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The Problem
Introduction
most common tool to decode its message is solely experience. For each individual
has unique adventures in life that may be related in a given literary work, it is
comprehension skills and nothing more. Thus, the profitable use of literature and
its real value for education is not recognizable even if it can help Filipino youth to
connect with their cultural roots for it is the written record of their ancestors’
Education (CHED) updated the Republic Act No. 7722, otherwise known as the
Higher Education Act of 1994, with CHED Memorandum Order (CMO), No. 59,
interdisciplinary approach which would help the students see the human beings as
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in integral person living in both a national and a global community. To achieve
such goal, it specifically mentioned applying the Regional Approach in the subject
Literature One or Lit 1 which must cover “The Literatures of the Philippines”. It
meant focusing on the literatures of all regions of the Philippines, whether written
present wherein literary texts and authors outside the National Capital Region
today, the Republic Act 10533 or The Enhanced Basic Education Act of 2013 was
passed. It states that there will be additional two years on the Basic Education
possess an understanding of right and wrong; one’s history and cultural heritage;
and deep respect for self, others and their culture, and the environment. Also, for
Mother Tongue Based Approach to make cognition easier for children with the
justification that students learn better if lessons are delivered by their first
provinces which speak of different dialects, there are 19 dialects in focus and
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Tagalog is one of those that is used in the Batangas, the part wherein this study
referred to.
In fact, aside from its dialect which is commonly known as the exaggerated
Tagalog, Southern Luzon is also rich in its Batangas folk literature. Their folktales
are imbued with morals, religion and values to live by. A study about Batangas
folktales by Ilagan (1996) revealed that the predominating themes drawn from its
popular folktales are curses, fear, fantasy, friendliness and hatred. To further
the basic unit of society, the local government, educational institutions and other
sectors concerned with the improvement of society must continue to enrich the use
of existing literature where values maybe deduced, applied to their everyday life
As the aforementioned acts K12 and CHED Memorandum Order No. 59,
Filipino youth, literature could play a vital part in addressing its agenda. Sadly,
This study was anchored in the said acts as the researchers wanted to
support President Noynoy Aquino’s and CHED’s vision and priority for the
researchers liked to materialize the goal of the DepEd which was to make our
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youth aware of their roots, their culture, their own stories and songs, most
It identifies structures, which endow signs or items with identities and meanings,
Since Literature speaks about the ideals and beliefs of the society where it
process they exhibit, and the functional grammar applied to narratology. Also,
conclusions drawn from this study can be of good foundation for improving the
The main objective of this study was to describe the common structure of
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Specifically, the study attempted to answer the following questions:
1. What are the narrative functions drawn from the selected Filipino folktales
in Batangas:
1.1. Juan and His Adventures as narrated by José Ma. Katigbak, a Tagalog
1.3 Juan and Clotilde as narrated by Vicente Hilario, a Tagalog, who heard
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Since the study was anchored in the principle of Structuralism, its primary
aim was to describe the structure of Batangas narratives by drawning the narrative
selected folktale from Batangas. It is believed that this study was beneficial to the
To the literature instructors, this study can help them come up with specific
Creative Writing will be easier if they are well-acquainted with the structure of
The results of this study could also benefit the students as it could serve
them formula and structure in writing their own story. They may be able to
already know. By doing so, they might be able to unfold and explore their
creativity for their writing skills. This study could support the dreams of the
aspiring writers in the country. This would also benefit students enrolled in
literature courses for this study can widen their skills in interpreting literature
This study could benefit the Philippine narratology for it described the
structure of local folktales distinguishing its nature, style and linguistic feature
from other regional narratives. This would help the practitioners of the said
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Batangas. This would also lead to the recognition of local styles and colors in
literature.
For the researchers as future educators, this study could serve their purpose
in opening the minds of Filipino youths that literature is worth their appreciation
as they could recognize its value in orienting themselves into their cultural
opportunity for the researchers to hone their literary perception and judgement that
researchers who will conduct related studies. They might explore other structural
Batangas for the researchers were also from the aforementioned region. The said
materials. Although there were 16 texts matching the category needed, there were
only three which are deemed applicable for the study. The researchers analyzed
the stories “Juan and His Adventures” as narrated by José Ma. Katigbak, a
Caedo, a Tagalog from Batangas City and “Juan and Clotilde” as narrated by
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Vicente Hilario, a Tagalog, who heard the story from an old man living in
Batangas.
transitivity process that could be enumerated, the data that this study revealed were
delimited to what the stories reflect as dominant and common among them. As to
the identification of the structure folktales in Batangas, this exploration was geared
on the Structuralist Approach where the researchers focused only on the narrative
transitivity process exhibited by the dramatis personae which are manifested in the
This study will not focus on folktales narrated outside the premises of
Batangas. While in enumerating the functions exposed on the said stories, the
namely Vladimirr Propp, Joseph Campbell, and David Adam Leemings. The
researchers dealt with the dramatis personae involved in each narrative functions
describing how the dramatis personae acted in each narrative function. This
exploration was bound to identify the structure of the Batangas Folktale narratives
and their implication in cultural transmission. Lastly, the researchers did not dwell
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Chapter II
REVIEW OF LITERATURE
This chapter presents the relevant literature and related studies which aided
dramatis personae involved in each narrative functions, and the transitivity process
from Batangas.
Conceptual Literature
This part deals with the theoretical literature gathered by the researchers
from various sources. These concepts aided them in coming up with the
sciences that interprets and analyses its subject in terms of oppositions, signs, and
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system in deciphering the message of a text and focuses solely on the text and its
grammar.
In concern with the said approach, there are three most prominent icons in
literature who devoted their time and dedication in flourishing Structuralism. They
are Vladimir Propp, Joseph Campbell and David Adam Leemings. Their
Vladimir Propp (2005) developed his theory of Russian fairy stories. His
characters or what he later termed as dramatis personae (hero, villain, etc.) and the
predicate with the typical actions in the stories. While there is an enormous
profusion of details, the whole corpus of tales is constructed upon the same basic
leaves the security of the home environment or one of them absents himself from
home that the hero will later need to rescue. Sometimes, it is represented by the
to the hero. Since the two function forms available here are interdiction and
command, one might choose for the general term Injunction that may be followed
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or obeyed. Sometimes, on the contrary, an interdiction is evidenced in a request or
bit of advice such as a mother warns her son not to go out fishing.
This generally proves to be a bad move and the villain enters the story, although
not necessarily confronting the hero. They are just a lurking presence or they
disguise has the aim of finding out the location of children, or sometimes of
precious objects. He may speak with a member of the family who innocently tells
information. The villain may also seek to meet the hero knowing already that the
receives an answer to his question. The villain gains information often about the
hero or victim. Other information can be gained, for example about a map or
cases the delivery of information takes the form of a careless act like when a
mother calls her son home in a loud voice and thereby betrays his presence to a
witch.
villain assumes a disguise and makes an attempt using persuasion like asking for
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alms. If not given, the villain proceeds to act by the direct application of magical
unwittingly helping the enemy. The trickery of the villain now works and the hero
or victim naively acts in a way that helps the villain. The hero mechanically reacts
function can also exist separately. No one lulls the hero to sleep: he suddenly falls
or desires something.
made known. Hero is dispatched or hears call for help. Alternative is that
victimized hero is sent away, freed from imprisonment. The hero now discovers
the act of villainy or lack, perhaps finding their family or community devastated or
caught up in a state of anguish and woe. The hero is approached with a request or
when the seeker agrees or decides upon counter-action. The hero now decides to
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act in a way that will resolve the lack. This is a defining moment for the hero as
this is the decision that sets the course of future actions and by which a previously
Then Departure comes next. Hero leaves home. Departure here denotes
something different from the temporary absence element. The departure of the
seeker-heroes and victim heroes are also different. The departures of the former
group have search as their goal, while those of the latter mark the beginning of a
After the previous cited function, the First Function of the Donor occurs. It
is identified when the hero is tested, interrogated, attacked and preparing the way
for his /her receiving of a magical agent or helper (donor). It can be that the donor
tests the hero, the donor greets and interrogates the hero, a dying or deceased
person requests the rendering of a service which takes on the character of a test, a
prisoner begs for his freedom, or the hero is approached with a request for mercy.
The next function is The Hero’s Reaction. The hero reacts upon the actions
of the future donor which may be negative or positive. For instance as the hero
gives the request of the future donor, he will receive an object as a fruit of his
Agent. The hero acquires and uses four magical agent; animals, objects out of
which magical helpers appear, objects possessing a magical property and qualities
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or capacities which are directly given. All of these objects of transmission are
conditionally termed as magical agents. The forms by which they are transmitted
can be the agent is directly transferred, pointed out, prepared, sold and purchased,
Kingdoms, Guidance. This can be seen when the hero is transferred, delivered, or
cases, but specific forms do exist for great heights and depths.
Then the Struggle comes next. This is when the hero and the villain join in
direct combat. This form needs to be distinguished from the struggle or fight with
a hostile donor. These two forms can be distinguished by their results. If the hero
obtains an agent, for the purpose of further searching, as the result of an unfriendly
encounter, this would be the element of the First function of the donor. On the
other hand, the hero receives through victory the very object of his quest.
when the hero is branded with a wound or scar either from a villain or a princess
who awakens him before the fight by making a small wound in his cheek with a
knife.
After that is Victory. This is when the villain is defeated. The hero wins
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function, together with Villainy, constitutes a pair. The narrative reaches its peak
in this function. Here, the hero resolves the dilemma brought by the villain.
Return is the subsequent function. It is when the hero returns home where
sometimes its natural way is fleeing. Afterwards, there is the function Pursuit or
Chase, it is the pursuer flies after the hero. This will be followed by Rescue, this is
the rescue of the hero from pursuit wherein he is carried away through the air from
The function Unrecognized Arrival then follows. This is when the hero
arrives home or in another country unrecognized. Then there will be the function
Unfounded Claims, it is the false hero presents unfolded claims. If the hero arrives
home, the false claims are presented by others like his brothers. To resolve the said
function, the next function termed as Difficult Task immediately occurs. This is
where a difficult task is proposed to the hero. Consequently, the function Solution
mark, a brand or a thing given to him. In this case, recognition serves as a function
unrecognized arrival. Finally, the hero may be recognized immediately after a long
period of separation. In the latter case, parents and children or brothers and sisters,
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Then, there will be Exposure. This function is connected with the one
preceding. Sometimes it is the result of an uncompleted task such as the false hero
The function Transfiguration occurs after the above mentioned one. The
hero is given a new appearance directly affected by means of the magical action of
a helper. The hero passes through the ears of an animal and receives a new,
handsome appearance.
