Don Hard and Harriet Hart-Juan Pusong Filipino Trickster Revisited

JUAN PUSONG:
THE FILIPINO TRICKSTER REVISITED 1
DoNN V. HART and HARRIETT E. HART
I ntroduc.ti.on
One of the most popular characters in Filipino folklore, Juan
Pusong (or Tamad), has been largely disregarded by Filipino folk-
lorists and those interested in the oral literature of the Philippines.
This article re-examines, and adds too, the extensive existing corpus
concerning this mercurial figure. The basic data are 141 tales, some
published, some from unpublished manuscript sources, and the rest
collected in the field by the authors. Among the topics which this
article discusses are Pusong's physical appearance, family background,
social class and personality traits. Basic motifs of these tales are also
examined, including Pusong's success in his contests with others
and his means of achieving victory. The distribution of Pusong tales
among different Filipino cultural linguistic groups is briefly sur-
veyed. A comparison is made between Pusong and other folkloristic
tricksters. Finally, new Pusong tales, gathered in rural and urban
communities in Samar and Negros, are presented with commentary
on their relationships to the entire corpus.
The Philippines: Background Sk_etch2

Three is a significant number for most Filipinos. It represents
the three major geographical divisions of the archipelago as symbo-
1 Research for this article was supported by the Fullbright Research
Fellowships to the Philippines in 1955-56 and 1964-65. We wish to acknow-
ledge the expert assistance of our junior colleagues in Borofigan and
Lalawigan, Miss Cecilia Vinas and Mr. Felipe Dala, and for Dumaguete
and Caticugan, Miss Ramona Ragay, Dioscoro Ragay and Isidro L. So-
mosa, Jr. We are particularly indebted to Professor Timoteo Oracion,
and other supportive faculty, of Silliman University. This manuscript
has profited from critical readings by Morton Netzorg, M. Jamil Hanifi,
and Cecil Brown.
2 Donn V. Hart, "Christian Filipino Society Approaching the 21st
Century,'' SiUiman Journal 18 (1971) :21-55.
129
130 ASIAN STUDIES
lized in the nation's flag - the northern island of Luzon, the central
cluster of islands known collectively as the Bisayas, and the southern
island of Mindanao and its appendage, the Sulu Archipelago. The
population of the Philippines traditionally is divided into three broad
categories. The largest group is composed of Christian Filipinos who
occupy the lowlands of the nation and its cities. The second largest
group, concentrated almost entirely in southern Mindanao and Sulu,
is the Muslim Filipinos or Moros. The last group is the smallest,
the hill or mountain people (primitives) who live mainly in the fo-
rested uplands of northern Luzon, Mindoro, Negros, Panay and
Mindanao.
All Philippine languages are similar in phonetic and gramma-

tical structure; they belong to the Austronesian linguistic family, with
their closest affinity to Indonesian languages. There are approxi-
mately 75 main linguistic groups in the country. However, linguistic
diversity should not obscure the fact that most Christian Filipinos
will find their mother tongue on this list of eight- Ilokano, Tagalog.
Pampango, Bikolano, Cebuano, Hiligaynon, and Samarefio. English
is still widely spoken in the country but today a slightly larger per-
centage of Filipinos speaks Filipino, the national language based on
Tagalog.
Three, as a symbol of the Trinity, is of additional significance

because most Filipinos are Catholics. This is their heritage of near-
ly 400 years of Spanish contact (1521-1898). Spain's greatest im-
pact on the Philippines was to transform the archipelago into the
only Christian nation in Asia. Although Filipinos were extensively
Hispanized, the process of acculturation was not uni-directional. There
was both the tlispanization of lowland Filipino culture and society
and the Filippinization of diffused Spanish customs. This dual pro-
cess 1s of utmost importance in understanding Philippine
As a result of a series of complex later events, with the end of

the Spanish-American war, the Philippines became the United States'
sole possession in Southeast Asia. In the four decades the United
States governed the Philippines, Americans established. a national
public educational system based on instruction in English. Church
and state were separate. Giant steps were taken to improve sanita-
tion, expand medical facilities, and end epidemics. After the destruc-
JUAN PUSONG: FILIPINO TRICKSTER 131
tive Japanese occupation of the country during the Second World

War and an equally ruinous liberation of the nation, the Philippines
gained independence in 1946. In 1972, formal democracy's stormy
history in the Philippines ended, at least temporarily, in a "benevolent"
dictatorship by its president after a hectic period of crises (both
real and managed).
Research Areas
Bisayan Filipinos are the largest cultural-linguistic group in the

Philippines. They live in the major islands separating Luzon and
Mindanao - Panay, Negros, Cebu, Bohol, Leyte and Samar and on
many smaller islands. Three major sub-groups of Bisayans are
identified; each speaks a related but different language. Those who
speak Cebuano reside mainly in Cebu, eastern Negros, Bohol, and
western Leyte. Those who speak Ilongo or Hiligaynon are con-
centrated in Panay and Western Negros. The third group, who speak
Samareiio live in eastern Leyte and Samar. The northern part on
Mindanao is occupied primarily by Cebuano-speaking Bisayans.
In 1955, the authors live in Borongan, a small town of about

5,000 people in eastern Samar. Harriett Hart spent full time collect-
ing folklore in this town and the adjacent rural communities. Donn
Hart did collecting in Barrio Lalawigan, a village of nearly 900 pea-
sants about five miles south of Borongan. Elsewhere the authors
have written about the corpus of more than 750 tales they collected
in eastern Samar, including a detailed description of their field re-
search techniques.3
In 1964, the authors returned to eastern Negros. In 1950, Donn

Hart had begun research in Barrio Caticugan, a village of about 750
people 35 miles southwest of Dumaguete, the provincial capital of
Negros Oriental province. During 1%4, Donn Hart resided in Cati-
cugan, while Harriett Hart collected folklore in Dumaguete and Sia-
ton, a small town about two miles south of· Caticugan. Previous pub-
3 Donn V. Hart and Harriett E. Hart, "Collecting Folklore in East-

ern Samar," Silliman Journal 3 (1956) :207-236. This article discusses the
selection and training of our assistants in eastern Samar, introduction
to the communities, location of informants, collection milieu, problems
and interview and questionnaire schedules used with most informants.
132 ASIAN STUDIES
lications have described various aspects of life m these communities

(and those in Samar), including their folklore:'
In 1955, Borongan was a typical small Philippine town with a

plaza bordered by an old stone Spanish church, the public hall, and
a post-war private Catholic college. Although most residents of Bo-
rongan were Catholics, there was a small Protestant church in the
town. Eastern Samar, then and now, is isolated from its western
shores by a central mountain complex that is forested and largely un-
inhabited. Bus transportation provided minimal services to towns
along the eastern coast and to nearby Leyte, to the west, ferrying the
narrow strait between the two islands.
The residents of Lalawigan wert: all Catholics whose livelihood

depended on fishing and rice agriculture. The main cash crop was
Manila hemp (abaca). Residences were made of bamboo and palm
thatch, raised several feet above the ground on poles. In each house
was a family altar with saint figures, usually including the patron saint
of the village. Community life centered around church affairs, the an-
nual patron saint's fiesta, school programs, and the rituals and festivities
associated with baptism, marriage, and death.
Dumaguete had a population of 35,000 in 1964. It consisted of

several major streets of movie houses and stores - hardware, tailor,
grocery, and general merchandizing. There were four hospitals and
three private colleges and universities in the city. The major educa-
tional institution was (and is) Silliman University, founded by Ameri-
can Presbyterians in 1901. The local airport provided flights to nearby
Cebu, to Manila, and to cities in Mindanao. The urban core of the
city was surrounded by villages some of whose household members
worked in the city while others cultivated nearby corn fields.
4 Donn V. Hart and Harriett E. Hart, "Sleuthing for Susurnatons

rFolktales],'' The National Police Gazette (Manila) 4(1956) :
Donn V. Hart, "A Philippine Version of 'The Two Brothers and Dragon
Slayer' Tales,'' Western Folklore 19 (1960) : Donn V. Hart, Rid-
dles in Filipino Folklore: An Anthropological Analysis (Syracuse, New
York, 1964) ; Donn V. Hart and Harriett E. Hart, "Cinderella in the
Eastern Bisayas: With a Summary of the Philippine Folktale,'' Journal
of American Folklore 79(1966) : 307-337; Donn V. Hart and Harriett E.
Hart, "Maka-andog: A Reconstructed Myth from Eastern Samar, Philip-
pines,'' The Anthropolo,gist Looks at Myth, eds. M. Jacobs and J. Green-
way (Austin, Texas, 1966) : 84,-108; and Donn V. Hart, Bisayan Filipino
and Malayan Humoral Folk Medicine and Ethnohistory t'n
Southeast Asia (Ithaca, New York, 1969).
Siaton municipality is located on the southern tip of Negros. The

municipal center, of the same name, was a small town of a few thou-
sand people. The Catholic church dominated Siaton's plaza. Nearby
\Vere the public marketplace, a few stores, the elementary school, and
a small Catholic college. There were several small Protestant groups
in Siaton. In 1964, Siaton was about two hours by bus from Duma-
guete.
Caticugan (with about 750 residents in 1964) was reached by

wading the shallow Siaton river. The villagers were subsistence-agri-
culturalists; they primarily grew corn and some rice. Caticugan and
Lalawigan did not have electricity or running water. The priest near-
est to each barrio (village) was the one who resided in the nearby
town. Both villages were peopled by single-class subsistence farmers
or fishermen. No drastic social or technological innovations were
found to have occurred in these communities during the past several
decades. The people shared many characteristics: most still reside
in whichever village they were born; mate selection was localized;
and the means of living were precariously insecure.
Sources of Tales
It was these Bisayan commumtles, both rural and urban, that

the 56 Pusong tales this article analyzes were collected, primarily by
Harriet Hart. The tales were collected either by longhand or a tape
recorder. Their translation into English was facilitated by personally
trained research assistants who were local residents.
A second source of unpublished tales utilized in this article are

Silliman student reports presented to Professor Timoteo Oracion for
his introductory folklore course. Students gathered the tales in their
home communities during vacation. They were presented in English.
Since most Silliman students came from the Bisayas, their tales, with
some exceptions, were collected in the vernacular of this region, in-
cluding northern Mindanao. Two master's theses dealing with folk-
lore were also examined. 5
s Fe Java Dignadice, "A Critical Study of Folklore in the Western

