92-597: Hinilawod is an epic poem orally transmitted from early inhabitants of a place called Sulod in central Panay , Philippines . The term "Hinilawod" generally translates to "Tales From The Mouth of The Halawod River". The epic must have been commonly known to the Visayans of Panay before the conquest, since its main protagonists, like Labaw Donggon, were noted in the accounts of the Islanders' beliefs and recorded by early Spanish colonizers. One of these Westerners' accounts says that
184-572: A kalaw ( hornbill ) or a kakatua ( cockatoo ). Other animals depicted in kampilan pommels include monitor lizards and crocodiles . Among the Lumad people of the interiors of Mindanao , kampilan pommels do not typically depict animals, but is instead a simple curving shape that flares out at the end. Kampilan hilts are typically made from hardwood, but expensive examples that belonged to datu are covered in silver sheet or are entirely manufactured out of expensive materials such as horn or bone. Like
276-503: A big feast was held. During the banquet, a guest minstrel sang and extolled the beauty of Burigadang Pada Sinaklang Bulawan, Goddess of Wealth and Greed. Enchanted by the story, Humadapnon started on a quest to seek the goddess' hand in marriage. He met Buyong Makabagting, son of the Datu Balahidyong of Paling Bukid, who was also vying for the hand of Burigadang Pada Sinaklang Bulawan. The two duelled and Humadapnon emerged victorious,
368-429: A chain mail covering was attached to prevent the hand from injury. Almost all kampílan originally had large metal staples protruding from the cross guard above the grip. The complete tang of the kampílan disappears into a crossguard , which is often decoratively carved with geometric or flowing patterns. The guard prevents the enemy's weapon from sliding all the way down the blade onto bearer's hand and also prevents
460-422: A duel. The duel lasted for years. Labaw Donggon held Saragnayan's head underwater for seven years but Saragnayan survived. Labaw Donggon then tied Saragnayan to the top of a rock and beat him hard with a coconut trunk, but this proved futile. Labaw Donggon then hurled Saragnayan upwards towards the sky, yet failed to kill him. The two fought for many years until finally, Labaw Donggon weakened. Saragnayan imprisoned
552-493: A fishnet out of fear during the battle. Believing their father to have returned home before them, the brothers sailed home only to realize that Labaw Donggon was still missing. Humadapnon and Dumalapdap then searched for their missing brother, finding Labaw Donggon under the fishnet in a deranged state. Labaw Donggon's brothers returned him home to his wives. Anggoy Ginbitinan and Anggoy Doronoon cured Labaw Donggon from his madness and his former strength returned to him. Meanwhile,
644-446: A handle that allowed half of the scabbard to serve as a small shield. The hilt is quite long in order to counterbalance the weight and length of the blade and is made of hardwood. As with the blade, the design of the hilt's profile is relatively consistent from blade to blade. The hilt is sometimes wrapped with rattan to improve the grip. At times the hilt was bound to the hand by a talismanic piece of cloth to prevent slippage. Sometimes
736-569: A six by twelve feet opus of Geroche. This epic, which is orally transmitted from one generation to another, is still very much a part of the culture of the Sulod Nation in the mountains of Jamindan, Capiz. In April 1999, Alejo Zata recorded the epic as it was chanted by the natives of Sulod. University of San Agustin Little Theater (USALT) has staged its version of the Humadapnon fragment of
828-466: A two-headed monster called Balanakon. The monster guarded the ridge that led to the place where the maiden lived. They managed to kill the monster but were confronted with another kind of monster when they reached the gate of the palace where the maiden lived. Called Uyutang, the monster was similar to a bat with sharp, poisonous claws. Dumalapdap fought with the Uyutang for seven months. He was able to defeat
920-480: A village by the mouth of the Halawod River. The demigod left his dominion to look for the maiden named Nagmalitong Yawa. He brought with him a boatful of crew. Humadapnon and his men safely traversed a blood-coloured sea with the help of his spirit friends. They landed on an island that was inhabited by beautiful women and headed by the sorceress, Ginmayunan. For seven years, Humadapnon and his crew were imprisoned in
1012-730: A whole live person. Humadapnon brought his wife back to Panay. An abridged version was the first stage performance of the epic during the inauguration of the Cultural Center of Western Visayas on the campus of West Visayas State University in Iloilo City , Philippines in March 1983 under the patronage of the Cultural Center of the Philippines and the former First Lady of the Philippines , Imelda Marcos . The cultural group, Panayana performed
