no more do the people that pass say "Tabi."
+And the spirit no more can molest any man,
+For God has more power than the fierce Tic-balan.
+
+
+
+
+The Anting-Anting of Manuelito
+
+The Anting-Anting is a stone or other small object covered with
+cabalistic inscriptions. It is worn around the neck, and is supposed
+to render its owner impervious to knife or bullet. Many are wearing
+these charms, especially the Tulisanes or outlaws. The Anting-Anting
+must not be confused, however, with the scapular, a purely religious
+symbol worn by a great number of the Christian Filipinos.
+
+Many of the older Filipinos remember Manuelito, the great Tulisane,
+who, more than fifty years ago, kept all the Laguna de Bai district
+in a state of fear. His robber band was well organized and obeyed his
+slightest wish. He had many boats on the lake and many hiding places
+in the mountains, and throughout the country there was no villager
+who did not fear to oppose him, or who would refuse to help him in
+any way when required to do so.
+
+In vain the Guardia Civil hunted him. Many times they surrounded the
+band, but Manuelito always escaped. Many shots were fired at him,
+but he was never hit; and once, when he was cut off from his men
+and surrounded, he broke through the line, and though fifty bullets
+whistled around him he did not receive a scratch.
+
+The officers of the Guardia Civil blamed their men for the bad
+marksmanship that allowed Manuelito to escape. They told all the
+people that it should never occur again, and promised that the next
+fight should end in the death of the outlaw. The people, however,
+did not believe that Manuelito could be killed, for he wore on his
+breast a famous Anting-Anting that he had received from Mangagauay,
+the giver of life and death.
+
+This charm was a stone covered with mysterious signs. It was wrapped
+in silk and hung by a string from the robber's neck, and even if a
+gun were fired within a few feet of him the Anting-Anting was sure to
+turn the bullet in another direction. It was this charm that always
+saved him from the Guardia Civil.
+
+Manuelito was very proud of his Anting-Anting, and many times, when
+a fiesta was being held in some town, he and his band would come down
+from the mountains and take part in the games. Manuelito would stand
+in the town plaza and allow his men to shoot at him, and each time
+the Anting-Anting would turn aside the bullets. The people were very
+much impressed, and though a few of the wiser ones secretly thought
+that the guns were only loaded with powder, they were afraid to say
+anything; so the greater number thought it very wonderful and believed
+that there was no charm so powerful as the Anting-Anting of Manuelito.
+
+For years the Tulisane, protected by his charm, continued to rob and
+plunder. The Guardia Civil hunted him everywhere, but could never
+kill him. He grew bolder and bolder, and even came close to Manila
+to rob the little towns just outside the city.
+
+At last the government grew tired of sending out the Guardia Civil,
+and ordered a regiment of Macabebes to hunt and kill the Tulisane
+and his men.
+
+Manuelito was at Pasay when news was brought to him that the Macabebes
+were coming. Instead of running from these fierce little fighters, he
+decided to meet them, and many people offered to help him, believing
+that the Anting-Anting would turn away all bullets and give them
+victory. So Manuelito and many men left the town, built trenches in the
+hills near San Pedro Macati, and waited for the Macabebes to appear.
+
+They had not long to wait. The Macabebes, hurrying from Manila, reached
+San Pedro Macati and soon found that Manuelito was waiting to fight
+them. They left the town at once and advanced on the Tulisane trenches.
+
+It was a great fight. From the other hills close by many people watched
+the battle. Five times the Macabebes advanced, and were forced to
+fall back before the fierce fire of the Tulisanes. But the Macabebe
+never knows defeat, and once more their line went forward and in one
+terrible charge swept over the trenches and bayoneted the outlaws. In
+vain Manuelito called on his men to fight. They broke and ran in every
+direction. Then, seeing that all was lost, Manuelito started to follow
+them; but a volley rang out, and, struck by twenty bullets, he fell to
+the ground dead. The Macabebes chased the flying Tulisanes and killed
+that of all the band only a few many, safely reached the mountains.
+
+While the Macabebes were chasing the outlaws, many people came down
+from the hills and stood around the body of Manuelito. They could
+hardly believe their eyes, but the many wounds and the blood staining
+the ground proved that the great Tulisane was indeed dead.
+
+What of the Anting-Anting? Had it lost its power?
+
+One man timidly unbuttoned the shirt of the dead robber and pulled out
+the charm. The mystery was explained. Fixed firmly in the center of the
+Anting-Anting was a silver bullet. There was but one explanation. The
+Macabebes had melted a statue of the Virgin and used it to make bullets
+to fire at Manuelito. Against such bullets the charm was useless,
+but against ordinary lead it never would have failed. Had not the
+people seen Manuelito's own men fire at him?
+
+The charm was taken from the neck of the dead Tulisane and many
+copies were made of it. Even to this day hundreds of people are
+wearing them. They will tell you about Manuelito's great fight and
+also about his famous Anting-Anting.
+
+"But," you say, "the Anting-Anting was useless. Manuelito was killed."
+
+They answer, "Yes, Senor, it is true; but the Macabebes used bullets
+of silver. Had they used lead the story would have been different. Poor
+Manuelito!"
