structural analysis of the three selected batangas folktales
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Chapter I
THE PROBLEM
Introduction
Interpreting literature is considerably a very subjective activity wherein the
most common tool to decode its message is solely experience. For each individual
has unique adventures in life that may be related in a given literary work, it is
impossible to come up with one interpretation. Consequently, there is a zero
chance in obtaining objectiveness in interpreting literature and the only known
purpose it plays on Basic Education is enhancing children’s reading and
comprehension skills and nothing more. Thus, the profitable use of literature and
its real value for education is not recognizable even if it can help Filipino youth to
connect with their cultural roots for it is the written record of their ancestors’
struggles and traditions.
With the light of promoting nationalism, the Commission on Higher
Education (CHED) updated the Republic Act No. 7722, otherwise known as the
Higher Education Act of 1994, with CHED Memorandum Order (CMO), No. 59,
Series of 1996. It adopted a new general education curriculum which must be
implemented as part of all baccalaureate degree programs in all Higher Education
Institutions (HEIs) in the Philippines. The said order involved implementing an
interdisciplinary approach which would help the students see the human beings as
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in integral person living in both a national and a global community. To achieve
such goal, the said order specifically stressed the application of the Regional
Approach in the subject Literature One or Lit 1 which must cover “The Literatures
of the Philippines”. It emphasizes the need to focus on the literatures of all regions
of the Philippines, whether written in native or foreign languages from the
beginning of Philippine history to the present wherein literary texts and authors
outside the National Capital Region should be taken with adequate attention.
In accordance with the preceding order which aimed to produce culturally-
sensitive and nation-loving citizens which the Philippines is dramatically losing
today, the Republic Act 10533 or The Enhanced Basic Education Act of 2013 was
passed. It states that there will be additional two years on the Basic Education
which is the Senior High School. Based on Department of Education’s
Qualification Framework Articulation, Senior High School students should
possess an understanding of right and wrong; one’s history and cultural heritage;
and deep respect for self, others and their culture, and the environment. Also, for
the medium of instruction, the Department of Education (DepEd) mandated the
Mother Tongue – Based Approach to make cognition easier for children with the
justification that students learn better if lessons are delivered by their first
language which is Filipino in Philippines’ case. To aid schools situated in the
provinces which speak of different dialects, there are 19 dialects in focus and
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Tagalog is one of those that is used in the Batangas, the part wherein this study
referred to.
In fact, aside from its dialect which is commonly known as the exaggerated
Tagalog, Southern Luzon is also rich in Batangas folk literature. Their folktales
are imbued with morals, religion and values to live by. A study about Batangas
folktales by Ilagan (2006) revealed that the predominating themes drawn from its
popular folktales are curses, fear, fantasy, friendliness and hatred. To further
pursue cultural development specifically provincial progress, each family which is
the basic unit of society, the local government, educational institutions and other
sectors concerned with the improvement of society must continue to enrich the use
of existing literature where values maybe deduced, applied to their everyday life
and passed on to the younger generations.
The aforementioned acts K-12 Act and CHED Memorandum Order No. 59,
Series of 1996 hoped to infuse a sense of nationalism that is deteriorating among
Filipino youth, literature could play a vital part in addressing its agenda. Sadly,
this would be infeasible if there is always an imprecise interpretation for every
literary piece, a dilemma that motivated researchers to conduct this study.
This study was anchored in the said acts as the researchers wanted to
support President Noynoy Aquino’s and CHED’s vision and priority for the
country’s literature in highlighting Philippines’ cultural heritage. Additionally, the
researchers aspire to materialize the goal of the DepEd which was to make Filipino
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youth aware of their roots, their culture, their own stories and songs, most
specially their identity as Filipinos.
As future educators, the researchers aimed to provide useful information to
improve the instruction of literature by using the Structuralist approach in
conducting this study. Structuralism, is at least seemingly, scientific and objective.
It identifies structures, which endow signs or items with identities and meanings,
and shows the way in which people think (Pettit, 2003).
Since Literature speaks about the ideals and beliefs of the society where it
originated, it is therefore imperative to distinguish the role of the local folktale in
Batangas as a means for cultural transmission and basis in supplementing the
teaching of Creative Writing course. The researchers chose to conduct a study to
acquire information they could adapt in addressing the structure of narratives in
Batangas. This research could also be of great importance to literature instructors
in terms of its in-depth analysis of narrative functions, characters involved, the
process they exhibit, and the functional grammar applied to narratology. Also,
conclusions drawn from this study can be of good foundation for improving the
instruction of the Philippine narratology.
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Statement of the Problem
This study described the common structure of selected folktales in
Batangas. In order for the researchers to achieve this endeavor, the researchers
used the Structuralist Approach.
Specifically, the study attempted to answer the following questions:
1. What are the narrative functions drawn from the selected Filipino folktales
in Batangas:
1.1. Juan and His Adventures as narrated by José Ma. Katigbak, a Tagalog
from Lipa, Batangas
1.2. The Story of Carancal as narrated by José P. Caedo, a Tagalog from
Batangas City; and
1.3 Juan and Clotilde as narrated by Vicente Hilario, a Tagalog, who heard
the story from an old man living in Batangas?
2. Which dramatis personae are involved in each narrative function?
3. Which transitivity process is dominantly exhibited by the dramatis personae
involved in each narrative function?
4. How may the structure of Filipino folktales from Batangas be described
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considering the narrative function, dramatis personae, and transitivity
process?
5. What is the implication of the findings to Philippine narratology and to the
teaching of Creative Writing?
Significance of the Study
Since the study was anchored in the principle of Structuralism, its primary
aim was to describe the structure of Batangas narratives by drawing the narrative
functions, dramatis personae and the transitivity processes presented in each
selected folktale from Batangas. It is believed that this study is beneficial to the
Literature teachers, to the students, to Literature students, to the Philippine
narratology, and to the researchers as future teachers.
To the Literature teachers, this study may aid them in making specific
interpretation for every literary piece by studying its elements and structure in an
objective and scientific process. Moreover, teaching Creative Writing would be
easier if they were well-acquainted with the structure of Philippine narratology
that could serve as model in writing narratives.
The results of this study could also benefit the students as it could serve
them pattern and structure in writing their own story. They may be able to
experiment in manipulating plots observed from the common structure they
already know. By doing so, they may unfold and explore their creativity for their
writing skills. This study could support the dreams of the aspiring writers in the
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country. This would also benefit students enrolled in Literature courses for this
study may widen their skills in interpreting literature with a more scientific and
objective approach.
This study could benefit the Philippine narratology for it described the
structure of local folktales distinguishing its nature, style and linguistic feature
from other regional narratives. This would help the practitioners of the said
discipline to identify the characteristics of folktale unique to narratives in
Batangas. This would also lead to the recognition of local styles and colors in
literature.
For the researchers as future educators, this study could serve their purpose
in opening the minds of Filipino youths that literature is worth their appreciation
as they could recognize its value in orienting themselves into their cultural
heritage. The experience of conducting structural analysis might also provide
opportunity for the researchers to hone their literary perception and judgement that
they will soon pass to their future students.
Furthermore, this study can serve as inspiration or basis for future
researchers who will conduct related studies. They may explore other structural
and linguistic features present in other forms of narratives.
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Scope and Delimitation
This research work analyzed the structure of the selected folktales in
Batangas for the researchers were also from the aforementioned region. The said
stories were chosen according to the availability and appropriateness of reference
materials. Although there were 16 texts matching the category needed, there were
only three which were deemed applicable for the study. The researchers analyzed
the stories “Juan and His Adventures” as narrated by José Ma. Katigbak, a
Tagalog from Lipa, Batangas, “The Story of Carancal” as narrated by José P.
Caedo, a Tagalog from Batangas City and “Juan and Clotilde” as narrated by
Vicente Hilario, a Tagalog, who heard the story from an old man living in
Batangas.
While there were many narrative functions, dramatis personae and
transitivity process that could be enumerated, the data that this study revealed were
delimited to what the stories reflect as dominant and common among them. As to
the identification of the structure folktales in Batangas, this exploration was geared
on the Structuralist Approach where the researchers focused only on the narrative
functions, dramatis personae involved in each narrative function and to the
transitivity process exhibited by the dramatis personae which are manifested in the
stories used as subjects under this study.
This study did not focus on folktales narrated outside the premises of
Batangas. While in enumerating the functions exposed on the said stories, the
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researchers only used three theories proposed by well-known Structuralists namely
Vladimirr Propp, Joseph Campbell, and David Adam Leeming. The researchers
dealt with the dramatis personae involved in each narrative functions using Gary
Pullman’s writings in Creating Compelling Characters. The researchers also
utilized M. A. K. Halliday’s theory of Transitivity Process in describing how the
dramatis personae acted in each narrative function. This exploration was bound to
identify the structure of the Batangas Folktale narratives and their implication in
cultural transmission. Lastly, the researchers did not dwell on the lesson implied in
each story.
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Chapter II
REVIEW OF LITERATURE
This chapter presents the relevant literature and related studies which aided
the researchers to determine and evaluate the different narrative functions,
dramatis personae involved in each narrative functions, and the transitivity process
exhibited by each dramatis personae presented in the selected Philippine folktales
from Batangas.
Conceptual Literature
This part deals with the theoretical literature gathered by the researchers
from various sources. These concepts aided them in coming up with the
framework of the present study.
Structuralism is defined as an approach to literature and other social
sciences that interprets and analyses its subject in terms of oppositions, signs, and
hierarchical structures, as they reflect universal mental characteristics or
organizing principles. It is the specific method for interpretation for it follows a
system in deciphering the message of a text and focuses solely on the text and its
grammar.
In concern with the said approach, there are three most prominent icons in
literature who devoted their time and dedication in flourishing Structuralism. They
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are Vladimir Propp, Joseph Campbell and David Adam Leeming. Their
propositions are presented below.
Vladimir Propp (2005) developed his theory of Russian fairy stories. His
approach is understood by comparing the subject of a sentence with the typical
characters or what he later termed as dramatis personae (hero, villain, etc.) and the
predicate with the typical actions in the stories. While there is an enormous
profusion of details, the whole corpus of tales is constructed upon the same basic
set of thirty-one functions of dramatis personae as he concluded that Russian tales
always end with a wedding.
The first function is Absentation. It happens when a member of a family
leaves the security of the home environment or one of them absents himself from
home that the hero will later need to rescue. Sometimes, it is represented by the
death of the parents or other member of the family.
It is followed by Interdiction. This occurs when a prohibition is addressed
to the hero. Since the two functions form available here are interdiction and
command, one might choose for the general term Injunction that may be followed
or obeyed. Sometimes, on the contrary, an interdiction is evidenced in a request or
bit of advice such as a mother warns her son not to go out fishing.
The Violation of the Interdiction comes next. The interdiction is violated.
This generally proves to be a bad move and the villain enters the story, although
not necessarily confronting the hero. They are just a lurking presence or they
attack the family while the hero is away.
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Reconnaissance is the fourth function. In this function, the villain often in
disguise has the aim of finding out the location of children, or sometimes of
precious objects. He may speak with a member of the family who innocently tells
information. The villain may also seek to meet the hero knowing already that the
hero is special in some way. An inverted form of reconnaissance is evidenced
when the intended victim questions the villain.
The aforementioned function is followed by Delivery. The villain directly
receives an answer to his question. The villain gains information often about the
hero or victim. Other information can be gained, for example about a map or
treasure location. Delivery can be done in a direct responsive manner. In some
cases the delivery of information takes the form of a careless act like when a
mother calls her son home in a loud voice and thereby betrays his presence to a
witch.
The above mentioned function is followed by Trickery. The villain attempts
to deceive the victim to take possession of victim or victim's belongings. The
villain assumes a disguise and makes an attempt using persuasion like asking for
alms. If not given, the villain proceeds to act by the direct application of magical
means or he will employ other means of deception or coercion.
The seventh function is Complicity. The victim submits to deception,
unwittingly helping the enemy. The trickery of the villain now works and the hero
or victim naively acts in a way that helps the villain. The hero mechanically reacts
to the employment of magic or other means. It is possible to observe that this
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function can also exist separately. No one lulls the hero to sleep: he suddenly falls
asleep by himself in order to facilitate the villain's dirty work.
After Complicity, Villainy follows. The villain causes harm or injury to
family member by abduction, theft of magical agent, spoiling crops, plunders in
other forms, causes a disappearance, expels someone, casts spell on someone,
substitutes child, commits murder, imprisons someone, threatens forced marriage
or provides nightly torments. Alternatively, a member of family lacks something
or desires something.
The preceding function is followed by Mediation. The misfortune or lack is
made known. Hero is dispatched or hears call for help. Alternative is that
victimized hero is sent away, freed from imprisonment. The hero now discovers
the act of villainy or lack, perhaps finding their family or community devastated or
caught up in a state of anguish and woe. The hero is approached with a request or
command. He is gone or dispatched.
After the prior stated function is Beginning Counter-Action. It happens
when the seeker agrees or decides upon counter-action. The hero now decides to
act in a way that will resolve the lack. This is a defining moment for the hero as
this is the decision that sets the course of future actions and by which a previously
ordinary person takes on the mantle of heroism.
Then Departure comes next. Hero leaves home. Departure here denotes
something different from the temporary absence element. The departure of the
seeker-heroes and victim heroes are also different. The departures of the former
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group have search as their goal, while those of the latter mark the beginning of a
journey without searches, on which various adventures await the hero.
After the previous cited function, the First Function of the Donor occurs. It
is identified when the hero is tested, interrogated, attacked and preparing the way
for his /her receiving of a magical agent or helper (donor). It can be that the donor
tests the hero, the donor greets and interrogates the hero, a dying or deceased
person requests the rendering of a service which takes on the character of a test, a
prisoner begs for his freedom, or the hero is approached with a request for mercy.
The next function is The Hero’s Reaction. The hero reacts upon the actions
of the future donor which may be negative or positive. For instance as the hero
gives the request of the future donor, he will receive an object as a fruit of his
kind-heartedness. It can be that if the hero defeats a creature that tests or
interrogates him, he will obtain something (a sword) from the beast.
After the aforementioned function is the Provision or Receipt of a Magical
Agent. The hero acquires and uses four magical agent; animals, objects out of
which magical helpers appear, objects possessing a magical property and qualities
or capacities which are directly given. All of these objects of transmission are
conditionally termed as magical agents. The forms by which they are transmitted
can be the agent is directly transferred, pointed out, prepared, sold and purchased,
falls into the hands of the hero by chance.
The prior function is followed by Spatial Transference Between Two
Kingdoms, Guidance. This can be seen when the hero is transferred, delivered, or
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led to the whereabouts of an object. Generally the object of search is located in
another or different kingdom. The means of unification may be identical in all
cases, but specific forms do exist for great heights and depths.
Then the Struggle comes next. This is when the hero and the villain join in
direct combat. This form needs to be distinguished from the struggle or fight with
a hostile donor. These two forms can be distinguished by their results. If the hero
obtains an agent, for the purpose of further searching, as the result of an unfriendly
encounter, this would be the element of the First function of the donor. On the
other hand, the hero receives through victory the very object of his quest.
The previous function is followed by Branding or Marking. This occurs
when the hero is branded with a wound or scar either from a villain or a princess
who awakens him before the fight by making a small wound in his cheek with a
knife.
After that is Victory. This is when the villain is defeated. The hero wins
against his opponent. This is followed by Liquidation of Initial Misfortune. This
function, together with Villainy, constitutes a pair. The narrative reaches its peak
in this function. Here, the hero resolves the dilemma brought by the villain.
Return is the subsequent function. It is when the hero returns home where
sometimes its natural way is fleeing. Afterwards, there is the function Pursuit or
Chase, it is the pursuer flies after the hero. This will be followed by Rescue, this is
the rescue of the hero from pursuit wherein he is carried away through the air from
his pursuer. The hero is rescued from without.
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The function Unrecognized Arrival then follows. This is when the hero
arrives home or in another country unrecognized. Then there will be the function
Unfounded Claims, it is the false hero presents unfolded claims. If the hero arrives
home, the false claims are presented by others like his brothers. To resolve the said
function, the next function termed as Difficult Task immediately occurs. This is
where a difficult task is proposed to the hero. Consequently, the function Solution
follows when the hero resolves the difficult task.
After Solution, Recognition follows. Here, the hero is recognized by a
mark, a brand or a thing given to him. In this case, recognition serves as a function
corresponding to branding and marking. The hero is also recognized by his
accomplishment of a difficult task. This is almost always preceded by an
unrecognized arrival. Finally, the hero may be recognized immediately after a long
period of separation. In the latter case, parents and children or brothers and sisters,
may recognize one another.
Then, there will be Exposure. This function is connected with the one
preceding. Sometimes it is the result of an uncompleted task such as the false hero
cannot lift the dragon’s heads.
The function Transfiguration occurs after the above mentioned one. The
hero is given a new appearance directly affected by means of the magical action of
a helper. The hero passes through the ears of an animal and receives a new,
handsome appearance.
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Next, is the function Punishment. Usually only the villain of the second
move and the false hero are punished, while the first villain is punished only in
those cases in which a battle and pursuit are absent from the story. Otherwise, he is
killed in battle or perishes during the pursuit.
Lastly, as Propp cites that the ending of almost every Russian fairy tales is
the function Wedding. The hero is married and ascends the throne. Sometimes the
hero simply marries without obtaining a throne, since his bride is not a princess.
With his work, Propp inspired Lévi-Strauss (2013) to analyze the Oedipus Rex
myth in a manner which is truly structuralist and uses a linguistic model. He later
called the unit of myth as mythemes. They are organized in binary oppositions like
the basic linguistic units. He believed that this linguistic model will uncover the
basic structure of the human mind – the structure which governs the way human
being shape all their institutions, artifacts, and forms of knowledge.
Greimas (2013) offered an elegant streamlining of Propp’s theory. He
arrived at the universal grammar of narrative by applying a semantic analysis of
sentence structure. He came up with three pairs of binary oppositions and termed
them as six roles or actants: Subject/Object, Sender/Receiver, and
Helper/Opponent. These pairs describe three basic patterns which perhaps recur in
all narrative: desire, search, or aim (Subject/Object), communication
(Sender/Receiver), and Auxillary support or hindrance (Helper/Opponent).
Fischer (2007) is also influenced by Propp when he analyzed the
sociopsychological structure of folktales which involves the study of the relations
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between the first of these systems and the other two. This includes the tale itself
that is considered as connected and rather tightly structured discourse, the modal
personality of the typical audience-narrator group for the tale, and the social
system relevant to the tale including not only that segment of the society in which
are found the active and passive participants in the tale but the pattern of the whole
society.
As one of the most celebrated writings in comparative mythology,
Campbell (2008) stressed his theory that the important myths from around the
world which have survived for thousand years all share a fundamental structure,
which he called the monomyth. In laying the monomyth, he cited three-part stages
or steps along the hero’s journey.
The first part is the Departure which consists The Call to Adventure,
Refusal of the Call, Supernatural Aid, The Crossing of the First Threshold, and
The Belly of the Whale. This part deals with the setting of the hero’s journey
before he enters a whole new world full of trials and struggles. The Call to
Adventure is an incident in which the adventure can begin. Refusal of the Call is
where the hero refuses to answer the call to adventure. Supernatural Aid is for
those who have not refused the call, the first encounter of the hero-journey is with
a protective figure who provides the adventurer with amulets against the negative
forces he is about to pass. The Crossing of the Threshold is about the
personifications of his destiny to guide and aid him, the hero goes forward in his
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adventure until he comes to the threshold guardian at the entrance to the zone of
magnified power. The Belly of the Whale is the idea that the passage of the
magical threshold is a transit into a sphere of rebirth is symbolized in the
worldwide womb image of the belly of the whale. The hero, instead of conquering
or conciliating the power of the threshold, is swallowed into the unknown, and
would appear to have died.
The second part is Initiation comprised with The Road of Trials, The
Meeting with the Goddess, Woman as the Temptress, Atonement with the Father,
Apotheosis, and The Ultimate Boon. The Road of Trials is where the hero moves
in a journey where he must survive a succession of trials. The Meeting with the
Goddess occurs when ultimate adventure is commonly represented as a mystical
marriage of the triumphant hero-soul with the Queen Goddess of the World.
Woman as Temptress is the marriage with the queen represents the hero's total
mastery of life; for the woman is life, the testing of the hero, which were
preliminary to his ultimate experience were symbolical of those crises in realizing
his consciousness. Atonement with the Father is the event wherein the hero
experiences being at one with the only Father, the creator. Apotheosis is the hero’s
achievement of godlike being as pattern of the divine state to which the human
hero attains who has gone beyond the last terrors of ignorance. The Ultimate Boon
is where the hero gathers the fruits of his struggles, may it be magic, object, or
throne.