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#17328491268421104-456: A wife. He heard of the beauty of Anggoy Ginbitinan of Handug and wanted her for a wife. He asked his mother to prepare the things he will need for the journey—a magic cape, hat, belt, and kampilan (a large, two-handed sword ). The journey to Handug took several days through plains, valleys, and mountains. When Labaw Donggon finally arrived, he asked for an audience with Anggoy Ginbitinan's mother and asked for her hand in marriage. The marriage
1196-404: A young man who spirited his wife away. The duel ended when Alunsina intervened and revealed that the young man is also her son, Amarotha. This son died during childbirth and was brought back from the dead to keep Alunsina company. Alunsina decided that both Humadapnon and Amarotha deserved a piece of Nagmalitong Yawa so she cut the girl in half and gave a piece each to her sons. Each half turned into
1288-612: Is a rhyming verse stanza form that consists of an interlocking three-line rhyme scheme. An example is found in the first lines of the Divine Comedy by Dante , who originated the form: Nel mezzo del cammin di nostra vita (A) mi ritrovai per una selva oscura (B) ché la diritta via era smarrita. (A) Ahi quanto a dir qual era è cosa dura (B) esta selva selvaggia e aspra e forte (C) che nel pensier rinnova la paura! (B) In ottava rima , each stanza consists of three alternate rhymes and one double rhyme, following
1380-743: Is a couplet), as well as long prose passages, so that at ~1.8 million words it is roughly twice the length of Shahnameh , four times the length of the Rāmāyaṇa , and roughly ten times the length of the Iliad and the Odyssey combined. Famous examples of epic poetry include the Sumerian Epic of Gilgamesh , the ancient Indian Mahabharata and Rāmāyaṇa in Sanskrit and Silappatikaram and Manimekalai in Tamil,
1472-635: Is as follows: Old English, German and Norse poems were written in alliterative verse , usually without rhyme . The alliterative form can be seen in the Old English " Finnsburg Fragment " (alliterated sounds are in bold): Ac on w acnigeað nū, w īgend mīne e alra ǣ rest e orðbūendra, But awake now, my warriors, of all first the men While the above classical and Germanic forms would be considered stichic , Italian, Spanish and Portuguese long poems favored stanzaic forms, usually written in terza rima or especially ottava rima . Terza rima
1564-430: Is narrow near the hilt and it gradually swells in width into an almost trapezoidal profile at the end. The blades are often laminated with various styles of tip. Kampílan blades often have holes near the tip that are sometimes filled with brass. Rarer still are specimens that have tips exhibiting a kris -like fretwork, while others have engravings down the entire blade. Although the kampílan can be used with one hand, it
1656-400: Is not a complete biography of Roland, but picks up from the plot of Orlando Innamorato , which in turn presupposes a knowledge of the romance and oral traditions . Epic catalogues and genealogies are given, called enumeratio . These long lists of objects, places, and people place the finite action of the epic within a broader, universal context, such as the catalog of ships . Often,
1748-503: Is not coming back. Upon learning of this, Humadapnon asked his sister, Labing Anyag, to use her powers to bring Nagmalitong Yawa back to life. Seeing how remorseful he is, Labing Anyag agreed. However, Nagmalitong Yawa was so ashamed of agreeing to marry Buyung Sumagulung that she ran away to the underworld and sought the protection of her uncle Panlinugun, who is lord of the earthquake. Humadapnon had to kill an eight-headed serpent in his pursuit of Nagmalitong Yawa. Then he had to duel with
1840-408: Is perhaps Catullus 64 . Epyllion is to be understood as distinct from mock epic , another light form. Romantic epic is a term used to designate works such as Morgante , Orlando Innamorato , Orlando Furioso and Gerusalemme Liberata , which freely lift characters, themes, plots and narrative devices from the world of prose chivalric romance . Long poetic narratives that do not fit
1932-413: Is primarily a two-handed sword. The laminated steel blade of the kampílan is single-edged, and made from Damascus steel pattern welding process and is easily identified by its tapered profile, narrowest near the hilt and gently widening until its truncated point . The blade's spikelet has led to the description of the kampílan in some documents as "dual-tipped" or "double-tipped". The scabbard
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#17328491268422024-539: Is the most popular. In Serbian poetry, the decasyllable is the only form employed. Balto-Finnic (e.g. Estonian, Finnish, Karelian) folk poetry uses a form of trochaic tetrameter that has been called the Kalevala meter. The Finnish and Estonian national epics, Kalevala and Kalevipoeg , are both written in this meter. The meter is thought to have originated during the Proto-Finnic period. In Indic epics such as
2116-447: Is usually made of cheap wood and is bound with simple rattan or fibre lashings. When the sword needs to be used immediately, the sword bearer will simply strike with the sheathed sword and the blade will cut through the lashings, thereby effecting a quick, tactical strike without the need to unsheathe the sword. Scabbards are unadorned and are often disposable when going into battle. Some scabbards were also made of bamboo or were made with