Next, is the function Punishment. Usually only the villain of the second
move and the false hero are punished, while the first villain is punished only in
those cases in which a battle and pursuit are absent from the story. Otherwise, he is
Lastly, as Propp cites that the ending of almost every Russian fairy tales is
the function Wedding. The hero is married and ascends the throne. Sometimes the
hero simply marries without obtaining a throne, since his bride is not a princess.
With his work, Propp inspired Lévi-Strauss (2005) to analyze the Oedipus Rex
myth in a manner which is truly structuralist and uses a linguistic model. He later
called the unit of myth as mythemes. They are organized in binary oppositions like
the basic linguistic units. He believed that this linguistic model will uncover the
basic structure of the human mind – the structure which governs the way human
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sentence structure. He came up with three pairs of binary oppositions and termed
Helper/Opponent. These pairs describe three basic patterns which perhaps recur in
between the first of these systems and the other two. This includes the tale itself
that is considered as connected and rather tightly structured discourse, the modal
personality of the typical audience-narrator group for the tale, and the social
system relevant to the tale including not only that segment of the society in which
are found the active and passive participants in the tale but the pattern of the whole
society.
Campbell (2008) stressed his theory that the important myths from around the
world which have survived for thousand years all share a fundamental structure,
which he called the monomyth. In laying the monomyth, he cited three-part stages
The first part is the Departure which consists The Call to Adventure,
Refusal of the Call, Supernatural Aid, The Crossing of the First Threshold, and
The Belly of the Whale. This part deals with the setting of the hero’s journey
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before he enters a whole new world full of trials and struggles. The Call to
Adventure is an incident in which the adventure can begin. Refusal of the Call is
where the hero refuses to answer the call to adventure. Supernatural Aid is for
those who have not refused the call, the first encounter of the hero-journey is with
a protective figure who provides the adventurer with amulets against the negative
personifications of his destiny to guide and aid him, the hero goes forward in his
adventure until he comes to the threshold guardian at the entrance to the zone of
magnified power. The Belly of the Whale is the idea that the passage of the
worldwide womb image of the belly of the whale. The hero, instead of conquering
or conciliating the power of the threshold, is swallowed into the unknown, and
The second part is Initiation comprised with The Road of Trials, The
Meeting with the Goddess, Woman as the Temptress, Atonement with the Father,
Apotheosis, and The Ultimate Boon. The Road of Trials is where the hero moves
in a journey where he must survive a succession of trials. The Meeting with the
marriage of the triumphant hero-soul with the Queen Goddess of the World.
Woman as Temptress is the marriage with the queen represents the hero's total
mastery of life; for the woman is life, the testing of the hero, which were
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his consciousness. Atonement with the Father is the event wherein the hero
experiences being at one with the only Father, the creator. Apotheosis is the hero’s
achievement of godlike being as pattern of the divine state to which the human
hero attains who has gone beyond the last terrors of ignorance. The Ultimate Boon
is where the hero gathers the fruits of his struggles, may it be magic, object, or
throne.
The third and last part is Return. It is consisted of Refusal of the Return,
The Magic Flight, Rescue from Without, The Crossing of the Return Threshold,
Master of the Two Worlds, Freedom to Live. Refusal of the Return is when the
hero refuses to go home after his triumph from a different world. The Magic Flight
evasion back home of the hero after ignoring the idea of The Refusal of the
Return; this commonly becomes a pursuit in trying to keep his boon from demon
guardians of the threshold. Rescue from Without is where the hero has to be
rescued by an outside force and pulled back into the world because he do not want
to return and at other times, he do not know he is willing to share the boon till
someone puts the idea into his head. The Crossing of the Return Threshold is
danger. His return is described as a coming back out of that yonder zone. Masters
of the Two Worlds completes the journey out and back in. The hero is now a
master of both the domestic and alien worlds and can pass over the threshold
between the two without further trial. Lastly, Freedom to live means having
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conquered the demons without and within, the hero has earned the right to live life
as they please.
endowed from mythology. He stressed that mythology has its own metaphor
which became idioms of the unknown that man must decipher. The myths he
called the wonderful song of the soul's high adventure. He arranged eight-part
Part one deals with The Miraculous Conception and Birth and the Hiding of
the Child. In this event, the hero begins his high adventure by being born. The
conception or the birth or the events immediately following the birth are
miraculous or unusual in the extreme. This is not surprising. For all humans birth
is the first experience of trauma and the first miracle of life. For the hero who will
burst through the limitations of the local and historical, this first event, like all the
myth, this is expressed by struggles with wild animals or with giants in a sense
that to little children, all adults must be giants, friendly or cruel. To get through
this stage, the child often requires outside assistance—a sense of security based in
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a more powerful being. Mythically, this often becomes the divine sign. The
in which the initiated hero withdraws for meditation and preparation. Anyone in
search of personal destiny must use intellect and spirit to find the god within the
self. This is a major step in the losing of the self to find the self. Often the hero,
like any individual in this stage, is tempted by the world, which is represented
Next, is the Part four which is characterized by Trial and Quest. The quest
or trial comes in the form of agony and rewards of adult life. For the hero, this
might be a quest for a Golden Fleece or a Holy Grail, or it might be the labors of a
Heracles or a Christ. The source of these myths is man's need to cope with the
externals of life, as he has coped with the internals in his stage of meditation.
The hardship or the quest continue essentially in Part five termed as Death
and the Scapegoat. At this stage, where the hero must confront physical death. For
the hero, death, like birth, is miraculous or unusual. As his birth is definitive in the
extreme, so is his death apparent. Often he is dismembered. In death, the hero acts
people’s fear and guilt. He also serves as a reminder that everyone must follow his
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Part six signifies The Descent to the Underworld. The hero continues his
role as scapegoat and his role as quester or laborer. He is now the representative of
the wish that death might somehow be known and understood. So he descends to
the underworld to confront the forces of death. Sometimes he goes as one who has
suffered physical death, sometimes as a living being who in his descent suffers a
level—with its depths. But the dismemberment and the descent into the earth hold
promise of a new life. Fertility and death are inseparable in the cycle of nature,
whether that cycle be expressed by the seasons, the moon, or the sun. And
logically enough the hero, usually with the help of a woman representing both
fertility and the hope of the eventual union of all things ascends from the
underworld.
Part seven illustrates the Resurrection and Rebirth. Continuing in his role as
scapegoat, the hero rises from the dead. He thus acts out humankind's most
elementary desire—he physically overcomes death and is united with the natural
wherein the hero reflects a later desire, to be given special treatment by being
taken out of the cycle and placed in a permanent state in relation to the cosmos and
to the creator-father god. Man longs for eternal life or for immortality. Thus, the
hero in this part ascends to heaven, achieves atonement, or is made a god himself
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if he was not one. In a purely psychological sense this is the individual's final step.
Having dealt with his childhood, his inner self, his adult life, and the problem of
death, he is prepared to discover God once and for all. The wonderful song of the
Type of Characters involved in each narrative function drawn from the selected
Pullman (2008). This method suggests that there is a general, adaptable way to
Protagonist is the focal point in which any given story revolves. He is faced
with a conflict that must be resolved but he may not necessarily be of good
character at all times. As support for the role of the protagonist, the confidant, for
protagonist confides in, trusts, and asks for help. Sometimes, the confidant aids the
protagonist with initiative and does not need to hear the protagonist ask for help.
protagonist must contend. In other words, the antagonist is an obstacle that the
protagonist must overcome. In accordance with the antagonist goal, a foil is any
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character or an important supporting character whose personal qualities contrast
represented by kings, princesses, wise old man, fairy god mothers, and the likes.
Static character is someone who does not change over time; his or her personality
does not transform or evolve. As for rounded character, Pullman cited it is anyone
person and flat character has a notable personality for it only possesses one kind of
deals with the description of the transitivity system that functions as one of the
analysis, Halliday cited three components, namely: processes which deals with
kind of event, participants which describes the entities involved in each process
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such as the actor, sayer, senser, and the circumstances which specifies the when,
where, why and how of the process. Halliday also divided the system of
Research Literature
This part examines the various related studies which dealt with the use of
enlightened by these studies and enabled them to discover the essence and
narrative is woven into cinematic artifacts laden with specific cultural values,
beliefs and practices. As narratives are transmitted through various media and
consumed within a culture through storytelling, so are the values and beliefs that
films in four different languages. The films were Longtime Companion, All About
respectively.
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Opheim (2010) identified two major common features found in all the
books. He noted that the structure of fantasy resembles the structure found in fairy
tales. Many of Propp’s functions could be applied to the fantasy genre. Some
functions were present in all the books. His study also realized that some functions
fairytales and that Stories were governed by a set of unwritten rules acquired by all
storytellers and receivers, much the way people acquire the basic rules of
grammar.
according to this scheme. His research concluded that there were advantages in
Zhang (2006) concluded that although Propp‘s work appeared much earlier
with Campbell‘s monomyth and with Jung‘s ideas of the collective unconscious
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that was discernable in mythology. Propp studied the narrative functions, while
conclusion that everyone in the world was born with the same basic subconscious
model of what a hero, a mentor, or a quest is, even though they did not speak the
same language.
this through empirical studies with children. Using the Propp-based authoring tool
that is presented in his study, children were able to grasp Propp’s abstract concepts
and apply them to their own story writing. The use of a story authoring tool based
stories written by children, and children reported that they enjoyed using the tool
and felt it was helpful to their story writing. This study laid the foundation and
morphology.
Samuels (2006) examined the Russian piece The White Duck using the
fusion of Proppian Approach and Feminist Criticism. She narrated how the said
text follows the format Propp had enumerated and how the world sees women as
naïve and illogical ones and men as polygamous ones which affect the progression
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of any story. She concluded that these are the types of things writers inject into
children’s minds at a young age as they were the major audience of fairy tales.
Synthesis
In this portion, the researchers analyzed the ideas and concepts learned
from the present readings and their relevance to the present study. This
summarizes the conceptual and research literature mentioned, and discussed the
similarities and differences of the present study to the previous studies that have
been examined. The ideas gleaned from the conceptual literature were found very
utilized as basis for describing the narrative functions drawn from selected
Bordwell, Hammond, Divya, Opheim, Nakajima and in the present study in terms
of using the Proppian-based approach. However, the present study differs from the
previous studies for it did not only use Propp’s structure of narratives as basis of
analysis but combined it with other approaches such as those of Campbell and
Leemings which is similar with Samuels who also used other approach such as
Gender Criticism.