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The third and last part is Return. It is consisted of Refusal of the Return,
The Magic Flight, Rescue from Without, The Crossing of the Return Threshold,
Master of the Two Worlds, Freedom to Live. Refusal of the Return is when the
hero refuses to go home after his triumph from a different world. The Magic Flight
is the flight that may be complicated by marvels of magical obstruction and
evasion back home of the hero after ignoring the idea of The Refusal of the
Return; this commonly becomes a pursuit in trying to keep his boon from demon
guardians of the threshold. Rescue from Without is where the hero has to be
rescued by an outside force and pulled back into the world because he do not want
to return and at other times, he do not know he is willing to share the boon till
someone puts the idea into his head. The Crossing of the Return Threshold is
when he accomplishes his adventure, or again is simply lost, imprisoned, or in
danger. His return is described as a coming back out of that yonder zone. Masters
of the Two Worlds completes the journey out and back in. The hero is now a
master of both the domestic and alien worlds and can pass over the threshold
between the two without further trial. Lastly, Freedom to live means having
conquered the demons without and within, the hero has earned the right to live life
as they please.
One of the most important contributors to the development of Structuralism
is Leeming. Like Campbell, he is also related to the identification of structures
endowed from mythology. He stressed that mythology has its own metaphor
which became idioms of the unknown that man must decipher. The myths he
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presented spoke of the most fundamental human experience, a part of Campbell
called the wonderful song of the soul's high adventure. He arranged eight-part
events of the monomyth.
Part one deals with The Miraculous Conception and Birth and the Hiding of
the Child. In this event, the hero begins his high adventure by being born. The
conception or the birth or the events immediately following the birth are
miraculous or unusual in the extreme. This is not surprising. For all humans birth
is the first experience of trauma and the first miracle of life. For the hero who will
burst through the limitations of the local and historical, this first event, like all the
events in his life, must be special.
Part two expounds on Childhood, Initiation and Divine Signs wherein
childhood is considered as a stage of basic initiation. The child is suddenly aware
of forces infinitely larger than himself which he cannot fully comprehend. In
myth, this is expressed by struggles with wild animals or with giants in a sense
that to little children, all adults must be giants, friendly or cruel. To get through
this stage, the child often requires outside assistance—a sense of security based in
a more powerful being. Mythically, this often becomes the divine sign. The
modern individual seeking to achieve a mythic consciousness must work through
this primitive but idyllic stage of existence.
Part three is composed of Preparation, Meditation, Withdrawal and Refusal
in which the initiated hero withdraws for meditation and preparation. Anyone in
search of personal destiny must use intellect and spirit to find the god within the
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self. This is a major step in the losing of the self to find the self. Often the hero,
like any individual in this stage, is tempted by the world, which is represented
mythically by a devil figure who attempts to disrupt the lonely vigil.
Next is the Part four which is characterized by Trial and Quest. The quest
or trial comes in the form of agony and rewards of adult life. For the hero, this
might be a quest for a Golden Fleece or a Holy Grail, or it might be the labors of a
Heracles or a Christ. The source of these myths is man's need to cope with the
externals of life, as he has coped with the internals in his stage of meditation.
The hardship or the quest continue essentially in Part five termed as Death
and the Scapegoat. At this stage, where the hero must confront physical death. For
the hero, death, like birth, is miraculous or unusual. As his birth is definitive in the
extreme, so is his death apparent. Often he is dismembered. In death, the hero acts
psychologically for the benefit of the majority. He becomes a scapegoat for
people’s fear and guilt. He also serves as a reminder that everyone must follow his
undertaking. In any case it is important that his death be memorable
Part six signifies The Descent to the Underworld. The hero continues his
role as scapegoat and his role as quester or laborer. He is now the representative of
the wish that death might somehow be known and understood. So he descends to
the underworld to confront the forces of death. Sometimes he goes as one who has
suffered physical death, sometimes as a living being who in his descent suffers a
symbolic death. In a sense this stage is a more dramatic expression of the
withdrawal stage. It is the final confrontation of the self—now on a cosmological
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level—with its depths. But the dismemberment and the descent into the earth hold
promise of a new life. Fertility and death are inseparable in the cycle of nature,
whether that cycle be expressed by the seasons, the moon, or the sun. And
logically enough the hero, usually with the help of a woman representing both
fertility and the hope of the eventual union of all things ascends from the
underworld.
Part seven illustrates the Resurrection and Rebirth. Continuing in his role as
scapegoat, the hero rises from the dead. He thus acts out humankind's most
elementary desire—he physically overcomes death and is united with the natural
cycle of birth, death, and rebirth.
Lastly, Part eight deals with Ascension, Apotheosis, and Atonement
wherein the hero reflects a later desire, to be given special treatment by being
taken out of the cycle and placed in a permanent state in relation to the cosmos and
to the creator-father god. Man longs for eternal life or for immortality. Thus, the
hero in this part ascends to heaven, achieves atonement, or is made a god himself
if he was not one. In a purely psychological sense this is the individual's final step.
Having dealt with his childhood, his inner self, his adult life, and the problem of
death, he is prepared to discover God once and for all. The wonderful song of the
soul's high adventure is complete.
An additional concern of Structuralism is the Dramatist Personae or the
Type of Characters involved in each narrative function drawn from the selected
folktales. A prominent theory in creating compelling character is proposed by
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Pullman (2008). This method suggests that there is a general, adaptable way to
create characters. It used traits and situations to develop literary characters. In
creating compelling characters, Pullman cited nine types of characters, namely:
Protagonist, Confidant (feminine, confidante), Antagonist, Foil, Stock, Dynamic,
Static, Flat, and Round character.
Protagonist is the focal point in which any given story revolves. He is faced
with a conflict that must be resolved but he may not necessarily be of good
character at all times. As support for the role of the protagonist, the confidant, for
male figure or confidante, its female counterpart, is a character in a story that the
protagonist confides in, trusts, and asks for help. Sometimes, the confidant aids the
protagonist with initiative and does not need to hear the protagonist ask for help.
While the antagonist represents the opposition against which the
protagonist must contend. In other words, the antagonist is an obstacle that the
protagonist must overcome. In accordance with the antagonist goal, a foil is any
character or an important supporting character whose personal qualities contrast
with another character usually the protagonist.
Stock character is the character that has become conventional or
stereotypical through repeated use in particular types of stories. It is usually
represented by kings, princesses, wise old man, fairy god mothers, and the likes.
24
Pullman described dynamic character as a person who changes over time,
usually as a result of resolving a central conflict or facing a major crisis. While
Static character is someone who does not change over time; his or her personality
does not transform or evolve. As for rounded character, Pullman cited it is anyone
who has a complex personality; often portrayed as a conflicted and contradictory
person and flat character has a notable personality for it only possesses one kind of
personality trait or characteristic.
Another priority of the discipline of the structuralism is to describe the
Transitivity Profiles of the dramatis personae involved in a given narrative. A
systemic functional linguistics (SFL) approach was proposed by M. A. K. Halliday
(2010) to establish a method of analyzing the transitivity profile. This approach
deals with the description of the transitivity system that functions as one of the
clause analysis methods in an ideational function of language. In Transitivity
analysis, Halliday cited three components, namely: processes which deals with
kind of event, participants which describes the entities involved in each process
such as the actor, sayer, senser, and the circumstances which specifies the when,
where, why and how of the process. Halliday also divided the system of
transitivity or process types into six processes, namely: material, mental,
relational, behavioral, verbal, and existential.
25
Research Literature
This part examines the various related studies which dealt with the use of
Structural Approaches in interpreting various materials. The researchers were
enlightened by these studies and enabled them to discover the essence and
effectiveness of Structuralism in teaching writing and cultural study as well.
Divya (2010) examined narrative strategies employed in feature films as
they accomplished the dual role of entertainment-education to shape social reality
surrounding health issues. He also illuminated how a coherent HIV/AIDS
narrative is woven into cinematic artifacts laden with specific cultural values,
beliefs and practices. As narratives are transmitted through various media and
consumed within a culture through storytelling, so are the values and beliefs that
guide behavior. He applied Proppian Approach to analyze films containing
HIV/AIDS messages. He employed a cross-cultural study design to investigate
films in four different languages. The films were Longtime Companion, All About
My Mother, Yesterday and Mirugam in English, Spanish, Zulu and Tamil
respectively.
Opheim (2010) identified two major common features found in all the
books. He noted that the structure of fantasy resembles the structure found in fairy
tales. Many of Propp’s functions could be applied to the fantasy genre. Some
functions were present in all the books. His study also realized that some functions
were classified into different circumstances.
26
Bordwell (2007) criticized television programs using Propp’s approach. He
concluded that American television was remarkably structured as Russian
fairytales and that stories were governed by a set of unwritten rules acquired by all
storytellers and receivers, much the way people acquire the basic rules of
grammar.
Sjöström (2013) analyzed the prototyping and subsequent production of a
digital narrative experience utilizing the theories of Propp. The prototype
examined the theories detailed in Propp’s Morphology of the Folktale. He
implemented Propp’s narrative functions according to a general scheme,
connected by connectives. His prototype dynamically generated narratives
according to this scheme. His research concluded that there were advantages in
applying Propp-based system of narrative generation. Propp-based narratives were
better than what other digital narratives produced such as hypertext.
Zhang (2008) concluded that although Propp‘s work appeared much earlier
than Campbell’s, his analysis of plot typology in Russian folktales corresponded
with Campbell‘s monomyth and with Jung‘s ideas of the collective unconscious
that was discernable in mythology. Propp studied the narrative functions, while
Jung and Campbell focused on the archetypes and meaning, to come to a
conclusion that everyone in the world was born with the same basic subconscious
model of what a hero, a mentor, or a quest is, even though they did not speak the
same language.
27
Hammond (2011) applied concepts from Propp’s model of the narrative
structure of fairy tales to a story authoring tool for children. He developed a
computer story authoring application based on Propp’s morphology and evaluated
this through empirical studies with children. Using the Propp-based authoring tool
that is presented in his study, children were able to grasp Propp’s abstract concepts
and apply them to their own story writing. The use of a story authoring tool based
on Propp’s morphology improved some aspects of the narrative structure of the
stories written by children, and children reported that they enjoyed using the tool
and felt it was helpful to their story writing. This study laid the foundation and
identified the methods for further study of children’s appropriation of narrative
structure by constructing stories using a story authoring tool based on Propp’s
morphology.
Samuels (2006) examined the Russian piece The White Duck using the
fusion of Proppian Approach and Feminist Criticism. She narrated how the said
text follows the format Propp had enumerated and how the world sees women as
naïve and illogical ones and men as polygamous ones which affect the progression
of any story. She concluded that these are the types of things writers inject into
children’s minds at a young age as they were the major audience of fairy tales.
An and Garcia (2013) employed content analysis in studying the existing
literary forms known to Batangueños such as folksongs, poetry specifically luwa,
proverbs and folktales. They concluded that these forms of literature reflect not
only their culture but also the unique traits of Batangueños. These unique
28
Batangueño traits are what they use as basis for checking human flaws in society,
in improving their spiritual and social relations, and in working together to achieve
developmental goals.
Synthesis
In this portion, the researchers analyzed the ideas and concepts learned
from the present readings and their relevance to the present study. This
summarizes the conceptual and research literature mentioned, and discussed the
similarities and differences of the present study to the previous studies that have
been examined. The ideas gleaned from the conceptual literature were found very
useful for the in-depth analysis of the present study.
The narrative structures proposed by Propp, Campbell and Leeming were
utilized as basis for describing the narrative functions drawn from selected
folktales. Pullman’s nine types of compelling characters served as basis for
classifying the dramatis personae involved in each narrative function. Meanwhile,
Halliday’s systematic functional linguistic was used in describing the transitivity
process associated to each dramatis personae.
There are similarities found among the studies of Samuels, Zhang,
Bordwell, Hammond, Divya, Opheim, Sjöström and in the present study in terms
of using the Proppian-based approach. However, the present study differs from the
previous studies for it did not only use Propp’s structure of narratives as basis of
analysis but combined it with other approaches such as those of Campbell and
29
Leeming which is similar with Samuels who also used other approach such as
Gender Criticism.
The studies of Bordwell, Divya, and Sjöström utilized electronic and audio-
visual materials such as computer software, television programs, and feature films
as materials for structural analysis. In contrast, the present study analyzed local
folktales to describe their structural and linguistic features.
The study of An and Garcia is parallel to the present study in the sense that
it also covered the literary pieces found in Batangas in identifying how these forms
of literature may be conducive for enriching the awareness of Batangueños for
their local literary collection in order to gain love and respect for their cultural
heritage.
However, the present study differs from the previous study for it used
content analysis and focused on the unique Batangueño traits dominantly exhibited
by the varied forms of literature in Batangas. While the present study utilized
structural analysis in examining the three selected folktales from Batangas as they
concentrated on their linguistic features such as the dramatis personae, for
objective and specific interpretation.
The difference of the present study with the previous studies is that the
present study did not only use Propp’s theory combined with other narrative
structures proposed by Campbell and Leeming but also utilized the transitivity
process associated with the dramatis personae involved in a given narrative
function to identify the local features of selected Filipino folktales in Batangas. In
30
addition, the past studies focused on canonical works while the present study
analyzed three selected folktales in the Philippines limited to the home region of
the researchers.
With the fusion of Structural, Pullman’s, and SFL approaches, there was no
doubt that the researchers came up with objective and specific interpretations, for
all the aforementioned methods are logical and systematic in nature. Also, each
method focused on structures and units which are beneficial in establishing the
identity of the narratives in Batangas and its cultural heritage.
Theoretical Framework
This study described the structure of selected folktales in Batangas by
examining their narrative functions, the dramatis personae involved in each
function and the transitivity process associated with each dramatis personae. This
is anchored on the structuralist narrative theory advocated by Todorov (Selden et
al., 2013). This theory develops from elementary linguistic analogies that illustrate
syntax or the rules of sentence construction as the basic model of narrative rules.
As applied in narratives, a sentence composed of the subject and its
predicator serves as the core of an episode or even an entire tale. This entails that
each event of a narrative plot may be deduced to a single sentence which will
serve as a narrative function. A narrative function is represented by a sentence
having a subject which denotes a typical character such as a hero or villain, and a
31
predicate which exemplifies a typical action associated with the subject of the
sentence.
A whole corpus of tales is constructed upon the same basic set of thirty-one
functions that describe the morphemes of a given narrative. Propp (2005) stresses
that each morphemes of given actions which form the narrative and follow a
logical sequence such as hero punishes the villain, is married, and ascends to the
throne. This is governed by the core of the narrative which is again a sentence with
the character acting as subject and an action associated with the nature of the
subject and regarded as a predicator.
In analyzing the structure of a narrative such as folktale, it is important to
trim the plot into sentences and examine them closely to describe the narrative
progression of the relationship of each event to one another. This would only be
possible by conducting an in-depth analysis of the characters or dramatis personae
who caused the action in each event. By describing the structure of a folktale, one
can identify its unique features which distinguish this from the narratives of other
cultures leading to a heightened literary appreciation as the former explores his
cultural heritage gleaned from the narrative that have been analyzed.
32
Selected Folktales from Batangas
Juan and His Adventures as narrated by José Ma. Katigbak;
The Story of Carancal as narrated by José P. Caedo; and
Juan and Clotilde as narrated by Vicente Hilario
Structural Analysis of the Selected Folktales employing Propp’s,
Campbell’s, and Leeming’ Narrative
Theories
Classifying the Dramatis Personae Involved in
each Narrative Function using Gary Pullman’s Creating Compelling
Characters
Analysis of the Functional Transitivity Processes Exhibited by the Dramatis Personae
Involved in each Narrative Function utilizing Halliday’s
Theory of Transitivity
PROCESS OUTPUTINPUT
Conceptual Framework
This part illustrates the flow and the process of the study. A paradigm is
presented in Figure 1 to provide information on how the researchers conducted the
study. It also serves as the framework of this research work.
33
Implications to Philippine Narratology and to the Teaching of
Creative Writing course
Figure 1
Paradigm of the Study
Figure 1 illustrates the various processes that aid the researchers in
identifying the narrative functions exposed in selected folktales in Batangas and
determining their structure which served as a basis in identifying the unique
features of folktales in Batangas.
The first box presents the input of the study which is composed of the
selected folktales from Batangas and used as the subject of this study. The Tagalog
folktales are Juan and His Adventures as narrated by José Ma. Katigbak, The
Story of Carancal as narrated by José P. Caedo, and Juan and Clotilde as narrated
by Vicente Hilario. These were read in depth taking into consideration the
narrative functions presented in each story. Meanwhile, the dramatis personae and
34
how they acted in each story were also analyzed according to their importance in
the progression of each narrative function.
The second box expounds the processes of the study. In determining the
narrative functions found in each selected story, the researchers extracted the core
of each tale using the Structuralist Approach and guided by the proposed narrative
structure from Propp, Campbell, and Leeming. In identifying the dramatist
personae involved in each function, the researchers used Gary Pullman’s Creating
Compelling Characters as their basis in classifying the character involved in each
narrative function. As for addressing the transitivity process exhibited by each
dramatis personae involved in a certain narrative function, the researchers utilized
Halliday’s Systemic Functional Linguistics Approach to identify the transitivity
processes dominant in each narrative function.
Having the noble goal of redefining literature instruction, the input and the
process boxes are directed towards the output box. The result of the study served
as a basis for the researchers in identifying the unique features of narrative in
Batangas. Moreover, the result would also help language instructors in providing
models for narratives while teaching Creative Writing courses. This would help
the students to have a deeper concept about literature and to develop their utmost
appreciation of their cultural heritage and their identity as Filipinos. This would
motivate them to be productive and efficient members of the society.
Hypothesis
35
The study did not test any hypothesis for it is purely a descriptive one.
Definition of Terms
To facilitate understanding of the study, the researchers listed terms which
are defined conceptually and operationally. They are arranged alphabetically.
Dramatis Personae. This refers to the characters or a list of characters in a
play or story (Feist et al., 2009). In this study, it denotes the characters involved in
the selected stories.
Folktales. It is a tale or legend originating and traditional among a people
or folk, especially one forming part of theoral tradition of the common people
(Aarne et al., 2006). In this study, the term applies to the selected stories in
Batangas which served as the subject of the study.
Narrative Functions. A concept employed in structuralist literary theory as
to which language can be directed, or as an action contributing towards the
development of a narrative (Feist et al., 2009). In this study, this is the events that
occur as result of the characters’ motives and actions.
Narratology. It refers to the branch of knowledge or literary criticism that
deals with the structure and function of narrative and its themes, conventions, and
symbols (Feist et al., 2009). In this study, this term suggests the trend of literature
narration exclusive to Batangas as subject of this research.
36
Structure. This term refers to the construction, the syntax, or the
morphology of a narrative (Propp, 2005). In this study, it signifies the sequence of
events that constitute the selected folktales.
Transitivity Process. It is normally understood as the grammatical feature
which indicates if a verb takes a direct object (Halliday, 2010). In this study, it
pertains to the relationship of the verb to its doer and to its direct object.
CHAPTER III
RESEARCH METHODOLOGY
This chapter deals with the research design, subject of the study, research
instrument, data gathering procedures and statistical treatment of data depicted in
three selected folktales from Batangas.
Research Design
37
This study identified the common structure of selected folktales from
Batangas and described their narrative features based on how the stories were
constructed. This study utilized the documentary analysis type of research. It
described the structure of previous documents which are the stories originated
from Batangas. This study allowed the researchers to systematically explore in
written documents and described certain properties, structures or characteristics
that are evident.
The method of documentary analysis enables the researcher to include large
amounts of textual information and systematically identify its properties.
Researchers quantify and analyze the presence, meanings and relationships of such
words and concepts, then make inferences about the messages within the texts, the
writer, the audience and even the culture and time of which these are a part.
(Picciano, 2005).
The researchers deemed this method appropriate to use for they examined
the narrative functions, dramatis personae and the transitivity process presented in
the three selected folktales from Batangas which exist in Philippine Literature and
identified the common structure in each story. The researchers also determined the
implication of the result of the study to Philippine narratology and in teaching
Creative Writing courses.
Subject of the Study
38
This research work dealt with three selected folktales from Batangas
province which exist in Philippine narratology. The researchers used the Project
Guttenberg Ebook of Filipino Popular Tales which is collected and edited with
comparative notes by Dean S. Fansler as their reference. This anthology contains
the most popular folktales in the Philippines during the years from 1908 to 1914
which have not appeared in print before and this was released last December 09,
2008 by the American Folklore Society.
The researchers found that there are 74 folktales in Dean S. Fansler
compilation of Filipino Popular Tales. This published collection of folktales
originated in nine different Christian provinces in the Philippines; eleven in
Pampanga, sixteen in Batangas, seventeen in Laguna, five in Rizal, eight in
Mindanao, four in Bicol, seven in Pangasinan, three in Catanduanes and three in
Ilocos.
The folktales from Pampanga are Suan’s Good Luck, Suac and His
Adventures, Juan Manalaksan, Juan Wearing the Monkey’s Skin, How Salaksak
Became Rich, Is He the Crafty Ulysses? The Devil and the Guachinango, Juan and
Maria, Tomarind and the Wicked Datu, Sagacious Marcela and Ruined Because of
Invidiousness. Thus, the folktales from Batangas are The Story of Carancal, The
King’s Decision, The Manglalabas, The Story of Zaragoza, Juan the Peerless
Robber, Lucas the Strong, Strong Juan and His Six Companions, The King and the
Dervish, Juan and his Adventures, The Golden Lock, The Woman and
39
Her Coles Plant, The Fate of an Envious Woman, Juan and Clotilde, The
Miraculous Cow, The Charcoal-Maker Who Become King and Juan the Poor
Who Became the King.