2208-593: The Iliad ) or both. Epics also tend to highlight cultural norms and to define or call into question cultural values, particularly as they pertain to heroism . In the proem or preface, the poet may begin by invoking a Muse or similar divinity. The poet prays to the Muses to provide them with divine inspiration to tell the story of a great hero. Example opening lines with invocations: An alternative or complementary form of proem, found in Virgil and his imitators, opens with
2300-564: The Pemuras and Karga . The Mindanaos use a weapon quite distinct from that of the Ternatans . It is a campilan or cutlass of one edge, and heavier than the pointless Turkish weapon. It is a very bloody weapon, but, being so heavy, it is a danger for him who handles it, if he is not adroit with it. It has only two forms of use, namely, to wield it by one edge, and to raise it by the other, in order to deal another stroke, its weight allowing time for
2392-626: The epyllion (plural: epyllia), a brief narrative poem with a romantic or mythological theme . The term, which means "little epic ", came into use in the nineteenth century. It refers primarily to the erudite, shorter hexameter poems of the Hellenistic period and the similar works composed at Rome from the age of the neoterics ; to a lesser degree, the term includes some poems of the English Renaissance , particularly those influenced by Ovid . The most famous example of classical epyllion
2484-724: The Hiligaynon Hinilawod from the Visayas ; the Ilocano Biag ni Lam-Ang from Luzon ; and the Maranao Darangen of Mindanao . The kampilan also plays a central part in the Maranao and Maguindanao traditional war dance of Sagayan , which depicts a scene from the Darangen. Unlike other common precolonial Filipino bolo weapons which were based on agricultural implements,
2576-485: The Neo-Sumerian Empire . The poem details the exploits of Gilgamesh , the king of Uruk . Although recognized as a historical figure, Gilgamesh, as represented in the epic, is a largely legendary or mythical figure. The longest written epic from antiquity is the ancient Indian Mahabharata ( c. 3rd century BC –3rd century AD), which consists of 100,000 ślokas or over 200,000 verse lines (each shloka
2668-451: The Ramayana and Mahabharata , the shloka form is used. The primary form of epic, especially as discussed in this article, is the heroic epic , including such works as the Iliad and Mahabharata . Ancient sources also recognized didactic epic as a category, represented by such works as Hesiod 's Works and Days and Lucretius's De rerum natura . A related type of poetry is
2760-703: The Rugal sa Idalom (the netherworld) and vie for the hand of the beautiful Anggoy Doronoon. Labaw Donggon won the hand of the Anggoy Doronoon with little difficulty, and also took her home to his mother. Thereafter, the demigod went on third quest to the Eastern Sky. This time the object of his desire is Malitong Yawa Sinagmaling Diwata, the young bride of Saragnayan, the Lord of Darkness. Aboard his biday nga inagta (black boat), Labaw Donggon sailed across many seas and flew across
2852-634: The performative verb "I sing". Examples: This Virgilian epic convention is referenced in Walt Whitman 's poem title / opening line "I sing the body electric". Compare the first six lines of the Kalevala : These conventions are largely restricted to European classical culture and its imitators. The Epic of Gilgamesh , for example, or the Bhagavata Purana do not contain such elements, nor do early medieval Western epics that are not strongly shaped by
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2944-518: The 16th century the Spenserian stanza and blank verse were also introduced. The French alexandrine is currently the heroic line in French literature, though in earlier literature – such as the chanson de geste – the decasyllable grouped in laisses took precedence. In Polish literature, couplets of Polish alexandrines (syllabic lines of 7+6 syllables) prevail. In Russian, iambic tetrameter verse
3036-456: The ABABABCC rhyme scheme . Example: Canto l'arme pietose, e 'l Capitano Che 'l gran sepolcro liberò di Cristo. Molto egli oprò col senno e con la mano; Molto soffrì nel glorioso acquisto: E invan l'Inferno a lui s'oppose; e invano s'armò d'Asia e di Libia il popol misto: Chè 'l Ciel gli diè favore, e sotto ai santi Segni ridusse i suoi compagni erranti. The sacred armies, and
3128-500: The Gods, decreed that the beautiful Alunsina (also called Laun Sina, "Unmarried One") be wed upon reaching maidenhood. Though all the unmarried gods from every corner of the universe tried to win her hand in marriage, she chose to marry the mortal Datu Paubari, ruler of the Halawod. Angered by this decision, Alunsina's spurned suitors conspired to harm the newlywed couple. Maklium-sa-t'wan, God of