Visayas (Antique, Capiz, Iloilo, and Negros Occidental)" (Dumaguete,
Philippines, 1955). M.A. thesis in English. Maria Casefias Pajo, "Bohol
Folklore" (Cebu City, Philippines, 1954). M.A. thesis in English.
134 ASIAN STUDIES
A third source of tales was obtained from printed sources, inclu-

ding Dean Fansler, Gardner Fletcher, Mabel Cole, Berton Maxfield,
W.H. Millington, H. Arlo Nimmo, Maria Coronel, and others.6 Other
tales, often taken from those sources and then rewritten, were found
in books published primarily for use in the schools or for the general
public. 7
Finally, the published folklore of pnm1t1Ve groups in the Philip-

pines was searched e.g., Bagobo, Bontoc, Ifugao, Tinguian, Nabaloa,
Apayao, and Mangyan. With a single specific exception, no tales
about Pusong were found in this quite large group of publications.
On the other hand, tales about Pusong (and his prototype, Pilandok)
appear to be popular among some Muslim Filipino groups.8
Since Pusong tales often are boldly erotic, or emphasize scata-

logical themes, student reports and especially published sources in-
tended for public school or popular consumption bowdlerized such
tales. However, it is believed that most student reports do not suffer
6 Dean S. Fansler, Filipino Popular Tales (Hatboro, Penn., reprinted

1965); Harriott E. Fansler, Types of Prose Narratives: A Textbook for
the Writer (Chicago, Illinois, 1916); Berton Maxfield and W. H.
Millington, "Visayan Folktales," Journal of American Folklore 19 (1906) :
97-112; H. Arlo Nimmo, "Pusong, Trickster of Sulu," Western Folklore
29(1970): 185-191; Herminia Q. Me:iiez, "Juan Tamad: A Philippines
Folktale Hero," Southern Folklore 35 (1971) : 83--92; Maria Delia Co-
ronel, Stories and Legends from Filipino Folklore (Manila, Philippines,
1968); Juan Francisco, "Themes in Philippine Folk Tales," Asian Studies
10 (1972) : 6-17; Clara K. Bayliss, "Philippine Folk-Tales," Journal of
American Folklore 21 (1908) : 46-53; and Lucette Ratcliffe, "Filipino
Folktales," Journal of American Folklore 62(1949) : 298-308.
7 Gaudencio Aquino and others, Philippine Folktales (Quezon City,
Philippines, 1969) ; Gaudencio Aquino, Philippine Legeird:s (Manila,
1972) ; Manuel Arguilla and Lyd Arguilla, Philippine Tales and Fables
(Manila, Philippines, 1965); lsmael V. Mallari, Tales from the Mountain
Province: From Materials Gathered by Laurence L. Wilson (Manila, Phil-
ippines, reprinted 1969); F. Landa Jocano, Myths and Legends of the
Early Filipinos (Quezon City, Philippines, 1971); Maximo Ramos, Tales
of Long Ago in the Philippines (Manila, Philippines, 1953); Maximo
Ramos, Philippn6 Myths and Tales for Young Readers (Manila, Philip-
pines, 1957); Laurence L. Wilson, Apayao Life and Legends (Manila,
Philippines, reprinted 1967) . The shortcomings of these sources are dis-
cussed by E. Arsenio Manuel, "On the Study of Philippine Folklore" in
Antonio G. Manuud, ed., Brown Heritage: Essays on Philippine Cultural
Tradition And Literature (Quezon City, Philippines, 1967) : 262.
s Nimmo, op. cit.; Goronel, op. cit.; Robert D. McAmis, An Intro-
duction to the Folk Tales of the Maranao Muslims of Mindanao in the
Southerrn Philippines (Chicago, Illinois, 1966).
greatly from this limitation because the tales that would be told stu-
dents would be selected to meet their expectations.
Filipino folklore as the folk knows it often deals with excrement,
breaking wind, or illicit coition. For many Filipinos, especially those
in the villages, these themes are not considered as offensive as they
would be to most westerners or urbanized Filipinos. Finally, scholar-
ly works published dealing with Pusong, especially those printed during
the early part of the 20th century, did not escape censorship. Gardner
suppressed some tales about Pusong he felt were "too coarse for
Western ideas." 9
In summary, it is believed that few Pusong tales published in
English have escaped our notice. Moreover, the corpus of these tales
has been increased by more than one-third by the ·.addition of stories
collected in Samar and Negros.
Pusong's Name
The two most common names for this Filipino trickster are Juan
( Suan) Pusong (Posong, Osong, or Pusan) or Tamad. He may ·also
be called just Juan with no surnames. Most tales in Fransler refer to
him as Juan the Fool or, only in one tale, Juan Loco. Gardner sug-
gests that, in English, Juan Pusan translates as "Jack Paunch" .10
Generally speaking, Juan usually is ·called Pusong by Bisayans, while
Tamad is his more popular name among non-Bisayans, e.g., Tagalogs.
In six tales he is known as Pilandok, Padol, Masoy, and Andres. 11
Finally, in some tales he remains unnamed, but his character and ac-
tions quickly identify him as Pusong or Tamad.
Table 1 gives the various meaning of pusong or tamad in seven
Philippine languages. The most detailed definition of pusong 1s m
Wolff's dictionary where the word is said to mean
a person who is good in putting up a front of innocence when com- ·
mitting mischief, so called from the character Huwan Pusong of
folk tales who is always getting the better of people.1 2
9 Gardner, op. cit., 104.

1o Gardner, op. cit., 104
u Ramos, op. cit., (1953) ; Ramos, op. cit., (1957) 192; Coronel, op.
cit., 516; Fansler, ()p. cit., 332; and McAmis, op. cit., 101.
12 John U. Wolf, A Dictionary of Cebuano Visayan (Ithaca, New
York, 1972) : Vol. 2 : 811.
1:3G ASIAN STUDIES
As Table 1 indicates pusong and tamad have common meaning

in five Philippine languages. Although the definitions of pusong
cover a broad range, each is accurate, for Pusong is tricky, arrogant.
and mischievous in .addition to being a braggart, liar, knave and ar-
rogant rogue. As will be demonstrated shortly, Pusong neither al-
ways bests his opponents nor is he always lazy and indolent. The
definitions of pusong in Table 1 omit, based on an anlysis of our
corpus, such meanings as shrewd, witty, immoral, etc. The Pusong
of our tales is truly a "man for all seasons."
TABLE 1
MEANINGS OF PUSONG AND JUAN TAMAD IN SEVEN PHILIPPINE LANGUAGES
) Langunge __ _
_ _ __ Tamad
IIlokano Arrogant, haughty, proud, lordly,

imperious13
*
1
I Tagalog Knave, arrant rogue, saucy, buf- Lazy, indolenti5

I fonery, foolishness, impudent, in-
1 solent, arrogant, proud, lofty,
1
overbearing14, 15, 16
I Pampango Lazy, indolent15, 17
1
Bikolano Lazy, indolent15
1
, Cebuano To pretend to be innocent, To feel too lazy to do19
michievous,18 tricky, prankster,
bluffer
Hiligaynon Liar, boaster, braggart, teller of Idle, lazy, indolent2o
invented storieszo . .:-
Samaraeiio Buffonery, foolishnesslo
-:< Term not used in the dictionaries consulted.
Most of our informants in Samar and Negros orally defined

pusong as meaning tricky, cunning, unscrupulous, liar, funny, 1m-
13 Andres Carro, Iloko-English Dictionary (Baguio, Philippines, 195-
251).
14 Pedro S. Laktaw, Diccionario Tagalog-Hispano (Madrid, reprinted
1965) 3 : 1100.
15 Jose Villa Panganiban, Diksyuna1·yo-Tesauro Pilipino-lngles (Que-
zon City, Philippines, 1972) : 836.
16 Maria Odulio de Guzman, An English- Tagalog and Tagalog- English
DictionaTy (Manila, Philippines, 1966) : 642.
17 Michael L. Forman, Kapampangan Dictionary (Honolulu, Hawaii,
1971) : 221.
18 Wolff, op. cit., 2 : 811, 975.
19 Thomas V. Hermosisima and Pedro S. Lopez, Jr., Dictionary Bi-
sayan-English-Tagalog (Manila, Philippines, 1966) : 486.
2o Panganiban, op. cit., 836, 951.
moral, etc. Some better-educated, more "Americanized" urban in-

formants thought we should not collect stories about Pusong since
they often were concerned with immoral activities. They would re-
flect unfavorably on Filipinos when read by Americans.
Rural informants, however, always considered Pusong's ama-
tory adventures hilarious and never criticized them, for he was be-
having like a "normal young Filipino male." Filipinos known for
telling "tall tales" are said to be nicknamed Pusong. Dignadice's
survey of the folklore of the Western Bisayas (Panay and Negros Oc-
cidental) described Pusong as a rustic, uncouth simpleton, but added
that he was entertaining and amusing.21
Pusongs Physical Features, Family and Social Background and