There are also folktales from Laguna and these are King Tasio, Pablo and
the Princess, Legend of Prince Oswaldo, Lucas the Rope-Maker, The Mysterious
Book The Two Friends, Juan the Orphan, The Reward Of Kindness , An Act of
Kindness, The Servant of Emilio Chonguita, Who is the Nearest Relative?, The
Three Humpbacks, Alberto and the Monsters Maria and the Golden Slipper, The
Denied Mother and Clever Juan and Envious Diego. Hence, there are also
folktales coming from Pangasinan. These are The Seven Crazy Fellows, The Story
of King Kalmarin, Three Brothers of Fortune, The Golden Rule, The Magic Ring,
Juan the Poor, Andres the Trapper and Abadeja .
Aside from the folktales mentioned above, there are also folktales coming
from Rizal, Mindanao, Bicol, Catanduanes and Ilocos. These are the folktales
Suan Eket, How Suan Became Rich, The Poor Man and his Three Sons ,The rich
and the poor, and Respect Old Age from Rizal, The Four Blind Brothers,The
Three Brothers, The Prince’s Dream The Indolent Husband A Negrito Slave, The
Monkey and Juan and Pusong Tambi-Tambi from Mindanao, Teofilo the
Hunchback and the Giant Juan, The Buringcantada The Enchanted Prince and
The Wicked Woman’s Reward from Bicol, The Four Blind , Pedro and Satan,
40
Pedro and the Witch from Catanduanes and The Three Brothers, Cochinango and
Juan Sadut from Ilocos.
From the stories mentioned, the researchers found 16 stories matching the
category needed. They read, examined, re-examined and have an in- depth
analysis of the said stories by detailing the instances where the narrative functions
were found. Based on the data extracted by the researchers, they only chose the
most appropriate stories to be used. The researchers worked with the stories, “Juan
and His Adventures,” as narrated by José Ma. Katigbak, a Tagalog from Lipa,
Batangas, “The Story of Carancal,” as narrated by José P. Caedo, a Tagalog from
Batangas, Batangas and “Juan and Clotilde,” as narrated by Vicente Hilario, a
Tagalog, who heard the story from an old man living in Batangas.
Research Instrument
To facilitate analysis on the narrative functions, dramatis personae and
transitivity process drawn in each story, the researchers made use of five structural
theories proposed by prominent figures in Structuralism as the instrument of this
research. These are the theories proposed by Joseph Campbell, Vladimir Propp,
Adam Leeming, Gary Pullman, and M.A.K Halliday.
This research work used Joseph Campbell’s Monomyth which named the
nuclear unit of monomyth as : Departure – Initiation - Return, Vladimmir Propp’s
41
theory of Russian Fairytales which has 31 funcions as stated : Absentation,
Interdiction, Violation of Interdiction, Reconnaissance, Trickery, Complicity,
Villainy or Lack, Mediation, Beginning Counteraction, Departure, First Function
of the Donor, Hero’s Reaction, Receipt of a Magical Agent, Guidance, Struggle,
Branding, Victory, Liquidation, Return, Pursuit, Rescue, Unrecognized Arrival,
Unfounded Claims, Difficult Task, Solution, Recognition, Exposure,
Transfiguration, Punishment, Wedding, and David Adam Leeming’s Eight Part
Events of Monomyth: The Miraculous Conception and Birth and the Hiding of the
Child: Childhood, Initiation and Divine Signs: Preparation, Meditation,
Withdrawal and Refusal: Trial and Quest: The descent to the Underworld:
Resurrection and Rebirth: Ascension, Apotheosis, and Atonement as the basis in
determining the narrative functions drawn in each story according to the narrative
functions explicited in the aforementioned theories.
To figure out the dramatis personae in each narrative function, the
researchers made use of Gary Pullman’s Creating Compelling Characters. There
are nine types of dramatis personae or characters involved in a specific story
which are the Protagonist, Antagonist, Confidant (male) or Confidante (female),
Foil, Flat, Round, Static, Dynamic, Stereotypical, and Stock character. However,
the researchers only used the five main types of characters which are the
Protagonist, Antagonist, Confidant or Confidante, Foil and Stock as they named
and enumerated the dramatis personae involved in the narrative functions drawn in
the three selected folktales from Batangas, the subject of this research study.
42
Moreover, to find out the transitivity process which is dominantly exhibited
by the dramatis personae involved in each story, the researchers made use of M. A.
K. Halliday’s Systemic Functional Linguistics Approach. As cited in this
approach, there are six transitivity processes namely: material, mental, relational,
verbal, existential, and behavioral.
Data Gathering Procedure
The availability and the appropriateness of materials were the primary
consideration in selecting the folktales to be used in the study. Since the
researchers are from Batangas, they looked for the list of folktales from Batangas
which exist in Philippine Literature in books and internet. Upon searching, they
found out the most comprehensive and convenient reference in selecting the
folktales. The researchers made used of the Project Guttenberg Ebook of Filipino
Popular Tales which is collected and edited with comparative notes by Dean S.
Fansler as their reference. Fansler’s life was interwoven with the Philippines for
several years. His anthology contains the most popular folktales in the Philippines
during the years from 1908 to 1914 which have not appeared in print before and
this was released last December 09, 2008 by the American Folklore Society,
the US-based professional association for folklorist.
Dean S. Fansler’s Filipino Popular Tales provided English translation of the
Filipino tales rather than in vernacular since Fansler wants to present them in the
43
most convenient way for the readers. The published collection is further limited to
the Christian Filipino provinces and does not include materials from the Pagan or
Muslim groups. The published folktales came from nine ethnolinguistic groups:
Tagalog, Bikol, Pangasinan, Iloko, Zambali, Hiligaynon, Sugbuanon, and Samar-
Leyte, and divisions of Visayan.
The researchers found out 74 folktales in Fansler’s anthology. They
examined the stories and they located folktales coming from respective places in
Batangas. They found 16 folktales which considered Batangas as their etymology.
Although there are 16 folktales matching in the category needed, the researchers
selected the three most appropriate stories to be used in the study as they read,
examined, re-examined and analyzed the instances in each story.
In conducting this study the researchers followed a process under the
influence of Structuralism as proposed by Propp, Campbell, and Leeming. After
the careful and in-depth reading of the three selected folktales from the province of
Batangas, the researchers then analyzed their structure by taking consideration the
functions or events cited by the above mentioned Structuralists.
For the analysis of the folktales, the researchers based upon the narrative
functions cited which is done in a matrix form. The researchers checked a given
function exhibited from the stories used as subject for this study. The logic behind
44
the use of matrix was it aimed to reveal the dominant functions similar to each said
stories. The use of matrix was to give the researchers a systematic and organize
view towards the structure of the selected stories. Consequently, the identified
functions out of this matrix described the narratives in Batangas and the culture
and tradition they speak.
After analyzing the narrative functions from the selected folktales, the
researchers then analyzed the dramatis personae or characters involved in a
specific narrative function of a given folktale. Like that of the first process, it was
done in a matrix form where the characters that appeared in each function for
every folktale studied were presented. The researchers did so to determine which
type of dramatis personae contributes in the occurrence of a specific narrative
function as the given folktale progressed. The researchers also believed that using
the matrix helped them to conclude how the different dramatis personae involved
in the studied folktales mirror the traits of the people in Batangas.
As soon as the researchers had examined the dramatis personae involved in
each narrative function, they analyzed the transitivity process which the dramatis
personae dominantly exhibited in each narrative function. This is also done in a
matrix form under the principle of Halliday’s Transitivity Process. The matrix
served the purpose of the researchers to derive the formula present in the
occurrence of each function or why such events happen in the story. In applying
Halliday’s Transitivity process, the researchers can objectively identified the
45
characters profile and how it could affect the progression of the story with regards
to their involvement in each function.
To ensure the accurateness of the findings, the researchers re-examined the
narrative functions, dramatis personae and the transitivity processes that they have
found. This helps the researchers to come up with a list of functions that best
described the structure of the folktales and build a basis in describing the
narratives in Batangas. The findings of this study could also foresee the
possibilities of its contribution in enhancing the instruction of Literature in the
Basic Education and in Creative Writing Courses.
Statistical Treatment of Data
In the analysis of the three selected folktales, the researchers did not apply
any statistical treatment but instead a literary analysis was used. Structuralist
Approach was used in depth analysis of the folktales since the structure which was
found dominant functioned as the common structure. By applying this approach,
the focus of the analysis was on the structure of the folktales mentioned earlier
which are from Batangas and exist in Philippine Literature.
46
Chapter IV
PRESENTATION, ANALYSIS AND INTERPRETATION OF DATA
This chapter presents the data gathered together with its corresponding
analysis and interpretation. The data gathered are presented in tabular form
organized in sequential manner which resembles the order of presentation of the
specific problems posed in Chapter I.
47
1. Common Narrative Functions of the Selected Folktales from Batangas
In this portion, the narrative functions gleaned in each selected folktales
from Batangas were presented. Guided by the light of the theories proposed by
Propp, Campbell, and Leeming who are considered as prominent icons in the field
of Structuralism, the researchers analyzed the selected texts using Structural
Approach to identify the common narrative functions in the selected folktales.
They enumerated the events important to the progression of each presented
folktale and carefully examined each. Through a critical examination of the events
in each selected folktale, the researchers were able to extract and classify the
narrative functions present in Batangas folktales as described by the
aforementioned icons in Structuralism.
The succeeding tables show the narrative functions gleaned from
Katigbak’s Juan and His Adventures, Caedo’s The Story of Carancal, and
Hilario’s Juan and Clotilde. The narrative functions branded with an asterisk (*)
are originally coined by the researchers to supplement those functions which are
not present among the studies of those cited structuralists. Nevertheless, the
following functions are based from the principles of Propp, Campbell, and
Leeming - the three prominent icons in Structuralism to describe the progression
of the examined folktales.
1.1 Juan and His Adventures as narrated by Jose Ma. Katigbak
48
This folktale is about a boy named Juan who dared to leave the comfort of
his parents’ guidance and shelter upon discovering the abduction of his three
sisters as a result of his father’s trouble with an enchanted snake before the time
Juan was born. As he went on to look for his sisters, he eventually found them
with their good husbands. Just as he was off to return home, he found himself into
another adventure of saving another country’s dilemma of their stolen princess.
Juan encountered many obstacles his brothers-in-law willingly helped him and
succeeded altogether.
Table 1 presents the narrative functions gleaned from Katigbak’s Juan and
His Adventures. Each narrative function is described by the events from the said
folktale.
Table 1
Narrative Functions of Katigbak’s Juan and His Adventures
Events Narrative Functions
Pedro earned their living by selling the leaves of the magical tree.
*Synergy
A snake came out after Pedro cut down the tree. *DissonanceThe enchanted snake gave punishment to Pedro. TrickeryPedro’s three daughters agreed to be brought to the snake. ComplicityEach of the three girls gave her mother a handkerchief as First Function of the
49
a remembrance. DonorThe sisters of Juan disappeared. AbsentationJuan was born to the old couple. Miraculous
Conception and BirthJuan discovered that her sisters were taken away by snake. Preparation,
Mediation, Withdrawal and Refusal
Juan asked permission to search for his three daughters. Beginning Counter-Action
Juan was permitted and went to the mountains. DepartureJuan received three articles from the three boys who were quarrelling over the possession.
*Second Function of Donor
Juan flew with the magical agent. Provision or Receipt of a Magical Agent
Juan opened the door inside the cave. Crossing of the First Threshold
Juan was not recognized by her sister. Unrecognized ArrivalJuan showed the handkerchief to his sister. BrandingThe king of the lion, his brother-in-law pointed where his other sisters were.
Spatial Transparence between Two Kingdoms
The three brother-in-laws of Juan promised to aid him whenever he needed.
Liquidation of Initial Misfortune
The king offered his wealth and his daughter’s hand to anybody who could save the princess
Call to Adventure
Juan used the three articles to look for princess. Beginning Counter-Action
Juan used the key to enter giant’s cave. *Crossing of the Second Threshold
Juan remained near the princess until the giant went away. Meeting with the Goddess
Juan flew away with the princess. RescueGiant stole back the princess.
Road of Trials
Juan went to his brother-in-law for help.The king of the eagles the solution to kill the giant.The king of the fishes to fetch the box for Juan’s request.The king of the lions willingly opened the box for Juan.The king of the eagles caught the bird from the box for Juan.Juan was startled by the giant that he crushed the egg and killed the bird.
*Indirect Struggle
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The giant fell on its back and Juan carried the princess back to the palace.
*Liquidation of Second Misfortune
Juan was married to princess and ascends the throne. WeddingJuan visited his parents and told them all about his adventures.
Return
Juan took his parents to his own kingdom. Reward
As manifested in table 1, Synergy is the first narrative function appeared in
folktale. This narrative function refers to the established relationship between the
characters of Pedro the father of Juan and the enchanted snake. It is followed by
the function Dissonance which pertains to the established gap between the
connections of Pedro’s family to the magical tree after cutting it down in order to
get all the money he could acquire from it. Consequently, the function Trickery
became visible when the snake acted directly by asking Pedro’s daughters custody
as an act punishment for his ungratefulness. Complicity was the next narrative
function found in the story when Pedro submitted to the snake’s deception. He
agreed to the snake and brought his three daughters to the enchanted snake.
The narrative function First Function of Donor appeared next when the
mother received a handkerchief from her three daughters which will later play a
vital part in the progression of this folktale. The next function Absentation came
out when the three sisters of Juan disappeared as soon as they reached the snake’s
territory located at the foot of the mountain. This loss of the family is the first lack
in this folktale which the Protagonist will resolve.
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Then there is the narrative function Miraculous Conception and Birth. Juan
was born with miraculous and unusual attributes when in fact his parents were too
old to have a baby. After a long time, it is followed by the narrative function
Mediation when Juan discovered that his sisters were taken away by the snake.
The narrative function Beginning Counter-Action appeared next when Juan
decided to search for his three sisters and promised his mother that he will resolve
the lack. It is followed by the narrative function Departure, Juan left his family. It
was the mark of the beginning of Juan’s search, on which various adventures
awaited him.
On the beginning of his journey, the narrative function Second Function of
the Donor occurred. Juan received the three amulets, the key, the cap and the shoes
from the three boys that served as magical agents or helpers which Juan can use in
his journey. It is followed by the narrative function Provision or Receipt of a
Magical Agent, Juan acquired the use of the magical agents. He flew away by the
use of the magic shoes. He made himself invisible by using the cap and unlocked
the door in saving the princess inside the cave of the giant by using the key.
Consequently, it is followed by the narrative function Crossing of the First
Threshold wherein Juan went forward in his adventure until he reached the cave of
the King of the Lion which is the husband of one of his long lost sisters.
Then the narrative function Unrecognized Arrival appeared next when Juan
arrived at the mountain not recognized by one of his sisters. After not seeing each
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other even once, Juan was acknowledged by his sister by showing the
handkerchief she left before to their mother as remembrance. This event plays the
narrative function Branding where Juan, the Protagonist, was recognized because
of the evidence showing their connection as siblings.
The next narrative function occurred is Spatial Transparence between Two
Kingdoms wherein Juan was led by his brother-in-law, the King of the Lions, in
another mountain where he can find his other sisters. It is followed by the narrative
function Liquidation of Initial Misfortune. In this event, Juan resolved the
dilemma brought by the enchanted snake and was able to build a relationship with
his brothers-in-law who all promised their help whenever he needed it.
Just as Juan decided to return home, he took another way and came across a
town which is doomed with the abduction of their princess. Here, enters the
narrative function Call to Adventure when the King announced and offered his
wealth and his daughter’s hand to anybody who could save their town’s princess.
This is the call in which Juan began his next adventure. The second appearance of
the narrative function Beginning Counter-Action appeared when Juan promised
the king to save his daughter and used the three amulets that served as the magical
agents to find the princess. It is followed by the narrative function Crossing of the
Second Threshold. Juan went forward in his adventure until he came at the
entrance of the giant’s cave.
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The narrative function Meeting with the Goddess appeared next when Juan
finally found the princess and stayed with her until the giant was gone so that they
he could finally take her back to their castle. Then the narrative function Rescue
followed when Juan rescued the Princess by flying away. Subsequently, it is
followed by the narrative function The Road of Trials. First, the Giant used its
magic in steeling again the princess just as Juan was about to take her back.
Second, Juan asked help to his three brothers-in-law. Third, when the king of the
eagles detailed the solution to kill the giant. Fourth, the king of the fishes helped
Juan to fetch the box according to the advice of the King of the Eagles. Fifth,
when the King of the Lions willingly opened the box for Juan still from the advice
of the King of the Eagles. Lastly, the King of the Eagles caught the bird as it
immediately flew out from the box for Juan.
Then the narrative function Indirect Struggle followed when Juan
accidentally defeated the villain without using any force as he was startled by the
raging giant who was fast approaching him. It is followed by the narrative function
Liquidation of Second Misfortune when Juan resolved the dilemma when he
released the ladies along with the princess after the giant fell on its back and can
no longer stand up. Apparently, the dead giant had long been abducting innocent
ladies in town and kept them in his cave.
The result of Juan’s labor is the narrative function Wedding as Juan was
married to the princess and ascended the king’s throne. It is followed by the
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narrative function Return when Juan paid homage and later visited his parents, and
told them of all his adventures. Finally, he took them to his own kingdom where
they lived happily together and this was the last function cited in the folktale, the
narrative function Reward.
1.2 The Story of Carancal as narrated by Jose P. Caedo
Caedo’s Story of Carancal deals with the Protagonist born by parents who
never stopped praying so that they could have a child. But because he grows
unbelievably fast unlike his boys of common age and eats ferociously that his
parents could no longer handle, his parents tried to drive him away by all means
they could imagine. Carancal, noticing that he was no longer loved, decided to
leave home with no certain destination to go. He had so many adventures that led
him to the company of his friends who eventually helped and shared with him the
challenges, triumphs, and rewards he had.
Table 2
Narrative Functions of Caedo’s The Story of Carancal
Events Narrative FunctionsCarancal is born as a result of childless couple’s unceasing prayers.
Miraculous Conception and Birth
Carancal grows stronger than what he expected to be. Childhood, Initiation and Divine Signs
Carancal parents planned to bury him under the tree.
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Preparation, Mediation, Withdrawal and Refusal
Carancal came home carrying a big tree.Carancal parents planned him to be devoured by a fish.Carancal went home carrying an alligator.Carancal’s parents gave him an enormous bolo. First Function of The
DonorCarancal took the bolo. Hero’s ReactionCarancal leaves home with a bolo. DepartureCarancal defeated Bugtongpalasanin wrestling.
The Road of TrialsCarancal defeated Tunkodbola in wrestling.Carancal defeated Macabuhalbundok in wrestling.The three men joined Carancal in his journey.The monster attacked Butongpalasan.
*Indirect VillainyThe monster beat Tunkodbola.The monster crushed Macabuhalbundok.Carancal deceived the monster. *Inverted TrickeryCarancal destroyed the monster. Liquidation of Initial
MisfortuneThe four men heard a rumor about the huge stone Call to AdventureThe four set out to try their strength.
Road of TrialsThe four men swam for three weeks.They landed on the wrong island.The fish carried the travelers in a kingdom. Spatial Transference
Between Two Kingdoms
The four men presented themselves to the king. Unrecognized ArrivalBugtongpalasan hardly budged the stone.Tunkodbola moved the stone in a few yards.
Difficult TaskMacabuhalbundok moved the stone half a mile.Carancal throw the stone. SolutionThe king was pleased with Carancal. RecognitionBugtongpalasan married the king’s daughter. WeddingThe three unmarried men lived with Butongpalasan. RewardKing Walangtacut sent a letter to the four men. Call to AdventurePeople in town welcomed the three strong men. *Recognized ArrivalTunkodbola and Macabuhalbundok tried to drag out the fish.
Difficult Task
Carancal drag the fish out into the sea. SolutionThe king and the people congratulate Carancal. RecognitionTunkodbola married King Walangtacut’s daughter. WeddingThe king sent a letter to Carancal and Macabuhalbundok.
Call to Adventure
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Macabuhabundok cannot remove the big stone. Difficult TaskCarancal removed the big stone. SolutionCarancal considered as the father of the three princess. RecognitionMacabuhalbundok married the king’s daughter. WeddingCarancal came home again. Return
As stated in table 2, the first narrative function appeared in the story is
Miraculous Conception and Birth, Carancal was born as a result of childless
couples’ unceasing prayers to Gods and even in witches. It is followed by the
narrative function Childhood, Initiation and Divine Signs which pertains to the
incident when Carancal grew stronger than what he expected to be. When born,
Carancal never grew taller than four feet but he developed enormous appetite and
possessed great power.
The narrative function Preparation, Mediation, Withdrawal and Refusal
comes next. Due to poverty, Carancal withdrew for meditation by his parents. His
parents planned schemes to send him off. First, his parents planned him to bury
under a huge tree in the forest. Carancal’s father ordered him to stand under a huge
tree when it was about to fall so that when it fell, Carancal would be entirely
buried. After that, his father went home thinking that Carancal was already dead.