3220-469: The Halawod after the floods subsided and lived in secrecy. After several months, Alunsina was pregnant with triplets. The couple were ecstatic, and Datu Paubari prepared the things needed for childbirth including the siklot . When the triplets were born, the couple named them Labaw Dongon, Humadapnon, and Dumalapdap. Immediately after birthing her sons, Alunsina summoned the high priest Bungot-Banwa to perform rites on Mount Madya-as to ensure good health for
3312-563: The Hinilawod titled "Tarangban" ("Cave"). It first staged the play in 2004. The production was revised to include the participation of then 17-year-old Manilyn "Tata" Glemer, a member of the Panay Bukidnon tribe in Tapaz, Capiz. Glemer knows how to chant the epic. Research was conducted with Glemer's mother, Gemma, the chieftain of their tribe and her grandmother, Lola Gamak, a binukot and chanter of
3404-510: The Homeric epics, the earliest works of Western literature, were fundamentally an oral poetic form. These works form the basis of the epic genre in Western literature. Nearly all of Western epic (including Virgil's Aeneid and Dante's Divine Comedy ) self-consciously presents itself as a continuation of the tradition begun by these poems. In his work Poetics , Aristotle defines an epic as one of
3496-653: The Mongols , the Kyrgyz Manas , and the Malian Sundiata . Epic poems of the modern era include Derek Walcott 's Omeros , Mircea Cărtărescu 's The Levant and Adam Mickiewicz 's Pan Tadeusz . Paterson by William Carlos Williams , published in five volumes from 1946 to 1958, was inspired in part by another modern epic, The Cantos by Ezra Pound . The first epics were products of preliterate societies and oral history poetic traditions. Oral tradition
3588-1068: The Persian Shahnameh , the Ancient Greek Odyssey and Iliad , Virgil 's Aeneid , the Old English Beowulf , Dante 's Divine Comedy , the Finnish Kalevala , the German Nibelungenlied , the French Song of Roland , the Spanish Cantar de mio Cid , the Portuguese Os Lusíadas , the Armenian Daredevils of Sassoun , the Old Russian The Tale of Igor's Campaign , John Milton 's Paradise Lost , The Secret History of
3680-474: The Philippine archipelago . It has a distinct profile, with the tapered blade being much broader and thinner at the point than at its base, sometimes with a protruding spikelet along the flat side of the tip. The design of the pommel varies between ethnic groups, but it usually depicts either a buaya (crocodile), a bakunawa (sea serpent), a kalaw ( hornbill ), or a kakatua ( cockatoo ).. This weapon
3772-793: The Philippines include the Dayak Mandau of Borneo ; the Minahasan santi of northern Sulawesi ; and the Sangirese Bara Sangihe of the Sangihe Islands . In Brunei , the officers who bear the royal regalia of the Sultan of Brunei such as the Panglima Asgar (Soldier General) who carry the royal weapons of kalasak and kampilan , where as the Panglima Diraja (Royal commander) carry
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3864-458: The Plains, called a council of the gods. The deities decided to destroy the Halawod by flood. Fortunately for Alunsina and her husband, her sister Suklang Malayon (Goddess and Guardian of Happy Homes) discovered the evil plot and warned them of it. Before the flood, the couple sought refuge on higher ground and escaped the gods' wrath undetected. They returned to the plains and settled near the mouth of
3956-546: The adventures of this ancient hero of Panay were recalled during weddings and in songs. It was noted that there were still native Mundos of Dingle, Iloilo who worshipped Labaw Donggon even until the last years of the Spanish rule in the Philippines. These worshippers would stealthily enter a certain cave in Dingle in the evening of a certain day of the year, in order to render homage and to offer poultry, doves, rice, bananas, and pigs to
4048-602: The ancient Visayan god. The Hinilawod Epic Chant Recordings, housed at the Henry Luce III Library of Central Philippine University , have been inscribed in UNESCO's Memory of the World Register . This marks Iloilo City's second UNESCO recognition, following its designation as the first Creative City of Gastronomy in the Philippines, and is the first documentary heritage outside Manila to receive this honor. Hinilawod
4140-472: The bearer's hand from sliding onto the blade while thrusting. The most distinctive design element of the hilt is the pommel . The design of the pommel varies between ethnic groups of the Philippines. In the ethnic groups of Visayas and Luzon , the pommel usually depicts a bakunawa (or naga ), a horned dragon-like mythological creature. Among the Muslim Moro people , the pommel usually depicts either
4232-565: The blade, they may possess small holes at the tips and edges which can have attachments like bells, metal chains, or animal or human hair tassels . Some kampilan hilts, especially among the Lumad , can also be made entirely of brass . Similar weapons to the kampilan in the Philippines include the Bangkung , Laring , Itak , Pirah , and the Banyal . Other similar weapons to the Kampilan outside of