Personality Traits
With. a few exceptions, Pusong' s physical features, and most
of his personality characteristics, are not specifically described or em-
phasized in the' tales. His traits emerged as each tale's action unfolds.
This topic, therefore, is discussed on two levels. First, on the basis
of direct statements made in the tales, usually during the opening
paragraphs. Second, this character delineation is expanded by an
analysis of Pusong's activities in the stories. The two accounts, one
based on direct statements and the other implied by Pusong's adven-
tures, are usually but not always in agreement.
All tales were read and every direct statement about Pusong's
physical appearance, age, social class, family life, and personality
was recorded and collated. This is the basis for the assertion that
certain features or traits were mentioned in specific tales.
Storytellers in eastern Samar and southern Negros rarely gave
titles to their tales. It is assumed, therefore, that when published
tales have titles, they were added by the collector or editor. For
this reason, titles were excluded as sources of data in this analysis.
Pusong's age rarely is mentioned in the stories. In one tale
he is a "small boy," in three tales he is seven years old, and in one
tale apiece he is eight, twelve, sixteen and twenty years old. How-
ever, in most of the tales Pusong must be assumed to be a young
married adult. At the start of many tales he is unmarried, although
often at their conclusions he weds the princess (or rich girl) whose
hand he has won through trickery or achievements. In several
21 Dignadice, op. cit., 47-48.
138 ASIAN STUDIES
the plot centers on his search for a wife at the behest of Pusong's
worried mother.
Four tales state that Pusong is "handsome," while one tale in-
dicates he is so ugly the princess will not marry him. Since he
usually wins the girls, most listeners must assume he is physically
attractive. One tale presents a detailed and certainly inaccurate
(based on our corpus) description of Pusong's person - a most un-
flattering picture of a Filipino.
Juan is twenty years old . . . . He is short in st-ature. His
eyes are neither bright nor dull; they are very black, and slowly
roll in their sockets. His mouth is narrow. He has a double
chin, and a short flat nose. His forehead is broad, and his lips
are thick. His hair is black and straight. His body is round
like a pumpkin and his legs are short.22
In six tales Pusong is said to be an only child (in one, the "fa-
vorite"). Three tales state Juan lives with his widowed mother;
however, numerous tales mention only his mother, although several
indicate Pusong lives with his family. In a few tales Pusong's father
is the main protagonist. In one tale Pusong resides with his gran.d-
mother. On the whole, Juan appears to be an only child of a wi-
dowed mother; siblings are rarely mentioned.
Invariably Pusong is a peasant, usually a farmer who lives in a
village. Although some tales specifically state that Pusong, or his
family, is poor, their poverty is only implied in most stories. Pu-
song's lower class status is everywhere mflde obv10us in the tales.
For example, in one story he must learn to wear shoes since he al-
ways had gone barefooted. The listeners are always delighted when
Juan marries the princess for it is a case of a "poor boy making good."
The three most prominent personality traits of Pusong, based on
specific statements in the tales, are laziness (21 tales), stupidity (12)
and cleverness (9). He is also said to be a liar (6), rudiculously
obedient ( 4), mischievous ( 4), a drunkard (2) and a braggart or
boaster (2). Other characteristics each mentioned only once in the
stories are Pusong's criminality, deceitfulness, bravery, compassion,
and possession of miraculous powers. An analysis of Juan's behavior
in these tales underlines these qualities but also indicates that he is
immoral, selfish, greedy, generous, honest, cruel, kind, crude, dis-
respectful to his parents and elders, a laughable dupe, a victorious
contestant, witty, rich, and a glutton.
Pusong's personality: is. one· ot. mixed opposites. Although he
1s a complete fool or a native dupe, he is also clever, shrewd, and
22 Fansler, op. cit., 339.
wise. He acts both honestly and dishonestly, humanely and cruelly,

generously and selfishly.· Pusong is a poor peasant yet often he
marries a member of the family or elite class. However, there
are two sides of Juan's personality that are not balanced by positive
opposites. First, lazy Juan rarely is industrious, although his indo-
lence may bring him profit. Second, .his sexual immorality as a
young urtmarried man lacks any counterbalance. However, as al-
ready mentioned, this last aspect of Pusong' s personality probably is
not as negative a trait in the minds of rural Filipinos as it would
be for many Americans.
Meiiez's analysis of these trickster tales claims that "The em-
phasis in the Philippine versions is on the l<!ziness of Juan Tamad
while the Spanish analogues stress Juan's stupidity ... " 28 Our ana-
lysis, based on a more comprehensive corpus for the Philippines,
does not support this finding. Frequently Pusong is as stupid in his
behavior as he is lazy; moreover, his laziness often is rewarded.
Finally, Juan's laziness often is mixed with shrewdness and luck.
Meiiez, in comparing Spanish and Philippine trickster stories,
found in the former " .... the conclusion is always negative. Juan
gets scolded, beaten, punished, or even killed."z 4 The conclusions
of the Philippine stories are "always positive" for ". . . in the end,
Juan becomes master of the situation and definitely subdue both
[mother or wife] ."25 Table 2 presents data regarding the conclu-
sions of Pusong tales analyzed in this article. Table 2 supports Meiiez's
statement in the sense that when Pusong is involved in a debate, he
wins much oftener than he loses. However, this table underlines
another crucial aspect of the tales: namely, that in about one-third of
all tales, no contest occurs. This feature of the corpus reflects the
large number of numskull tales.
TABLE 2
THE CONTEST THEME IN PUSONG TALES26
_W_ins
__ c_on_t_e_st_I __Loses Contest I No Contest Involved 1-T_o_t_al_
92 13 I 58 163
23 Meiiez, op. cit., 87.

24 Meiiez, op. cit., 87.
25 Meiiez, op. cit., 88. . .. . •
26 The total of Table 2 is larger than the . <;orpus since some tales
include several contests; each contest was counted separately. .A contest
was defined as an event in which Pusong struggled with others for a
certain goal, e.g., marriage with a princess, seduction, community
prestige, besting an opponent in a verbal duel, etc. · ·
ASIAN STL"DIES
Table 3 indicates the means by which Pusong wins his contests

and the results of his victories.27 In addition to many and varied
tricks, the most common means are soothsaying, the substitute of
another person for himself, and helpful animals. One might argue
that in the tales where Pusong is aided by helpful animals, the ul-
timate victory should not be credited to him. His most popular
rewards are marrying the princess (or rich girl), or wealth, illicit
sexual intercourse. prestige, or merely the pleasure of defeating his
llpponent.
TABLE 3
HOW PUSONG WINS HIS CONTESTS AND THEIR ASSOCIATED HESULTS*
Number i Number of!

! How Contests Were Won of Times I Rewards Occasions
I

I
\Trickery 20 IMarries princess 33
i or rich girl
I
I
I
i Substitute another for II Wealth
, himself
14 12
I
I
I Illicit coition
I
i Pretends to be a 15 12
!soothsayer I
I
f Helpful animals (dogs, 11 I Defeats opponent 12
; cat, monkey, eel, crab, I(victory is sole reward)
I snake, horse and bird)
IiL.ymg 11 IGains prestige (praise 12
from parents, community
I ·helped, local fame, etc.)
!
I Disguises himself 5 Food (often in 10
excessive amounts)
I
!Uses
I
magical objects 5 Sells wares 6
Il Wisdom 2 Escapes execution 5
I Miscellaneous (one 4 Miscellaneous (one 3
1 apiece, bribery, laziness, apiece, freed from
1 honesty, frightens slavery, becomes
I opponents) sultan, gets class
dismissed early)
* Since in many single tales Pusong wins dual or triple rewards, the
totals for the two columns in Table 3 are not identical.
27 Various difficulties occurred in constructing Table 3. First, trick-
ery is a broad topic. It is an element in other means by which PuHong
wins his contests, e.g., pretending to be a soothsayer. However, it was
sometimes difficult to be more specific; for example, trickery in some
instances was an accident, etc. Second, the numerous variants focused on
one motif (e.g., how Pusong escapes from the cage by convincing another
The Philippine Distribution of Pusong Tales

With some exaggeration one might claim the distribution of
Pusong tales to be pan-Philippine. They have been collected from
the north to the south in the archipelago, for primitive, Christian
and Muslim Filipinos. However, only one Pusong tale has been
published for a primitive group, the Mangyan of Mindoro. 28 This
tale, collected by an anthropologist, is a popular one in the Philip-
pines - Juan sells to a gullible king an animal that is purported to
defecate money. When the animal does not perform as promised,
the King imprisons Pusong in a cage for his fraud. (See 1: Pusong
and The Cage-in-the Sea Trick_).
Several stories were located for other primitive groups in Luzon
that are quite similar to Pusong tales, although the main character
is neither identified as Pusong nor Tamad. One common motif in
Pusong stories is how Juan tricks his parents or friends so he may
enjoy feast. The Apayao (of northern Luzon) tell about Ekkon.
a "naughty boy," who tells his mother a friend blind in one eye is
coming to slaughter their pig. He leaves, returns with a sticky
substance he has put in one eye, fools his mother, and kills the pig.
"That was the best supper that Ekkon ever had in his life." 29 The
Tinguians and Kankanay, also of northern Luzon, tell a brief story
about a man who visits a town where people replied, when their
visitor asks what they were eating, that it is labon or bamboo sprouts.
He returns home, cuts and cooks his bamboo house ladder, think-
ing the people had said they were eating aldan or the house
Numerous Pusong stories are based on the confusion over the mean-
ing of words or purposely giving incorrect names to objects or terms.
Moss published a large number of "Trickster Stories and Fables ..
for the Nabaloi, again from Northern Luzon.:n All the trickters
to be his innocent substitute) were counted separately; they might have
been counted only once. Third, in some tales additional rewards are
indirectly implied, e.g., when Juan marries the princess he eventually
would become the king. However, this and other rewards are listed
in Table 3 only when specifically mentioned in the tales.
2s Coronel, op. cit., 151-154.
29 Wilson, op. cit., 230.
llo Fay-Cooper Cole, Traditions of the Tinguian. A in PhiLip-
pine Folklore (Chicago, Illinois 1915) 14 : 198-199. In the Kankanay
version the man dies from eating his residence bamboo ladder. Morice
Vanoverbergh, C.I.C.M., "Tales in Lepanto-Igorot as it is Spoken at Ba-
uco," University of Manila Journal of East Asiatic Studies 1 (1952) :
6-118. ..
31 C. R. ·Moss, "Nabaloi Tales," University of California Publications
in Arckae.ology and Ethnology 17 (1924) : 296-353.
142 ASIAN STUDIES
in his published selection are animals and no tale is a variant or

duplication of our Pusong corpus. However, Moss states "A few
[tales] which were told to me were not recorded on account of their
similarity to lowland Filipino myths that had previously been pub-
1ished."32
Although most of the standard published folklore sources for

the major primitive societies in the Philippines were examined, a
more comprehensive search might locate additional Pusong tales. It
is our opinion, however, that Pusong tales are rarely told among these
groups. Of all Filipinos, they have lived and continue to live in
the most isolated areas of the country. For this reason they were
the least influenced by the Spaniards and Americans or the people of
folklore of these groups was "no more 'uncontaminated' " than that
of Christian Filipinos.38 The final word on this subject 1s yet to
be written.
According to anthropologist Nimmo, "Stories of a comic trick-
ster called Pusong are told by both the [Muslim J Taosug and Samal
inhabitants of the Sulu Islands of the Philippines."34 Coronel writes:
that
The stories of Pilandok are very many and varied. Each
story shows how he manages to escape a complicated situation
by his wit or lack of it. Many a situation happens due to his
being a half-wit. Though generally considered a funny man,
Pilandok now and then shows brillance of mind and wit . . . He
is the Muslim counterpart of Juan Tamad.:l5
Cnfortnnatdy, Coronel published only one tale about Pilandok, col-