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The studies of Bordwell, Divya, and Nakajima utilized electronic and
films as materials for structural analysis. In contrast, the present study analyzed
The difference of the present study with the previous studies is that the
present study did not only use Propp’s theory combined with other narrative
structures proposed by Campbell and Leemings but also utilized the transitivity
addition, the past studies focused on canonical works while the present study
analyzed three selected folktales in the Philippines limited to the home region of
the researchers.
With the fusion of Structural, Pullman’s, and SFL approach, there was no
doubt that the researchers came up with objective and specific interpretations, for
all the aforementioned methods are logical and systematic in nature. Also, each
method focused on structures and units which are beneficial in establishing the
Theoretical Framework
function and the transitivity process associated with each dramatis personae. This
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al., 2005). This theory develops from elementary linguistic analogies that illustrate
syntax or the rules of sentence construction as the basic model of narrative rules.
predicator serves as the core of an episode or even an entire tale. This entails that
each event of a narrative plot may be deduced to a single sentence which will
having a subject which denotes a typical character such as a hero or villain, and a
predicate which exemplifies a typical action associated with the subject of the
sentence.
A whole corpus of tales is constructed upon the same basic set of thirty-one
functions that describe the morphemes of a given narrative. Propp year stresses
that each morphemes of given actions which form the narrative and follow a
logical sequence such as hero punishes the villain, is married, and ascends to the
throne. This is governed by the core of the narrative which is again a sentence with
the character acting as subject and an action associated with the nature of the
trim the plot into sentences and examine them closely to describe the narrative
progression of the relationship of each event to one another. This would only be
who caused the action in each event. By describing the structure of a folktale, one
30
can identify its unique features which distinguish this from the narratives of other
cultural heritage gleaned from the narrative that have been analyzed.
Conceptual Framework
This part illustrates the flow and the process of the study. A paradigm is
The Story of
Classifying the
Carancal as
Dramatis Personae
narrated by José
Involved in each
P. Caedo; and Implications to
Narrative Function
using Gary Philippine
Pullman’s Creating narratology and to
Juan and Compelling the instruction of
Clotilde as Characters Creative Writing
narrated by courses
Vicente Hilario
Analysis of the
Functional
Transitivity
31
Processes Exhibited
by the Dramatis
Personae Involved in
Figure 1
The first box presents the input of the study which is composed of the
selected folktales from Batangas and used as the subject of this study. The Tagalog
folktales are Juan and His Adventures as narrated by José Ma. Katigbak, The
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Story of Carancal as narrated by José P. Caedo, and Juan and Clotilde as narrated
by Vicente Hilario. These were read in depth taking into consideration the
narrative functions presented in each story. Meanwhile, the dramatis personae and
how they acted in each story were also analyzed according to their importance in
The second box expounds the processes of the study. In determining the
narrative functions found in each selected story, the researchers extracted the core
of each tale using the Structuralist Approach and guided by the proposed narrative
personae involved in each function, the researchers used Gary Pullman’s Creating
Having the noble goal of redefining literature instruction, the input and the
process boxes are directed towards the output box. The result of the study served
Batangas. Moreover, the result would also help language instructors in providing
models for narratives while teaching Creative Writing courses. This would help
the students to have a deeper concept about literature and to develop their utmost
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appreciation of their cultural heritage and their identity as Filipinos. This would
Hypothesis
The study did not test any hypothesis for it is purely a descriptive one.
Definition of Terms
play or story (Feist et al., 2009). In this study, it denotes the characters involved in
or folk, especially one forming part of theoral tradition of the common people
(Aarne et al.,, 2006). In this study, the term applies the selected stories in Batangas
a narrative (Feist et al., 2009). In this study, this is the events that occur as result
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Narratology. It refers to the branch of knowledge or literary criticism that
deals with the structure and function of narrative and its themes, conventions, and
symbols (Feist et al., 2009). In this study, this term suggests the trend of literature
which indicates if a verb takes a direct object (Halliday, 2010). In this study, it
pertains to the relationship of the verb to its doer and to its direct object.
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CHAPTER III
RESEARCH METHODOLOGY
This chapter deals with the research design, subject of the study, research
Research Design
Batangas and described their narrative features based on how the stories were
described the structure of previous documents which are the stories originated
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written documents and described certain properties, structures or characteristics
Researchers quantify and analyze the presence, meanings and relationships of such
words and concepts, then make inferences about the messages within the texts, the
writer, the audience and even the culture and time of which these are a part.
(Picciano, 2005).
The researchers deemed this method appropriate to use for they examined
the narrative functions, dramatis personae and the transitivity process presented in
the three selected folktales from Batangas which exists in Philippine Literature and
identified the common structure in each story. The researchers also determined its
This research work dealt with three selected folktales from Batangas
province which exists in Philippine narratology. The researchers used the Project
Guttenberg Ebook of Filipino Popular Tales which is collected and edited with
the most popular folktales in the Philippines during the years from 1908 to 1914
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which have not appeared in print before and this was released last December 09,
Ilocos.
The folktales from Pampanga are Suan’s Good Luck, Suac and His
Adventures, Juan Manalaksan, Juan Wearing the Monkey’s Skin, How Salaksak
Became Rich, Is He the Crafty Ulysses? The Devil and the Guachinango, Juan and
Invidiousness. Thus, the folktales from Batangas are The Story of Carancal, The
King’s Decision, The Manglalabas, The Story of Zaragoza, Juan the Peerless
Robber, Lucas the Strong, Strong Juan and His Six Companions, The King and the
Dervish, Juan and his Adventures, The Golden Lock, The Woman and
Miraculous Cow, The Charcoal-Maker Who Become King and Juan the Poor
38
There are also folktales from Laguna and these are King Tasio, Pablo and
the Princess, Legend of Prince Oswaldo, Lucas the Rope-Maker, The Mysterious
Book The Two Friends, Juan the Orphan, The Reward Of Kindness , An Act of
Kindness, The Servant of Emilio Chonguita, Who is the Nearest Relative?, The
Denied Mother and Clever Juan and Envious Diego. Hence, there are also
folktales coming from Pangasinan. These are The Seven Crazy Fellows, The Story
of King Kalmarin, Three Brothers of Fortune, The Golden Rule, The Magic Ring,
Aside from the folktales mentioned above, there are also folktales coming
from Rizal, Mindanao, Bicol, Catanduanes and Ilocos. These are the folktales
Suan Eket, How Suan Became Rich, The Poor Man and his Three Sons ,The rich
and the poor, and Respect Old Age from Rizal, The Four Blind Brothers,The
Three Brothers, The Prince’s Dream The Indolent Husband A Negrito Slave, The
Hunchback and the Giant Juan, The Buringcantada The Enchanted Prince and
The Wicked Woman’s Reward from Bicol, The Four Blind , Pedro and Satan,
Pedro and the Witch from Catanduanes and The Three Brothers, Cochinango and
From the stories mentioned, the researchers found out 16 stories matching
in the category needed. They read, examined, re-examined and have an in- depth
39
analysis of the said stories by detailing the instances where the narrative functions
were found. Based on the data extracted by the researchers, they only chose the
most appropriate stories to be used. The researchers worked in the stories, “Juan
and His Adventures,” as narrated by José Ma. Katigbak, a Tagalog from Lipa,
Tagalog, who heard the story from an old man living in Batangas.
Research Instrument
transitivity process drawn in each story, the researchers made use of five structural
research. These are the theories proposed by Joseph Campbell, Vladimir Propp,
This research work used Joseph Campbell’s Monomyth which named the
Events of Monomyth: The Miraculous Conception and Birth and the Hiding of the
Withdrawal and Refusal: Trial and Quest: The descent to the Underworld:
determining the narrative functions drawn in each story according to the narrative
Foil, Flat, Round, Static, Dynamic, Stereotypical, and Stock character. However,
the researchers only used the five main types of characters which are the
and enumerated the dramatis personae involved in the narrative functions drawn in
the three selected folktales from Batangas which is subject of this research study.
by the dramatis personae involved in each story, the researchers made use of M. A.
41
approach, there are six transitivity processes namely: material, mental, relational,
researchers are from Batangas, they looked for the list of folktales from Batangas
which exists in Philippine Literature in books and internet. Upon searching, they
found out the most comprehensive and convenient reference in selecting the
folktales. The researchers made used of the Project Guttenberg Ebook of Filipino
Popular Tales which is collected and edited with comparative notes by Dean S.
Fansler as their reference. Fansler’s life was interwoven with the Philippines for
several years. His anthology contains the most popular folktales in the Philippines
during the years from 1908 to 1914 which have not appeared in print before and
this was released last December 09, 2008 by the American Folklore Society,
Filipino tales rather than in vernacular since Fansler wants to present them in the
most convenient way for the readers. The published collection is further limited to
the Christian Filipino provinces and does not include materials from the Pagan or
Muslim groups. The published folktales came from nine ethnolinguistic groups:
42
Tagalog, Bikol, Pangasinan, Iloko, Zambali, Hiligaynon, Sugbuanon, and Samar-
examined the stories and they located folktales coming from respective places in
etymology. Although there are 16 folktales matching in the category needed, the
researchers selected the three most appropriate stories to be used in the study as
they read, examined, re-examined and analyzed the instances in each story.