4324-584: The brothers seven years to come back from their journey to the Upperworld. They arrived just in time for the ceremony that will have Nagmalitong Yawa married to Buyung Sumagulung, an island fortress ruler, in a ceremony. The brothers were enraged and killed all the guests and the groom. Humadapnon also stabbed his wife because the treachery only to feel remorse later on. He asked his spirit friends and found out that his wife only agreed to marry Buyung Sumagulung because her mother, Matan-ayon, convinced her that Humadapnon
4416-540: The caste system of Indian society and the life of the lower levels of society, such as cobblers and shepherds, see C.N. Ramachandran, "Ambivalence and Angst: A Note on Indian folk epics," in Lauri Honko (2002. p. 295). Some Indian oral epics feature strong women who actively pursue personal freedom in their choice of a romantic partner (Stuart, Claus, Flueckiger and Wadley, eds, 1989, p. 5). Japanese traditional performed narratives were sung by blind singers. One of
4508-635: The classical traditions, such as the Chanson de Roland or the Poem of the Cid . Narrative opens " in the middle of things ", with the hero at his lowest point. Usually flashbacks show earlier portions of the story. For example, the Iliad does not tell the entire story of the Trojan War, starting with the judgment of Paris , but instead opens abruptly on the rage of Achilles and its immediate causes. So too, Orlando Furioso
4600-421: The defeat of Labaw Donggon at the hands of Saragnayan and his subsequent imprisonment angered his brothers Humadapnon and Dumalapdap. Humadapnon swore by the gods of Madya-as that he would seek revenge on all of Saragnayan's kinsmen and followers. He then embarked on a journey to the Eastern Sky, taking with him Buyong Matanayon of Mount Matiula, a man known for his exceptional swordsmanship. Together, they travelled
4692-450: The defeated Buyong Makabagting helping the former in his quest. Humadapnon eventually married Burigadang Pada Sinaklang Bulawan and brought her home to his mother. Below are verses from the first two stanzas of the second part of Sugidanun I (First Narration) of the Sulodnon epic Hinilawod: Adventures of Humadapnon chanted by Hugan-an and recorded by Dr. F. Landa Jocano. The epic is in
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#17328491268424784-449: The epic as received in tradition and add to the epic in their performances. Later writers like Virgil , Apollonius of Rhodes , Dante , Camões , and Milton adopted and adapted Homer's style and subject matter , but used devices available only to those who write. The oldest epic recognized is the Epic of Gilgamesh ( c. 2500–1300 BCE ), which was recorded in ancient Sumer during
4876-567: The epic before the representatives of the First Lady and the high officials of the Cultural Center of the Philippines. Art Geroche, a local Ilonggo artist and Staff of the West Visayas State College (now a State University), provided a mural painting (oil on canvas) depicting the epic, for the lobby of the Cultural Center. The painting captures the important scenes in the adventures of the heroes of Hinilawod, in one panoramic view within
4968-408: The exhausted demigod under his pig pen. Meanwhile, Labaw Donggon's two wives each gave birth to a son. Anggoy Ginbitinan called her child Aso Mangga, while Anggoy Doronoon called her son Buyung Baranugon. Both sons went in search of their father a few days after they were born. They arrived in the Eastern Sky and asked Saragnayan to free their father. Saragnayan instead summoned a host of minions from
5060-499: The forms of poetry, contrasted with lyric poetry and drama (in the form of tragedy and comedy). Harmon & Holman (1999) define an epic: Harmon and Holman delineate ten main characteristics of an epic: The hero generally participates in a cyclical journey or quest, faces adversaries that try to defeat them in their journey, and returns home significantly transformed by their journey. The epic hero illustrates traits, performs deeds, and exemplifies certain morals that are valued by
5152-499: The godly knight, That the great sepulchre of Christ did free, I sing; much wrought his valor and foresight, And in that glorious war much suffered he; In vain 'gainst him did Hell oppose her might, In vain the Turks and Morians armèd be: His soldiers wild, to brawls and mutines prest, Reducèd he to peace, so Heaven him blest. From the 14th century English epic poems were written in heroic couplets , and rhyme royal , though in
5244-406: The head, rendering the latter unconscious. He then dragged his body away from the place and managed to escape. Humadapnon rose to the challenge and took off his magic cape. He then used it to lift the huge boulder off the center of the village and hurled it back towards the mountain. Datu Umbaw Pinaumbaw honored his word and gave his daughter's hand in marriage to Humadapnon. The two were married and
5336-412: The importance of line consistency and poetic meter. Ancient Greek epics were composed in dactylic hexameter . Very early Latin epicists, such Livius Andronicus and Gnaeus Naevius , used Saturnian meter. By the time of Ennius , however, Latin poets had adopted dactylic hexameter . Dactylic hexameter has been adapted by a few anglophone poets such as Longfellow in " Evangeline ", whose first line