lected from an informant (Muslim?) in Zamboanga city in Southern
Mindanao.8 " Finally, the Muslim Maranao (Western Mindanao) tell
trickster tales in which the central character is a man called Pi-
landok.37 One Filipino ''-'Titer equates the Maranao Pilandok with
Juan Tamad.:Jg
A popular trickster of Sabah is the clever mouse-deer (Malay:
Pelandok) who outwits larger animals but usually is beaten by smaller
ones. The numerous tales about Pelandok (Pilandok or P'landok)
Ibid., p. 320.
32
Fansler, op. cit., xviii.
33
34 Nimmo, op. cit., 185.
ss Coronel, op. cit., 30.
36 Coronel, op. cit., 30.-32.
37 McAmis. op. cit., 101.
38 Abdullah T. Madale, "Pilandok of the Maranaws," This Week Ma-
gazine (Manila, May 8, 1960).
have tnany parallels . with stories told by Muslim Filipinos in Min-

danao and Sulu.39 Francisco speculates that Juan Tamad may be a
"modern Tagalog adaptation of the Pilandok character." 40
Puwng as a Trickster
In discussing Coyote tales, Thompson states this trickster has three
roles: the beneficent cultural hero, the clever deceiver and the
numbskullY Pusong is never a cultural hero but the tales in this
article vividly illustrates that he is both a clever deceiver and a numb-
skull. As indicated earlier, Pusong's personality is that of thesis
and anti-thesis; like other tricksters he is both smart and stupid, he
cheats and is cheated. 42 He shares another trait of American Indian
and African tricksters - he is a glutton. 43 The plots of various tales
are centered on the tricks Pusong plays to obtain food to satisfy a
voracious appetite. He, like other tricksters, also has his helpful com-
panions or stooges44 and often appears as a "retarded" child in his
". . . preoccupation with the humor of elemental incongruities, sca-
tology, and cruelty ... " 45
Yet . the Filipino trickster differs from the general pattern of
tricksters in other cultures. Pusong is human, and normally without
supernatural qualities. Our Filipino trickster does not give Filipinos
their basic cultural equipment (e.g., fire, plants, etc.) or important
customs that determine and guide their behavior.46 But it is not
"inaccurate to call him a 'Trickster' " 47 for he is both intelligent
and clever. Pusong often plays wilful tricks on his opponents, dis-
playing both brilliance and cunning.
89 Juan R. Francisco, "Some Philippine Tales Compared with Parrallels
in North Borneo," Sarawak Museum Journal 10(1962) : 511-523. Also
see George Jamuh, Tom Harrisson, and Benedict Sandin, "'Pelandok',
The Villain-Hero--In Sarawak and Interior Kalimantan (South Borneo),"
Sarawak Museum Jourruil 10 (1962) : 524.-534.
40 Francisco, op. cit., 518-519; McAmis, op. cit., 101.
41 Stith Thompson, The Folktale (New York, 1951) : 319.
42 Linda Degh, "Folk Narrative" in Folklore and Folklife: An In-
troduction, ed. Richard Porson (Chicago, Illinois, 1972) : 68.
43 Thompson, op. cit., 326; Paul Radin, The Trickster: · A Study in
Ammican Indian Mythology (New York, 1956) : 155-156; Susan Feld-
man, ed., African Myths and Tales (New York, 1963) : 15-16.
44 Maria Leach, ed., Funk and Wagnall's Standard Dictionary of Folk-
lore, Mythology and Tales (New York, 1936) :
45 John Greenway, ed., The Primitive Reader. An Anthology of
Myths, Tales, Songs, Riddles, and Proverbs of Aboriginal PeopleB Around
the World (Hatboro, Penn., 1965) : 57.
· 4& Radin,· op. cit;, 156.
47 John Greenway, Literature Among the Primitive (Hatboro, Penn.,
1964) : 72. .
144 ASIAN STUDIES
Greenway concludes that of all primitive narratives, Trickster

tales are the most offensive to Euramerican readers because of
his habit of committing unnatural sexual acts and wallowing in
excrement.4S
Pusong tales discussed in this article (and others not included) il-
lustrate the prominence of excrement in their plots. The feature is
a common characteristic of Filipino folktales that do not involve
Pusong. Yet Pusong for all his sexiness never commits an unnatural
sexual act. This is not because deviant sexual practices are unknown
in the Philippines. Male and female homosexuality, including trans-
vestism, are part of life in Caticugan and Dumaguete.49
Finally, Pusong has another prominen.t trait usually not asso-
ciated with trickster stories in other societies - his abnormal indo-
lence. In one tale collected from a female informant in Eastern Sa-
mar, Pusong was so lazy that he did not brush his teeth or wipe
his mouth after eating. During the night the rats smelled the odor
of food in his mouth as he slept in bed.
The rats began to eat Juan's lips. He expected his wife to
drive them away. His wife was watching and expecting her hus-
band to drive them away. In the morning Juan's lips had been
eaten by the rats.
"Why did you not drive the rats away?," asked his wife.
"Look at your handsome face now!"
The wife was so angry she left Juan. They were separated
because of Juan's laziness.
Yet Pusong's laziness may be rewarded. In one tale (collected
in Samar) he was so lazy that he threw his wife's valuable golden
hairpin at the thieving birds in their fields. Later the hairpin was
found in a bush that grew where a buried treasure was found. So
m some tales Pusong's indolence is profitable either through luck
or shrewdness.
One Pusong tale _ends by the storyteller commenting on his
character. But are there different Juans asked .the grand-
daughter?
Oh yes there are many kinds. There is Juan whom they
sometimes call Suan who is lazy and full of bragging lies and
and other Juans who are not as lazy or stupid as they seem.
How can you tell which Juan is which? You can never tell
chuckled the grandmother. You only wait a:hd see,50
· 48 Ibid., 76.
49 Donn V. Hart, "Homosexuality and Transvestism in the Philip-
pines: The Cebuan Bayot and Lakin-on," Behavior Science Notes 3
(1969) : 211-248.
50 Arguilla and Arguilla, op. cit., (1965) : 81.
In conclusion the Juan Pusong (or Tamad) stories remain a

luxuriant and relatively unexplored field for folklorists interested in
trickster tales. Numerous generalization about Trickster tales remain
either inaccurate or incomplete since they do not include data from
the Philippines - and the rest of insular Southeast Asia. Juan Pu-
song urgently needs to be "revisited" by folklorists.
New Pusong Tales from the Bisayas

Space prohibits the inclusion in this article of all 56 Pusong
tales collected in Eastern Samar and Southern Negros. This section
presents a selection of these stories arranged around popular Pusong
plots. When variants were collected for the same tale, the ''best"
example is given, e.g., the longest tale that has the greatest detail,
internal consistency, etc. The footnotes indicate the variants for
each tale, as found in student reports, theses, and published sources.
A brief summary of the basic plots of all the tales in each group
precedes the presentation of the story actually gathered in Samar or
Negros.
I. Pu.rong and the Cage-in-the-Sea Switch

Fifteen variants of this tale were collected in Samar or Negros
and located in the other sources previously described. Versions of
this tale occur among Christians, Muslim, and primitive (Mangyan)
Filipinos.
Pusong is imprisoned in a cage (fish trap or chicken coop) by
the king (paymaster or captain of a ship) because he: 1) courted a
princess; 2) had illicit sexual relations with a queen; 3) sold an
animal (carabao, chicken, etc.) that he fraudulently claimed defecated
money; 4) claimed the owner's cows he watched were buried in the
ground (when only their severed tails had been covered); or 5)
broke the law.
Pusong is placed in a cage to be dropped into the sea. He ma-
nages to trick someone (executor, judge, friend, student, fisherman,
etc.) to enter the cage as a substitute (often falsely claiming he was in
the cage because he refused to marry the princess). Pusong "mira-
culously" returns from the sea, claiming his executor's deceased pa-
rents or other relatives lived under the sea, possessed great wealth, and
wanted to see their kinsman. After the cage with the executor is
thrown into the sea, Pusong claims the bubbles, feces, blood (said
146 ASIAN STUDIES
to be wine) and other signs indicated he was being welcomed by