the careful and in-depth reading of the three selected folktales from the province of
Batangas, the researchers then analyzed their structure by taking consideration the
For the analysis of the folktales, the researchers based upon the narrative
functions cited which is done in a matrix form. The researchers checked a given
function exhibited from the stories used as subject for this study. The logic behind
the use of matrix was it aimed to reveal the dominant functions similar to each said
stories. The use of matrix was to give the researchers a systematic and organize
view towards the structure of the selected stories. Consequently, the identified
43
functions out of this matrix described the narratives in Batangas and the culture
After analyzing the narrative functions from the selected folktales, the
specific narrative function of a given folktale. Like that of the first process, it was
done in a matrix form where the characters that appeared in each function for
every folktale studied were presented. The researchers did so to determine which
function as the given folktale progressed. The researchers also believed that using
the matrix helped them to conclude how the different dramatis personae involved
each narrative function, they analyzed the transitivity process which the dramatis
matrix form under the principle of Halliday’s Transitivity Process. The matrix
served the purpose of the researchers to derive the formula present in the
occurrence of each function or why such events happen in the story. In applying
characters profile and how it could affect the progression of the story with regards
44
To ensure the accurateness of the findings, the researchers re-examined the
narrative functions, dramatis personae and the transitivity processes that they have
found. This helps the researchers to come up with a list of functions that best
described the structure of the folktales and build a basis in describing the
narratives in Batangas. The findings of this study could also foresee the
In the analysis of the three selected folktales, the researchers did not apply
any statistical treatment but instead a literary analysis was used. Structuralist
Approach was used in depth analysis of the folktales since the structure which was
the focus of the analysis was on the structure of the folktales mentioned earlier
45
Chapter IV
This chapter presents the data gathered together with its corresponding
analysis and interpretation. The data gathered are presented in tabular form
from Batangas were presented. Guided by the light of the theories proposed by
Propp, Campbell, and Leemings who are considered as prominent icons in the
46
field of Structuralism, the researchers analyzed the selected texts using Structural
folktale and carefully examined each. Through a critical examination of the events
in each selected folktale, the researchers were able to extract and classify the
Katigbak’s Juan and His Adventures, Caedo’s The Story of Carancal, and
Hilario’s Juan and Clotilde. The narrative functions branded with an asterisk (*)
are originally coined by the researchers to supplement those functions which are
not present among the studies of those cited structuralists. Nevertheless, the
following functions are based from the principles of Propp, Campbell, and
This folktale is about a boy named Juan who dared to leave the comfort of
his parents’ guidance and shelter upon discovering the abduction of his three
sisters as a result of his father’s trouble with an enchanted snake before the time
Juan was born. As he went on to look for his sisters, he eventually found them
with their good husbands. Just as he was off to return home, he found himself into
47
another adventure of saving another country’s dilemma of their stolen princess.
Juan encountered many obstacles which his brothers-in-law willingly helped him
and His Adventures. Each narrative function is described by the events from
Table 1
Pedro earned their living by selling the leaves of the magical tree. *Synergy
A snake came out after Pedro cut down the tree. *Dissonance
The enchanted snake gave punishment to Pedro. Trickery
Pedro’s three daughters agreed to be brought to the snake. Complicity
Each of the three girls gave her mother a handkerchief as a First Function of the Donor
remembrance.
The sisters of Juan disappeared. Absentation
Juan was born to the old couple. Miraculous Conception
and Birth
Juan discovered that her sisters were taken away by snake. Preparation, Mediation,
Withdrawal and Refusal
Juan asked permission to search for his three daughters. Beginning Counter-Action
Juan was permitted and went to the mountains. Departure
Juan received three articles from the three boys who were quarrelling *Second Function of
over the possession. Donor
Juan flew with the magical agent. Provision or Receipt of a
Magical Agent
Juan opened the door inside the cave. Crossing of the First
Threshold
Juan was not recognized by her sister. Unrecognized Arrival
Juan showed the handkerchief to his sister. Branding
The king of the lion, his brother-in-law pointed where his other sisters Spatial Transparence
were. between Two Kingdoms
The three brother-in-laws of Juan promised to aid him whenever he Liquidation of Initial
needed. Misfortune
The king offered his wealth and his daughter’s hand to anybody who Call to Adventure
could save the princess
48
Juan used the three articles to look for princess. Beginning Counter-Action
Juan used the key to enter giant’s cave. *Crossing of the Second
Threshold
Juan remained near the princess until the giant went away. Meeting with the Goddess
Juan flew away with the princess. Rescue
Giant stole back the princess.
Juan went to his brother-in-law for help.
The king of the eagles the solution to kill the giant.
Road of Trials
The king of the fishes to fetch the box for Juan’s request.
The king of the lions willingly opened the box for Juan.
The king of the eagles caught the bird from the box for Juan.
Juan was startled by the giant that he crushed the egg and killed the *Indirect Struggle
bird.
The giant fell on its back and Juan carried the princess back to the *Liquidation of Second
palace. Misfortune
Juan was married to princess and ascends the throne. Wedding
Juan visited his parents and told them all about his adventures. Return
Juan took his parents to his own kingdom. Reward
folktale. This narrative function refers to the established relationship between the
characters of Pedro the father of Juan and the enchanted snake. It is followed by
the function Dissonance which pertains to the established gap between the
connections of Pedro’s family to the magical tree after cutting it down in order to
get all the money he could acquire from it. Consequently, the function Trickery
became visible when the snake acted directly by asking Pedro’s daughters custody
as an act punishment for his ungratefulness. Complicity was the next narrative
function found in the story when Pedro submitted to the snake’s deception. He
agreed to the snake and brought his three daughters to the enchanted snake.
The narrative function First Function of Donor appeared next when the
mother received a handkerchief from her three daughters which will later play a
49
vital part in the progression of this folktale. The next function Absentation came
out when the three sisters of Juan disappeared as soon as they reached the snake’s
territory located at the foot of the mountain. This loss of the family is the first lack
Then there is the narrative function Miraculous Conception and Birth. Juan
was born with miraculous and unusual attributes when in fact his parents were too
old to have a baby. After a long time, it is followed by the narrative function
Mediation when Juan discovered that his sisters were taken away by the snake.
decided to search for his three sisters and promised his mother that he will resolve
the lack. It is followed by the narrative function Departure, Juan left his family. It
was the mark of the beginning of Juan’s search, on which various adventures
awaited him.
the Donor occurred. Juan received the three amulets, the key, the cap and the shoes
from the three boys that served as magical agents or helpers which Juan can use in
Magical Agent, Juan acquired the use of the magical agents. He flew away by the
use of the magic shoes. He made himself invisible by using the cap and unlocked
the door in saving the princess inside the cave of the giant by using the key.
50
Threshold wherein Juan went forward in his adventure until he reached the cave of
the King of the Lion which is the husband of one of his long lost sisters.
Then the narrative function Unrecognized Arrival appeared next when Juan
arrived at the mountain not recognized by one of his sisters. After not seeing each
other even once, Juan was acknowledged by his sister by showing the
handkerchief she left before to their mother as remembrance. This event plays the
narrative function Branding where the Juan, the Protagonist, was recognized
Kingdoms wherein Juan was led by his brother-in-law, the King of the Lions, in
another mountain where he can find his other sisters. It is followed by the narrative
dilemma brought by the enchanted snake and was able to build a relationship with
his brothers-in-law who all promised their help whenever he needed it.
Just as Juan decided to return home, he took another way and came across a
town which is doomed with the abduction of their princess. Here, enters the
narrative function Call to Adventure when the King announced and offered his
wealth and his daughter’s hand to anybody who could save their town’s princess.
This is the call in which Juan began his next adventure. The second appearance of
the king to save his daughter and used the three amulets that served as the magical
51
agents to find the princess. It is followed by the narrative function Crossing of the
Second Threshold. Juan went forward in his adventure until he came at the
The narrative function Meeting with the Goddess appeared next when Juan
finally found the princess and stayed with her until the giant was gone so that they
he could finally take her back to their castle. Then the narrative function Rescue
followed by the narrative function The Road of Trials. First, the Giant used its
magic in steeling again the princess just as Juan was about to take her back.
Second, Juan asked help to his three brothers-in-law. Third, when the king of the
eagles detailed the solution to kill the giant. Fourth, the king of the fishes helped
Juan to fetch the box according to the advice of the King of the Eagles. Fifth,
when the King of the Lions willingly opened the box for Juan still from the advice
of the King of the Eagles. Lastly, the King of the Eagles caught the bird as it
accidentally defeated the villain without using any force as he was startled by the
raging giant who was fast approaching him. It is followed by the narrative function
released the ladies along with the princess after the giant fell on its back and can
52
no longer stand up. Apparently, the dead giant had long been abducting innocent
The result of Juan’s labor is the narrative function Wedding as Juan was
married to the princess and ascended the king’s throne. It is followed by the
narrative function Return when Juan paid homage and later visited his parents, and
told them of all his adventures. Finally, he took them to his own kingdom where
they lived happily together and this was the last function cited in the folktale, the
Caedo’s Story of Carancal deals with the Protagonist born by parents who
never stopped praying so that they could have a child. But because he grows
unbelievably fast unlike his boys of common age and eats ferociously that his
parents could no longer handle, his parents tried to drive him away by all means
they could imagine. Carancal, noticing that he was no longer loved, decided to
leave home with no certain destination to go to. He had so many adventures that
led him to the company of his friends who eventually helped and shared with him
Table 2
53
Carancal is born as a result of childless couple’s unceasing prayers. Miraculous Conception and
Birth
Carancal grows stronger than what he expected to be. Childhood, Initiation and
Divine Signs
Carancal parents planned to bury him under the tree.
Carancal came home carrying a big tree. Preparation, Mediation,
Carancal parents planned him to be devoured by a fish. Withdrawal and Refusal
Carancal went home carrying an alligator.
Carancal’s parents gave him an enormous bolo. First Function of The Donor
Carancal took the bolo. Hero’s Reaction
Carancal leaves home with a bolo. Departure
Carancal defeated Bugtongpalasanin wrestling.
Carancal defeated Tunkodbola in wrestling. The Road of Trials
Carancal defeated Macabuhalbundok in wrestling.
The three men joined Carancal in his journey.
The monster attacked Butongpalasan.
The monster beat Tunkodbola. *Indirect Villainy
The monster crushed Macabuhalbundok.
Carancal deceived the monster. *Inverted Trickery
Carancal destroyed the monster. Liquidation of Initial
Misfortune
The four men heard a rumor about the huge stone Call to Adventure
The four set out to try their strength.
The four men swam for three weeks. Road of Trials
They landed on the wrong island.
The fish carried the travelers in a kingdom. Spatial Transference
Between Two Kingdoms
The four men presented themselves to the king. Unrecognized Arrival
Bugtongpalasan hardly budged the stone.
Tunkodbola moved the stone in a few yards.