5428-416: The island until Nagmalitong Yawa helped them escape by disguising as a boy. Humadapnon and Nagmalitong Yawa were married soon after in Halawod. During the wedding feast, Humadapnon's brother, Dumalapdap fell in love with Huyung Adlaw and asked his brother to help him talk to the parents of the maiden. Humadapnon left his new wife and accompanied his brother to the Upperworld where Huyung Adlaw lived. It took
5520-454: The kampilan is specifically made for warfare, used either in small skirmishes or large-scale encounters. According to Philippine historical documents, the kampílan was widely used by chieftains and warriors for battle and as a headhunting sword. The most famous probable use of kampilan in warfare was in the Battle of Mactan , where Antonio Pigafetta described Ferdinand Magellan being wounded on
5612-497: The left leg by a warrior bearing "a large cutlass , which resembles a scimitar , only being larger." In traditional societies of the Tagalog people , it is also used as a form of religious adornment in a dambana . Kampilan swords only survive into modern times among the Moro and the Lumad people, due to the longer period that they avoided Spanish colonization. Among Filipino swords,
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#17328491268425704-464: The many pieces of oral literature passed from one generation to the next, changed and morphed by the chanter to one degree or another as he told it to his audience. The Hinilawod is not just a literary piece but also a source of information about culture, religion and rituals of the ancient people of Sulod; showing us that ancient Filipinos believed in the "sacred," in the importance of family honour and in personal courage and dignity. A concise version of
5796-415: The monster when he grabbed its ankle and broke it. Then he took his twang daniwan (magic dagger) and struck Uyutang under the armpit. The monster howled in pain, causing an earthquake that broke the ridge they were fighting in into two. Half of the ridge became an island that is known today as Negros , while the other half became Panay. With the monster Uyutang dead, Lubay-Lubyok Hanginun si Mahuyokhuyokan
5888-484: The most distinguishing characteristic of the kampilan is its huge size. At about 36 to 40 inches (90 to 100 cm) long, it is much larger than other Filipino swords, and is thought to be the longest, though smaller versions (sometimes called the "kampilan bolo ") exist. A notable exception would be the panabas , another Philippine longsword, of which unusually large examples used for ceremonial execution purposes could measure up to four feet in length. The blade
5980-401: The most famous, The Tale of the Heike , deals with historical wars and had a ritual function to placate the souls of the dead (Tokita 2015, p. 7). A variety of epic forms are found in Africa. Some have a linear, unified style while others have a more cyclical, episodic style (Barber 2007, p. 50). People in the rice cultivation zones of south China sang long narrative songs about
6072-491: The old babaylan could only chant little portions of the Humadapnon Epic. Jocano was then introduced to Udungan's niece, mountain singer named Hugan-an, who, after much cajoling, allowed herself to be taped recounting both her story and the Hinilawod. It took three weeks to complete the recording of the 30-hour epic poem. Hinilawod recounts the story of the exploits of three Suludnon demigod brothers: Labaw Donggon, Humadapnon and Dumalapdap of ancient Panay . Kaptan, king of
6164-412: The origin of rice growing, rebel heroes, and transgressive love affairs (McLaren 2022). The borderland ethnic populations of China sang heroic epics, such as the Epic of King Gesar of the Mongols , and the creation-myth epics of the Yao people of south China. Kampilan The kampilan ( Baybayin : ᜃᜋ᜔ᜉᜒᜎᜈ᜔ ) is a type of single-edged sword , traditionally used by various ethnic groups in
6256-416: The original Sulodnon language. Shortly after Humadapnon left their home to seek revenge on Saragnayan's family and followers, Dumalapdap embarked on a quest of his own. He decided go to Burutlakan-ka-adlaw and marry the maiden Lubay-Lubyok Hanginun si Mahuyokhuyokon. With him was Dumasig, the most powerful wrestler in Madya-as . After several months of traveling, the two warriors came face to face with
6348-432: The performer has the license to recontextualize the story to a particular audience, often to a younger generation. The English word epic comes from Latin epicus , which itself comes from the Ancient Greek adjective ἐπικός ( epikos ), from ἔπος ( epos ), "word, story, poem." In ancient Greek , 'epic' could refer to all poetry in dactylic hexameter ( epea ), which included not only Homer but also
6440-706: The poet is also paying homage to the ancestors of audience members. Examples: In the Homeric and post-Homeric tradition, epic style is typically achieved through the use of the following stylistic features: Many verse forms have been used in epic poems through the ages, but each language's literature typically gravitates to one form, or at least to a very limited set. Ancient Sumerian epic poems did not use any kind of poetic meter and lines did not have consistent lengths; instead, Sumerian poems derived their rhythm solely through constant repetition and parallelism , with subtle variations between lines. Indo-European epic poetry, by contrast, usually places strong emphasis on