+
+
+
+When the Lilies Return
+
+A legend of the Chinese Invasion. Quiapo, even at the time of the
+early Spaniards, and for years after, was a deserted field. The story
+is an old one and generally known to the Tagallos.
+
+At the time when the Pasig flowed peacefully along between flowery
+banks; when its breast was not torn by puffing steamers; and when
+only a few clustering huts marked the present site of Manila, there
+grew on the banks of the river a beautiful field of lilies.
+
+The lilies glistened like silver in the sunlight, and their sweet
+odor filled the air with delicious perfume. No hand plucked them from
+the earth, and no foot trampled out their fragrance; for an ancient
+prophecy had said that while the lilies stood the happiness of the
+people should endure.
+
+But after a time there came dark days in the history of the
+Philippines. Yellow hordes swept across the water and carried all
+before them. The people could hardly expect to resist the invaders,
+for their warrior king, Loku, had profaned the word of the god, and,
+in the form of a lizard, was fulfilling his punishment. Their armies
+were weak and scattered, and the conquerors marched on in triumph.
+
+As report after report of disaster reached Luzon, the people trembled
+for the safety of their fair land. Warriors gathered hastily for the
+defense of the nation, and all waited for the enemy to appear.
+
+One day the water was dotted with the junks of the invaders. They
+came slowly down the bay, and anchored near the mouth of the Pasig.
+
+Then from the boats poured the yellow warriors. Spears rained
+upon them, stones and arrows laid them low, but their numbers were
+countless. The people were swept back along the river banks.
+
+Fiercely they fought, but numbers told against them. Foot by foot
+they were pressed back, till they stood on the border of the field
+of lilies, where they made their last stand. But it was to no purpose.
+
+The invaders poured from the ships, and in one desperate charge
+drove back the ranks of the people, who fought and died among their
+sacred lilies.
+
+All through the night the battle raged, and at daybreak, when the
+victorious invaders rested on their spears, the beautiful field was
+no more.
+
+The lilies were crushed and torn. The bodies of dead and dying warriors
+lay everywhere, and the crushed flowers were stained with the blood
+of friend and foe. The peace of the land was lost.
+
+Many years have passed since then. New races have come to the Islands,
+and new manners and customs have been introduced. The Pasig still
+flows on to the sea, but its banks are harnessed by bridges. Lofty
+dwellings and stores take the place of the little huts, and a great
+city marks the site of the little village.
+
+Where once was the beautiful field is now a busy part of the great
+city. It is called Quiapo, after the lilies. Many of the older people
+remember the prophecy and wonder if the lilies will ever return.
+
+The land is now a peaceful and contented one. Comfort and happiness
+may be found among its inhabitants. Perhaps the fair, strange women
+from the great land over the sea are the lilies. Who can tell?
+
+
+
+
+Glossary
+
+
+balete tree = a type of tree, Ficus indica, often believed to be the
+home of evil and vengeful spirits.
+camisas = shirts.
+chinela = slipper.
+cocheros = drivers of horse-drawn carriages.
+Datto = chief.
+Guardia Civil = Spanish police.
+ladrones = thieves.
+lubi lana = coconut oil.
+Moro = Muslim's from the southern islands of the Philippines.
+Negritos = Negroid people indigenous in some parts of the Philippines.
+nipa = palm leaf of which the roofs of cheap houses are made.
+sacayan = small outrigger boat.
+tuba = alcoholic drink made from the sap of the coconut tree.
+tungud = the red bark of a mangrove tree.
+
+
+
+
+
+End of Project Gutenberg's Philippine Folklore Stories, by John Maurice Miller
+
+*** END OF THIS PROJECT GUTENBERG EBOOK PHILIPPINE FOLKLORE STORIES ***
+
+***** This file should be named 10771.txt or 10771.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/0/7/7/10771/
+
+Produced by Jeroen Hellingman
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Each eBook is in a subdirectory of the same number as the eBook's
+eBook number, often in several formats including plain vanilla ASCII,
+compressed (zipped), HTML and others.
+
+Corrected EDITIONS of our eBooks replace the old file and take over
+the old filename and etext number.  The replaced older file is renamed.
+VERSIONS based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
+are filed in directories based on their release date.  If you want to
+download any of these eBooks directly, rather than using the regular
+search system you may utilize the following addresses and just
+download by the etext year.
+
+     https://www.gutenberg.org/etext06
+
+    (Or /etext 05, 04, 03, 02, 01, 00, 99,
+     98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
+
+EBooks posted since November 2003, with etext numbers OVER #10000, are
+filed in a different way.  The year of a release date is no longer part
+of the directory path.  The path is based on the etext number (which is
+identical to the filename).  The path to the file is made up of single
+digits corresponding to all but the last digit in the filename.  For
+example an eBook of filename 10234 would be found at:
+
+     https://www.gutenberg.org/1/0/2/3/10234
+
+or filename 24689 would be found at:
+     https://www.gutenberg.org/2/4/6/8/24689
+
+An alternative method of locating eBooks:
+     https://www.gutenberg.org/GUTINDEX.ALL
+
+
diff --git a/old/10771.zip b/old/10771.zip
new file mode 100644
index 0000000..242edfa
--- /dev/null
+++ b/old/10771.zip