Macabuhalbundok moved the stone half a mile. Difficult Task
Carancal throw the stone. Solution
The king was pleased with Carancal. Recognition
Bugtongpalasan married the king’s daughter. Wedding
The three unmarried men lived with Butongpalasan. Reward
King Walangtacut sent a letter to the four men. Call to Adventure
People in town welcomed the three strong men. *Recognized Arrival
Tunkodbola and Macabuhalbundok tried to drag out the fish. Difficult Task
Carancal drag the fish out into the sea. Solution
The king and the people congratulate Carancal. Recognition
Tunkodbola married King Walangtacut’s daughter. Wedding
The king sent a letter to Carancal and Macabuhalbundok. Call to Adventure
Macabuhabundok cannot remove the big stone. Difficult Task
Carancal removed the big stone. Solution
Carancal considered as the father of the three princess. Recognition
Macabuhalbundok married the king’s daughter. Wedding
Carancal came home again. Return
54
As stated in table 2, the first narrative function appeared in the story is
narrative function Childhood, Initiation and Divine Signs which pertains to the
incident when Carancal grew stronger than what he expected to be. When born,
Carancal never grew taller than four feet but he developed enormous appetite and
comes next. Due to poverty, Carancal withdrew for meditation by his parents. His
parents planned schemes to send him off. First, his parents planned him to bury
under a huge tree in the forest. Carancal’s father ordered him to stand under a huge
tree when it was about to fall so that when it fell, Carancal would be entirely
buried. After that, his father went home thinking that Carancal was already dead.
However, while his parents were talking, Carancal came home with a big tree on
his shoulders. The next day, Carancal’s parents planned another scheme. Carancal
was invited by his father to go fishing. They rowed and rowed until they were far
into the sea. They put their net in the water and Carancal’s father ordered him to
dive down for him to be devoured by a big fish. After a minute, the water became
red and foamy and this made the old man think that Carancal was already dead.
The father rowed homeward but while Carancal’s parents were eating their supper,
Carancal came in carrying a big alligator. The couple were now discourage to get
55
rid of Carancal and at last they already said their intention to him and this is where
The narrative function First Function of the Donor is very evident in the
instance where Carancal’s parents gave him a bolo before leaving. Then the
narrative functions Hero’s reaction and Departure appear next. Carancal took the
bolo and finally left home. Consequently, the first appearance of the narrative
function The Road of Trials is explicited in the next successive instances. In this
the four became companions and they walked on together and continue their
journey. In their journey, they saw a big house which seemed uninhabited. This is
where the narrative function Indirect Villainy and Inverted Trickery take place.
Trickery is immediately revealed. In this function, Carancal used his wit, strength
and luck to deceive the monster and destroy it. Luckily, he made it. He destroyed
the monster as he set its body on fire and this instance details the narrative
function Liquidation of the Initial Misfortune. Then, the first occurrence of the
narrative function Call to Adventure is exemplified in the story when the four
56
heard a rumor that in a kingdom on the other side of the sea there lived a king who
function The Road of Trials occurs in the next instances in the story. In this
and Macabuhalbundok set out to try their strengths. They swam for three weeks
since there were no boats to sail on. Then, they landed on the wrong island. They
rested on a smooth and slippery island and this made them wonder what it could
be, Carancal drew his bolo and the thrust it into the island. The island moved after
a stroke and the island was not really an island but a big fish. Fortunately, the fish
carried the strong men near the shores of the kingdom that they were seeking. This
event shows the narrative function Spatial Transference Between Two Kingdoms.
When the four men arrived in the kingdom, the narrative function Unrecognized
Arrival occurs when the four men presented themselves in the king and told him
that they would try to remove the stone out of the kingdom.
function Difficult Task. In this function, the four men were proposed into a
difficult task which was to remove the huge stone in the kingdom. Bugtongpalasan
was the first to try but he could hardly budge it. Then Tunkodbola tried, but
moved it only few yards. When Macabuhalbundok’s turn came, he moved the
great stone half a mile. The king is not satisfied leading to the narrative function
57
Solution. Carancal took hold of the rope tied to the stone and gave a swing. In a
minute, the great stone was out of sight. Then, the first appearance of the narrative
function Recognition and Wedding came. The king was very much pleased with
Carancal and he asked him to choose a princess for his wife but he refused.
However, he gave the privilege to Bugtongpalasan and he was made a prince. The
narrative function Reward comes next when the three unmarried man lived with
from King Walangtacut addressed to the four strong men came. Recognized
Arrival immediately follows this narrative function. As the four men passed in
every town, the people recognized their heroic deed. The king received them with
a banquet and all the houses in the town were decorated with flags. The second
Macabuhalbundok try to drag the dead fish but they did not make it. The second
Carancal successfully removed the decaying fish. The king and the people
king sent a letter to Carancal and Macabuhalbundok. The two responded, they
58
travelled to the other kingdom and faced the third occurrence of the narrative
function Difficult Task and Solution. Macabuhalbundok did not make the work
but Carancal did. Then, the third existence of the narrative function Wedding takes
princess yet remained bachelor until one day he thought about visiting his parents
and lived once more with them and it is the incident where the last narrative
function in Caedo’s story of Carancal was found, the narrative function Return.
folktale pertains to a boy named Juan who tried his luck even against the will of
his family in saving a princess abducted by her upset aged magician lover. But
before he could go on his journey, his family tried innumerable times to stop him
for fear that he could only worsen his older brothers’ shameful failures. Juan
succeeded in saving the princess but was lost in a strange country after mounting
on her winged horse to avoid the magician’s friend who guards the tower. Upon
arriving at a new country, he met a rich old man who adopted him as his son and
Table 3
59
Events Narrative Functions
The king has a magician friend who increased his riches twofold. Synergy
The magician fell in love with Clotilde but does not love him back. Dissonance
The magician left the king and the princess magical agents. First Function of Donor
He locked Clotilde and the three magic horses. Villainy
King Ludovico offered his wealth to anybody and Juan tried his luck. Call to Adventure
Preparation, Mediation,
Juan’s family advised him to abort his mission.
Withdrawal, and Refusal
Juan took things he could use to save Clotilde Beginning Counter Action
Juan had to make the trip on horseback. Departure
Juan’s brother led him in the wrong direction.
Juan’s parents tried to poison his food.
Juan gave his horse some of his food. Road of Trials
The horse died.
Juan was obliged to finish the journey on foot.
Crossing of The First
Juan climbed the tower with nails and ropes.
Threshold
Juan and Clotilde whispered words of love in each other's ears. Meeting with the Goddess
*Second Function of
Clotilde gave Juan one of the magic necklaces as reward.
Donor
Juan’s brother pulled out the nails he used to climb the tower. Road of Trials
Provision or Receipt of a
Clotilde told Juan to mount on one of the magical horses.
Magical Agent
The magical horse flew from the tower. Rescue
The magical horse landed on a country strange to Juan’s eyes. Unrecognized Arrival
Juan was at last able to make his way back to his native country. Return
A rich old man named Telesforo adopted Juan as his son. Atonement with the Father
The townspeople have tried to produce the exact counterfeit of the
Unfounded Claims
necklace.
Juan asked Telesforo to borrow the necklace and saw they didn’t
Difficult Task
differ.
Clotilde confirmed the authenticity of the necklaces. Solution
Clotilde asked Telesforo to bring Juan to the Palace. Recognition
Juan and Clotilde were married and he became the King after
Wedding
Ludovico’s death.
Juan and Clotilde as narrated by Hilario is what the researchers originally coined
Ludovico and his magician friend and how the king’s powers were maximized by
60
his friend. It is followed by the narrative function Dissonance which pertains to the
ruined connection of King Ludovico and his magician friend when Clotilde, the
king’s daughter, cannot give back the magician’s love towards her. Then, the
instances when the magician gave the king three enchanted winged horses; the
However, before the magician died, he locked Clotilde and the three magic
horses in a high tower inaccessible to any human being. This event plays the
narrative function of Villainy which sets the course that the Protagonist must solve
to Adventure. The king called out to every man that whoever can set his daughter
free shall receive his wealth, his crown, and his daughter’s hand. The narrative
named Juan was advised by his family not to go on the journey of finding the
princess. Thus, Juan insisted on his plans to save the princess. He collected all the
biggest nails and ropes that he could use in attaining his plans. This event
exemplifies the narrative function Beginning Counter Action. After preparing all
his tools, the narrative function Departure comes next. Juan left home and went on
61
After the occurrence of the narrative function Departure, the narrative
function The Road of Trials comes next as Juan crosses several obstacles. First,
his older brother tried to divert him by giving him a wrong direction. Secondly, his
parents tried to poison him. Then, his horse died after he let it eat a portion of his
food. These are the reasons why he had to make the trip on foot. Upon reaching
his destination, Juan drove out the nails with his rope to make an improvised
ladder to enter the tower. This incident details the instance where the narrative
function Crossing of The First Threshold was found. The narrative function
Meeting with the Goddess exists next. Juan met Clotilde with flooded tears and
they immediately whispered their words of love to one another. Then, Clotilde
gave Juan one of the necklaces given by the magician to her and this event
appeared next. It is when Juan discovered that his older brother pulled out the nails
when he was about to climb in the tower to avoid direct combat with the guardian
of the tower. That is why Clotilde told Juan to mount on one of the magical horses
given by the magician before he died. This event functioned as the Provision or
Receipt of a Magical Agent. Then, the magical horse flew from the tower which
Unrecognized Arrival which pertains to the incident when Juan and the magical
62
Thus, after a long journey Juan was at last able to make his way back to his
native country. This event details the narrative function Return. It is then followed
by the narrative function Atonement with the Father when a rich old man named
Telesforo adopted Juan as his son. The old man became the father figure for Juan
from then on. Then, the narrative function Unfounded Claims appeared next when
King Ludovico gave out proclamations stating that anyone who could exactly
match his daughter's necklace should be his son-in-law. Thousands tried, but they
tried in vain. It is followed by the narrative functions Difficult Task and Solution.
Juan asked Telesforo to borrow the necklace and saw that they were exactly the
Clotilde asked Telesforo to bring Juan to the Palace. This incident expounds the
narrative function Recognition. Later on, Juan married Clotilde and Juan ascended
the throne after Ludovico’s death. It is the incident where the last narrative
function in Hilario’s Juan and Clotilde was found, the narrative function Wedding.