6532-438: The region of the clouds and the Land of Stones before he found himself at the shores of the Eastern Sky and the fortress of Saragnayan. Upon setting foot on the shore, Saragnayan asked who he was and what was his business. When Labaw Donggon expressed his desire to have Saragnayan's young wife Malitong Yawa Sinagmaling Diwata, the Lord of Darkness laughed and told him it was impossible. The young demigod then challenged Saragnayan to
6624-408: The river Jalaur the ancient name of which was Halawud , the river that gave the epic its name. It had subsequent stagings of excerpts in 2010 for the "Tanghal 4: The National University and Colleges Theater Festival and Conference" on Feb 2 at De La Salle-College of Saint Benilde and for "Pasinaya Festival" at Tanghalang Huseng Batute of the Cultural Center of the Philippines on Feb. 7. There
6716-464: The same path that Labaw Donggon had taken. After seven months in Tarambang Buriraw, Buyong Matanayon recalled that they brought some ginger with them. He thought of a plan to break Piganun's spell over his friend. One evening over dinner, Buyong Matanayon threw seven slices of ginger into the fire. Upon smelling the burning ginger, Piganun fled the room. Buyong Matanayon then struck Humadapnon in
6808-485: The society the epic originates from. Many epic heroes are recurring characters in the legends of their native cultures. In the Indian mahākāvya epic genre, more emphasis was laid on description than on narration. Indeed, the traditional characteristics of a mahākāvya are listed as: Classical epic poetry recounts a journey, either physical (as typified by Odysseus in the Odyssey ) or mental (as typified by Achilles in
6900-700: The spears of the opponents to enter. They do not gird it on, as that would be too much trouble, but carry it on the shoulders, in the fashion of the camarlengos who carry the rapiers on their shoulders in public ceremonies in front of their princes. Besides that weapon the Mindanao uses lance, kris, and shield, as do the other nations. Both these and those have begun to use firearms too much, having acquired that from intercourse with our enemies. They manage all sorts of artillery excellently, and in their fleets all their craft carry their own pieces, with ladle, culverins, esmerils, and other small weapons. The No. 1 graduating cadet of
6992-549: The story of Hinilawod can be found in the book Philippine Mythology authored by Jocano. Epic poetry An epic poem , or simply an epic , is a lengthy narrative poem typically about the extraordinary deeds of extraordinary characters who, in dealings with gods or other superhuman forces , gave shape to the mortal universe for their descendants. With regard to oral tradition , epics consist of formal speech and are usually learnt word for word, and are contrasted with narratives which consist of everyday speech where
7084-567: The story were sung to him and his colleague by an old man called Ulang Udig. Returning the following year with a radio technician from Central Philippine University , he then recorded a portion of the story on tape in 1956. However, when he returned, in 1957 to make a recording of the complete story, Ulang Udig could only recount the Epic of Labaw Donggon; he could no longer recount the much larger Epic of Humadapnon. Weeks later, Ulang Udig introduced Jocano to his aunt, an old babaylan named Udungan. However,
7176-562: The traditional European definition of the heroic epic are sometimes known as folk epics. Indian folk epics have been investigated by Lauri Honko (1998), Brenda Beck (1982) and John Smith, amongst others. Folk epics are an important part of community identities. The folk genre known as al-sira relates the saga of the Hilālī tribe and their migrations across the Middle East and north Africa, see Bridget Connelly (1986). In India, folk epics reflect
7268-567: The tribe. Since 2006, the late-January Hirinugyaw-Suguidanonay Festival of the town of Calinog in Central Panay (which started in 1988 as an adaptation of the Dinagyang Festival where it was then known as the Sirinayaw , then Hirinugyaw Festival) has used segments and tales of the Hinilawod as performance themes of its competing tribes. Each performance's authenticity is enhanced through
7360-418: The triplets. Bungot-Banwa burned some alanghiran fronds along with a pinch of kamangyan ( incense ) on an altar that he had built. He opened the windows of the north side of the room after the ceremony, and in came a cold wind that transformed the infants into strong, mighty, and handsome young men. When he reached adulthood, Labaw Donggon, the eldest of the triplets, decided to go on a quest to find himself
7452-427: The underworld to defeat the youths. Wielding bows, Aso Mangga and Buyung Baranugon shot poisoned arrows, that dealt seven wounds with a single shot, slaying the rest until only Saragnayan remained. Saragnayan wrestled with Buyung Baranugon, but the Lord of Darkness was no match for him. However, Saragnayan could still not die. Buyung Baranugon sought aid from his grandmother, Alunsina, and learned that Saragnayan's life