However, while his parents were talking, Carancal came home with a big tree on
his shoulders. The next day, Carancal’s parents planned another scheme. Carancal
was invited by his father to go fishing. They rowed and rowed until they were far
into the sea. They put their net in the water and Carancal’s father ordered him to
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dive down for him to be devoured by a big fish. After a minute, the water became
red and foamy and this made the old man think that Carancal was already dead.
The father rowed homeward but while Carancal’s parents were eating their supper,
Carancal came in carrying a big alligator. The couple were now discourage to get
rid of Carancal and at last they already said their intention to him and this is where
the narrative function First Function of the Donor takes place.
The narrative function First Function of the Donor is very evident in the
instance where Carancal’s parents gave him a bolo before leaving. Then the
narrative functions Hero’s reaction and Departure appear next. Carancal took the
bolo and finally left home. Consequently, the first appearance of the narrative
function The Road of Trials is explicited in the next successive instances. In this
function, Carancal surpasses the three strong men Bugtongpalasan, Tunkodbola
and Macabuhalbundok consecutively in strength-tests. Upon defeating such men,
the four became companions and they walked on together and continue their
journey. In their journey, they saw a big house which seemed uninhabited. This is
where the narrative function Indirect Villainy and Inverted Trickery take place.
In Indirect Villainy, the monster caused harm and injury to Carancal’s
companions; first to Bugtongpalasan, secondly to Tunkodbola, and lastly to
Macabuhalbundok. After the previous event, the narrative function Inverted
Trickery is immediately revealed. In this function, Carancal used his wit, strength
and luck to deceive the monster and destroy it. Luckily, he made it. He destroyed
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the monster as he set its body on fire and this instance details the narrative
function Liquidation of the Initial Misfortune. Then, the first occurrence of the
narrative function Call to Adventure is exemplified in the story when the four
companions: Carancal, Bugtongpalasan, Tunkodbola and Macabuhalbundok
heard a rumor that in a kingdom on the other side of the sea there lived a king who
wanted to remove a huge stone from his kingdom.
After the aforecited incident, the second appearance of the narrative
function The Road of Trials occurs in the next instances in the story. In this
narrative function, the four strong men, Carancal, Bugtongpalasan, Tunkodbola
and Macabuhalbundok set out to try their strengths. They swam for three weeks
since there were no boats to sail on. Then, they landed on the wrong island. They
rested on a smooth and slippery island and this made them wonder what it could
be, Carancal drew his bolo and the thrust it into the island. The island moved after
a stroke and the island was not really an island but a big fish. Fortunately, the fish
carried the strong men near the shores of the kingdom that they were seeking. This
event shows the narrative function Spatial Transference Between Two Kingdoms.
When the four men arrived in the kingdom, the narrative function Unrecognized
Arrival occurs when the four men presented themselves in the king and told him
that they would try to remove the stone out of the kingdom.
The preceding narrative function is followed by the first appearance of the
function Difficult Task. In this function, the four men were proposed into a
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difficult task which was to remove the huge stone in the kingdom. Bugtongpalasan
was the first to try but he could hardly budge it. Then Tunkodbola tried, but
moved it only few yards. When Macabuhalbundok’s turn came, he moved the
great stone half a mile. The king is not satisfied leading to the narrative function
Solution. Carancal took hold of the rope tied to the stone and gave a swing. In a
minute, the great stone was out of sight. Then, the first appearance of the narrative
function Recognition and Wedding came. The king was very much pleased with
Carancal and he asked him to choose a princess for his wife but he refused.
However, he gave the privilege to Bugtongpalasan and he was made a prince. The
narrative function Reward comes next when the three unmarried man lived with
the palace of Bugtongpalasan.
The second occurrence of the function Call to Adventure follows. A letter
from King Walangtacut addressed to the four strong men came. Recognized
Arrival immediately follows this narrative function. As the four men passed in
every town, the people recognized their heroic deed. The king received them with
a banquet and all the houses in the town were decorated with flags. The second
appearance of the narrative function Difficult Task follows. Tunkodbola and
Macabuhalbundok try to drag the dead fish but they did not make it. The second
appearance of the narrative functions Solution and Recognition happens when
Carancal successfully removed the decaying fish. The king and the people
congratulated Carancal in doing so. The second occurrence of the narrative
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function Wedding takes place. Carancal refused to marry King Walangtacut’s
daughter; however, he chose Tunkodbola to marry the princess in replace of him.
The third appearance of the function Call to Adventure occurs. Another
king sent a letter to Carancal and Macabuhalbundok. The two responded, they
travelled to the other kingdom and faced the third occurrence of the narrative
function Difficult Task and Solution. Macabuhalbundok did not make the work
but Carancal did. Then, the third existence of the narrative function Wedding takes
place wherein Macabuhalbundok marry a princess just like what happened to
Bugtongpalasan and Tunkodbola. Carancal considered as the father of the three
princess yet remained bachelor until one day he thought about visiting his parents
and lived once more with them and it is the incident where the last narrative
function in Caedo’s story of Carancal was found, the narrative function Return.
1.3. Juan and Clotilde as narrated by Jose Vicente Hilario
Perceived to be the Filipino version of Grimm’s Tale Rapunzel, the
folktale pertains to a boy named Juan who tried his luck even against the will of
his family in saving a princess abducted by her upset aged magician lover. But
before he could go on his journey, his family tried innumerable times to stop him
for fear that he could only worsen his older brothers’ shameful failures. Juan
succeeded in saving the princess but was lost in a strange country after mounting
on her winged horse to avoid the magician’s friend who guards the tower. Upon
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arriving at a new country, he met a rich old man who adopted him as his son and
helped Juan in proving he was the real savior.
Table 3
Narrative Functions of Hilario’s Juan and Clotilde
Events Narrative FunctionsThe king has a magician friend who increased his riches twofold.
*Synergy
The magician fell in love with Clotilde but does not love him back.
*Dissonance
The magician left the king and the princess magical agents.
First Function of Donor
He locked Clotilde and the three magic horses. VillainyKing Ludovico offered his wealth to anybody and Juan tried his luck.
Call to Adventure
Juan’s family advised him to abort his mission.
Preparation, Mediation, Withdrawal, and Refusal
Juan took things he could use to save ClotildeBeginning Counter Action
Juan had to make the trip on horseback. DepartureJuan’s brother led him in the wrong direction.
Road of TrialsJuan’s parents tried to poison his food.Juan gave his horse some of his food.The horse died.Juan was obliged to finish the journey on foot.
Juan climbed the tower with nails and ropes.Crossing of The First Threshold
Juan and Clotilde whispered words of love in each other's ears.
Meeting with the Goddess
Clotilde gave Juan one of the magic necklaces as reward.
*Second Function of Donor
Juan’s brother pulled out the nails he used to climb the tower.
Road of Trials
Clotilde told Juan to mount on one of the magical horses.
Provision or Receipt of a Magical Agent
The magical horse flew from the tower. Rescue
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The magical horse landed on a country strange to Juan’s eyes.
Unrecognized Arrival
Juan was at last able to make his way back to his native country.
Return
A rich old man named Telesforo adopted Juan as his son.
Atonement with the Father
The townspeople have tried to produce the exact counterfeit of the necklace.
Unfounded Claims
Juan asked Telesforo to borrow the necklace and saw they didn’t differ.
Difficult Task
Clotilde confirmed the authenticity of the necklaces. SolutionClotilde asked Telesforo to bring Juan to the Palace. RecognitionJuan and Clotilde were married and he became the King after Ludovico’s death.
Wedding
As manifested in table 3, the first narrative function appeared in the story
Juan and Clotilde as narrated by Hilario is what the researchers originally coined
as Synergy. It refers to the established relationship between the characters of King
Ludovico and his magician friend and how the king’s powers were maximized by
his friend. It is followed by the narrative function Dissonance which pertains to the
ruined connection of King Ludovico and his magician friend when Clotilde, the
king’s daughter, cannot give back the magician’s love towards her. Then, the
narrative function First Function of the Donor appeared. It is exhibited in the
instances when the magician gave the king three enchanted winged horses; the
princess, two magic necklaces of exactly the same appearance, of inimitable
workmanship and of priceless worth.
However, before the magician died, he locked Clotilde and the three magic
horses in a high tower inaccessible to any human being. This event plays the
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narrative function of Villainy which sets the course that the Protagonist must solve
or accomplish. It is followed by the first appearance of the narrative function Call
to Adventure. The king called out to every man that whoever can set his daughter
free shall receive his wealth, his crown, and his daughter’s hand. The narrative
function Preparation, Mediation, Withdrawal, and Refusal comes. The Protagonist
named Juan was advised by his family not to go on the journey of finding the
princess. Thus, Juan insisted on his plans to save the princess. He collected all the
biggest nails and ropes that he could use in attaining his plans. This event
exemplifies the narrative function Beginning Counter Action. After preparing all
his tools, the narrative function Departure comes next. Juan left home and went on
to the journey with his horse.
After the occurrence of the narrative function Departure, the narrative
function The Road of Trials comes next as Juan crosses several obstacles. First,
his older brother tried to divert him by giving him a wrong direction. Secondly, his
parents tried to poison him. Then, his horse died after he let it eat a portion of his
food. These are the reasons why he had to make the trip on foot. Upon reaching
his destination, Juan drove out the nails with his rope to make an improvised
ladder to enter the tower. This incident details the instance where the narrative
function Crossing of The First Threshold was found. The narrative function
Meeting with the Goddess exists next. Juan met Clotilde with flooded tears and
they immediately whispered their words of love to one another. Then, Clotilde
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gave Juan one of the necklaces given by the magician to her and this event
signifies the narrative function Second Function of the Donor.
The second occurrence of the narrative function The Road of Trials
appeared next. It is when Juan discovered that his older brother pulled out the nails
when he was about to climb in the tower to avoid direct combat with the guardian
of the tower. That is why Clotilde told Juan to mount on one of the magical horses
given by the magician before he died. This event functioned as the Provision or
Receipt of a Magical Agent. Then, the magical horse flew from the tower which
expounds Rescue as narrative function. It is followed by the narrative function
Unrecognized Arrival which pertains to the incident when Juan and the magical
horse landed on a country which seems strange or unfamiliar to Juan.
Thus, after a long journey Juan was at last able to make his way back to his
native country. This event details the narrative function Return. It is then followed
by the narrative function Atonement with the Father when a rich old man named
Telesforo adopted Juan as his son. The old man became the father figure for Juan
from then on. Then, the narrative function Unfounded Claims appeared next when
King Ludovico gave out proclamations stating that anyone who could exactly
match his daughter's necklace should be his son-in-law. Thousands tried, but they
tried in vain. It is followed by the narrative functions Difficult Task and Solution.
Juan asked Telesforo to borrow the necklace and saw that they were exactly the
same. However, Clotilde confirmed the authenticity of the necklaces. Then,
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Clotilde asked Telesforo to bring Juan to the Palace. This incident expounds the
narrative function Recognition. Later on, Juan married Clotilde and Juan ascended
the throne after Ludovico’s death. It is the incident where the last narrative
function in Hilario’s Juan and Clotilde was found, the narrative function Wedding.
The table that follows presents the summary of the narrative functions that
were present among the three selected Batangas folktales.
Table 4
Summary of the Narrative Functions Gleaned from the Selected Folktales from Batangas
Act 1Departure
*Synergy*DissonanceMiraculous ConceptionAbsentationChildhood, Initiation and Divine SignsPreparation, Mediation, Withdrawal, and RefusalBeginning Counter ActionFirst Function of the DonorHero’s ReactionTrickeryComplicityVillainyCall to AdventureDeparture
Act 2
Road of Trials*Second Function of the DonorProvision or Receipt of a Magical Agent*Crossing of the First ThresholdBrandingSpatial Transparence between Two KingdomsLiquidation of Initial MisfortuneCall To Adventure
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Initiation Preparation, Mediation, Withdrawal, and RefusalBeginning Counter-ActionDepartureCrossing of the Second ThresholdMeeting with GoddessRescueThe Road of Trials*Indirect Villainy*Inverted Trickery*Indirect Struggle*Liquidation of the Second MisfortuneAtonement with the FatherUnfounded ClaimsUnrecognized ArrivalDifficult taskSolutionRecognitionWeddingRewardCall to AdventureRecognized ArrivalDifficult TaskSolutionRecognitionWeddingCall to AdventureDifficult TaskSolution
Act 3Return
Return
RecognitionWeddingReturn
Table 4 enumerated the narrative functions gleaned from the three selected
folk tales from Batangas. The narrative functions with an asterisk (*) are the
narrative functions originally named by the researchers since the instances labelled
are important in showing the established structure of the three folktale. However,
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it is still based on the idea proposed by Propp, Campbell and Leeming, the three
prominent icons in Structuralism which this study is anchored to.
For each function there is given a brief summary of its essence and its
examples from the studied folktales. The citation of examples illustrates and
shows the presence of the function as a certain generic unit. The series of functions
given below does not represent the morphological foundation of folktales in
general but it shows the important features of the Batangas Folktales.
In discussing the narrative functions present among the three selected
folktales, the researchers used the outline format. This was so because the
researchers believed it could provide the utmost convenience of understanding the
structure found and the description of events which contributes to the progression
of the selected Batangas folktales. In accordance with this, the researchers used
numeric representations for each folktale in detailing the events which describes a
specific narrative function whereas 1.1 refers to Katigbak’s Juan and His
Adventures, 1.2 pertains to Caedo’s The Story of Carancal, and 1.3 concerns to
Hilario’s Juan and Clotilde. There are 33 functions narrative functions listed
below.
A folktale usually begins with some sort of an initial situation; mostly the
initial situation present in Batangas folktales refers to a relationship between two
parties. This situation plays a vital part in describing the so-called “the calm before
the storm” which the researchers coined as:
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I. SYNERGY. A mutually advantageous conjunction or compatibility of distinct
business participants or elements
1. A person benefits himself from an object or a person that has
supernatural attributes. (1.1) “This family was very poor at first. Near
the foot of a mountain was growing a tree with large white leaves. Pedro
the father earned their living by selling the leaves of that tree.” (1.3)
“His power was increased twofold by his attachment to an aged
magician, to whom he was tied by strong bonds of friendship.”
This function can be explained easier through the idea of a Commensalism
type of symbiotic relationship where only the other organism benefits while the
other one is unaffected.
II. DISSONANCE. Lack of agreement or an instance of such inconsistency or
disagreement
1. The benefiting party takes advantage of the situation. (1.1)”After a year
he decided to cut down the tree, so that he could sell it all at once and
get much money.”
2. The benefiting party could not give back to the needs/wants of the
giving party. (1.3) “Ludovico had an extremely lovely daughter by the
name of Clotilde. Ever since his arrival at the palace the magician had
been passionately in love with her; but his extreme old age and his
somewhat haughty bearing were obstacles in his path to success.”
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The said function shows the kind of a Parasitism type of symbiotic
relationship where one organism benefits while the other one is negatively
affected. Sometimes, the benefiting party has no power to give back to the host
party for it is beyond their control. Like for example, the king, being a loving
father, cannot force his daughter to love the old magician even if he made their
riches double. This kind of disagreements usually sets the problem in common
Batangas folktales.
III. MIRACULOUS CONCEPTION. The bearing of a child under the most
impossible situations.
1. A couple too old to bear a child carries one. (1.1) “A year had not
passed by before a son was born to the old couple.”
2. A couple bears a child after doing desperate measures for a long
time. (1.2) “Once upon a time there lived a couple who had long
been married, but had no child. Every Sunday they went to church
and begged God to give them a son. They even asked the witches in
their town why God would not give them a child. After a year a son
was born to them.”
It explains the bearing of a child for couples faced with multiple reasons
and problems about not having a child and still be able to born one. It is usually
preceded by worshipping and praying to powerful forces as god-like images and
witchcraft.
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IV. ABSENTATION. A member/s of the family absent themselves from home.
1. The victim/s goes someplace else and suddenly disappears. (1.1) “As
soon as they reached the foot of the mountain, the three daughters
disappeared at once, and the poor father returned home cheerless.”
V. CHILDHOOD, INITIATION, AND DIVINE SIGNS. The child shows
unnatural traits different from others.
1. The child’s extraordinariness is being noticed. (1.2) “He was very small,
as the witches had foretold, but he was stronger than any one would
expect such a small child to be.”
Another instance, others would remark on his differences to other normal
children, “It is strange,” said a neighbor. “Why, he eats more food than his
stomach can hold.” The boy grew larger and larger, and the amount of food he ate
became greater and greater.”
VI. PREPARATION, MEDIATION, WITHDRAWAL AND REFUSAL. The hero
is approached with a request or a command, he is allowed to go or dispatched
1. Misfortune is announced. A mother tells her son the abduction of her
daughters that took place before his birth. (1.1) "Yes, you have three;
but they were taken away by a snake," she told him.
2. The hero is rejected by his own family. (1.2) “I will take him to the
forest and there kill him; and if the neighbors ask how he died, we will
say that an accident befell him while cutting trees.” (1.3) “His parents
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and his older brothers expostulated with him not to go, for what could a
man unskilled in the fine arts do?”
It only focuses on how the hero discovers the journey that awaits him and
the courses of the decision he or people around him make. The rejection refers to
the withdrawal of the hero’s skill in accomplishing such tasks.
VII. BEGINNING COUNTER-ACTION. The hero decides upon his action to
resolve the lack.
1. The hero asks for permission to go. (1.1) “Juan was so angry, that he
asked his parents to give him permission to go in search of his sisters.”
2. The hero searches for the tools to use on his journey. (1.3) “He took as
many of the biggest nails as he could find, a very long rope, and a strong
hammer.”
This function refers to the determined courses of action the seeker/hero is
decided to make.
VIII. FIRST FUNCTION OF THE DONOR. The hero is given the articles he could
use as he goes.
1. The hero asks for the articles. (1.2) “But before I depart, father and
mother, please give me a bolo, a big bolo, to protect myself in case of
danger.”
2. The articles were given by the donor. (1.3) “He left to the king three
enchanted winged horses; to the princess, two magic necklaces of
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exactly the same appearance, of inimitable workmanship and of
priceless worth.” (1.1) “Each of the three girls gave her mother a
handkerchief as a remembrance.”
With Propp’s explanation, First Function refers to the interrogation or
attack. But in the Batangas Folktale, it refers to voluntary handing of the articles to
the hero.
IX. HERO’S REACTION. The hero reacts to the actions of the future donor.
1. The hero accepts the article. (1.2) “Carancal took it, kissed the hands of
his parents, and then went away with a heavy heart.”
X. TRICKERY. The villain attempts to deceive his victim in order to take
possession of him or of his belongings.
1. The villain employs the use of deception or coercion. (1.1) “The snake
said to Pedro, ‘I gave you the leaves of this tree to sell; and now, after
you have gotten much money from it, you cut it down. There is but
one suitable punishment for you: within three days you must bring all
your daughters here and give them to me.’”
The act of punishment is only given to those who break a law or agreement
which was not given by the victim before he decided to cut the tree. Turns out the
snake was disguised as a tree and waited for his turn for the man to take action on
the goods the tree was giving. As soon as the man cut the tree, the snake made it
look like he was punishing him to get his possessions which are his daughters.
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XI. COMPLICITY. Victim submits to deception and thereby unwittingly helps the
Villain.
1. The victim agrees to the villain’s persuasion. (1.1) “Don't worry, father!
We will go there with you,” said the three daughters. The villain
attacked the father emotionally that made the daughters give in to the
plans of the villain.
XII. VILLAINY. The villain causes harm or injury to the member of the family.
1. The villain abducts a person. (1.3) “He locked Clotilde and the three
magic horses in a high tower inaccessible to any human being.”
As the only type of Villainy from the studied materials on this research, it
cannot only be limited to abduction. It also involves the similar acts of
Absentation which causes for a member of the family to die.
2. Attacks on the closest friends of the Protagonist. For this instance, it
will be quoted as the “INDIRECT VILLAINY” (originally coined by
the researchers) since it harms not directly the family but the colleagues,
companions, or friends closest to the Protagonist.
XIII. CALL TO ADVENTURE. Refers to a call in which the journey or quest of a
hero could began.
1. The hero overheard or discovered a rumor or news. Whether it was for
the proclamations of reward or the noble heart of saving lives, the hero
sets on the journey of finding the important thing that is missing. (1.1,
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1.2, and 1.3) “The king offered his wealth and his daughter’s hand to
anybody who could save the princess”
2. A direct letter was sent. It only happens when the hero had quite
established an image of a hero ready to save anyone. (1.2) “They had
not enjoyed a year’s hospitality in Bugtongpalasan’s home when a letter
addressed to the four men came.”
XIV. DEPARTURE. The hero leaves home.
It only refers to the action of the hero towards leaving home, usually with all
the articles that his family had given him. It is always a beginning of his journey
on finding his target.
XV. ROAD OF TRIALS. An experience wherein the hero faces a series of
misfortunes, hardships along his journey.
XVI. SECOND FUNCTION OF DONOR. Refers to another incident wherein the
hero comes across another giver of a magical agent that he could use to finish
his journey.
XVII. PROVISION OR RECEIPT OF A MAGICAL AGENT. The hero acquires the
use of a magical agent that he gathered from his donors.
XVIII. CROSSING OF THE FIRST THRESHOLD. It only refers to the turning point
in which the hero must enter the dungeon of the villain or the Antagonist and
defeat it in order to get back the possession of others or victims it hides.