The table that follows presents the summary of the narrative functions that
Table 4
*Synergy
*Dissonance
Miraculous Conception
63
Absentation
Childhood, Initiation and Divine Signs
Preparation, Mediation, Withdrawal, and Refusal
Act 1 Beginning Counter Action
Departure First Function of the Donor
Hero’s Reaction
Trickery
Complicity
Villainy
Call to Adventure
Departure
Road of Trials
*Second Function of the Donor
Provision or Receipt of a Magical Agent
*Crossing of the First Threshold
Branding
Spatial Transparence between Two Kingdoms
Liquidation of Initial Misfortune
Call To Adventure
Act 2 Preparation, Mediation, Withdrawal, and Refusal
Initiation Beginning Counter-Action
Departure
Crossing of the Second Threshold
Meeting with Goddess
Rescue
The Road of Trials
*Indirect Villainy
*Inverted Trickery
*Indirect Struggle
*Liquidation of the Second Misfortune
Atonement with the Father
Unfounded Claims
Unrecognized Arrival
Difficult task
Solution
Recognition
Wedding
Reward
Call to Adventure
Recognized Arrival
Difficult Task
Solution
Recognition
Wedding
Call to Adventure
Difficult Task
Solution
Return
Act 3 Recognition
Return Wedding
64
Return
Table 4 enumerated the narrative functions gleaned from the three selected
folk tales from Batangas. The narrative functions with an asterisk (*) are the
narrative functions originally named by the researchers since the instances labelled
are important in showing the established structure of the three folktale. However,
it is still based on the idea proposed by Propp, Campbell and Leemings, the three
For each function there is given a brief summary of its essence and its
examples from the studied folktales. The citation of examples illustrates and
shows the presence of the function as a certain generic unit. The series of functions
folktales, the researchers used the outline format. This was so because the
structure found and the description of events which contributes to the progression
of the selected Batangas folktales. In accordance with this, the researchers used
numeric representations for each folktale in detailing the events which describes a
specific narrative function whereas 1.1 refers to Katigbak’s Juan and His
Adventures, 1.2 pertains to Caedo’s The Story of Carancal, and 1.3 concerns to
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Hilario’s Juan and Clotilde. There are 33 functions narrative functions listed
below.
A folktale usually begins with some sort of an initial situation; mostly the
parties. This situation plays a vital part in describing the so-called “the calm before
supernatural attributes. (1.1) “This family was very poor at first. Near
the foot of a mountain was growing a tree with large white leaves. Pedro
the father earned their living by selling the leaves of that tree.” (1.3)
type of symbiotic relationship where only the other organism benefits while the
disagreement
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1. The benefiting party takes advantage of the situation. (1.1)”After a year
he decided to cut down the tree, so that he could sell it all at once and
2. The benefiting party could not give back to the needs/wants of the
name of Clotilde. Ever since his arrival at the palace the magician had
been passionately in love with her; but his extreme old age and his
relationship where one organism benefits while the other one is negatively
affected. Sometimes, the benefiting party has no power to give back to the host
party for it is beyond their control. Like for example, the king, being a loving
father, cannot force his daughter to love the old magician even if he made their
riches double. This kind of disagreements usually sets the problem in common
Batangas folktales.
impossible situations.
1. A couple too old to bear a child carries one. (1.1) “A year had not
time. (1.2) “Once upon a time there lived a couple who had long
been married, but had no child. Every Sunday they went to church
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and begged God to give them a son. They even asked the witches in
their town why God would not give them a child. After a year a son
It explains the bearing of a child for couples faced with multiple reasons
and problems about not having a child and still be able to born one. It is usually
witchcraft.
1. The victim/s goes someplace else and suddenly disappears. (1.1) “As
soon as they reached the foot of the mountain, the three daughters
1. The child’s extraordinariness is being noticed. (1.2) “He was very small, as
the witches had foretold, but he was stronger than any one would expect such
children, “It is strange,” said a neighbor. “Why, he eats more food than his stomach can
hold.” The boy grew larger and larger, and the amount of food he ate became greater and
greater.”
daughters that took place before his birth. (1.1) "Yes, you have three; but
2. The hero is rejected by his own family. (1.2) “I will take him to the
forest and there kill him; and if the neighbors ask how he died, we will
say that an accident befell him while cutting trees.” (1.3) “ His parents
and his older brothers expostulated with him not to go, for what could a man
It only focuses on how the hero discovers the journey that awaits him and
the courses of the decision he or people around him make. The rejection refers to
1. The hero asks for permission to go. (1.1) “Juan was so angry, that he asked
2. The hero searches for the tools to use on his journey. (1.3) “He took as many
of the biggest nails as he could find, a very long rope, and a strong hammer.”
decided to make.
VIII. FIRST FUNCTION OF THE DONOR. The hero is given the articles he could
use as he goes.
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1. The hero asks for the articles. (1.2) “But before I depart, father and
danger.”
2. The articles were given by the donor. (1.3) “He left to the king three
priceless worth.” (1.1) “Each of the three girls gave her mother a
handkerchief as a remembrance.”
attack. But in the Batangas Folktale, it refers to voluntary handing of the articles to
the hero.
IX. HERO’S REACTION. The hero reacts to the actions of the future donor.
1. The hero accepts the article. (1.2) “Carancal took it, kissed the hands of
1. The villain employs use of deception or coercion. (1.1) “The snake said
to Pedro, "I gave you the leaves of this tree to sell; and now, after you have
gotten much money from it, you cut it down. There is but one suitable
punishment for you: within three days you must bring all your daughters
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The act of punishment is only given to those who break a law or agreement
which was not given by the victim before he decided to cut the tree. Turns out the
snake was disguised as a tree and waited for his turn for the man to take action on
the goods the tree was giving. As soon as the man cut the tree, the snake made it
look like he was punishing him to get his possessions which are his daughters.
XI. COMPLICITY. Victim submits to deception and thereby unwittingly helps the
Villain.
1. The victim agrees to the villain’s persuasion. (1.1) "Don't worry, father!
We will go there with you," said the three daughters. The villain
attacked the father emotionally that made the daughters give in to the
XII. VILLAINY. The villain causes harm or injury to the member of the family.
1. The villain abducts a person. (1.3) “He locked Clotilde and the three magic
As the only type of Villainy from the studied materials on this research, it cannot
only be limited to abduction. It also involves the similar acts of Absentation which causes
2. Attacks on the closest friends of the Protagonist. For this instance, it will be
since it harms not directly the family but the colleagues, companions, or
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XIII. CALL TO ADVENTURE. Refers to a call in which the journey or quest of a
the proclamations of reward or the noble heart of saving lives, the hero
sets on the journey of finding the important thing that is missing. (1.1,
1.2, and 1.3) “The king offered his wealth and his daughter’s hand to
2. A direct letter was sent. It only happens when the hero had quite
established an image of a hero ready to save anyone. (1.2) “ They had not
It only refers to the action of the hero towards leaving home, usually with all
the articles that his family had given him. It is always a beginning of his journey
hero comes across another giver of a magical agent that he could use to finish
his journey.
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XVIII. CROSSING OF THE FIRST THRESHOLD. It only refers to the turning point
in which the hero must enter the dungeon of the villain or the Antagonist and
XIX. UNRECOGNIZED ARRIVAL. Simply refers to the arrival of the hero unto a
place he had never been before and nobody knows him. It has its inverted form
1. The hero finds the princess. (1.3) “Juan and Clotilde whispered words of
In some cases, it may differ with the occurrence of fairies and nymphs,
1. The hero is recognized by an object in his care. (1.1) “Juan showed the
1. The hero is carried away through the air. (1.3) “Juan flies away on a
horse.” Or sometimes the hero takes the refugee he tries to save along
with him.
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XXIII. SPATIAL TRANSFERRENCE BETWEEN TWO KINGDOMS. The hero is
1. The area on the hero’s search was pointed out. (1.1)“The king of the lion, his
2. The hero was carried by an animal. (1.2) “The fish carried the travelers
in a kingdom.”
kingdom. This kingdom may lay far away horizontally, or else very high up or
XXIV. INDIRECT STRUGGLE. The hero does not choose to go in a direct combat.
villainy, constitutes a pair. The narrative reaches its peak in this function.
1. The object of search was found in safer hands and was able to build
2. The hero was able to rescue/restore his object of search. (1.1) “Juan
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XXVI. RETURN. The hero returns home.
It simply refers to the action of the hero in going back to his hometown.
1. Adoption. (1.3) A rich old man named Telesforo adopted Juan as his
son.
This function only refers to the false claims presented by other people in
XXIX. DIFFICULT TASK. A task has to be done in order to know the true identity
of the true hero, in which only the real savior could accomplish. It blocks the
1. Giving the proof. (1.3) “Juan asked Telesforo to borrow the necklace
1. The princess finds out who was her real savior. (1.3) “Clotilde
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1. The hero is made known. (1.3) Clotilde asked Telesforo to bring Juan to
the Palace.
separation.
XXXIII. REWARD. The hero savors all the fruit of his hardwork.
1. The hero gives back to the family with all the fruits of his labor. (1.2)
“Carancal was the benefactor of three kings.”, (1.2) “So he set out,
carrying with him plenty of money, which the three kings had given
him. This time his parents did not drive him away, for he had much
wealth. Carancal lived once more with his parents, and had three kings
under him.”
seen on the narrative functions Synergy and Dissonance which are unique only to
even death cannot erase, Utang na Loob stands out among the many virtues that
define a Filipino. It means that Batangueños value of paying their debt of gratitude
that if they were not able to do so, whether they mean it or not, problems arise that
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it may discord them to others and it would be impossible to establish a harmonious
The results also showed the narrative functions unique in Batangas Folktale
which is the Indirect Struggle when the Protagonist did not mean to be vicious by
killing his opponent and eventually liquify the chaotic situation. The other one is
the narrative function Inverted Trickery where the Protagonist defeated the giant
arrogant, brazen, and full of hot air usually because of the symbols connected with
them: the Balisong knife and the strong Kapeng Barako or brewed coffee. To
barbaric on account of how loud and agitated their voices become in the midst of
arguments when in fact they are just passionate and emphatic on the ideas they
advocate. It means that Batangueños are peace-loving people and will try their best
events wherein each folktale showed that some narrative functions appeared
Katigbak’s Juan and His adventures and Hilario’s Juan and Clotilde, the narrative
function Road of Trials appeared twice. While in Caedo’s The Story of Carancal,
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the narrative functions Call to Adventure, Road of Trials, Difficult Task, Solution,
This could explain a phenomena which not only the Batangueños but
Filipinos in general are known for, “History repeats itself”. As quoted by Jimenez
(2014), those who refuse to learn from history are condemned to repeat it. He cited
the instances where Philippine’s government had been torn within the turmoil
between its Presidents and Vice Presidents since Macapagal-Garcia’s term during
with President Aquino and VP Binay acting like a father and a mother hitting each
Filipinos have not changed after all this time and the culture puts the people
on a pattern of perpetual subjugation. They exclaim things like they are resilient
own heads. While the researchers believed it to be true with the times the Filipinos
had been conquered thrice, for the redundant cases of Impeachment Trials for the
same corruption suits with a random politician, and the unsolved forgotten
criminal cases. Thus, it means that Filipinos never learn with their own mistakes
wherein the series of the difficult task they have to solve resulted from their own
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To identify the dramatis personae in the selected Batangas folktales, the
involved in each function in the presented folktales and carefully examined each.