his relatives. Actually, he drowns. Pusong marries the princess,
becomes rich, and, by implication or direct statement, is proclaimed
king or sultan.
Story No. 1
There is a story from the olden days about Juan Pusong.
Juan Pusong was a watcher of· cows. The cows were in a corral
along the beach. One day Pusong went to the corral to inspect
the cows. What he did was to cut off the tails of all the cows
and bury them in the ground so only their tips showed. He then
opened the corral and drove the ·cows into the forest. After this
he reported to the king. He told the king:
'Senor, all the cows in the corral burrowed into the sand
except for their tails that are still sticking out."
The king walked to the corral with Pus.ong; there were no
trucks [i.e. buses] then. The king was worried what to do when
he saw only the tails of his cows exposed. He ordered Pusong to
go to the queen to borrow a sadol. [Sadol in Samaran means a
type of pick but also, by double-entendre, coition]. P'usong went
to the queen. On his arrival at the palace he told the queen:
'Senora, I was told to come for the sadol.'
'Oh, you foolish Pusong, get out of here,' the queen said.
Pusong went to the king at the corral and told him:
'The queen does not want to give me the sadol.'
'Go again and get the sadol from the queen,' ordered the king.
Pusong ran to the palace and said to the queen:
'Senora, I was told to sadol by the king. So the queen per-
mitted him to "sadol" her.
'Where is the sadol? ,' the king asked Pusong.
'Oh, I lost it on my way. I don't know where it is now.'
The king returned home with Pusong. The queen told the
king that Juan Pusong had come and 'made foolishness' [coition].
'He asked for sadol and I ga,ve him sadol,' said the queen.
The king imprisoned Pusong in a cage. The cage was built
along a path. To the many who walked past along the path,
Pusong kept shouting:
'I don't want to ma,rry the princess!'
The princess was the most beautiful girl in the city. She was
like Miss Philippines. Friends of Pusong passed while he cried
out:
'I don't want to marry the princess.' A prince asked Pusong:
'What did you say?'
'The princess is forcing me to marry her but I don't want
to,' answered Pusong. They agreed to change places on the next
day.
'I'll come and take your place. Will that be all right?' said
the tarince.
'Well, if you would like to marry the princess, that's all right
with me,' Pusong said. [Here the informant commented: 'Pusong
is very tricky.'] ·
Early the next day, about 5 a.m., the prince came in full
uniform. Pusong gave him the key and he opened the cage.
The prince took off his uniform and exchanged it for Pusong's
clothes. He took Pusong's place. Pusong closed the cage.
Be sure to say you want to marry the princess,' Pusong said.
Then Pusong strutted around in the uniform with its sword
like a real prince. Many people passed the cage saying:
'Pusong will soon be killed by the king." The prince kept
saying:
'I want to marry the• princess,'
Around 4 p.m. the King rode a.11ound in his coach. When he
passed by the cage he heard the prince say:
'I'd like to marry the princess.'
The king got out and scolded the prince.
'You had better keep still, Pusong, and get ready for what
will happen to you tomorrow.'
'I want to marry the princess,' said the prince.
The next day the king called his ministers a.nd policemen and
told the policemen to throw Pusong into the ocean. The police-
men brought the prince in the cage and threw him into the
ocean. When Pusong heard the prince was thrown into the ocean
he visited the palace. When the king saw him he was surprised.
'Why, Pusong,' said the king. 'Why are you here?' Pusong
told the king:
'I went to the place where your parents are living. They are
rich and have a big store. They are lonesome for you. I was told
to tell you to visit them.'
'Oh, what a nice place to have been to. I wish I could see
my parents,' the king said.
'You can go as long as you do what you did to me,' said
Pusong.
The king ordered the policemen to build a cage for him.
The following day the cage was ready. The king ordered the
policemen to bring him to the queen. Pusong went with him.
The king said goodbye to the queen.
'I'll go with you and show you the right way to get to your
parents,' Pusong said.
While sailing on the ocean Pusong tied a rope and iron bar
around the king's neck. The king asked Pusong:
'Why are you tying a rope and iron bar around my neck?"
'Well, I am doing this so you will immediately sink to the
place where your parents are living. Otherwise you might be
eaten by the big fish around there.'
In the middle of the ocean the king was thrown into the water.
Later bubbles and feces came up to the surface.
'Oh, the king is enjoying himself with his parents,' said
Juan. 'They have eaten so much food that feces are floating
up.sl
51 This tale was collected from a 27-year old married male Filipino,
one of our best storytellers, who lived in the rural outskirts of Borongan.
He said the tale was first told him by his grandfather when he was five
years old. He had not retold the tale since learning it! The "moral" of
the story, according to his grandfather, that he should not grow up
to be a liar like Juan Pusong. In later questioning, he said Pusong did
not marry the princess - "he just went away.'' Pusong had buried the
taUs of the king's cows ''to •see if the king could see through his trick.''
Six similar versions of this tale were collected in Boroiigan and two in
Dumaguete. Two versions were found in Oracion, op. cit., 92-93, 94-101.
148 ASIAN STUDIES
II. Pusong and HiJ· Obedient Monkey Servant

Seven versions of this tale were located, of which one was col-
lected in Samar and another in Negros.
Juan Pusong captures (in several tales he used a tar-baby) a
monkey raiding his fruit trees or field (corn or camotes). He spares
the monkey's life since he promises to be his faithful servant. Se-
veral times, the monkey borrows a measure from the king (rich man)
on the pretext it is required to count Juan's great wealth. Each
time the measure is returned, the monkey sticks to it a silver or
gold or coins of increasingly larger denominations. The king is con-
vinced Pusong is a wealthy. man; so Pusong marries the princess.
In some versions the king says that before he will agree to the
proposed marriage, Pusong must own a palace, land, and anin;1als.
The monkey goes to a witch (ingk_anto or environmental spirit or
a king whose subjects are animals) who owns a palace and digs a
large hole in the ground. The owner of the palace is tricked into
jumping into the hole (to hear sweet music or escape a fictitious
invading army) where the monkey kills and buries him. On the
way to see Pusong's palace, the. people he passes tells the king (on
the instructions of the monkey) that their animals land belong to Pu-
song. Juan usually marries the princess; however, in one tale the
princess refuses to wed him because he is ugly. The monkey either
returns to the forest or remains a valued friend of Pusong.
Once there was a family who owned a camote field. This
family has a son named Juan Pusong. He watched their camotes
because monkeys often stole them. Juan made some traps to
catch the monkeys. He caught one in his tra,p. When he caught
the monkey he went to it with his bolo [a broad-bladed multi-
purpose knife most farmers carry]. He intended to kill the
monkey.
'Juan, please do not kill me. I'll be your servant,' said the
monkey.
Juan still intended to kill the monkey and toward
him. The closer Juan came the more the monkey pleooed. So
Juan did not kill the monkey but brought it home with him. The
other monkey in the forest no longer raided his camote field be-
cause they saw that the monkey had been caught in the trap,
so they were taught a lesson.
Most of the time Juan went to the sea to fish. The monkey,
because it wa,s tame, often went to town for a walk. He did this
for a long time. One day the monkey found a 50-centavo coin.
Published versions are included in Maxfield and Millington, op. cit., 108-
109; two versions in Coronel, op. cit., 151-154, 30-32; and one version in
Nimmo, op. cit., 188-189.
He did not give the money to Juan. The next day he found a
one -peso bill. He kept the bill, too. One day he said:
'Juan, you'll have to prepare our meals because I have a
job in the town as a clerk and can no longer cook.'
Juan believed the monkey; so he no longer went to the sea,
because he had to have the meals ready as soon as the monkey
came home.
One day the monkey went to the king to borrow a measure.
When he was before the king, he said:
"King, may I borrow your measure because Juan is going
to measure his money?'
The king lent him the measure. On the following afternoon
the monkey returned the measure, putting the 50-centavo coin
inside it. The king saw the coin in the measure and asked:
'What dot'ls this coin you left here mean?'
'That is the money Juan wants to pay you for the use of
your measure,' answered the monkey.
'No, you do not have to pllly me, for I have plenty of mo;ney,'
the king said.
'Juan has more money than you have,' replied the monkey.
[The informant chuckled most of the time while telling this
story.]
So the king kept the coin. The following morning the monkey
again went to the king to borrow the- measure.
'King,' he said, 'may I borrow the measure again because
Juan is going to count his money?'
'Yes, I'll lend you my measure.'
The following afternoon when the monkey returned the mea-
sure he put the one peso bill inside. The king saw the one peso
bill in the measure.
'What does this one peso bill mean?,' he asked.
'That is payment for the use of your measure.'
The king told the monkey that he had plenty of money and
did not need the peso. -
'Juan has plenty of money, more than you have,' answered
the monkey.
The monkey went back to Juan's house and asked permission
to be away for a week. Juan gave him permission. So the monkey
left. He went to a palace where the king was a human but his
subjects were animals. He thought the palace must be enchanted
because the subjects were animals. Before ha entered the palace
he dug a deep hole. He then went befora the king.
'King, come and hear sweet music.- I hear sweet music. Do
you want to hear it?'
'Certainly I do. Where is it?'
'Come with me,' said the monkey.
The king followed the monkey to the hole.
'Put your ear to this and you will hear the sweet
music,' said the monkey.
When the king put his ear to the hole the monkey pushed
him into it and quickly buried him. He then went to the dead
king's palace. There he found some keys and a bell. He rang
the bell. As soon as he rang it the animals gathered before
him. He said to the animals:
'You must be very obedient now, for you- hava a new king.'
He rang the bell again and another group of animals ap-
peared before him and he told them the same thing.
150 ASIAN STUDIES
The monkey then returned to Juan's house.

'Come with me. You will marry the princess,' he said.
'I will not be accepted by the king. He is a king and we are
lowly persons.'
'Believe me, the king will accept you as the husband of his
daughter.'
So Juan went with the monkey to the palace. True enough,
the king liked Juan becaiuse he believed the monkey when he
said that Juan had plenty of money. Juan was married to the
princess.
After their marriage, the monkey told Juan about the king-
dom of animals. He said Juan was going to be their king. So
Juan and his wife went to that kingdom to live. Juan became
their king. From that time on Juan was very rich through the
monkey's cleverness.
Then the monkey asked Juan's permission to go home to
the forest. Juan gave him permission. When the monkey ar-
rived in the forest the other monkeys did not recognize him.
Maybe it was his bad odor. [The informant, when asked about
this odor, said it was a different odor than the other monkeys.
It was the odor of humans for the monkey had lived with people
for a long time]. So he lived by himself. He never went back
to Juan.5 2
III. Pusong, The Stupid Yet Successful Vend or