XIX. UNRECOGNIZED ARRIVAL. Simply refers to the arrival of the hero unto a
place he had never been before and nobody knows him. It has its inverted form
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which is the “RECOGNIZED ARRIVAL” when the hero already has
established his prominence in the society.
XX. MEETING WITH THE GODDESS. Refers to the symbolical matrimonial
unity of the Protagonist with the princess as soon as he found it.
1. The hero finds the princess. (1.3) “Juan and Clotilde whispered words of
love in each other's ears.”
In some cases, it may differ with the occurrence of fairies and nymphs,
fairy god mothers, and other female figures in folktales.
XXI. BRANDING. The branding or marking of the hero.
1. The hero is recognized by an object in his care. (1.1) “Juan showed the
handkerchief to his sister.”
2. Sometimes, the other forms are markings in his body.
XXII. RESCUE. The rescue of the hero from the pursuit.
1. The hero is carried away through the air. (1.3) “Juan flies away on a
horse.” Or sometimes the hero takes the refugee he tries to save along
with him.
XXIII. SPATIAL TRANSFERRENCE BETWEEN TWO KINGDOMS. The hero is
led, transferred, delivered to the whereabouts of an object of search.
1. The area on the hero’s search was pointed out. (1.1)“The king of the
lion, his brother-in-law pointed where his other sisters were.”
2. The hero was carried by an animal. (1.2) “The fish carried the travelers
in a kingdom.”
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Generally the object of search is located in “another” or “different”
kingdom. This kingdom may lay far away horizontally, or else very high up or
deep down vertically.
XXIV. INDIRECT STRUGGLE. The hero does not choose to go in a direct combat.
XXV. LIQUIDATION OF INITIAL MISFORTUNE. This function, together with
villainy, constitutes a pair. The narrative reaches its peak in this function.
1. The object of search was found in safer hands and was able to build new
relationships. (1.1) “The three brother-in-laws of Juan promised to aid
him whenever he needed.”
2. The hero was able to rescue/restore his object of search. (1.1) “Juan
released all the ladies with the princess.”
When there is another dilemma about to be solved by the Protagonist after
the first one, it serves as the function “LIQUIDATION OF SECOND
MISFORTUNE” as the researchers had originally named accordingly to the nature
of the Southern Tagalog Literature which shows redundancy.
XXVI. RETURN. The hero returns home.
It simply refers to the action of the hero in going back to his hometown.
XXVII. ATONEMENT WITH THE FATHER. The symbolical representation
pertaining to the unity of the Protagonist with the Father in literal Terms.
1. Adoption. (1.3) A rich old man named Telesforo adopted Juan as his
son.
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XXVIII. UNFOUNDED CLAIMS. A false hero represent false claims
This function only refers to the false claims presented by other people in
order to get the prize.
XXIX. DIFFICULT TASK. A task has to be done in order to know the true identity
of the true hero, in which only the real savior could accomplish. It blocks the
chances of every false claimer to get the reward.
1. Giving the proof. (1.3) “Juan asked Telesforo to borrow the necklace
and saw they didn’t differ.”
XXX. SOLUTION. The task is resolved.
1. The princess finds out who was her real savior. (1.3) “Clotilde
confirmed the authenticity of the necklaces.”
This function always goes with the preceding function.
XXXI. RECOGNITION. The hero is recognized usually because of the hero’s
accomplishment of the difficult task.
1. The hero is made known. (1.3) Clotilde asked Telesforo to bring Juan to
the Palace.
Finally, the hero may be recognized immediately after a long period of
separation.
XXXII. WEDDING. The hero is married and ascends the throne.
Sometimes, on the contrary, only accession to the throne is mentioned.
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XXXIII. REWARD. The hero savors all the fruit of his hardwork.
1. The hero gives back to the family with all the fruits of his labor. (1.2)
“Carancal was the benefactor of three kings”, (1.2) “So he set out,
carrying with him plenty of money, which the three kings had given
him. This time his parents did not drive him away, for he had much
wealth. Carancal lived once more with his parents, and had three kings
under him.”
The results convey the unique traits of Batangas folktales. Batangas
folktales expound on the importance of debt of gratitude or “Utang na Loob” as
seen on the narrative functions Synergy and Dissonance which are unique only to
the Batangas narratology as it is not present to the proposed theory of the
renowned stucturalists. According to Dancel (2004), Utang na Loob stands out
among the many virtues that define a Filipino as an indebtedness which even death
cannot erase. It means that Batangueños value of paying their debt of gratitude that
if they were not able to do so, whether they mean it or not, problems arise that it
may discord them to others and it would be impossible to establish a harmonious
relationship to the community they belong.
The results also showed the narrative function unique in Batangas Folktale
which is the Indirect Struggle. It is seen when the Protagonist did not mean to be
vicious by killing his opponent and eventually liquefies the chaotic situation. The
other one is the narrative function Inverted Trickery where the Protagonist
defeated the giant by playing mind games with it instead of engaging in a mortal
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combat. These events denotes a different view about Batangueños who are
stereotyped as arrogant, brazen, and full of hot air usually because of the symbols
connected with them: the Balisong knife and the strong Kapeng Barako or brewed
coffee. To contradict this image of Batangueño people, Gutierrez (2007) said that
Batangueños’ confidence is mistaken for arrogance that they are judged as
barbaric on account of how loud and agitated their voices become in the midst of
arguments when in fact they are just passionate and emphatic on the ideas they
advocate. It means that Batangueños are peace-loving people and will try their best
to walk out of trouble and not to pick up a fight.
The three selected folktales from Batangas exposed a repeated cycle of
events wherein each folktale showed that some narrative functions appeared
redundantly, another unique trait of Batangas folktales. As for instance in
Katigbak’s Juan and His adventures and Hilario’s Juan and Clotilde, the narrative
function Road of Trials appeared twice. While in Caedo’s The Story of Carancal,
the narrative functions Call to Adventure, Road of Trials, Difficult Task, Solution,
Recognition and Wedding happened numerous times.
This could explain a phenomena which not only the Batangueños but
Filipinos in general are known for, “History repeats itself”. As quoted by Jimenez
(2014), those who refuse to learn from history are condemned to repeat it. He cited
the instances where Philippine’s government had been torn within the turmoil
between its Presidents and Vice Presidents since Macapagal-Garcia’s term during
the 1960’s, Erap-Macapagal’s tandem on 2000’s, and what is currently happening
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with President Aquino and VP Binay acting like a father and a mother hitting each
other in front of their children’s eyes.
Filipinos have not changed after all this time and the culture puts the people
on a pattern of perpetual subjugation. They exclaim things like they are resilient
even if it actually means withstanding repeated blows of hammers they do to their
own heads. While the researchers believed it to be true with the times the Filipinos
had been conquered thrice, for the redundant cases of Impeachment Trials for the
same corruption suits with a random politician, and the unsolved forgotten
criminal cases. Thus, it means that Filipinos never learn from their own mistakes
which seems to be a cultural problem as seen on Caedo’s Story of Carancal
wherein the series of the difficult task they have to solve resulted from their own
trivial solutions from their previous problems.
2. Dramatis Personae Involved in Each Narrative Function
To identify the dramatis personae in the selected Batangas folktales, the
researchers analyzed them using Pullman’s theory on Creating Compelling
Characters. The researchers enumerated the dramatis personae or the characters
involved in each function in the presented folktales and carefully examined each.
Through a critical examination of each character’s thoughts, dialogues, and
actions, as well as the comments of the narrator and of the other characters, the
researchers were able to extract the traits of every character and classify them as to
their corresponding narrative function involvement.
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The succeeding table shows the dramatis personae involved in each
narrative function gathered from the three selected Batangas folktales.
Table 5
Dramatist Personae Involved in Each Narrative Function Found in the Selected Folktales from Batangas
Narrative Functions
Dramatist Personae Involved in Each FunctionKatigbak’s Juan
and His Adventures
Caedo’s Story of Carancal
Hilario’s Juan and Clotilde
Act 1 Departure
*Synergy Pedro, Stock King Ludivico, Stock
*Dissonance Pedro, Stock Clotilde, StockMiraculous Conception
Juan, Protagonist
Carancal, Protagonist
Absentation Juan’s sisters, Stock
Childhood, Initiation and Divine Signs
Carancal, Protagonist
Preparation, Mediation, Withdrawal, and
Juan, Protagonist
Carancal, Protagonist Juan’s family, FoilCarancal’s Parents,
FoilCarancal, Protagonist
Refusal of the Call Carancal,ProtagonistBeginning Counter Action
Juan, Protagonist
Juan, Protagonist
First Function of the Donor
Juan’s sisters, Confidant
Carancal’s Parents, Confidants
Magician, Confidant
Hero’s Reaction Carancal, ProtagonistTrickery Snake, FoilComplicity Pedro, StockVillainy Magician,
AntagonistCall to Adventure King, Stock King Ludivico,
StockDeparture Juan,
ProtagonistCarancal, Protagonist Juan,
ProtagonistRoad of Trials Giant,
AntagonistCarancal, Protagonist Juan’s brother,
FoilJuan, Protagonist
Carancal, Protagonist Juan’s parent, Foil
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Act 2Initiation
King of Eagles, Confidant
Carancal, Protagonist Horse, Confidant
King of Fishes, Confidant
Three men, Confidants Juan, Protagonist
King of Lions, Confidant
Juan, Protagonist
*Second Function of the Donor
Three boys, Confidant
Clotilde, Confidante
Provision or Receipt of a Magical Agent
Juan, Protagonist
Clotilde, Confidante
*Crossing of the First Threshold
Juan, Protagonist
Juan, Protagonist
Branding Juan, Protagonist
Spatial Transparence between Two Kingdoms
King of Lions, Confidant
Fish, Confidant
Liquidation of Initial Misfortune
Juan’s three brothers-in-law, Confidant
Carancal, Protagonist
Call to Adventure King, Stock King, StockPreparation, Mediation, Withdrawal and Refusal
Juan, Protagonist
Beginning Counter Action
Juan, Protagonist
*Crossing of the Second Threshold
Juan, Protagonist
Meeting with Goddess
Juan, Protagonist
Juan, Protagonist
Rescue Juan, Protagonist
Horse, Confidant
Road of Trials
Carancal, ProtagonistThree men, Confidant
Juan’s brother, Foil
Carancal, ProtagonistThree men, ConfidantCarancal, ProtagonistThree men, Confidant
*Indirect Villainy Monster, AntagonistMonster, AntagonistMonster, Antagonist
*Inverted Trickery Carancal, Protagonist*Indirect Struggle Juan,
Protagonist*Liquidation of the Second Misfortune
Juan, Protagonist
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Unrecognized Arrival
Juan, Protagonist
Carancal, ProtagonistThree men, Confidant
Juan, Protagonist
Difficult task
Bugtongpalasan, ConfidantTunkodbola, ConfidantBuhalbundok, Confidant
Solution Carancal, ProtagonistRecognition King, StockWedding Bugtongpalasan,
ConfidantReward Three men, ConfidantCall to Adventure King Walangtacut,
Stock*Recognized Arrival
People in town, Stock
Difficult Task Tunkodbola, ConfidantMacabuhalbundok, Confidant
Solution Carancal, ProtagonistRecognition King, StockWedding Tunkodbola,
ConfidantCall to Adventure King, StockDifficult Task Macabuhalbundok,
ConfidantSolution Carancal, ProtagonistRecognition King, StockWedding Juan,
ProtagonistMacabuhalbundok, Confidant
Act 3Return
ReturnJuan, Protagonist
Carancal, Protagonist Juan, Protagonist
Atonement with the father
Telesforo, Confidant
Unfounded ClaimsPeople in town, Foil
Difficult TaskJuan,Protagonist
SolutionClotilde, Confidant
RecognitionClotilde, Confidant
WeddingJuan,Protagonist
RewardJuan, Protagonist
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Table 5 contains the dramatis personae involved in each narrative function
gathered from each Batangas Folktales under study. It can be seen in each function
that there are dominating characters that contributes to the progression of each
folktale.
The Stock characters or what are commonly defined as stereotype
characters present in any folktale such as Father, Sisters, King, and Princess are
clearly stated in the table for the occurrence of the following functions. The
functions that are purely dominated by Stock characters are Synergy, Dissonance,
Complicity, Call to Adventure, Meeting with Goddess, Recognized Arrival, and
Recognition. It shows that Stock characters only contribute in the surfacing of the
problem to be solved by the Protagonist.
While the Antagonists’ or the Villains’ presence in any Batangas folktales
dominated the functions that explain the hardships of other characters in the story
especially of the Protagonist. These functions are Road of Trials and Indirect
Villainy.
There is another character type that contributed to the progression of each
folktale under study. It is the Foil character which if not directly works or
associated with the Villain or Antagonist, has the same agenda of stopping the
Protagonist in reaching his goal and in finishing his journey. These characters
dominated in the functions drawn as Road of Trials, Indirect Villainy and
Unfounded Claims.
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Another type of character that manifested from the studied folktales is the
Confidant or Confidante. These characters are described as people or enchanted
animals that contribute to the success of the Protagonist whether in helping him or
giving him objects he could use in his journey. They occurred in the functions like
First Function of the Donor, Road of Trials, Second Function of the Donor,
Provision or Receipt of a Magical Agent, Spatial Transparence between Two
Kingdoms, Liquidation of Initial Misfortune, Rescue, Atonement with the Father,
Unrecognized Arrival, Difficult task, Solution, Recognition, Wedding, and
Reward. It can be seen that these characters also shares the Protagonist their
hardships and triumphs.
The most important type of character that surfaced in every folktale is the
Protagonist which is commonly defined as the center character in which the story
revolves. The functions dominated by this character are Miraculous Conception,
Childhood, Initiation and Divine Signs, Preparation, Mediation, Withdrawal, and
Refusal, Beginning Counter-Action, Hero’s Reaction, Departure, Road of Trials,
Provision or Receipt of a Magical Agent, Crossing of the First Threshold,
Branding, Liquidation of Initial Misfortune, Crossing of the Second Threshold,
Meeting with Goddess, Rescue, Inverted Trickery, Indirect Struggle, Liquidation
of the Second Misfortune, Unrecognized Arrival, Difficult task, Solution,
Wedding, Reward, and Return.
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The result showed that the essence of the main conflicts to be solved by the
Protagonist is the Stock character. This means that even if the given Batangas
folktale focuses on the Protagonist, its conflict which makes it exciting is not
necessarily because of the Protagonist’s own misfortune or misconduct but of
other stereotype character. It shows the good traits of Batangueños, whereas they
display the act of Pakikipagkapwa-tao or regard for others by manifesting a basic
sense of justice and fairness, and concern for others as the Protagonist has the
choice not to lend his help to those Stock characters. According to Licuanan
(2011), it is demonstrated in the Filipino's ability to empathize with others, in
helpfulness and generosity in times of need and in the practice of mutual
assistance.
While another custom of Filipinos was seen as well from the result of the
table above where the Confidant or Confidante shares the hardships and triumphs
of the Protagonist. It perfectly exemplifies the “Kumpadre System” of the
Filipinos which refers to a Fictive kinship as described by Brooks et al., (2014)
which often revolves around the barkada, or “gang of friends” — people who
developed a strong bond, much like that of a second family, though they are not
related by blood. It could also show the importance of sense of brotherhood or
friendship for Batangueños.
The researchers also discovered that some Foil and Antagonist type of
dramatis personae are not originally against the protagonist or evil-minded from
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the start. Most of the Foil characters cited from the Batangas folktales refers to the
own family of the Protagonist because they fear he might only bring shame to the
family if he fails, it shows how Batangueños cared so much about “Delicadeza” or
sense of honor. As what Licuanan (2011) had said, Filipinos believe they must live
up to the accepted standards of behavior and if they fail to do so they bring shame
not only upon themselves, but also upon their family. Moreover, Burke et al
(2013) said that the nature of the self and what individuals do depends to a large
extent on the society within which they live. It only explains Conformity when
people are concerned about making a good impression in front of the society
regardless if the action conflicts with their moral code. While the good side which
Conformity and Delicadeza bring is that foul behaviors are altered in order to fit in
to what the society needs. For example in Caedo’s Story of Carancal, some Foil
and Antagonist type of dramatis personae change into helpers or donors in support
to the Protagonist. It shows that Batangas Folktales may also contain dynamic
characters – characters that are changing through the course of any folktale or
piece – it suggests that Batangueño people are opt to change themselves in order to
please the eyes of the society.
3. Transitivity Process Dominantly Exhibited by the Dramatis Personae in
Each Narrative Function
Using Halliday’s theory on Transitivity Profiles, the researchers were able
to examine each Batangas Folktale under study. They gathered the Transitivity
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Process dominantly demonstrated by the dramatis personae involved with regards
to the narration and how the characters acted or were described upon each
narrative function. Also, the researchers focused mostly on the verbs and other
constituents of the sentences which correspond to the dramatis personae involved
in a certain narrative function.
Table 6
Transitivity Process Exhibited by the Dramatist Personae Involved in the Narrative Functions Found in the Selected Folktales from Batangas
Acts Narrative Functions Dramatis PersonaeTransitivity
Process*Synergy Stock Material*Dissonance Stock MaterialMiraculous Conception Protagonist ExistentialAbsentation Stock Relational
Act 1Departure
Childhood, Initiation and Divine Signs
Protagonist Relational
Preparation, Mediation, Withdrawal, and Refusal
Foil, Protagonist Verbal, Material
Beginning Counter Action Protagonist Material, VerbalFirst Function of the Donor Confidant MaterialHero’s Reaction Protagonist MaterialTrickery Foil VerbalComplicity Stock VerbalVillainy Antagonist MaterialCall to Adventure Stock MaterialDeparture Protagonist Material
ActInitiation
Road of TrialsFoilProtagonistConfidants
Material,Mental,Behavioral,Relational
*Second Function of the DonorConfidante, Protagonist
Material, Verbal
Provision or Receipt of a Magical Agent
Protagonist Material
*Crossing of the First Threshold Protagonist MaterialBranding Protagonist MaterialSpatial Transparence between Two Kingdoms
Confidant Verbal, Material
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Liquidation of Initial MisfortuneConfidant, Protagonist
Verbal, Material
Call To Adventure Stock Verbal, MaterialPreparation, Mediation, Withdrawal, and Refusal
Protagonist Verbal
Beginning Counter-Action Protagonist Material*Crossing of the Second Threshold Protagonist MaterialMeeting with Goddess Protagonist Material, Verbal
RescueConfidante, Protagonist
Material
The Road of TrialsConfidant,Protagonist
Material
*Indirect Villainy Antagonist Material*Inverted Trickery Protagonist Material*Indirect Struggle Protagonist Behavioral*Liquidation of the Second Misfortune
Protagonist Material
Unrecognized ArrivalProtagonist, Confidant
Material, Verbal
Difficult Task Confidants MaterialSolution Protagonist MaterialRecognition Stock BehavioralWedding Confidant MaterialReward Confidant MaterialCall to Adventure Stock Material*Recognized Arrival Stock MaterialDifficult Task Confidants MaterialSolution Protagonist MaterialRecognition Stock MaterialWedding Confidant MaterialCall to Adventure Stock MaterialDifficult Task Confidant MaterialSolution Protagonist MaterialRecognition Stock MaterialWedding Confidant Material
Act 3Return
Return Protagonist Material
Atonement with the Father Confidant MaterialUnfounded Claims Foil MaterialDifficult Task Protagonist VerbalSolution Confidante VerbalRecognition Confidant VerbalWedding Protagonist MaterialReward Protagonist Material
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Table 6 presents the Transitivity Process exhibited by the dramatist
personae involved in the narrative functions found in the three selected folktales
from Batangas.
As stated in the table above, the first function Synergy is always associated
with Material Transitivity Process as well as the function Dissonance. It is seen
that this process clearly supports that these two functions are always connected
since the Material Process involves an Actor, one who does something, that
extends to something or someone which Halliday called as the Goal or Recipient,
one to whom the action is directed at or the goods are delivered to.
While the only function that has the Existential Process is the Miraculous
Conception. It meant that this function only refers to the upcoming existence of
the “would-be-Protagonist” of the folktale.
The next function Absentation as acted upon the involved character
exposed a Relational Process. It is because this event occurred without a direct
object as described by Halliday, the proponent of the theory this study is anchored
on. This process is also described to be circumstancial which explains how
something is said to be something else like when the character suddenly
disappeared.
The function that follows Childhood, Initiation and Divine Signs also
showed Relational Process. As Halliday described Relational Process, it refers to
having attributes. It is clearly stated in Caedo’s The Story of Carancal how the
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story showed the changes of the Protagonist’ physique and skills and the surfacing
of the character’s unusual attributes which makes him above the other children as
he grows up.
As seen on the table above, the function Preparation, Mediation,
Withdrawal, and Refusal showed Verbal and Material Process. It showed that as
before the hero start a journey, some characters will try to stop or encourage him
by verbal means or act directly which will affect the progression of a folktale. The
same goes with the function Beginning Counter-Action which manifested Verbal
and Material Process, if the hero decides upon the problem, he will ask for
permission for leaving as the Verbal Process or go straight ahead on resolving the
lack with the goal in his mind as the Material Process.