actions, as well as the comments of the narrator and of the other characters, the
researchers were able to extract the traits of every character and classify them as to
The succeeding table show the dramatis personae involved in each narrative
Table 5
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Absentation Juan’s sisters,
Stock
Childhood, Carancal, Protagonist
Initiation and
Divine Signs
Preparation, Juan, Protagonist Carancal, Protagonist Juan’s family,
Act 1 Mediation, Carancal’s Parents, Foil Foil
Departure Withdrawal, and Carancal, Protagonist
Refusal Carancal, Foil
Beginning Counter Juan, Protagonist Juan,
Action Protagonist
First Function of Juan’s sisters, Carancal’s Parents, Magician,
the Donor Confidant Confidants Confidant
Hero’s Reaction Carancal, Protagonist
Trickery Snake, Foil
Complicity Pedro, Stock
Villainy Magician,
Antagonist
Call to Adventure King, Stock King Ludivico,
Stock
Departure Juan, Protagonist Carancal, Protagonist Juan,
Protagonist
Road of Trials Giant, Antagonist Carancal, Protagonist Juan’s brother,
Foil
Juan, Protagonist Carancal, Protagonist Juan’s parent,
Foil
King of Eagles, Carancal, Protagonist Horse,
Act 2 Confidant Confidant
Initiation King of Fishes, Three men, Confidants Juan,
Confidant Protagonist
King of Lions, Juan,
Confidant Protagonist
*Second Function Three boys, Clotilde,
of the Donor Confidant Confidante
Provision or Juan, Protagonist Clotilde,
Receipt of a Confidante
Magical Agent
*Crossing of the Juan, Protagonist Juan,
First Threshold Protagonist
Branding Juan, Protagonist
Spatial King of Lions, Fish, Confidant
Transparence Confidant
between Two
Kingdoms
Liquidation of Juan’s three Carancal, Protagonist
Initial Misfortune brothers-in-law,
Confidant
Call to Adventure King, Stock King, Stock
Preparation, Juan, Protagonist
Mediation,
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Withdrawal and
Refusal
Beginning Counter Juan, Protagonist
Action
*Crossing of the Juan, Protagonist
Second Threshold
Meeting with Juan, Protagonist Juan,
Goddess Protagonist
Rescue Juan, Protagonist Horse,
Confidant
Carancal, Protagonist Juan’s brother,
Three men, Confidant Foil
Carancal, Protagonist
Three men, Confidant
Road of Trials Carancal, Protagonist
Three men, Confidant
*Indirect Villainy Monster, Antagonist
Monster, Antagonist
Monster, Antagonist
*Inverted Trickery Carancal, Protagonist
*Indirect Struggle Juan, Protagonist
*Liquidation of the Juan, Protagonist
Second Misfortune
Unrecognized Juan, Protagonist Carancal, Protagonist Juan,
Arrival Three men, Confidant Protagonist
Difficult task Bugtongpalasan,
Confidant
Tunkodbola, Confidant
Buhalbundok,
Confidant
Solution Carancal, Protagonist
Recognition King, Stock
Wedding Bugtongpalasan,
Confidant
Reward Three men, Confidant
Call to Adventure King Walangtacut,
Stock
*Recognized People in town, Stock
Arrival
Difficult Task Tunkodbola, Confidant
Macabuhalbundok,
Confidant
Solution Carancal, Protagonist
Recognition King, Stock
Wedding Tunkodbola, Confidant
Call to Adventure King, Stock
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Difficult Task Macabuhalbundok,
Confidant
Solution Carancal, Protagonist
Recognition King, Stock
Wedding Juan, Protagonist Macabuhalbundok,
Confidant
Return Juan, Protagonist Carancal, Protagonist Juan,
Protagonist
Atonement with the Telesforo,
father Confidant
Unfounded Claims People in town,
Foil
Act 3 Difficult Task Juan,
Return Protagonist
Solution Clotilde,
Confidant
Recognition Clotilde,
Confidant
Wedding Juan,
Protagonist
Reward Juan, Protagonist
gathered in each Batangas Folktales under study. It can be seen that in each
function, there are dominating characters for every function that contributes to the
characters present in any folktale such as Father, Sisters, King, and Princess are
clearly stated in the table for the occurrence of the following functions. The
functions that are purely dominated by Stock characters are Synergy, Dissonance,
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Complicity, Call to Adventure, Meeting with Goddess, Recognized Arrival, and
Recognition. It shows that Stock characters only contribute in the surfacing of the
dominated the functions that explain the hardships of other characters in the story
especially of the Protagonist. These functions are Road of Trials and Indirect
Villainy.
folktale under study. It is the Foil character which if not directly works or
associated with the Villain or Antagonist, has the same agenda of stopping the
Protagonist in reaching his goal and in finishing his journey. These characters
Unfounded Claims.
Another type of character that manifested from the studied folktales is the
animals that contribute to the success of the Protagonist whether in helping him or
giving him objects he could use in his journey. They occurred in the functions like
First Function of the Donor, Road of Trials, Second Function of the Donor,
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Reward. It can be seen that these characters also shares the Protagonist their
The most important type of character that surfaced in every folktale is the
Protagonist which is commonly defined as the center character in which the story
The result showed that the essence of the main conflicts to be solved by the
Protagonist is the Stock character. This means that even if the given Batangas
folktale focuses on the Protagonist, its conflict which makes it exciting is not
other stereotype character. It shows the good traits of Batangueños, whereas they
basic sense of justice and fairness, and concern for others as the Protagonist has
the choice not to lend his help to those Stock characters. According to Licuanan
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helpfulness and generosity in times of need and in the practice of mutual
assistance.
While another custom of Filipinos was seen as well from the result of the
table above where the Confidant or Confidante shares the hardships and
(2014) which often revolves around the barkada, or “gang of friends” — people
who develop a strong bond, much like that of a second family, though they are
not related by blood. It could also show the importance of sense of brotherhood
The researchers also discovered that some Foil and Antagonist type of
from the start. Most of the Foil characters cited from the Batangas folktales
refers to the own family of the Protagonist because they fear he might only
bring shame to the family if he fails, it shows how Batangueños cared so much
Filipinos believe they must live up to the accepted standards of behavior and if
they fail to do so they bring shame not only upon themselves, but also upon
their family. Moreover, Burke et al (said) said that the nature of the self and
what individuals do depends to a large extent on the society within which they
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live. It only explains conformity when people are concerned about making a
good impression in front of the society regardless if the action conflicts with
their moral code. While the good side which conformity and delicadeza bring is
that foul personalities are altered in order to fit in to what the society and the
community needs. For example in Caedo’s Story of Carancal, some Foil and
to the Protagonist. It shows that Batangas Folktales may also contain dynamic
characters – characters that are changing through the course of any folktale or
piece – it suggests that Batangueño people are opt to change themselves in order
to examine each Batangas Folktale under study. They gathered the Transitivity
to the narration and how the characters acted or were described upon each
narrative function. Also, the researchers focused mostly on the verbs and other
Table 6
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Transitivity Process Exhibited by the Dramatist Personae Involved in the
Narrative Functions Found in the Three Selected Folk Tales from Batangas
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*Indirect Villainy Antagonist Material
*Inverted Trickery Protagonist Material
*Indirect Struggle Protagonist Behavioral
*Liquidation of the Second Misfortune Protagonist Material
Unrecognized Arrival Protagonist, Confidant Material, Verbal
Difficult Task Confidants Material
Solution Protagonist Material
Recognition Stock Behavioral
Wedding Confidant Material
Reward Confidant Material
Call to Adventure Stock Material
*Recognized Arrival Stock Material
Difficult Task Confidants Material
Solution Protagonist Material
Recognition Stock Material
Wedding Confidant Material
Call to adventure Stock Material
Difficult Task Confidant Material
Solution Protagonist Material
Recognition Stock Material
Wedding Confidant Material
Return Protagonist Material
Atonement with the Father Confidant Material
Unfounded Claims Foil Material
Act 3
Difficult Task Protagonist Verbal
Return
Solution Confidante Verbal
Recognition Confidant Verbal
Wedding Protagonist Material
Reward Protagonist Material
personae involved in the narrative functions found in the three selected folktales
from Batangas.
As stated in the table above, the first function Synergy is always associated
that this process clearly supports that these two functions are always connected
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since the Material Process involves an Actor, one who does something, that
one to whom the action is directed at or the goods are delivered to.
While the only function that has the Existential Process is the Miraculous
Conception. It meant that this function only refers to the upcoming existence of
object as described by Halliday, the proponent of the theory this study is anchored
something is said to “be” something else like when the character suddenly
disappeared.
The function that follows Childhood, Initiation and Divine Signs also
having attributes. It is clearly stated in Caedo’s The Story of Carancal how the
story showed the changes of the Protagonist’ physique and skills and the surfacing
of the character’s unusual attributes which makes him above the other children as
he grows up.