Six versions of this tale were located, including two collected
in Samar and one in the Caticugan.
Juan Pusong is sent to the market (by either his mother or father)
to sell pork or rice cakes. On the way he "sells" his food to various
animals (dog, cat, housefly, frogs, and a pig) and to his reflection
rn the water in a well.
The next day Juan returns to be paid. By threatening the owners
of the animals and the well (or the person on whom a housefly has
lighted), Juan collects. In one tale, Juan is praised by his father
as a skillful vendor. In another tale, Juan "sells" his rice cakes to
some frogs, fails to collect, and his mother promises never again to
send him alone to the market.
Story No. 3
Pusong's father had a pig. Pusong once said to him: 'Tatay
[address term of respect, also Daddy], kill the pig so we can
sell it.'
His father agreed. He killed the pig. Juan left to sell the
meat in the market. On his way a housefly lighted on his meat.
He spoke to the fly:
53 This tale was colleCted from a 65,...year old spinster who lived in
Boroiigan and first heard this story from her mother. She had rarely re-
told this tale. Another version wa.S collected in Borofigan and one in Ca-
ticugan. Versions are also given in Fansler, op. cit., 352-353; Oracion,
op. cit., 61-62; and Arguilla and Arguilla, op. cit., (1965) :69.
'Do you want some of my meat? Here it is. I'll give you
the meat, but you must pay me on Thursday.' He put some meat
on the ground.
He went on his way. He met a dog and said to the dog:
'What, do you want some of my meat? Here is some, but you
must pay me on Thursday.'
He continued and came across a well. He looked down and
saw his reflection on the water.
'What are you looking at? My meat? Do you want the
rest of it? You must pay me on Thursday! He threw the meat
into the water.
Pusong. went home. When he arrived he said to his father:
'Tatay, my meat was bought on .credit. I sold it ahead of
the rest. They are all going to pay me on Thursday.'
When Thursday came P'usong went to collect his money for
the meat. He saw a housefly on the head of a Chinese. He said
to the fly:
'You must now pay for my meat. Give me your money.'
The Chinese thought Pusong was speaking to him. ·
'No, I did not buy any meat from you.'
'Yes you did,' said Juan. 'You must pay now!' He was
talking to the housefly.
'If you do not pay me I shall kill you with this stick.'
The Chinese, fearing for his life, paid Pusong,
Pusong continued until he saw a dog. He said:
'You pay me. This is Thursday.' The dog run away. Pusong
ran after him until they arrived at the house of the dog's ·owner.
'What is wrong?' asked the owner.
'He bought some of my meat and he is supposed to pay me
today. If he does not pay me I shall kill him,' answered Pusong.
The owner did not want his dog killed so he paid Pusong
what the dog supposedly owed him.
Pusong continued. He came to a well. He looked down and
saw his reflection in the water. He said:
'Don't look at me ! Pay me! You are supposed to pay me
today.' . .
His reflection did not answer. Pusong became angry. The
owner of the well saw him. He did not want Pusong to make his
well dirty so he paid Juan the amount the well was supposed to
pay.
Pusong went home after he had collected all the money owed
him.53
IV. Pusong: The Trickster Farmer and the "Pig Nest"
Nine versions of this tale were located, of which four were col-
lected in Boroiigan and Lalawigan and on:e in Caticugan.
52 This tale wals collected from a old married male informant
who lived in Borofigan and first heard this story from an aunt of his
father. The aunt, a schoolteacher during the Spanish period, told stories
after the evening prayers. Although he has told this story many times,
he has never told it to his children. Another version was 'Collected in
Negros. Two versions can be found in Fansler, op. cit., 326-328; and one
apiece in Gardner, op. cit., 108-109; Ramos, op. cit., 192-203; and Rat-
cliffe, op. cit., 289.
152 ASIAN STUDIES
Juan Pusong tricks his parents (or only_ his mother) into be-
lieving he has hired workers (in one tale 100 farmers) to work their
field. He does this by putting hats on stumps and a bolo along each
hat. At Juan's request his parents prepare a large feast for the work-
ers. Juan eats the food. As a result of o':'er-eating, he defecates,
creating a large pile of excrement. He covers the pile with leaves
and twigs, and returns home.
There he tells his father he has found a nest where a wild pig
is delivering. He urges father to capture the pig. When his father
jumps on the "nest" he is covered with Juan's feces. Realizing he
has been tricked, the father lets the feces on his body dry. Later
he serves the dried feces to his son, claiming they are pilipig (roasted,
pounded rice, a Filipino delicacy).
In one version Pusong is sent to the forest to gather egot, a
wild edible tuber. He fills the basket with only a few tubers, gets
inside, covers himself with leaves. Later his unsuspecting father car-
ries the basket home. Juan is again sent to the forest on the same
errand. This time he fills the basket with tubers but his father,
thinking Pusong again has tricked him, stabs the basket with his fish
spear. The tubers emit a red juice that is mistalren for Juan's blood.
When he thinks his father is no longer angry with him for his trick,
Pusong returns home to tell him he has discovered a wild pig's
"nest," etc.
In two versions Juan is punished by his father but is not fed his
own feces. In another tale he hides when his mother comes to the
field where she finds out his ruse and sees the great pile of feces
Juan made by eating the food for the workers.
Story No. 4
On one occasion Pusong asked perm1sswn form his father
to go to their kaingin [a semi-permanent field cleared in the
forest] that they had harvested earlier so as only grass remained.
His purpose was to clear the field so they could •plant camotes.
There were many big stumps in the. field. What P'usong did
was to make many big hats (sadok) from shaped leaves
of anahao and put them on each stump. In the distance it looked
like many persons wera working in the field. As soon as he was
finished he went home.
'Father, I have many workers. If I were you I would kill
a big pig for them.'
Pusong and his father went near to field. The father
saw many hats and believed Pusong.
His father, being an honest man, killed one of their pigs

for Pusong's workers. Pusong kept on going back and forth
from the field to his father's place to see what hi!> father was
doing. When he saw his father was through cooking the pig,
he told him:
'Father, it is best to bring the food to the place were my
workers are.' It was almost noon and time to eat.
When they were some distance from the field, Pusong said
to his father:
'Let's place the food here.'
His father followed Pusong's advice. They brought not only
a cooked pig but also other food. After this his father went
home and Pusong carried the food further away from the place
where his father had put it. He put the food near a bent tree.
He sat on the bent tree and ate and ate the food. He became full
and moved his boweds. While eating he moved his bowels, ate
some more, moved his bowels again, etc. But he could not eat
all the food, for there was too much. The extra food was re-
turned to where his father had put it earlier.
Pusong had made a big pile of feces. He covered it with
some leaves and small branches so it looked like a nest where a
wild pig was delivering. Pusong went home and told his father:
'Father, I saw a dogmon' [nest where a wild pig delivers].
His father went with Pusong to the dogmon. On their ar-
rival Pusong told his father to jump on the dogmon but to do it
carefully and to be sure to jump on the top for otherwise the
wild pig might run away. The father jumped on what he thought
was a dogmon and was covered with feces. Pusong ran away
for he feared his father would punish him.
His father was angry but Pusong was gone.
'My goodness, how foolish is Pusong!'
His father went to the field and found the 'workers' were
only stumps on which Pusong had put hats. His father got
angrier. His father went home without cleaning his body. On
his way home he kept thinking how to take revenge on Pusong.
He stayed under the sun. After a long time the feces on his body
were hard and brittle like pilipig.
He took the feces off his body and dried them again in
the sun. The feces became more brittle. His father put the feces
in a small basket and brought it home, hanging it from a rafter.
Pusong did not return home for nearly two weeks. The
pilipig still was in the basket. After two weeks Pusong returned
home.
'Father, do you have food for me to eat?' he asked.
Oh, Pusong, we have no food.' His father answered slowly
to hide his anger.
'Don't you have anything to eat?' Pusong asked.
'There is a basket hanging from the rafter where you will
find pilipig,' replied the father.
His father said it was even linubi [pilipig repounded with
grated coconut and sugar].
Pusong got the basket and began to eat the 'lim{bi.' While
eating he said:
'Father, this smells bad.'
'Oh, maybe it is because we have been saving it for a long
time,' his father said.
154 ASIAN STUDIES
After Pusong ate all the 'inubi,' his father laughed and
said:
'What you have eaten was your own feces. Because you
tricked me earlier, now I have tricked you more.54
V. Pusong, The Seducer

Eight tales were collected whose plots center on how Pusong
seduces women (usually princesses). Three versions come from Bo-
rofigan, and one apiece from Lalawigan and Caticugan.
The seduction methods used, in addition to that given in the
following tale, were: 1) luring the girls to bend over to listen to
"sweet music" coming from a hole in the ground; 2) disguising him-
self as a pregnant woman to gain entrance to their bedroom; 3)
rricking the princesses into permitting him to enter their warm
quarters by pretending a terrible chill (two versions); and 4) telling
the princesses they can go to "paradise" only after being "nailed", i.e.
coition. In one additional story, Pusong actually is seduced by the
princess who unties his penis when he sleeps with her. He had tied
his penis to his waist so he would be unable to have intercourse, and
would thereby gain her hand in marriage.
Story No. 5
One time Juan Pusong made a boat from the trunk of the
badyang. The badyang is a tree whose sap makes one itch and
have to scratch. After the boat was built Juan invited some
young unmarried ladies ( daraga) to accompany him on an ex-
cursion. The girls were glad to go because Juan sai(i he had
plenty of food. So they went with Juan in his boat on the
river.
Before they started Juan told the ladies to pull up their
dresses around their waists before sitting doWn. This was so their
dresses would not get wet. [Informant acted out how the girls
raised their dresses to their waists]. The ladies dfd as Juan
advised. After 31 short time the girls' bottoms and sexual organs
began to itch from the sap of the badyang. The girls were very
uncomfortable, scratching and moving around inside the boat.
54 This version was collected from a 56-year old married male in-
formant living in Borofigan; he had first heard the story when residing
in Suribao, southern Samar. last time he told the story was several
months earlier to his grandchildren, the eldest being 14 years old. He
said the moral of the story was not to trick people, especially your pa,..
rents, for one would eventualy be tricked more by the person fooled.
Three versions were found in Oracion. op. cit., 116-117, 58, and 78-79.
The sole printed version is in Arguilla and Arguilla, op. cit., (1965) :
79-81. In this story lazy Juan actually plants and harvests the rice
field, to the great surprise of his mother and neighbors.
Juan paddled the boat to the river bank. The girls got out.
When they were out of the boat, Juan found a tree called ma-
lobago. He removed the bark from the tree so its trunk was
barkless. When this tree has no bark it is very slippery. Juan
then told the girls to climb to the top of this barkless tree so
their itching would stop.
The girls climbed the tree, one by one. Because the trunk
was slippery, when one almost got to the top, she would slide do:vn.
What Juan had done was to sit at the base of the tree, straddling
the trunk with his legs, penis erect. As each girl slid down the
tree his penis went inside her womb and they had coition. After
this the girls went home and the excursion ended.
This is why Juan made his boat from the badyang tree and
told the girls to pull their dresses up before they sat· in the boat.
L3Jter the girls found out he had no food but was only bluffing. 55
No versions of the next three Pusong stories were located in pub-

lished or manuscript sources. Apparently they are new additions to
the Pusong corpus. Although variants of the first two stories were
collected in either Samar or Negros, the tale of how Pusong killed
Maka-andog was not duplicated in Negros. The many tales Samarans
tell about the mythical Maka-andog have been analyzed elsewhere.56
VI. Pusong Wins the Princess
Only one similar version of this tale was collected in Samar. In

