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CHUNKS OF MEAT FROM THE BOY HUNTER AND VLADMIR PROPPS’ AUTOPSY
OF FILIPINO FOLK TALE
Introduction
Vladmir Propps (1895-1970) became the father of folk tale morphology as he examined the
common theme of his country’s folktales through 31 morphemes or “chunks analysis.” Every
single detail of each folktale created a pattern similar to the rest. This challenges scholarly literature
to produce more investigations rather than information about these folk tales through having
framework analysis. Do these folk tales have one place of origin long before the Pangean continent
drifted into pieces? Propps seemed like dissecting stories piece by piece. Somewhat related to the
autopsy procedures taken on our dying folktales when technology era continuously emerge.
Nowadays, people less appreciate reading traditional literary genres like folktales because science
fiction are becoming more possible compared to fictional epic heroes. Furthermore, as teachers of
literature, it is not only part of our job to teach and let the children appreciate literary genres but
to catch deeper analysis regarding their origins.
The analyzed Filipino folktale came from book compilation of Mabel Cook Cole (1880-1970). She
was a foreign writer and anthropologist who took value on the richness of Filipino literature.
Meanwhile, in our country there were only few Filipino folk tale researchers. The story was
originated in Zamboanga Peninsula in the groups of lumads or non-Muslim indigenous community
called Subanen. Similar to the chunks of folk tale meat served by Propps through his morphology
of folktale analysis, the Subanen people dearly hunt meat as part of their everyday survival. Thus,
the story evolve in the main character’s hunting.
While on his way home, he encountered seven blood thirsty armed men who wish to kill him. The
boy heard a spirit to fight them. Instantly, he was equipped with his weapons and urge to defeat
all of them after seven days. Hence, when the battle was over, the boy decided not to go home
anymore and began to quench his thirst for more battles. He searched for enemies until he
discovered the house of a great giant and challenged it to defeat him.
The giant became furious and fight the boy. After three days of brawls, the giant fell on his
wounded waist. Again the spirit appeared, and it said: "The seven men whom you killed were sent
to kill you by the spirit of the great stone, for he looked in your hand and saw that you were to
marry the orphan girl whom he himself wished to wed. But you have conquered. Your enemies
are dead. Go home now and prepare a great quantity of wine, for I shall bring your enemies to life
again, and you will all live in peace."
The boy went home and he was welcomed with a heroic feast. Everybody on the village was
lavished with wine. That night there was a great feast, and the spirit of the great stone, his seven
warriors, the friendly spirit, and the giant all came. The widow's son married the orphan girl, while
another beautiful woman became the wife of the spirit of the stone.
7. Complicity: Unwitting helping of the Not applicable. The boy conquered all the
villains in the story.
enemy
10. Counteraction: Hero chooses positive “So the widow rose early and cooked the rice,
action and at dawn the boy started out with his spear
and dog.”
- The boy put his plan into action.
11. Departure: Hero leave on mission “Some distance from the village, he entered the
thick forest.”
- The boy left the village and entered to
the woods in search for food.
3rd Sphere: The Donor Sequence
In the third sphere, the hero goes in search of
a method by which the solution may be
reached, gaining the magical agent from the
Donor. Note that this in itself may be a
complete story.
12. Testing: Hero is challenged to prove “When they were all killed, the widow’s son
was so crazed with fighting that he thought no
heroic qualities
longer of returning home, but started out to
find more to slay.”
15. Guidance: Hero reaches destination “In his wanderings he came to the home of a
great giant whose house was already full of the
men he had conquered in battle.”
17. Branding: Hero is branded “Go home now and prepare a great quantity of
wine.”
- The boy came back home in
celebration like a hero
18. Victory: Villain is defeated “But you have conquered. Your enemies are
dead.”
- The spirit confirmed the boy’s victory.
19. Resolution: Initial misfortune or lack is “…for I shall bring your enemies to life again,
and you will all live in peace.”
resolved
- Peace was assured by the powerful
entity in the story which means all the
problems are solved.
4th Sphere: The Hero’s return
In the final (and often optional) phase of the
storyline, the hero returns home, hopefully
uneventfully and to a hero's welcome, although
this may not always be the case.
20. Return: Hero sets out for home “So the widow’s son went home, and his
mother, who had believed him dead, was filled
with joy at his coming, and all the people in the
town came out to welcome him.”
- The boy was welcomed as a hero
21. Pursuit: Hero is chased Not applicable. At the end, the good spirit
made all villains to be allies.
Navia, Hanna C. | MA ESL
31. Wedding: Hero marries and ascends the The widow’s son married the orphan girl,
while another beautiful woman became the
throne
wife of the spirit of the stone.
Conclusion
Only 7 out of 31 morphemes don’t exactly fit with the chosen Filipino folk tale. Likewise, we can
say that our folktale has a slight different structure compared to Propp’s country folk tales. Yet,
majority of the structure has a strong resemblance as evidently shown in the story. We may now
assume that folktales, regardless of their country origin, have significant connections or similarities
to each other.
Navia, Hanna C. | MA ESL
References:
https://www.worldoftales.com/Asian_folktales/Filipino_folktale_42.html
https://monoskop.org/images/f/f3/Propp_Vladimir_Morphology_of_the_Folktale_2nd_ed.pdf
http://changingminds.org/disciplines/storytelling/plots/propp/propp.htm
http://www.ethnicgroupsphilippines.com/2016/03/21/the-subanen-people-of-mindanao/
http://www.sacred-texts.com/asia/pft/pft45.htm