While the characters involved in the First Function of the Donor or the
Second Function of Donor (for the second appearance) showed that it has Material
Process. As how Halliday had described it, the donor or the actor do something or
give something directly to the beneficiary or goal. It is obvious as the Confidant
characters give help or objects useful to the Protagonist for every folktale under
this study. The function that follows it is the Hero’s Reaction with the same
transitivity process, wherein the hero gives back a response to the donor of the
articles which he may use on his journey.
Trickery manifested Verbal Process as the character involved in this
function worked its way on the thinking of his victim by persuasion through
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words. It occurred as the villain talked over to his victim that he should lose his
belongings, his daughters for that matter, as a form of punishment for what
seemed to be his fault. Followed by the function Complicity, the character
involved in its occurrence revealed the same process as the victims willingly
granted to the whims of the villain by saying their agree on it.
As for the next function Villainy, the character involved displayed a
Material Process as the villain directly attacked on its victim as the object of its
evil course of action.
The characters present in the function Call to Adventure displayed Material
process as they directly send or gave out proclamations and rewards to anybody
who could solve their problem. They also showed Verbal Process for saying,
verbally detailing or talking about their problem which the Protagonist later
discovers/hears and acts upon.
The function Departure was displayed by the characters involved on it with
the Material Process. This is so because the Protagonist directly acted on leaving
home towards his literal goal. This Goal is theoretically defined by Halliday as the
object of any direct action done by a dramatis personae.
While the longest trail of hardship manifested by the characters involved in
each story under this study for the function Road of Trials showed Material,
Mental, Behavioral, and Relational process. It has Material process for it
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concerned about one’s definite action towards a goal. There is also the Mental
process for the activation of senses of the character involved in its occurrence like
when the narration of the story emphasized on the thinking process of the
Protagonist about the advances of others against him. Behavioral process was
shown when one of the characters had an unplanned response natural to the pacing
of events in the folktale (dying after eating a poisoned food). Relational process
refers to the action of the character involved under a circumstance like when he
was obliged to leave on foot because his horse already died.
For the consecutive functions Provision or Receipt of a Magical Agent,
Crossing of the First Threshold (or Crossing of the Second Threshold for the
second appearance) and Branding, each has only one character involved which
manifested only the Material process which is the Protagonist. It only explains the
goal of this character similar to other functions with the same process.
This next function Spatial Transparence between Two Kingdoms which
was dominated by the character Confidant was exposed with Verbal and Material
process. It has Verbal process shown by verbally detailing the next destination of
the Protagonist the character Confidant was helping. For Material process, the
Confidant tries to physically deliver the Protagonist to his next destination so that
the journey goes on.
Followed by Liquidation of Initial Misfortune dominated by the Confidant
and the Protagonist, they show Verbal and Material processes. Verbal process only
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refers to the settling of the peace as the characters involved talk and hold a
conversation to resolve the problem. While the Material process refers to the direct
physical action of the characters involved to calm the chaotic situation.
The function Meeting with Goddess as dominated by the Protagonist shows
Material process wherein he was able to find the princess as the object of his
search and of his goal. It also has the Verbal process when the Protagonist detailed
and talked to the victim usually a princess on how he will save her. The same goes
for the next function which is Rescue that has a Material process as he eventually
saves the princess. For the consecutive functions Indirect Villainy and Inverted
Trickery, both are dominated by the characters Antagonist and Protagonist. Both
functions also exhibit Material process as the two characters shared the same goal
of defeating one another in which case the latter one wins.
The function Indirect Struggle shows how the Protagonist unintentionally
harmed and eventually killed its villain when he was startled by the raging giant.
This event clearly shows a Behavioral process.
The characters involved in the Unrecognized Arrival manifested Material
process as they reach a place in search of their goal. While its inverted form
Recognized Arrival shows Verbal process as the characters involved such as Stock
represented by townspeople or a king cheers for the arrival of the hero they had
heard of.
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Atonement with the Father, the function only dominated by the character
Confidant showed the Material Process. Like what a Confidant does in every
story, this character has the sole goal of helping the character. In which this
character acted as a father figure as he gave refuge to the lost hero, he made a
course of action by adopting the hero.
Unfounded Claims dominated by Foil characters such as false claimers
exhibited Material process. They all have the same goal of stealing the fame,
glory, and the reward that goes with it from the true hero for solving the problems
present in the folktale. This event should be answered by the next function.
For the function Difficult Task, it involves characters as Confidants and
Protagonist in the manifestation of Verbal and Material process. Both characters
shared the same goal in helping each other to do the ordeal they are asked to do in
order to prove their identity as saviors which explains the Material process for that
matter. While the Verbal process was executed by the Protagonist, it was for
asking help from the Confidant in accomplishing the difficult task.
As answer to the preceding function, Solution is dominated by the
Protagonist and Confidante in showing Material and Verbal process. The
Protagonist eventually accomplishes the difficult task and solves the task for the
Material process. While the Confidante as the princess in the story helps the
Protagonist by verbally confirming that he was indeed the true hero that resolved
the recent chaos in the folktale.
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Finally recognizing the unrecognized hero comes the function Recognition,
Stock characters shows Behavioral and Material process as they show feelings of
delight and fondness for the hero who helped them and acts on giving thanks to
the Protagonist’s heroic deed. Whereas the contribution of the Confidante, the
princess for this matter, verbally proclaims and asks to bring the true hero on
center stage which shows Verbal process.
After that, it is usually followed by the function Wedding. It is dominated
by characters Protagonist and Confidant where all of them marries the princess
they had just saved and is usually the object of their search. Aside from that, all of
them ascend the throne in case the King, the father of the princess they wed, dies.
Here shows the Material process as these characters became the benefactor of
something which is the throne and the princess.
Just as the Protagonist finished his journey, he is now ready to go back
home to his family as shown from the table above. This is the function Return with
the Material process as the Protagonist seeks the familiar comfort of his family as
his goal for going back home.
As for the function, Reward is dominantly portrayed by the Protagonist
with the Material process as he enjoys all the fruit of his labor and shares it with
his family. The folktales under this study commonly narrated that the hero usually
takes his family to his new kingdom. It has Material process as the Protagonist
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appears as the giver or donor and his family becomes the benefactor in which his
deeds are directed on.
As depicted in Table 6, Batangas Folktales are comprised mainly of
Material Process which shows that Batangueños are goal-oriented and family-
oriented people who aspire to work hard on their ambition and motives. According
to Licuanan (2011), Filipinos have the capacity for hard work, the desire to raise
one's standard of living and to possess the essentials of a decent life for one's
family, combined with the right opportunities and incentives, Filipinos are
stimulated to work very hard. This is manifested most noticeably in a willingness
to take risks with jobs abroad, and to work there at two or three jobs.
4. Description of Structure of Batangas Folktales Considering the Narrative
Function, Dramatis Personae, and the Transitivity Process
After the careful analysis of the preceding data using the Structuralist
Approach, the researchers were able to describe the structure of Batangas
Folktales with regards to its narrative functions, dramatis personae, and the
transitivity process exhibited by the characters. As a result, the researchers
developed their own structural model which they think could best illustrate the
structure of Batangas Folktales.
98
Figure 2
Structure of Batangas Folktales
Figure 2 refers to the description of the Batangas Folktales. It has three acts
which pertain to Campbell’s nuclear unit of monomyth which the researchers
discovered that is also present in the Batangas Folktales. These are the Departure,
Initiation, and Return. Act 1, Departure, deals with the on settling of the conflicts
where a call to adventure is announced or the disorder is discovered which the
protagonist will resolve on these folktales. It also deals with how the situations and
the other dramatis personae prepared the Protagonist before he made a decision of
leaving the comforts of home with his family.
While Act 2, Initiation, refers to the actual adventures of the Protagonist,
this is where the Protagonist encounters his Confidants or the Donors of the
Magical Agents he could use on accomplishing the original cause of his journey.
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Together with the Confidants or usually the Protagonist alone enters the First
Threshold. As soon as the Initial Misfortune is liquidated, the Protagonist
alongside with his Confidants is faced again with another problem to solve where
they are asked to enter the Second Threshold where the Foil or Antagonist they
must defeat resides. The researchers also discovered that with whatever problem
the Protagonist must face, he never use any act of violence by not engaging into a
direct combat with his opponents. Also, the Initiation Act is consisted of repeated
events the Protagonist and his Confidants are asked to undertake such as Calls of
Adventure and Crossing of Thresholds. It shows the repetitive feature of the
Batangas narratives where certain events are about to happen redundantly.
As for Act 3, Return, pertains to the homecoming of the Protagonist and the
harvesting of the fruits of his labors that he usually share with his family. It
involves events where he is asked to claim the recognition against of the false
claimers as the savior of the certain society he belongs.
With regards to the Transitivity Processes exhibited by the dramatis
personae involved in the folktales under this study, the researchers learned that
Batangas folktales are mostly dominated by the presence of Material Process. In
exemption, Verbal process is exhibited by how certain characters orally stated
their motives towards the other dramatis personae and persuaded others in order to
agree to their own terms. However, Behavioral, Relational, and Existential
processes though present appeared scarcely.
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In analyzing the selected Batangas folktales, the researchers take into
consideration the language and the syntax of the texts since the approach applied
in this study is Structuralism. Language, as described by Belvez (2011), has
different kinds of varieties such as regional varieties or "dialects". As for instance,
the official language of the Philippines is Filipino and it has different variations
referring to its dialects where in Batangas case is Tagalog. She said that with this
understanding, it proves that language identifies a country while dialect recognizes
locality.
In accordance with this light, the researchers learned that with regards to
establishing the structure of the folktales in a certain country there also has
variation in structure among its regions. This was because each region has their
own dialect, culture, and tradition even if they are all inside the same country.
Each region has their own form of folklore which tells something about their
locality. With all the analysis presented in this chapter, it all comes down to the
description of Batangas Folktales which serve as the local style in narrating its
stories.
5. Implication of the Findings in Philippine Narratology and to the Teaching
of Creative Writing
Using the Structural Approach, this study was conducted to identify the
structure of Batangas folktales by describing the features common to the three
narratives or stories with regards to their narrative functions, dramatis personae,
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and the transitivity processes dominantly exhibited. Moreover, the researchers
conducted this study to articulate the implicit characteristics of Batangas folktales
which has significant implications both for describing the Philippine narratology
and for the purpose of advancement within the Creative Writing course and its
subfields.
With this study, not only the professionals engaged in teaching literature
but also the students and future readers of Philippine folktales will be able to
identify the variation of narratives present in other regions in the Philippines. The
findings of this study could also address the features of Philippine narratology, its
structure, its elements which reflects its culture, and the values or customs it
inculcate to the Filipino youth.
In respect to that, it could address the agenda of DepEd through the K12
curriculum which is to have their students possess an understanding of one‘s
history, his cultural heritage, and develop a deep respect for self, others and their
culture, and the environment. The same goes for the updated CHED Memorandum
Order which suggested the use of Regional Approach in undertaking Literature
classes which means that one can understand the differences among Filipinos with
regards to their locality. Say for an instance, if a citizen from another region, a
Bicolano or Manileño perhaps, met a Batangueño or someone who grew up on a
Batangueño household is enlightened about Batangas folktale that has a lot to say
about its culture, he would understand why this Batangueño think, speak, or act in
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a certain way foreign to his province or city and vice-versa. That is the kind of
respect for one’s diversity that should deliver Filipinos from indifference (usually
because of different dialects and cultural orientation) the researchers want to
achieve in the conduct of this study.
Likewise to the structure of a given text, knowing that a certain folktale has
a repetitive structure, one can say that it originated from Batangas since the
analysis of this study said that Batangas narratives are redundant in nature. Proper
identification of the structure and its elements presented in this study will help the
teachers and professionals involved in teaching Creative Writing find a way to
overcome or supress the challenges in teaching this subject and its subcategories.
The educator who is the very source of knowledge must possess the familiarity,
skills, values, and interest for this matter towards the effectiveness in teaching
Creative Writing. If they have the dedication and the interest in familiarizing
themselves in the structure of these folktales, they could not only supress but they
could also surpass their teaching styles they could show to their students. There is
a great teacher factor in motivating the students in developing their curiosity and
interest in writing.
Since students are the center of the teaching-learning process, one of the
very aim of this study is to give them the benefits of using Structuralism in
understanding literature towards an objective interpretation. With that, they will
not take for granted the use of folktales which they thought were only helpful in
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practicing their reading skills when they were still young. This lack of engagement
tends to be equated with lack of value; readers often do not value what they do not
understand when in fact, they could use it to connect to their culture if they only
have the skills to read between the lines and consider the syntax and language the
folktale used.
The combination of the teacher’s motivation and the student’s interest
towards reading results to one’s urge to write his own story. This is where the
teaching of Creative Writing plays a crucial role in establishing the style of the
country’s aspiring writers. Since the teachers already know the description of these
folktales, they could show their students a model which they could use as guide in
manipulating their own plots as they were only starting to develop their writing
venture. As these would-be writers are fully acquainted with the common
structure, they could explore in writing stories with unusual structure in showing
the real events happening to their society because literature depicts reality. The
folktales they studied as patterns are records of the past and the stories they will
write shall soon be passed on to future generations. Eventually, time will pass, the
present will replace the past and so it continues. Literature is always history
because it is the only valid history as a result of the writer's creative energy located
in a phenomenological milieu.
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With all these, it would be very possible to make teaching-learning process
enjoyable and successful for the educators and the learners towards establishing
the Philippine narratology and taking the Creative Writing experience.
Chapter V
SUMMARY, CONCLUSION AND RECOMMENDATIONS
This chapter presents the summary of the findings revealed in the study, the
conclusion drawn and the recommendations offered by the researchers based from
the results of the analysis and interpretation of the gathered data.
Summary
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This study described the common structure of the selected folktales in
Batangas using Structuralist Approach by detailing the instances where the
narrative functions occurred. Also, this study endeavored to find out the dramatis
personae involved in each narrative function by using Pullman’s theory on
Creating Compelling Characters. Moreover, the researchers also examined the
transitivity process dominantly exhibited by each dramatis personae involved in
each narrative function.
Specifically, this study sought answers to the following questions:
1. What are the functions drawn from the selected Filipino folktales in
Batangas:
1.1. Juan and His Adventures as narrated by José Ma. Katigbak, a Tagalog
from Lipa, Batangas;
1.2. The Story of Carancal as narrated by José P. Caedo, a Tagalog from
Batangas, Batangas; and
1.3 Juan and Clotilde as narrated by Vicente Hilario, a Tagalog, who heard
the story from an old man living in Batangas?
2. Which dramatis personae are involved in each function?
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3. Which transitivity process is dominantly exhibited by the dramatis personae
involved in each function?
4. How may the structure of Filipino folktales from Batangas be described
considering the narrative function, dramatis personae, and transitivity process?
5. What is the implication of the findings of the study in establishing the Batangas
Folktale narratology and in the teaching of Creative Writing?
In conducting this study, the researchers utilized the three selected folktales
in Batangas as the subject of the study. These are Juan and His Adventures as
narrated by José Ma. Katigbak, a Tagalog from Lipa, Batangas, The Story of
Carancal as narrated by José P. Caedo, a Tagalog from Batangas, Batangas, and
Juan and Clotilde as narrated by Vicente Hilario, a Tagalog, who heard the story
from an old man living in Batangas.
The researchers applied the documentary analysis type of research to
systematically explore the three selected folktales and describe certain properties,
structures, and characteristics that are evident. The principal tools in gathering data
were the theories proposed by Propp, Campbell, Leeming, Pullman, and Halliday.
In determining the narrative functions presented in the selected folktales,
the researchers used Propp’s 31 narrative functions, Campbell’s three phases of
hero’s journey, and Leeming’ eight stages of monomyth. While in addressing the
107
dramatis personae involved in each narrative function, the researchers utilized
Pullman’s writings in Creating Compelling Characters. In his book, Pullman cited
nine dramatis personae but the researchers only applied its five major types which
are the Protagonist, Confidant, Antagonist, Foil, and Stock. As for citing the
transitivity process dominantly exhibited by the dramatis personae involved in
each narrative function, the researchers employed Halliday’s six transitivity
profiles which are the Material, Existential, Relational, Verbal, Mental, and
Behavioral process.
Findings
The findings of this study to every question posed are enumerated as
follows:
1. The study showed that the three selected folktales from Batangas comprised the
nuclear unit of monomyth: Departure, Initiation, and Return. The narrative
functions that complete the common structure found among the selected
folktales are the following: Call to Adventure, Preparation, Mediation,
Withdrawal, and Refusal, Departure First Function of the Donor, Road of
Trials, Unrecognized Arrival Wedding, Reward and Return.
2. The researchers found out that Batangas folktales have dynamic dramatis
personae. For example, in the case of Katigbak’s Juan and His Adventure and
Vicente’s Juan and Clotilde, some foil and antagonist type of dramatis personae
108
are not directly against the protagonist or evil-willed from the start. However, in
Caedo’s Story of Carancal, some foil and antagonist type of dramatis personae
change into helpers or donors of the protagonist.
3. The result showed that the essence of the main conflicts to be solved by the
Protagonist is the Stock character. This means that even if the given Batangas
folktale focuses on the Protagonist, its conflict which makes it exciting is not
necessarily because of the Protagonist‘s own misfortune or misconduct but of
other stereotype character. While another custom of Filipinos was seen as well
from the result of the table above where the confidant or confidante shares the
hardships and triumphs of the Protagonist.
4. With regards to the Transitivity Profiles dominantly present in Batangas
Folktales, the research showed that Batangas narratives are mainly manifested
of Material Process.
5. The three selected folktales from Batangas exposed a repeated cycle of events.
It means that there are narrative functions which are repetitive in occurrence.
For example, each folktale showed that some narrative functions appear
redundantly. As for instance in Katigbak’s Juan and His Adventures and
Vicente’s Juan and Clotilde, the narrative function Road of Trials appeared
twice. While in Caedo’s The Story of Carancal, the narrative functions Call to
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Adventure, Road of Trials, Difficult Task, Solution, Recognition and Wedding
happened numerous times.
Conclusions
In the light of the important findings revealed in this study, the following
conclusions were drawn:
1. Batangas narratives are composed of the stages Departure, Initiation and Return.
The protagonist in the stories decided to leave his home, seeks for adventure but
in the end the protagonist always comes back to his family to share the fruits of
his labors. Additionally, most narratives originated in Batangas have a repeated
cycle of events.
2. Batangas folktales have dynamic dramatis personae.
3. Batangas folktales directly adopted the unique traits of Batangueños. Thus,
Batangas folktales are highly imbued with morals and values such as
Pakikipagkapwa tao or regards to others, Kumpadre system or brotherhood and
Delicadeza or sense of honor.
4. The dominance of Material Process in Batangas narratives showed that
Batangueños are goal-oriented and family-oriented people who aspire to work
hard on their ambition and motives so that they will be able to give the needs of
their family.
110
5. There is a need to expose the people in these kinds of narratives to strengthen
their values which are dramatically losing nowadays and also to explain their
behavior which could help them to modify some of their inherited problems
from their ancestors.
Recommendations
In view of the findings obtained in this study, the following
recommendations are hereby given:
1. The study of folklore in a certain locality may be continuously included in
school subjects starting from basic education to inculcate the structure of these
folktales among its people. The structure revealed could serve also as a cue for
writers in manipulating plots to produce new breed of stories compared to
those which appeared so common in nature (see Philippine Telenovelas).
2. Additional scholarly studies on folk literature must be undertaken by people of
different localities to revive their own narratives and to identify its variation
from the narratives of other regions. The supplementary studies need to be
commenced also to recapture the significance of the narratives in their
localities since it reflects the unique traits of their place, their life and culture
because folk literature are mostly drawn from real life situations.
111
3. The values that will serve as agents in directing the lives of the young
generations depicted through pieces of literature should be inculcated by the
educators among the learners.
4. Social goals and policies should be created by the provincial government of
Batangas to preserve its literature which served as Batangueños’ bridge to their
cultural heritage. Such as annual role playing presentations, poem or script
writing competitions and the likes which offers not only cash and gift checks
as a prize but also gives writing workshops as a reward for joining such
societal gatherings that could enrich their cultural awareness.
5. Areas for cultural development such as parks, libraries, and museums
manifesting the literature as well as the culture in Batangas should be
established. Those areas will develop the awareness of the youth in integrating
their customs, beliefs, literature and culture into different activities and turned
this into educational arena.
6. The government should give teachers free refreshment courses to enrich their
Creative Writing teaching strategies to support them in providing the Filipino
youth a quality springboard towards writing.
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Appendix A
Juan and His Adventures
Narrated by José Ma. Katigbak, a Tagalog from Lipa, Batangas
Once in a certain village there lived a couple who had three daughters. This family was very poor at first. Near the foot of a mountain was a growing tree with large white leaves. Pedro, the father, earned their living by selling the leaves of that tree. In time, he got so much money from them that he ordered a large house to be built. Then they left their old home, and went to live in the new house. The father kept on selling the leaves. After a year, he decided to cut down the tree, so that he could sell it all at once and get much money. So he went to the foot of the mountain one day, and cut the tree down. As soon as the trunk had crashed to the ground, a large snake came out from the stump. Now, this snake was an enchanter, and was the friend of the kings of the lions, eagles, and fishes, as we shall see.