this version Pusong was the handsome houseboy of the king. He
successfully met three challenges before he could wed the princess.
First, through the help of a fish, he found the ring the princess had
dropped in the sea. Second, through the help of a cat, he located
a horse with wings. Finally, he was able to survive in a caldron of
boiling water, emerging from this test dressed as a prince. The
king beheaded his three competitors, all princes, and Pusong married
the princess.
55 This tale was collected from a 70-year old married male resident
of Borofigan who first heard the story from his father when he was a
small boy. He had told it one afternoon about five year.s earlier when
his audience consisted of children, but no girls. The audience during
the time this story was collected included the informant's two married
daughters and a visiting female cousin. They all thought the story amu-
sing. This story is quite 1similar to one of the three var:ants collected by
Nimmo, op. cit., 186-189. The Muslim version has Pusong overhearing
the seven daughters of the Sultan planning to go to their farm. He
hurries there, buries himself under a tree with only his erect penis above
the ground. The daughters climb the slippery tree, only to slide down
onto Juan's penis. Finally the youngest girl told her sisters that the "de-
licious stick" was Juan's penis. This tale then continues with how Juan
escapes from drowning in a fish trap by obtaining an innocent substitute.
56 Hart and Hart, op. cit., (1966).
156 ASIAN STUDIES
Story No. 6
Juan was 16 years old and his mother was 53 years old.
The motheil" supported Juan and they were very poor. There was
a famine in the land so all the people were poor.
One day Juan Pusong's mother told him to cook a cup of
ground corn while she went to a· distant village to look for food.
She told Juan not to leave the house·. Juan followed her orders.
He sat by the window watching the people pass. He was at-
tracted by an old man carrying a cat. Juan asked the man
where he was going with the cat.
'I'm going to throw the cat into the sea. He is not a good
cat for he eats our food and chickens.'
Juan pitied the cat so he exchanged his cup of ground corn
for the cat.
When his mother came home she was very angry to learn
that Juan had exchanged their only cup of ground corn for a
foolish cat. Juan explained he felt sorry for the cat. The next
day he was a,gain left alone in the house and told not to leave
while his mother went to look for food. Again he sat by the
window. This time he saw a man with a dog. He asked him
where he was· going with the dog. The man told him he was
going to throw the dog into the sea because it ate his food.
Juan offered to exchange a cup of ground corn for the dog.
The next day while ·he was again by the window he saw
another man with a snake.
'Where are you going?,' asked Pusong.
'I am going to throw the snake into the sea. It ate six of
my roosters last night.'
Juan said he would exchange a cup of ground corn for the
snake. The two made the trade. ·
When his mother came home she was again very angry
with Juan. But Juan explained that the cat, dog, and snake
were very unhappy in their former homes. This was why they
ate all the food. Now in their new home they would never eat
any of their master's food because they would always be fed.
One day the king called a meeting of all the people in his
kingdom because he wanted to find out if his ·dreams were true.
All the people came to the palace except Juan. · He did not go
because he was lazy - he was the laziest person in the kingdom.
The king had dreamed that his future wife lived in a kingdom
. under the sea. At the first meeting the king did not find any
one brave enough to go to get his future wife. Then someone
said there was a certain person who was the laziest person in the
kingdom. He would be the one to go for he was not doing any-
thing else.
The king sent three soldiers to get Pusong. The soldiers
arrived while Pusong was eating. Juan said he would follow
after he had finished his meal. Later Juan went to the palace.
He saluted the king and said:
'Your Majesty, I am here and ready to do wha,t you com-
mand.'
'Juan, get my future wife who is in a· kingdom under the
sea.'
Juan said he could not do this because the kingdom was
under the sea. The king ·became angry and ga.ve him alterna-
tive - either get his future wife in three days or be killed,.
Juan went home. He was crying so loudly that when his

mother returned she asked him why. He said he was commanded
by the king to get his future wife from a kingdom under the sea.
'Tatay,' said the cat, 'I hear you crying. Tell me your
troubles for I am ready to help you.'
Because Juan was very angry he threw the cat out of the
window. The cat returned and said:
'Tell me what to do, for I am ready to help you.'
Juan told him the king commanded him to get his future
wife who lived under the sea. The ca.t said he could not do that
so Juan again threw him out of the window.
The snake said:
'Tatay, I heard you and I am ready to help you.'
Juan kicked the snake and said:
'Don't bother me.'
'Tell me what to do, for I am ready to help you.'
Juan said the king commanded him to get his future wife
who lived under the sea. The snake seplied:
'Very early tomorrow, at dawn, we shall eat breakfast and
then go to the sea. You put me on the sand and I'll become· a
horse. Since you do not know where the kingdom is, listen to
my instructions. You ride on my back. Remember we shall pass
many houses and many beautiful girls. Do not touch any girl
unless she is the right one.' So did this.
They passed many big houses and saw many beautiful girls
under the sea. They finally arrived at a big city. They were
walking in the big city when they passf>d a small house. The
snake said:
'See the beautiful girl sewing? Do not leave my back fer
I'll do some tricks.'
Then the snake, disguised as a horse, jumped in front of the
window. The girl saw them and was attracted to the horse and
said to the handsome man:
'Where are you going to sell that horse?'
Juan the foolish, pretending to be the. son of the king of dry
land, said:
'I'll not sell the horse because my father will get angry.'
'Who is your father?'
'The king of dry land,' said Juan.
'Well, I am attracted by the well-built body of that horse,'
said the girl.
Juan invited the girl to take a ride with him. The horse
whispered that once the girl was on his back they would run as
fast as they could to dry land. Whem they were on dry land the
girl could not go back to her house. She cried. They continued
to the king's palace. All the people were surprised to learn how
Juan had gotten the girl who lived under the sea.
The king said she would be his wife. The girl said she
wanted to marry Juan since he had got her from under the
sea. The king said that Juan was only one of his subjects. The
girl said:
'All right, I will marry you but first you must get my ring
that fell in the sea on my way here.'
The king commanded Juan to get the girl's ring lost in the sea.
Juan refused but the king said:
'I'll kill you if you do not do as I tell you.'
Juan went home and cried again. The: cat came and said :
158 ASIAN STUDIES
'Tatay, tell me your troubles. I will help you.'

Juan said the king wanted him to look in the sea for the
girl's lost ring. The cat said:
'Early tomorrow we will eat breakfast and then you get
on my back and we will go to the sea.'
When they arrived at the sea the cat suddenly dived into
the sea looking for the ring. They could not find the ring but
they met a fish called botiti. The cat said:
'Juan, since this is a big fish I'll tickle him and he will
vomit the ring.' ·
The fish vomited the ring. They got the ring and went to
the palace, returning it to the girl. The king said to her:
'Now will you marry me?'
'I have a last request. Look for a caldron, fill it with boil-
ing pig fat and have Juan swim in the fat,' asked the girl.
The king called Juan and commanded him to swim the next
day in the boiling fat. Juan went home and cried and cried.
The dog said:
'Tatay, tell me your troubles for I'll help you.'
'The king said I must swim in boiling fat,' said Juan.
The dog told him not to worry. Pusong was told to cut one
of the veins in the dog's neck and to massage the blood over his
body. He could then enjoy swimming in the boiling fat.
Early the next morning Juan cut one of the veins in the
dog's neck and massaged his own body with the blood. He went
to the king's palace. The king was surprised to see how happy
Juan looked facing death in the· boiling fat. With the sound of
the trumpet Juan swim in the fat.
After swimming for one hour in the boiling fat, Juan said:
'Give me some soap. I enjoy swimming.'
The people were surprised because while swimming in the fat
Juan also had become very handsome. The girl said to the king:
'Now it is your turn to swim in the boiling fat so you will
become more handsome.'
The king, however, was not brave enough to swim in the
boiling fat right away. He said he would do it tomorrow. That
afternoon the king sent for Juan and asked him what trick he
did to survive in the boiling fat.
'You have a very big dog in your palace. Cut one of its
veins and massage the blood on your body,' Juan replied.
Early the next morning the king cut one of the veins of
his bulldog and massaged its blood on his body. He called the
girl and said he was ready for the swim. At the sound of the
trumpet the king jumped into the boiling fat and died. The girl
announced to the people of the kingdom that J nan was now
king. All the soldiers respected Pusong because of his great
deeds. 5 7
VII. Pusong Pretends to be a Live Saint

Two similar versions of this tale were collected in Lalawigan.
In one story Pusong poses as a saint when the fisherman husband
of an unfaithful wife unexpectedly returns home. The husband, while
5 7 The informant was a 59-year old married male residing in Siaton
pobla:cion who had been a municipal official of Siaton for most of his
adult life.
lighting a lamp on the altar, sets fire to Pusong's pubic hair as he

poses there. Pusong runs away. In the second version Pusong hears
a young girl tell her father she would like to have a large image.
Juan gets the woodcarver, ordered by the father to make a large
image, to paint him as a saint and sell him to the girl's father. One
day while the girl was dusting, she raised Pusong's robe and saw his
penis. The father thought the woodcarver had . not finished the image.
He remarked he would get a saw to remove the "unfinished piece of
wood"; on, hearing him Juan runs away.
Story No. 6
There was a rich king who was fond of collecting different
types of images. He had many. But he was not contented with
his collection. He wanted to collect more but different images.
He thought of getting a living saint. He told Pedro, his house-
boy, to look for a living saint. For three weeks Pedro went
about the town looking for a living saint. After three weeks
he returned and told the king that he could not find one.
The king could not get the desire to have a living saint out
of his mind. So he asked Juan Pusong to try for another week.
Juan and Pedro talked to each other about how they could find
a living saint. Juan had an idea. He said:
'I will paint all of my body and pretend to be a living saint.'
Pedro agreed. ·
Pedro told the king the following day that he had found
a living saint. The king was happy and gave Pedro five hundred
pesos. Juan immediately went to a store and bought different co-
lored paints. In the afternoon Pedro painted Juan's body. Three
days later the paint on Juan's body was dry. Pedro carried Juan
to the palace. The king was happy to have a living saint, not
knowing it was Pusong. The king told Pedro to put the image
on the altar.
The following day the king left for Manila to attend a con-
ference. He was to stay there for a long time because he would
also tour the island. Before he left he told his three daughters
to take good care of the living saint. Whatever he asked for
should be given him. The three princesses listened carefully to
their father's instructions.
After the king left that morning Juan became hungry. In
a loud voice, he said:
'I am hungry. Give me some food. I am used to eating
good food in heaven.'
The eldest princess quickly ran to the kitchen and got food
for him. Pedro, who was listening to Juan, laughed.
During lunch time Juan again asked for food. The second
princess ran to the kitchen to. get food for him. In the evening
Juan asked for his supper. It was the turn of the youngest
princess. . .
The following day, early in the morning, Juan shouted that
he had to move his bowels. This time Pedro carried him down-
stairs. The two were laughing at Juan's naughtiness. The three
princess took turns in feeding Juan.
160 ASIAN STUDIES
In the evening Juan thought of more foolishness. He said