7544-642: The use of authentic Panay Bukidnon (Sulod) costumes, known as Panubok , and the performing tribes' employment of Panay-Bukidnon Manunuguids (Chanters, hence the 'Suguidanonay' in the festival's name) from the Balay Tulun-an Cultural Preservation School in the Panay-Bukidnon settlement in Brgy. Garangan in Calinog's mountainous areas. Of note is the fact that the town itself sits squarely beside
7636-473: The wisdom poetry of Hesiod , the utterances of the Delphic oracle , and the strange theological verses attributed to Orpheus . Later tradition, however, has restricted the term 'epic' to heroic epic , as described in this article. Originating before the invention of writing, primary epics, such as those of Homer , were composed by bards who used complex rhetorical and metrical schemes by which they could memorize
7728-584: Was also a performance on March 1, 2010, at the USALT auditorium. In 2010, Hiyas Kayumanggi staged their version of the Hinilawod at Luce Auditorium of Silliman University . In 2011, the group staged their production at Tanghalang Nicanor Abelardo of the Cultural Center of the Philippines on September 3 and 4. In 2013, Ateneo Entablado staged Nicanor Tiongson's play Labaw Donggon: Ang Banog ng Sanlibutan in Cervini Field, Ateneo de Manila University . The production
7820-407: Was directed by Jerry Respeto with composers Jema Pamintuan and Teresa Barrozo, costume and set designer Gino Gonzales, lighting designer Voltaire de Jesus, and choreographers Gio Gahol and Elena Laniog. Hinilawod is a 29,000-verse epic that takes about three days to chant in its original form, making it one of the longest epics known, alongside that of Tibet's Epic of King Gesar . Hinilawod is one of
7912-696: Was featured in the American bladesmithing competition, Forged in Fire , in season 4 episode 16. "Kampilan" is the term most commonly used for the sword in the Tagalog , Ilocano and Visayan languages . It simply means "sword". It is known by other names in other ethnic groups in the Philippines including Kapampangan talibong or talibon (not to be confused with the Visayan talibon); Maranao kifing ; Iranun parang kampilan ; and Tboli tok and kafilan . Kampilan are mentioned in ancient Filipino epics, including
8004-452: Was finalized when Labaw Donggon's parents met and discussed with Anggoy Ginbitinan's parents. Using his pamlang (magical charm), Labaw Donggon effortlessly conjured a giant house with ten rooftops and a hundred doors. After their wedding, Labaw Donggon and his new bride started on their journey back to his lands. Upon reaching home, Labaw Donggon asked his mother to care for his new wife and announced his intent on another quest, this time to
8096-498: Was first discovered "by accident" in 1955, when Filipino anthropologist F. Landa Jocano became interested in native folklore . He travelled the hinterlands of his home island of Panay with two colleagues collecting folk songs, stories, and riddles. It was during one of those trips to the upland barrios of Lambunao, Maasin, Janiuay, and Calinog in Iloilo that his attention was called to a long and popular tale called Hinilawod. Portions of
8188-478: Was free to marry Dumalapdap. He brought her home and was reunited with his family. Datu Paubari celebrated the return of his three sons with a very big feast. His sons left for different parts of the world after the feast. Labaw Donggon ventured north, Humadapnon went south, and Dumalapdap embarked to the west. Datu Parubari was left to rule in the east. Humdapnon was visited by his spirit friends Taghoy and Duwindi in his dream and told him of lovely maiden who lived in
8280-421: Was housed in the body of a boar in a place called Paling Bukid . The sons then killed the boar and ate its heart, rendering Saragnayan mortal. Sensing that death was near, Saragnayan bade a sorrowful farewell to his wife. Buyung Baranugon finally killed Saragnayan by jabbing poisoned arrows into both of Saragnayan's eyes. After the victory, Buyung Baranugon and Aso Mangga failed to find their father, who hid under
8372-455: Was that oral epics tend to be constructed in short episodes, each of equal status, interest and importance. This facilitates memorization, as the poet is recalling each episode in turn and using the completed episodes to recreate the entire epic as he performs it. Parry and Lord also contend that the most likely source for written texts of the epics of Homer was dictation from an oral performance. Milman Parry and Albert Lord have argued that
8464-453: Was used alongside written scriptures to communicate and facilitate the spread of culture. In these traditions, poetry is transmitted to the audience and from performer to performer by purely oral means. Early 20th-century study of living oral epic traditions in the Balkans by Milman Parry and Albert Lord demonstrated the paratactic model used for composing these poems. What they demonstrated
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