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The snake said to Pedro, "I gave you the leaves of this tree to sell; and now, after you have gotten much money from it, you cut it down. There is but one suitable punishment for you: within three days you must bring all your daughters here and give them to me." The man was so astonished at first, that he did not know what to do. He made no reply, and after a few minutes went home. His sadness was so great that he could not even eat. His wife and daughters, noticing his depression, asked him what he was thinking about. At first he did not want to tell them; but they urged and begged so incessantly, that finally he was forced to do so.
He told them, "Today I cut down the tree where I got the leaves which I sold. A snake came out from the stump, and told me that I should bring you three girls to him or we should all die."
"Don't worry, father! We will go there with you," said the three daughters.
The next day they prepared to go to the snake. Their parents wept very much. Each of the three girls gave her mother a handkerchief as a remembrance. After they had bidden goodbye, they set out on their journey with their father.
As soon as they reached the foot of the mountain, the three daughters disappeared at once, and the poor father returned home cheerless. A year had not passed by before a son was born to the old couple. They named him Juan. When the boy was about eighteen years old, his mother showed him the handkerchiefs of his sisters.
"Have I any sister?" said Juan to his mother.
"Yes, you have three; but they were taken away by a snake," she told him. Juan was so angry, that he asked his parents to give him permission to go in search of his sisters. At first they hesitated, but at last they gave him leave. So, taking the three handkerchiefs with him, Juan set out, and went to the mountain.
After travelling for more than ten days, Juan came across three boys quarrelling over the possession of a cap, a pair of sandals, and a key. He went near them, and asked them why they all wanted those three things. The boys told him that the cap would make the person who wore it invisible, the sandals would give their owner the power to fly, and that the key would open any door it touched.
Juan told the three boys that it would be better for them to give him those articles than to quarrel about them; and the boys agreed, because they did not want either of the others to have them. So Juan put the key in his pocket, the cap on his head, and the sandals on his feet, and flew away. After he had passed over many mountains, he descended. Near the place where he alighted he saw a cave. He approached its mouth, and opened the door with his key. Inside he saw a girl sitting near a window. He went up to her and took off his cap.
"Who are you?" said the girl, startled.
"Aren't you my sister?" said Juan.
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"I have no brother," said the lady, but she was surprised to see the handkerchiefs which Juan showed her. After he had told her his story, she believed that he was really her brother.
"You had better hide," said the lady, holding Juan's hand, "for my husband is the king of the lions, and he may kill you if he finds you here."
Not long afterwards the lion appeared. She met him at the door. "You must have some visitors here," said the lion, sniffing the air with wide-open nostrils.
"Yes," answered the lady, "my brother is here, and I hid him, for I feared that you might kill him."
"No, I will not kill him," said the lion. "Where is he?" Juan came out and shook hands with the lion. After they had talked for a few hours, Juan said that he would go to look for his other sisters. The lion told him that they lived on the next two mountains.
Juan did not have much trouble in finding his other two sisters. Their husbands were the kings of the fishes and the eagles, and they received him kindly. Juan's three brothers-in-law loved him very much, and promised to aid him whenever he needed their help.
Juan now decided to return home and tell his parents where his three sisters were; but he took another way back. He came to a town where all the people were dressed in black, and the decorations of the houses were of the same color. He asked some people what had happened in that town. They told him that a princess was lost, and that he who could bring her back to the king should receive her hand in marriage and also half the property of the king. Juan then went to the king and promised to restore his daughter to him. The king agreed to reward him as the townspeople had said, if he should prove successful.
Early the next morning Juan, with his cap, sandals, and key, set out to look for the princess. After a two-day journey, he came to a mountain. Here he descended and began to look around. Finally he saw a huge rock, in which he found a small hole. He put the key in it, and the rock flew open. With his cap of invisibility on his head, he entered. There within he saw many ladies, who were confined in separate rooms. In the very last apartment he found the princess with a giant beside her. He went near the room of the princess, and opened the door with his key. The walls of all the rooms were like those of a prison, and were made of iron bars. Juan approached the princess, and remained near her until the giant went away.
As soon as the monster was out of sight, Juan took off his cap. The princess was surprised to see him, but he told her that he had come to take her away. She was very glad, but said that they had better wait for the giant to go away before they started. After a few minutes the giant went out to take a walk. When they saw that he had passed through the main door, they went out also. Juan put on his sandals and flew away with the princess. But when they were very near the king's palace, the princess disappeared; she was taken back by the giant's powerful magic. Juan was very angry, and he returned at once to the giant's cave. He succeeded in opening the main door, but he could not enter. After struggling in vain for about an hour, he at last determined to go to his brothers-in-law for help.
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When he had explained what he wanted, the king of the eagles said to him, "Juan, the life and power of the giant are in a little box at the heart of the ocean. No one can get that box except the king of the fishes, and no one can open it except the king of the lions. The life of the giant is in a little bird which is inside the box. This bird flies very swiftly, and I am the only one who can catch it. The strength of the giant is in a little egg which is in the box with the bird."
When the king of the eagles had finished his story, Juan went to the king of the fishes. "Will you fetch me the box which contains the life and strength of the giant?" said Juan to the king of the fishes. After asking him many questions, his brother-in-law swam away, and soon returned with the box. When Juan had received it from him, he thanked him and went to the king of the lions.
The king of the lions willingly opened the box for him. As soon as the box was opened, the little bird inside flew swiftly away. Juan took the egg, however, and went back to the king of the eagles, and asked him to catch the bird. After the little bird had been caught, Juan pushed on to the cave of the giant. When he came there, he opened the door and entered, holding the bird in one hand and the egg in the other. Enraged at the sight of Juan, the giant rushed at him; and Juan was so startled, that he crushed the egg and killed the bird. At once the giant fell on his back, and stretched out his legs to rise no more.
Juan now went through the cave, opening all the prison doors, and releasing the ladies. He carried the princess with him back to the palace. As soon as he arrived, a great celebration was held, and he was married to the princess. After the death of the king, Juan became ruler. He later visited his parents, and told them of all his adventures. Then he took them to his own kingdom, where they lived happily together.
Appendix B
The Story of Carancal
Narrated by José P. Caedo, a Tagalog from Batangas, Batangas
Once upon a time there lived a couple who had long been married, but had no child. Every Sunday they went to church and begged God to give them a son. They even asked the witches in their town why God would not give them a child. The witches told them that they would have one after a year, but that when born he would be no longer than a span. Nevertheless, the couple gave thanks.
After a year, a son was born to them. He was very small, as the witches had foretold, but he was stronger than any one would expect such a small child to be. "It is strange," said a neighbor. "Why, he eats more food than his stomach can hold." The boy grew larger and larger, and the amount of food he ate became greater and greater. When he became four feet tall, his daily requirements were a cavan of rice and twenty-five pounds of meat and fish. "I can't imagine how so small a person can eat so much food," said his mother to her husband. "He is like a grasshopper: he eats all the time."
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Carancal, as the boy was called, was very strong and very kind-hearted. He was the leader of the other boys of the town, for he could beat all of them in wrestling.
After a few years the family's property had all been sold to buy food for the boy. Day after day they became poorer and poorer, for Carancal's father had no other business but fishing. So one day when Carancal was away playing, the wife said to her husband, "What shall we do with Carancal? He will make us as poor as rats. It is better for us to tell him to go earn his living, for he is old enough to work."
"No, it is a shame to send him off," said the father, "for we asked God for him. I will take him to the forest and there kill him; and if the neighbors ask how he died, we will say that an accident befell him while cutting trees."
Early the next morning his father led Carancal to the forest, and they began to cut down a very big tree. When the tree was about to fall, Carancal's father ordered the son to stand where the tree inclined; so that when it fell, Carancal was entirely buried. The father immediately went home, thinking that his son had surely been killed; but when he and his wife were talking, Carancal came home with the big tree on his shoulders.
"Father, father, why did you leave me alone in the forest?" said the obedient boy.
The father could not move or speak, for shame of himself. He only helped his son unload the heavy burden. The mother could not speak either, for fear Carancal might suspect their bad intentions toward him. Accordingly, she and her husband planned another scheme.
The next day, Carancal was invited by his father to go fishing. They rowed and rowed until they were far out into the blue sea. Then they put their net into the water. "Carancal, dive down and see that our net is sound," said the father. Carancal obeyed. In about a minute, the water became red and began to foam. This made the old man think that his son had been devoured by a big fish, so he rowed homeward. When he reached home, his wife anxiously asked if Carancal was dead; and the husband said, "Yes." They then cooked their meal and began to eat. But their supper was not half finished when Carancal came in, carrying a big alligator. He again asked his father why he had left him alone to bring such a big load. The father said, "I thought you had been killed by a large fish." Carancal then asked his mother to cook him a cavan of rice, for he was tired from swimming such a long distance.
The couple were now discouraged; they could not think of any way by which to get rid of Carancal. At last the impatient woman said, "Carancal, you had better go out into the world to see what you can do toward earning your own living. You know that we are becoming poorer and poorer." . . .
"Mother," interrupted the boy, "I really did not wish to go away from you; but, now that you drive me as if I were not your son, I cannot stay." He paused for a moment to wipe the tears from his cheeks. "You know that I love you; but you, in turn, hate me. What shall I do? I am your son, and so I
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must not disobey you. But before I depart, father and mother, please give me a bolo, a big bolo, to protect myself in case of danger."
The parents willingly promised that he should have one, and after two days an enormous bolo five yards long was finished. Carancal took it, kissed the hands of his parents, and then went away with a heavy heart.
When he had left his little village behind, he did not know which way to go. He was like a ship without a rudder. He walked and walked until he came to a forest, where he met Bugtongpalasan. Carancal asked him where he was going; and Bugtongpalasan said, "I am wandering, but I do not know where to go. I have lost my parents, and they have left me nothing to inherit."
"Do you want to go with me?" said Carancal.
"Yes," said Bugtongpalasan.
"Let us wrestle first, and the loser will carry my bolo," said Carancal as a challenge. They wrestled; and Bugtongpalasan was defeated, so he had to carry the big bolo.
Then they continued their journey until they met Tunkodbola, whom Carancal also challenged to a wrestling-match. Tunkodbola laughed at Carancal, and said, "Look at this!" He twisted up a tree nearby, and hurled it out of sight.
"That is all right. Let us wrestle, and we will see if you can twist me," said Carancal scornfully. So they wrestled. The earth trembled, trees were uprooted, large stones rolled about; but Tunkodbola was defeated.
"Here, take this bolo and carry it!" said Carancal triumphantly; and they continued their journey.
When they reached the top of a mountain, they saw a big man. This was Macabuhalbundok. Carancal challenged him; but Macabuhalbundok only laughed, and pushed up a hill. As the hill fell, he said, "Look at this hill! I gave it only a little push, and it was overthrown."
"Well, I am not a hill," said Carancal. "I can balance myself." They wrestled together, and Carancal was once more the winner.
The four companions now walked on together. They were all wandering about, not knowing where to go. When they were in the midst of a thick wood, they became hungry; so Carancal, their captain, ordered one of them to climb a tall tree and see if any house was nigh. Bugtongpalasan did so, and he saw a big house near the edge of the forest. They all went to the house to see if they might not beg some food.
It was a very large house; but all the windows were closed, and it seemed to be uninhabited. They knocked at the door, but no one answered. Then they went in, and found a table covered with
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delicious food; and as they were almost famished, they lost no time in devouring what seemed to have been prepared for them. After all had eaten, three of them went hunting, leaving Bugtongpalasan behind to cook more food for them against their return.
While Bugtongpalasan was cooking, he felt the earth tremble, and in a short time he saw a big giant ascending the stairs of the house, saying, "Ho, bajo tao cainco," which means "I smell a man whom I will eat." Bugtongpalasan faced him, but what could a man do to a big giant? The monster pulled a hair out of his head and tied Bugtongpalasan to a post. Then he cooked his own meal. After eating, he went away, leaving his prisoner in the house.
When the three arrived, they were very angry with Bugtongpalasan because no food had been prepared for them; but they untied him, and made him get the meal. Tunkodbola was the next one left behind as cook while the others went hunting, but he had the same experience as Bugtongpalasan. Then Macabuhalbundok; but the same thing happened to him too.
It was now the turn of Carancal to try his wit, strength, and luck. Before the three left, he had them shave his head. When the giant came and saw that Carancal's head was white, he laughed. "It is a very fine thing to have a white head," said the giant. "Make my head white, too."
"Your head must be shaved to be white," said Carancal, "and it is a very difficult thing to shave a head."
"Never mind that! I want to have my head shaved," said the giant impatiently.
Carancal then got some ropes and wax. He tied the giant tightly to a post, and then smeared his body with wax. He next took a match and set the giant's body on fire. Thus the giant was destroyed, and the four lived in the house as if it were their own.
Not long afterwards a rumor reached their ears. It was to this effect: that in a certain kingdom on the other side of the sea lived a king who wanted to have a huge stone removed from its place. This stone was so big that it covered much ground. The prize that would be given to the one who could remove it was the hand of the king's prettiest daughter.
The four set out to try their strength. At that time there were no boats for them to sail on, so they had to swim. After three weeks' swimming, they landed on an island-like place in the sea, to rest. It was smooth and slippery, which made them wonder what it could be. Carancal, accordingly, drew his bolo and thrust it into the island. How fast the island moved after the stroke! It was not really an island, but a very big fish. Fortunately the fish carried the travellers near the shores of the kingdom they were seeking.
When the four arrived, they immediately presented themselves to the king, and told him that they would try to move the stone. The king ordered one of his soldiers to show them the stone. There a big crowd of people collected to watch the four strong men.
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The first to try was Bugtongpalasan. He could hardly budge it. Then Tunkodbola tried, but moved it only a few yards. When Macabuhalbundok's turn came, he moved the great stone half a mile; but the king said that it was not satisfactory. Carancal then took hold of the rope tied to the stone, and gave a swing. In a minute the great stone was out of sight.
The king was very much pleased, and asked Carancal to choose a princess for his wife. "I am not old enough to marry, my lord," said Carancal sadly (sic!). "I will marry one of my companions to your daughter, however, if you are willing." The king agreed, and Bugtongpalasan was made a prince.
The three unmarried men lived with Bugtongpalasan. By this time they were known not only throughout the whole kingdom where they were, but also in other countries. They had not enjoyed a year's hospitality in Bugtongpalasan's home when a letter addressed to the four men came. It was as follows:--
I have heard that you have superhuman strength, which I now greatly need. About a week ago a monster fish floated up to the shore of my town. It is decaying, and has a most offensive odor. My men in vain have tried to drag the fish out into the middle of the sea. I write to inform you that if you can rid us of it, I will let one of you marry my prettiest daughter.
King Walangtacut
After Carancal had read the letter, he instantly remembered the fish that had helped them in travelling. The three companions made themselves ready, bade Bugtongpalasan goodbye, and set out for Walangtacut's kingdom. They travelled on foot, for the place was not very far away.
In every town they passed through, the people cried, "Hurrah for the strong men!" The king received them with a banquet, and all the houses of the town were decorated with flags. In a word, every one welcomed them.
After the banquet was over, the three men marched with the king and all his counsellors, knights, dukes, and the common people to where the decaying fish lay. In this test, too, Carancal was the only successful one. Again he refused to marry; but as the princess was very anxious to have a strong man for her husband, Tunkodbola was chosen by Carancal, and he became her husband.
The fame of the strong men was now nearly universal. All the surrounding kings sent congratulations. The heroes received offers of marriage from many beautiful ladies of the neighboring kingdoms.
One day when Carancal and Macabuhalbundok were talking together, one of them suggested that they go on another journey. The other agreed, and both of them made preparations. But when they were about to start, a letter from another king came, addressed to Carancal. The king said in his letter that a great stone had fallen in his park. "It is so big that I thought it was the sky that fell," he wrote. "I am willing to marry you to my youngest daughter if you can remove it from its present place," said the king.
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The two friends accepted the invitation, and immediately began their journey. They travelled by land and sea for many a day. At last they reached the place. There they found the same stone which they had removed before. As he knew that he could not move it far enough, Macabuhalbundok did not make any attempt. Carancal was again the one who did the work.
Once more, Carancal refused to marry. "I am too young yet to marry," he said to the king. "In my place I will put my companion." So Macabuhalbundok was married.
Carancal remained a bachelor, for he did not wish to have a wife. The three princes considered him as their father, though he was younger than any of them. For a long time Carancal lived with each of them a year in rotation. Not long after the marriage of Macabuhalbundok, the father-in-law of Bugtongpalasan died, and so Bugtongpalasan became the king. Then the following year Tunkodbola's father-in-law died, and Tunkodbola became also a king. After many years the father-in-law of Macabuhalbundok died, and Macabuhalbundok succeeded to the throne. Thus Carancal was the benefactor of three kings.
One day Carancal thought of visiting his cruel parents and of living with them. So he set out, carrying with him plenty of money, which the three kings had given him. This time his parents did not drive him away, for he had much wealth. Carancal lived once more with his parents, and had three kings under him.
Appendix C
Juan and Clotilde
Narrated by Vicente Hilario, a Tagalog who heard the story from an old man living in Batangas
In ages vastly remote there lived in a distant land a king of such prowess and renown, that his name was known throughout the four regions of the compass. His name was Ludovico. His power was increased twofold by his attachment to an aged magician, to whom he was tied by strong bonds of friendship.
Ludovico had an extremely lovely daughter by the name of Clotilde. Ever since his arrival at the palace, the magician had been passionately in love with her; but his extreme old age and his somewhat haughty bearing were obstacles in his path to success. Whenever he confesses love to her, she turned aside, and listened instead to the thrilling tales told by some wandering minstrel. The magician finally succumbed to the infirmities of old age, his life made more burdensome by his repeated disappointments. He left to the king three enchanted winged horses; to the princess, two
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magic necklaces of exactly the same appearance, of inimitable workmanship and of priceless worth. Nor did the magician fall to wreak vengeance on the cause of his death. Before he expired, he locked Clotilde and the three magic horses in a high tower inaccessible to any human being. She was to remain in this enchanted prison until some man succeeded in setting her free.
Naturally, King Ludovico wanted to see his daughter before the hour of his death, which was fast approaching. He offered large sums of money, together with his crown and Clotilde's hand, to anybody who could set her free. Hundreds of princes tried, but in vain. The stone walls of the tower were of such a height, that very few birds, even, could fly over them.
But a deliverer now rose from obscurity and came into prominence. This man was an uneducated but persevering peasant named Juan. He possessed a graceful form, herculean frame, good heart, and unrivalled ingenuity. His two learned older brothers tried to scale the walls of the tower, but fared no better than the others. At last Juan's turn came. His parents and his older brothers expostulated with him not to go, for what could a man unskilled in the fine arts do? But Juan, in the hope of setting the princess free, paid no attention to their advice. He took as many of the biggest nails as he could find, a very long rope, and a strong hammer. As he lived in a town several miles distant from the capital, he had to make the trip on horseback.
One day Juan set out with all his equipment. On the way he met his disappointed second brother returning after a vain attempt. The older brother tried in every way he could to divert Juan from his purpose. Now, Juan's parents, actuated partly by a sense of shame if he should fail, and partly by a deep-seated hatred, had poisoned his food without his knowledge. When he felt hungry, he suspected them of some evil intention: so before eating he gave his horse some of his provisions. The poor creature died on the road amidst terrible sufferings, and Juan was obliged to finish the journey on foot.
When he arrived at the foot of the tower, he drove a nail into the wall. Then he tied one end of his rope to this spike. In this way he succeeded in making a complete ladder of nails and rope to the top of the tower. He looked for Clotilde, who met him with her eyes flooded with tears. As a reward for his great services to her, she gave him one of the magic necklaces. While they were whispering words of love in each other's ears, they heard a deafening noise at the bottom of the tower. "Rush for safety to your ladder!" cried Clotilde. "One of the fiendish friends of the magician is going to kill you."
But, alas! Some wanton hand had pulled out the nails; and this person was none other than Juan's second brother. "I am a lost man," said Juan.
"Mount one of the winged horses in the chamber adjoining mine," said Clotilde. So Juan got on one of the animals without knowing where to go. The horse flew from the tower with such velocity, that Juan had to close his eyes. His breath was almost taken away. In a few seconds, however, he was landed in a country entirely strange to his eyes.
After long years of struggle with poverty and starvation, Juan was at last able to make his way back to his native country. He went to live in a town just outside the walls of the capital. A rich old
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man named Telesforo hired him to work on his farm. Juan's excellent service and irreproachable conduct won the good will of his master, who adopted him as his son. At about this time King Ludovico gave out proclamations stating that anyone who could exactly match his daughter's necklace should be his son-in-law. Thousands tried, but they tried in vain. Even the most dexterous and experienced smiths were baffled in their attempts to produce an exact counterfeit. When word of the royal proclamations was brought to Juan, he decided to try. One day he pretended to be sick, and he asked Telesforo to go to the palace to get Clotilde's necklace. The old man, who was all ready to serve his adopted son, went that very afternoon and borrowed the necklace, so that he might try to copy it. When he returned with the magic article, Juan jumped from his bed and kissed his father. After supper Juan went to his room and locked himself in. Then he took from his pocket the necklace which Clotilde had given him in the tower, and compared it carefully with the borrowed one. When he saw that they did not differ in any respect, he took a piece of iron and hammered it until midnight.