to the eldest princess that he wanted to sleep in her room. The
eldest princess was afraid that her father might be angry with
heT but she consented because he had told them before leaving
to give the saint all he wanted. In the morning Juan went back
to the altar.
The next night Juan told the second princess that he wanted
to sleep in her room. The second princess agreed. On the third
night, Juan told the youngest princess he would sleep in her room.
The youngest princess did not like him to stay in her room. The
two elder sisters told the youngest sister that their father might
be angry if she did not agree. They said:
'Remember what our father told us. He said that whatever
the living saint wanted should be given him.' -
The youngest princess consented because otherwise she might
be scolded by her father. They took turns having Juan sleep in
their rooms.
Four months later the king returned home. He was sur-
prised to see all his daughters were pregnant. H€1 asked them
what happened. The princesses told him that it was because of
the saint. The king went to his room to get a gun. Juan saw
him so he left the palace as fast as he could. He went to the
river and took a bath. He rubbed all parts of his body. Then
he went home in time for the arrival of Pedro from the palace.
'Juan, you are called by the king,' said Pedro.
Juan and Pedro went to the palace. The king asked J nan
what kind of saint he had brought him. He told the king that he
did not know who the living saint was. The king could not do
anything. It was his fault for wanting a living saint.
The three princesses delivered at the same time. The child-
ren of the princesses were the ones who told the king who their
father was. They said.
'Our father is Juan Pusong.'
Juan was summoned by the king and told that he would be
hanged because he was the fat hell' of his grandchildren. Juan
said:
'Se:fior Hari [Mr. King], first let me explain. It was by your
order that I looked for a living saint. You told me that if I did
not find one you would hang me. So my life would be spared,
I thought of painting myself so you would be happy.'
The king agreed that Juan was right.
'But you must marry one of my daughters,' he protested.
Juan chose the youngest princess and they were married a
week later.ss
VIII. Pusong and Frimds Kill Mak_a-andog

A major mythical figure in eastern Samar is the benevolent giant
known as Maka-andog ( Samaran, "a person who when walking creates
a loud noise like thunder and shakes the earth like an earthquake").
According to our informants, he was the first inhabitant of Samar
58 The informant was a 68-year old married resident of Boro:figan

who did not remember when he first heard this story.
and also the founder of Boroiigan. He had supernatural powers, an

enormous appetite, and his adventures in eastern Samar explain many
local landmarks, e.g., indentations in the coral where the sinkers of
his fish net rested J.nd his "footprints" can still be seen in certain rocky
coastal formations. Many stories are told by the older people of
Lalawigan and Boroiigan about Maka-andog; it is not unusual that
some Pusong tales would adhere to this cycle.
Stf)l"y No. 7
A story is told about Maka-andog and Juan Pusong who were
friends. One day the two friends had an angry dispute. Both
claimed that they were stronger than any animal in the world.
To settle their argument they agreed to fight to see who was
stronger; the loser would become the slave·of the winner. So the
two men fought. Pusong struggled with all his might but to no
avail. Maka-andog, famous for his physical strength and super-
natural powers, merely tapped Pusong with a finger and he fell
at once prostrate to the ground. Maka-andog won so Pusong
became his slave.
Pusong was a faithful and obedient slave to his master.
He was given a field to cultivate. He went there to work each
day. Maka-andog brought his food everyday. One day Maka-
andog failed to bring food, for he slept all day. Pusong became
very angry with him. So he started to his home in a boat with
a plan to kill his master.
On his way he met a whetstone [kamanga].
'Good afternoon, Pusong' said the whetstone.
'Good afternoon,' answered Pusong.
'Where are you going?'
'I'm going home to kill my master. He did not bring me
food this noon and I'm very hungry. Perhaps he is still asleep.'
'If you'll only let me ride in your boat I will help you kill
your master,' the whetstone requested.
Pusong permitted him to ride and the two sailed on.
While they were sailing they met an eel. Like the whetstone,
the eel asked Pusong where he was going. Pusong told him the
story.
"If you'll let me ride in your boat I'll help you kill your
master,' said the eel.
'All right, get in the boat,' said Pusong.
The three friends then sailed on until they met a bird called
get get.
'Good afternoon, Pusong. Where are you going?' asked the
bird.
'I'm going to kill my master because he did not bring me
food this noon while I was at work.'
'Will you let me ride in your boa,t? I will help you kill Maka-
andog,' said the bird. Pusong, happy to have him, allowed the
bird to ride with them.
The four friends continued sailing until they met a copapa
[a fern frond used as a fan]. Like the other passengers copapa
asked Pusong where he was giong. Pusong told hm the story.
162 ASIAN STUDIES
Finally the five friends sailed on together. At last they met a

big bee.
'Good afternoon, Pusong. Where are you going?,' asked
the big bee.
I'm going to kill my master because he did not bring me food
this noon.'
'May I ride in your boat? I'll help you kill your master.'
'Yes, you may,' replied Pusong.
So the six continued sailing. [The informant forgot in the
first telling to include the meeting with the crab, making six
members for the group.] As they sailed they planned how they
would kill Maka-andog. As the leader, Pusong said:
'All right, please listen to me. I'll tell you what each and
everyone of us will do. Maka-andog is still sleeping. So what
we will do is - we will arrange ourselves in the house. Getget
will stay on a rafter above the place where Maka-andog is sleep-
ing. The fan will stay by the cooking hearth. The crab will
hide inside the drinking water jar. The big bee will stay by
the door. The eel will lie flat on the top rung of the house
ladder. The whetstone will stay on the ground, at the bottom
of the house ladder. I shall shout as loud as I can in the yard
to awaken the snoring Maka-andog. As he awakens he will yawn.
As he opens his mounth Getget, on the rafter will drop his waste
in his mouth as it opens.' Pusong then told the rest what their
respective duties would be.
Soon they arrived at Maka-andog's house. The members of
the group at once went to their assigned places while Pusong
stayed in the yard. Seeing all of them were ready, Pusong began
to shout as loud as he could to awaken his master. As his master
opened his eyes, he yawned and yawned. Then the bird who was
on the rafter began to drop his waste into Maka-andog's mouth.
This forced him to rise. He ran to the kitchen. As he passed
by the door, the big bee stung him. He went to the cooking
hearth to build a fire for he was going to kill the bee. When he
got there, the fan ble!W ashes into his eyes, blinding him.
Maka-andog went to the drinking water jar. He was going
to wash the ashes out of his eyes. But as he dipped his hand
inside the jar, the crab bit his fingers. By now he had many
pains in his body so he decided to leave the house. As he stepped
on the first rung where the eel was laying, he slipped and fell on
the big whetstone on the ground in front of the ladder. Maka-
andog broke his head and died.69
59 The informant was an. unmarried Filip ina in Boroiigan. She first
heard this tale from a 44-year old married male informant who lived in
Sorok, a rural area of Boroiigan city.

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JUAN PUSONG:

THE FILIPINO TRICKSTER REVISITED 1

DoNN V. HART and HARRIETT E. HART

The Philippines: Background Sk_etch2

All Philippine languages are similar in phonetic and gramma-

Three, as a symbol of the Trinity, is of additional significance

As a result of a series of complex later events, with the end of

tive Japanese occupation of the country during the Second World

Bisayan Filipinos are the largest cultural-linguistic group in the

In 1955, the authors live in Borongan, a small town of about

In 1964, the authors returned to eastern Negros. In 1950, Donn

3 Donn V. Hart and Harriett E. Hart, "Collecting Folklore in East-

lications have described various aspects of life m these communities

In 1955, Borongan was a typical small Philippine town with a

The residents of Lalawigan wert: all Catholics whose livelihood

Dumaguete had a population of 35,000 in 1964. It consisted of

4 Donn V. Hart and Harriett E. Hart, "Sleuthing for Susurnatons

Siaton municipality is located on the southern tip of Negros. The

Caticugan (with about 750 residents in 1964) was reached by

It was these Bisayan commumtles, both rural and urban, that

A second source of unpublished tales utilized in this article are

s Fe Java Dignadice, "A Critical Study of Folklore in the Western

A third source of tales was obtained from printed sources, inclu-

Finally, the published folklore of pnm1t1Ve groups in the Philip-

Since Pusong tales often are boldly erotic, or emphasize scata-

6 Dean S. Fansler, Filipino Popular Tales (Hatboro, Penn., reprinted

9 Gardner, op. cit., 104.

As Table 1 indicates pusong and tamad have common meaning

IIlokano Arrogant, haughty, proud, lordly,

I Tagalog Knave, arrant rogue, saucy, buf- Lazy, indolenti5

Most of our informants in Samar and Negros orally defined

moral, etc. Some better-educated, more "Americanized" urban in-

Pusongs Physical Features, Family and Social Background and

wise. He acts both honestly and dishonestly, humanely and cruelly,

23 Meiiez, op. cit., 87.

Table 3 indicates the means by which Pusong wins his contests

Number i Number of!

The Philippine Distribution of Pusong Tales

in his published selection are animals and no tale is a variant or

Although most of the standard published folklore sources for

Cnfortnnatdy, Coronel published only one tale about Pilandok, col-

have tnany parallels . with stories told by Muslim Filipinos in Min-

Greenway concludes that of all primitive narratives, Trickster

In conclusion the Juan Pusong (or Tamad) stories remain a

New Pusong Tales from the Bisayas

I. Pu.rong and the Cage-in-the-Sea Switch

to be wine) and other signs indicated he was being welcomed by

II. Pusong and HiJ· Obedient Monkey Servant

The monkey then returned to Juan's house.

III. Pusong, The Stupid Yet Successful Vend or

IV. Pusong: The Trickster Farmer and the "Pig Nest"

His father, being an honest man, killed one of their pigs

V. Pusong, The Seducer

No versions of the next three Pusong stories were located in pub-

VI. Pusong Wins the Princess

Only one similar version of this tale was collected in Samar. In

Juan went home. He was crying so loudly that when his

'Tatay, tell me your troubles. I will help you.'