Early the next morning Juan wrapped the two magic necklaces in a silk handkerchief, and told the old man to take them to the king. "By the aid of the Lord!" exclaimed Clotilde when her father the king unwrapped the necklaces, "my lover is here again. This necklace," she said, touching the one she had given Juan, "is not a counterfeit" for it is written in the magician's book of black art that no human being shall be able to imitate either of the magic necklaces.—“Where is the owner of this necklace, old man?" she said, turning to Telesforo.
"He is at home," said Telesforo with a bow.
"Go and bring him to the palace," said Clotilde.
Within a quarter of an hour Juan arrived. After paying due respect to the king, Juan embraced Clotilde affectionately. They were married in the afternoon, and the festivities continued for nine days and nine nights. Juan was made crown-prince, and on the death of King Ludovico he succeeded to the throne. King Juan and Queen Clotilde lived to extreme old age in peace and perfect happiness.
APPENDIX D
Extracted Sentences from Katigbak’s Juan and His Adventures Depicting the Transitivity Process Exposed in each Narrative Function
ActsNarrative Functions
Transitivity Process
Act 1Departure
*Synergy Pedro earned their living by selling the leaves of that tree.
Material
*Dissonance So he went to the foot of the mountain one day, and cut the tree down.
Material
Trickery
The snake said to Pedro, "I gave you the leaves of this tree to sell; and now, after you have gotten much money from it, you cut it down. There is but one suitable punishment for you: within three days you must bring all your daughters here and give them to me."
Verbal
Complicity "Don't worry, father! We will go there with you," Verbal
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said the three daughters.First Function of
the DonorEach of the three girls gave her mother a handkerchief as a remembrance.
Material
Absentation As soon as they reached the foot of the mountain, the three daughters disappeared at once, and the poor father returned home cheerless.
Relational
Miraculous Conception
A year had not passed by before a son was born to the old couple.
Existential
Preparation, Mediation,
Withdrawal, and Refusal
"Have I any sister?" said Juan to his mother. Verbal
Beginning Counter Action
Juan was so angry, that he asked his parents to give him permission to go in search of his sisters.
Verbal
Departure So, taking the three handkerchiefs with him, Juan set out, and went to the mountain.
Material
Act 2Initiation
*Second Function of the Donor
Juan told the three boys that it would be better for them to give him those articles than to quarrel about them; and the boys agreed, because they did not want either of the others to have them.
Verbal
Provision or Receipt of a
Magical Agent
Juan put the key in his pocket, the cap on his head, and the sandals on his feet, and flew away.
Material
*Crossing of the First Threshold
Near the place where he alighted he saw a cave. He approached its mouth, and opened the door with his key.
Material
Unrecognized Arrival
"Who are you?" said the girl, startled. Verbal
Branding"I have no brother," said the lady, but she was surprised to see the handkerchiefs which Juan showed her. After he had told her his story, she believed that he was really her brother.
Material
Spatial Transparence between Two
Kingdoms
The lion told him that they lived on the next two mountains. Verbal
Liquidation of Initial Misfortune
Juan's three brothers-in-law loved him very much, and promised to aid him whenever he needed their help.
Verbal
Call To AdventureThey told him that a princess was lost, and that he who could bring her back to the king should receive her hand in marriage and also half the property of the king.
Verbal
Beginning Counter-Action
Juan then went to the king and promised to restore his daughter to him.
Material
Departure Early the next morning Juan, with his cap, sandals, and key, set out to look for the princess.
Material
Crossing of the Second Threshold
He went near the room of the princess, and opened the door with his key. The walls of all the rooms were like those of a prison, and were made of iron bars.
Material
The princess was surprised to see him, but he told
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Meeting with Goddess
her that he had come to take her away. She was very glad, but said that they had better wait for the giant to go away before they started.
Verbal
Rescue Juan put on his sandals and flew away with the princess.
Material
The Road of Trials
Giant stole back the princess. MaterialJuan went to his brother-in-law for help. MaterialThe king of the eagles the detailed the solution to kill the giant.
Verbal
The king of the fishes to fetch the box for Juan’s request.
Material
The king of the lions willingly opened the box for Juan.
Material
The king of the eagles caught the bird from the box for Juan.
Material
*Indirect Struggle
Enraged at the sight of Juan, the giant rushed at him; and Juan was so startled, that he crushed the egg and killed the bird.
Behavioral
*Liquidation of the Second Misfortune
At once the giant fell on his back, and stretched out his legs to rise no more. Juan now went through the cave, opening all the prison doors, and releasing the ladies. He carried the princess with him back to the palace.
Material
Wedding As soon as he arrived, a great celebration was held, and he was married to the princess.
Material
Reward Then he took them to his own kingdom, where they lived happily together.
Material
Act IIIReturn
Return He later visited his parents, and told them of all his adventures.
Material
APPENDIX E
Extracted Sentences from Katigbak’s Juan and His Adventures Depicting the Transitivity Process Exposed in each Narrative Function
ActsNarrative Functions
Transitivity Process
Miraculous Conception and Birth
Once upon a time there lived a couple who had long been married, but had no child.
They beg to God and witches and after a year a son was born to them.
Existential
Childhood, Initiation and Divine Signs
He was very small, as the witches had foretold, but he was stronger than any one would expect such a small child to be.
Relational
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Act 1
Departure
Preparation, Mediation, Withdrawal and Refusal
Carancal’s father ordered the son to stand where the tree inclined; so that when it fell, Carancal was entirely buried.
Material
Carancal came home with the big tree on his shoulders. Material
Carancal, dive down and see that our net is sound,” said the father.
Material
Carancal came in, carrying a big alligator. Material
First Function of The Donor
The parents willingly promised that he should have one, and after two days an enormous bolo five yards long was finished. Material
Hero’s Reaction
Carancal took it, kissed the hands of his parents, and then went away with a heavy heart.
Material
Departure Carancal took it, kissed the hands of his parents, and then went away with a heavy heart.
Material
Act 2
Initiation
The Road of Trials
They wrestled; and Bugtongpalasan was defeated, so he had to carry the big bolo.
Material
The earth trembled, trees were uprooted, large stones rolled about; but Tunkodbola was defeated.
Material
They wrestled together, and Carancal was once more the winner.
Material
The four companions now walked on together. Material
*Indirect Villainy
The monster pulled a hair out of his head and tied Bugtongpalasan to a post.
Material
Tunkodbola was the next one left behind as cook while the others went hunting, but he had the same experience as Bugtongpalasan.
Material
Then Macabuhalbundok; but the same thing happened to him too.
Materia
*Inverted Trickery
Carancal got some ropes and wax, tied the giant tightly to a post, smeared his body with wax and took a match and set the giant’s body on fire.
Material
Liquidation of Initial
Misfortune
Thus the giant was destroyed, and the four lived in the house as if it were their own.
Material
Call to Adventure
Not long afterwards a rumor reached their ears that in a certain kingdom on the other side of the sea lived a king who wanted to have a huge stone removed from its place.
Material
The four set out to try their strength. Material
130
Road
of Trials
After three weeks’ swimming, they landed on an island-like place in the sea, to rest.
Material
Carancal, accordingly, drew his bolo and thrust it into the island.
Material
Spatial Transference Between Two
Kingdoms
Fortunately, the fish carried the travelers near the shores of the kingdom they were seeking.
Material
Unrecognized Arrival
When the four arrived, they immediately presented themselves to the king, and told him that they would try to move the stone.
Material
Difficult Task
Bugtongpalasan could hardly budge it. Material
Then Tunkodbola tried, but moved it only a few yards. Materia
When Macabuhalbundok’s turn came, he moved the great stone half a mile.
Materia
Solution Carancal then took hold of the rope tied to the stone, and gave a swing.
Material
Recognition
The king was very much pleased, and asked Carancal to choose a princess for his wife but he said sadly “I will marry one of my companions to your daughter”.
Behavioral
Wedding Bugtongpalasan was made a prince. Material
Reward The three unmarried men lived with Bugtongpalasan. Material
Call to Adventure
They had not enjoyed a year’s hospitality in Bugtongpalasan’s home when a letter addressed to the four men came. Material
*Recognized Arrival
In every town they passed through, the people cried, “Hurrah for the strong men!”, the king received them with a banquet, all the houses of the town were decorated with flags and every one welcomed them.
Material
Difficult Task
In this test, too, Carancal was the only successful one. Material
Solution In this test, too, Carancal was the only successful one. Material
Recognition All the surrounding and the kings sent congratulations. Material
The princess was very anxious to have a strong man for her husband, Tunkodbola was chosen by Carancal, and
Material
131
Wedding he became her husband.
Call to
Adventure
A letter from another king came, addressed to Carancal. Material
Difficult Task
There they found the same stone which they had removed before.
Material
Recognition The three princes considered him as their father, though he was younger than any of them.
Material
Wedding Macabuhalbundok was married. Material
Act III
Return
Return Carancal lived once more with his parents, and had three kings under him.
Material
APPENDIX F
Extracted Sentences from Hilario’s Juan and Clotilde Depicting the Transitivity Process Exposed in each Narrative Function
ActsNarrative Functions
Transitivity Process
Act 1Departure
*Synergy King Ludovico’s power was increased twofold by his attachment to an aged magician, to whom he was tied by strong bonds of friendship.
Material
*Dissonance Whenever he made love to Clotilde, she turned aside, and listened instead to the thrilling tales told by some wandering minstrel.
Material
First Function of the Donor
The magician left to the king three enchanted winged horses; to the princess, two magic necklaces of exactly the same appearance, of inimitable workmanship and of priceless worth.
Material
Villainy The magician locked Clotilde and the three magic Material
132
horses in a high tower inaccessible to any human being.
Call to Adventure
King Ludovico offered large sums of money, together with his crown and Clotilde's hand, to a nybody who could set her free.
Material
Preparation, Mediation,
Withdrawal, and Refusal
His parents and his older brothers expostulated with him not to go, for what could a man unskilled in the fine arts do?
Verbal
Beginning Counter Action
Juan took as many of the biggest nails as he could find, a very long rope, and a strong hammer.
Material
Departure One day Juan set out with all his equipment. Material
Act 2Initiation
Act 3Return
Road of Trials
The older brother tried in every way he could to divert Juan from his purpose.
Material
Juan's parents had poisoned his food without his knowledge.
Material
Juan suspected them of some evil intention: so before eating he gave his horse some of his provisions.
Mental
The poor creature died on the road amidst terrible sufferings
Behavioral
Juan was obliged to finish the journey on foot. RelationalCrossing of the First Threshold
Juan succeeded in making a complete ladder of nails and rope to the top of the tower
Material
Meeting with Goddess
Juan looked for Clotilde, who met him with her eyes flooded with tears
Material
*Second Function of the
Donor
As a reward for his great services to her, Clotilde gave him one of the magic necklaces.
Material
Road of Trials Some wanton hand had pulled out the nails; and this person was none other than Juan's second brother.
Material
Provision or Receipt of a
Magical Agent
So Juan got on one of the animals without knowing where to go
Material
Rescue The horse flew from the tower with such velocity, that Juan had to close his eyes.
Material
Unrecognized Arrival
Juan was landed in a country entirely strange to his eyes.
Material
Return Juan was at last able to make his way back to his native country.
Material
Atonement with the Father
A rich old man named Telesforo hired him to work on his farm. Juan's excellent service and irreproachable conduct won the good will of his master, who adopted him as his son.
Material
Unfounded Claims
Even the most dexterous and experienced smiths were baffled in their attempts to produce an exact counterfeit.
Material
Difficult task One day Juan pretended to be sick, and he asked Telesforo to go to the palace to get Clotilde's necklace.
Verbal
Solution "By the aid of the Lord!" exclaimed Clotilde when her father the king unwrapped the necklaces, "my lover is here again.
Verbal
133
Recognition "Go and bring him to the palace," said Clotilde. VerbalWedding They were married in the afternoon, and the
festivities continued for nine days and nine nights. Material
CURRICULUM VITAE
BEVERLY R. CARTAGO#254 San Roque Santo Tomas, BatangasMobile No: 09183181752E-mail Address: b.cartago@yahoo.com
CAREER OBJECTIVES To be part of a performing educational field, that will enable me to grow,
while meeting the educational systems, goals and objectives. To obtain a position as a School Teacher that will utilize my strong
dedication to children’s development and to their educational needs.HIGHLIGHTS OF QUALIFICATION
134
Adaptive and flexible Proficient in Microsoft Word, Excel and PowerPoint Fast learner Have pleasant personality Proficient in English and Filipino
EDUCATIONAL BACKGROUND
Tertiary Batangas State University - JPLPCMalvar CampusMalvar, Batangas
Course Bachelor of Secondary EducationMajor in EnglishJune 2011 – 2015
Secondary Tanauan Institute Brgy. 4, Tanauan City High School2007-2011
Primary Sto. Tomas Central SchoolPoblacion 2, Sto. Tomas, Batangas2001-2007
SEMINARS AND TRAININGS ATTENDED
“Ethical Conduct: Honing Responsive and Responsible Pre-Service Teachers”
Batangas State University – JPLPC Malvar CampusPoblacion, Malvar, BatangasOctober 15, 2014
“Future Educators’ Conference 2014”Batangas State University – JPLPC Malvar CampusPoblacion, Malvar, BatangasOctober 15, 2014
“BAFED 2013: Molding the Minds and Creativity of Future Educators”Lipa City CollegesLipa City
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February 28, 2013
“Nurturing Competencies for Multi-Cultural Education in a Glocal Setting”Batangas State University – JPLPC Malvar CampusPoblacion, Malvar, BatangasDecember 18, 2014
Innovative Teaching Strategies for K to 12 Classroom Lipa City Cultural and Convention Center Lipa City, Batangas September 27, 2014
“Step Up 2nd International Educators Conference “Education Beyond Borders””
Henry Lee Irwin SJ Theater, Ateneo de Manila University Philippines August 10, 2013
“Going Native: Language of Instruction for Contemporary Educators” Batangas State University- JPLPC CampusMalvar, Batangas October 4, 2013
“Enhancing Professional and Academic Competencies with Social Sensitivities”
Batangas State University- JPLPC CampusMalvar, BatangasDecember 13, 2013
“Advocating Quality Borderless Education”La Leona ResortSampaguita, Lipa CityDecember 14-15, 2013
AFFILIATIONS
Teacher Education Student CouncilBatangas State University - JPLPCMalvar CampusMalvar, Batangas Member : 2011 - 2015 Secretary : 2013-2014
Chatter Box SocietyBatangas State University - JPLPC
136
Malvar CampusMalvar, Batangas
Member : 2011 - 2015Business Manager : 2012 – 2013
Supreme Student CouncilBatangas State University - JPLPCMalvar CampusMalvar BatangasMember : 2011 – 2015
Volunteer Teacher of Summer Pre-Kindergarten Program (SPKP)New Era UniversitySummer Pre-Kindergarten ProgramNew Era, Quezon City2010-2015
PERSONAL INFORMATION
Age : 21 years old
Sex : Female
Date of Birth : December 09, 1993
Place of birth : San Roque Sto. Tomas, Batangas
Religion : Iglesia Ni Cristo
Civil Status : Single
Father's Name : Gabriel M. Cartago (deceased)
Mother’s Name : Milagros R. Cartago
137
CURRICULUM VITAE
JOYCE ANN M. MALABANAN#71 Natatas, Tanauan City, BatangasMobile No: 09068257922E-mail Address: joyceann_malabanan01@yahoo.com
CAREER OBJECTIVES To be part of a performing educational field, that will enable me to grow,
while meeting the educational systems, goals and objectives. To obtain a position as a Secondary School Teacher to use my strong
passion for children’s development and to fulfill their educational needs.HIGHLIGHTS OF QUALIFICATION
138
Adaptive Fast learner Computer literate Can do multi-tasking Can work under pressure Have pleasant personality Proficient in writing and speaking English and Filipino
EDUCATIONAL BACKGROUND
Tertiary Batangas State University - JPLPCMalvar CampusMalvar, Batangas
Course Bachelor of Secondary EducationMajor in EnglishJune 2011 - 2015
Secondary Natatas National High SchoolNatatas, Tanauan City, BatangasJune 2007 – 2011
Primary Natatas Elementary School Natatas, Tanauan City, Batangas
2001-2007
SEMINARS AND TRAININGS ATTENDED
“One Life to Live”La Ezperanza ResortSan Antonio, QuezonMarch 13, 2015
“Nurturing Competencies for Multi-Cultural Education in a Global Setting”Batangas State University – JPLPC Malvar CampusPoblacion, Malvar, BatangasDecember 18, 2014
“Ethical Conduct: Honing Responsive and Responsible Pre-Service Teachers”
Batangas State University – JPLPC Malvar CampusPoblacion, Malvar, BatangasOctober 15, 2014
139
“Future Educators’ Conference 2014”Batangas State University – JPLPC Malvar CampusPoblacion, Malvar, BatangasOctober 15, 2014
Innovative Strategies for K to 12 Classroom Lipa City Cultural and Convention Center Lipa City, Batangas September 27, 2014
“Advocating Quality Borderless Education”La Leona ResortSampaguita, Lipa City December 14-15, 2013
“Enhancing Professional and Academic Competencies with Social Sensitivities”
Batangas State University- JPLPC CampusMalvar, BatangasDecember 13, 2013
“Going Native: Language of Instruction for Contemporary Educators” Batangas State University- JPLPC Campus
Malvar, BatangasOctober 4, 2013
“BAFED 2013: Molding the Minds and Creativity of Future Educators”Lipa City CollegesLipa City February 28, 2013
AFFILIATIONS
Supreme Student CouncilBatangas State University - JPLPCMalvar CampusMalvar Batangas
Member : 2011 – 2015
Teacher Education Student CouncilBatangas State University - JPLPCMalvar CampusMalvar, Batangas
140
Member : 2011 - 2015 PRO : 2012 - 2013
Chatterbox SocietyBatangas State University - JPLPCMalvar CampusMalvar, Batangas Member : 2011 - 2015
PRO : 2012 - 2015PRO : 2013 – 2014
PERSONAL INFORMATION
Age : 20 years old
Sex : Female
Date of Birth : March 01, 1995
Place of birth : Tanauan, Batangas
Religion : Roman Catholic
Civil Status : Single
Father's Name : Pedro M. Malabanan
Mother’s Name : Pelagia M. Malabanan
141
CURRICULUM VITAE
MARINETH B. OLEA274 P. Carandang St., Brgy. III, Tanauan City, Batangas
Mobile No: 0926-517-2839E-mail Address: marinetholea@ymail.com
CAREER OBJECTIVES
To be part of a performing educational field, that will enable me to grow, while meeting the educational systems, goals and objectives.
To obtain a position as a School Teacher that will utilize my strong dedication to children’s development and to their educational needs.
HIGHLIGHTS OF QUALIFICATION
142
Adaptive and flexible Proficient in writing Computer literate Have pleasant personality
EDUCATIONAL BACKGROUND
Tertiary Batangas State University – JPLPC CampusMalvar, Batangas
Course Bachelor of Secondary Education Major in English
June 2011 – March 2015
Secondary Bernardo Lirio Memorial National High School Barangay Darasa, Tanuan City, Batangas 2006 – 2010
Primary Tanauan South Central School Barangay I, Tanauan City, Batangas
2000 – 2006
SEMINARS ATTENDED
“Youth Volunteer Orientation Course”Tanauan North Central SchoolTanauan City, BatangasJuly 13, 2007
“Youth Leadership Formation Course”Tanauan North Central SchoolTanauan City, BatangasJuly 14, 2007
“Basic Leadership Training for Red Cross Youth”Tanauan North Central SchoolTanauan City, BatangasJuly 14-15, 2007
“Language is Power”
143
Batangas State University – JPLPC CampusMalvar, BatangasDecember 13, 2011
“STEP UP 2nd International Educator’s Conferrence: Education beyond Conference”
Henry Lee Irwin SJ TheaterAteneo de Manila UniversityPhilippinesAugust 10, 2013
“Innovative Teaching Strategies for K to 12 Classroom”PAFTE Region IV-A ChapterLipa City Cultural and Convention CenterLipa City, BatangasSeptember 27, 2013
“Going Native: Language of Instruction for Contemporary Educators”Batangas State University – JPLPC CampusMalvar, BatangasOctober 4, 2013
“K-12 and Beyond: Principles and Concepts for the 21st Century Learners”Lipa City CollegesLipa City, BatangasFebruary 7, 2014
AFFILIATION
Chatter Box SocietyBatangas State University- JPLPCMalvar CampusMalvar, Batangas
Member: 2011 – 2015Auditor: 2013 – 2014
Citizenship Advancement Training Bernardo Lirio Memorial National High SchoolBrgy. Darasa, Tanauan City, Batangas
Cdtt. 2nd Flight Leader: 2005 – 2006
144
Red Cross Youth VolunteerTanauan South Central SchoolTanauan City, Batangas Member: 2006 – 2007
PERSONAL INFORMATION
Age : 21 years old
Sex : Female
Birth date : November 7, 1993
Place of birth : Barangay I, Tanauan City, Batangas
Religion : Roman Catholic
Civil Status : Single
Father's Name : Marcelino B.Olea
Mother’s name : Nenita B. Olea
145
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