Withdrawal, and Refusal showed Verbal and Material Process. It showed that as
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before the hero start a journey, some characters will try to stop or encourage him
by verbal means or act directly which will affect the progression of a folktale. The
same goes with the function Beginning Counter-Action which manifested Verbal
and Material Process, if the hero decides upon the problem, he will ask for
permission for leaving as the Verbal Process or go straight ahead on resolving the
While the characters involved in the First Function of the Donor or the
Second Function of Donor (for the second appearance) showed that it has Material
Process. As how Halliday had described it, the donor or the actor do something or
characters give help or objects useful to the Protagonist for every folktale under
this study. The function that follows it is the Hero’s Reaction with the same
transitivity process, wherein the hero gives back a response to the donor of the
function worked its way on the thinking of his victim by persuasion through
words. It occurred as the villain talked over to his victim that he should lose his
belongings, his daughters for that matter, as a form of punishment for what
involved in its occurrence revealed the same process as the victims willingly
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As for the next function Villainy, the character involved displayed a
Material Process as the villain directly attacked on its victim as the object of its
process as they directly send or gave out proclamations and rewards to anybody
who could solve their problem. They also showed Verbal Process for saying,
verbally detailing or talking about their problem which the Protagonist later
the Material Process. This is so because the Protagonist directly acted on leaving
home towards his literal goal. This Goal is theoretically defined by Halliday as the
each story under this study for the function Road of Trials showed Material,
concerned about one’s definite action towards a goal. There is also the Mental
process for the activation of senses of the character involved in its occurrence like
when the narration of the story emphasized on the thinking process of the
Protagonist about the advances of others against him. Behavioral process was
shown when one of the characters had an unplanned response natural to the pacing
of events in the folktale (dying after eating a poisoned food). Relational process
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refers to the action of the character involved under a circumstance like when he
Crossing of the First Threshold (or Crossing of the Second Threshold for the
second appearance) and Branding, each has only one character involved which
manifested only the Material process which is the Protagonist. It only explains the
goal of this character similar to other functions with the same process.
was dominated by the character Confidant was exposed with Verbal and Material
process. It has Verbal process shown by verbally detailing the next destination of
the Protagonist the character Confidant was helping. For Material process, the
Confidant tries to physically deliver the Protagonist to his next destination so that
and the Protagonist, they show Verbal and Material processes. Verbal process only
refers to the settling of the peace as the characters involved talk and hold a
conversation to resolve the problem. While the Material process refers to the direct
Material process wherein he was able to find the princess as the object of his
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search and of his goal. It also has the Verbal process when the Protagonist detailed
and talked to the victim usually a princess on how he will save her. The same goes
for the next function which is Rescue that has a Material as he eventually saves the
princess.
For the consecutive functions Indirect Villainy and Inverted Trickery, both
are dominated by the characters Antagonist and Protagonist. Both functions also
exhibits Material process as the two characters shared the same goal of defeating
harmed and eventually killed its villain when he was startled by the raging giant.
process as they reach a place in search of their goal. While its inverted form
Recognized Arrival shows Verbal process as the characters involved such as Stock
represented by townspeople or a king cheers for the arrival of the hero they had
heard of.
Atonement with the Father, the function only dominated by the character
Confidant showed the Material Process. Like what a Confidant does in every
story, this character has the sole goal of helping the character. In which this
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character acted as a father figure as he gave refuge to the lost hero, he made a
exhibited Material process. They all have the same goal of stealing the fame,
glory, and the reward that goes with it from the true hero for solving the problems
present in the folktale. This event should be answered by the next function.
shared the same goal in helping each other to do the ordeal they are asked to do in
order to prove their identity as saviors which explains the Material process for that
matter. While the Verbal process was executed by the Protagonist, it was for
Protagonist eventually accomplishes the difficult task and solves the task for the
Material process. While the Confidante as the princess in the story helps the
Protagonist by verbally confirming that he was indeed the true hero that resolved
Stock characters shows Behavioral and Material process as they show feelings of
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delight and fondness for the hero who helped them and acts on giving thanks to
the Protagonist’s heroic deed. Whereas the contribution of the Confidante, the
princess for this matter, verbally proclaims and asks to bring the true hero on
by characters Protagonist and Confidant where all of them marries the princess
they had just saved and is usually the object of their search. Aside from that, all of
them ascend the throne in case the King, the father of the princess they wed with
dies. Here shows the Material process as these characters became the benefactor of
home to his family as shown from the table above. This is the function Return with
the Material process as the Protagonist seeks the familiar comfort of his family as
with the Material process as he enjoys all the fruit of his labor and shares it with
his family. The folktales under this study commonly narrated that the hero usually
takes his family to his new kingdom. It has Material process as the Protagonist
appears as the giver or donor and his family becomes the benefactor in which his
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As depicted on table 6, Batangas Folktales are comprised mainly of
Material Process which shows that Batangueños are goal-oriented and family-
oriented people who aspire to work hard on their ambition and motives. According
to Licuanan (2012), Filipinos have the capacity for hard work, the desire to raise
one's standard of living and to possess the essentials of a decent life for one's
family, combined with the right opportunities and incentives, Filipinos are
to take risks with jobs abroad, and to work there at two or three jobs.
After the careful analysis of the preceding datas presented above using the
Batangas Folktales with regards to its narrative functions, dramatis personae, and
developed their own structural model which they think could best illustrate the
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Figure 2
Figure 2 refers to the description of the Batangas Folktales, it has three acts
discovered that is also present in the Batangas Folktales. These are the Departure,
Initiation, and Return. Act 1, Departure, deals with the on settling of the conflicts
protagonist will resolve on these folktales. It also deals with how the situations and
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the other dramatis personae prepared the Protagonist before he made a decision of
this is where the Protagonist encounters his Confidants or the Donors of the
Magical Agents he could use on accomplishing the original cause of his journey.
Together with the Confidants or usually the Protagonist alone enters the First
alongside with his Confidants is faced again with another problem to solve where
they are asked to enter the Second Threshold where the Foil or Antagonist they
must defeat resides. The researchers also discovered that with whatever problem
the Protagonist must face, he never use any act of violence by not engaging into a
direct combat with his opponents. Also the Initiation Act is consisted of repeated
events such as calls of adventure and crossing of thresholds the Protagonist and his
Confidants are asked to undertake. It shows the repetitive feature of the Batangas
As for Act 3, Return, pertains to the homecoming of the Protagonist and the
harvesting of the fruits of his labors that he usually share with his family. It
involves events where he is asked to claim the recognition against the take of the
personae involved in the folktales under this study, the researchers learned that
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exemption, Verbal process is exhibited by how certain characters communicated
their motives towards the other dramatis personae and persuaded others in order
agree to their own terms through words. However, Behavioral, Relational, and
consideration the language and the syntax it used since the approach applied in this
referring to its dialects where in Batangas case is Tagalog. She said that with this
locality.
In accordance with this light, the researchers learned that with regards to
establishing the structure of the folktales in a certain country there also has
variation in structure among its regions. This was because each region has their
own dialect, culture, and tradition even if they are all inside the same country.
Each region has their own form of folklore which tells something about their
locality. With all the analysis presented in this chapter, it all comes down to the
description of Batangas Folktales which serve as its local style in narrating its
stories.
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5. Implication of the Findings in Philippine Narratology and to the Teaching
of Creative Writing
Using the Structural Approach, this study was conducted to identify the
its narratives or stories with regards to its narrative functions, dramatis personae,
which has significant implications both for describing the Philippine narratology
and for the purpose of advancement within the Creative Writing course and its
subfields.
With this study, not only the professionals engaged in teaching literature
but also the students and future readers of Philippine folktales will be able to
identify the variation of narratives present in other regions in the Philippines. The
findings of this study could also address the features of Philippine narratology, its
structure, its elements which reflects its culture, and the values or customs it
In respect to that, it could address the agenda of DepEd through the K12
history, his cultural heritage, and develop a deep respect for self, others and their
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culture, and the environment. The same goes for the updated CHED Memorandum
classes which means that one can understand the differences among Filipinos with
regards to their locality. Say for an instance, if a citizen from another region, a
Batangueño household is enlightened about Batangas folktales that has a lot to say
about its culture, he would understand why this Batangueño think, speak, or act in
a certain way foreign to his province or city and vice-versa. That is the kind of
respect for one’s diversity that should deliver Filipinos from indifference (usually
Likewise to the structure of a given text, knowing that a certain folktale has
a repetitive structure, one can say that it originated from Batangas since the
analysis of this study said that Batangas narratives are redundant in nature. Proper
identification of the structure and its elements presented in this study will help the
overcome or supress the challenges in teaching this subject and its subcategories.
The educator who is the very source of knowledge must possess the familiarity,
skills, values, and interest for this matter towards the effectiveness in teaching
Creative Writing. If they have the dedication and the interest in familiarizing
themselves in the structure of these folktales, they could not only supress but they
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could also surpass their teaching styles they could show to their students. There is
a great teacher factor in motivating the students in developing their curiosity and
interest in writing.
Since students are the center of the teaching-learning process, one of the
very aim of this study is to give them the benefits of using Structuralism in
not take for granted the use of folktales which they thought were only helpful in
practicing their reading skills when they were still young. This lack of engagement
tends to be equated with lack of value; readers often do not value what they do not
understand when in fact, they could use it to connect to their culture if they only
have the skills to read between the lines and consider the syntax and language the
folktale used.
Combine the teacher’s motivation and the student’s interest towards reading
results to one’s urge to write his own story. This is where the teaching of Creative
Writing plays a crucial role in establishing the style of the country’s aspiring
writers. Since the teachers already know the description of these folktales, they
could show their students a model which they could use as guide in manipulating
their own plots as they were only starting to develop their writing venture. As
these would-be writers are fully acquainted with the common structure, they could
explore in writing stories with unusual structure in showing the real events
happening to their society because literature depicts reality. The folktales they
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studied as patterns are records of the past and the stories they will write shall soon
be passed on to future generations. Eventually, time will pass, the present will
replace the past and so it continues. As what Bautista (2008) had wrote, literature
is always history because it is the only valid history as a result of the writer's
enjoyable and successful for the educators and the learners towards establishing
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Chapter V
This chapter presents the summary of the findings revealed in the study, the
conclusion drawn and the recommendations offered by the researchers based from
Summary
The main objective of this study was to describe the common structure of
instances where the narrative functions occured. Also, this study endeavored to
find out the dramatis personae involved in each narrative function by using
1. What are the functions drawn from the selected Filipino folktales in
Batangas:
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1.1. Juan and His Adventures as narrated by José Ma. Katigbak, a Tagalog
1.3 Juan and Clotilde as narrated by Vicente Hilario, a Tagalog, who heard
5. What is the implication of the findings of the study in establishing the Batangas
In conducting this study, the researchers utilized the three selected folktales
in Batangas as the subject of the study. These are Juan and His Adventures as
narrated by José Ma. Katigbak, a Tagalog from Lipa, Batangas, The Story of
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Juan and Clotilde as narrated by Vicente Hilario, a Tagalog, who heard the story
systematically explore the three selected folktales and describe certain properties,
structures, and characteristics that are evident. The principal tools in gathering data
were the theories proposed by Propp, Campbell, Leemings, Pullman, and Halliday.
personae but the researchers only applied its 5 major types which are the
Protagonist, Confidant, Antagonist, Foil, and Stock. As for citing the transitivity
function, the researchers employed Halliday’s 6 Transitivity Profiles which are the
Findings
follows:
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1. The study showed that the three selected folktales from Batangas comprised the
functions that complete the common structure found among the selected folktales
2. The three selected folktales from Batangas exposed a repeated cycle of events.
It means that there are narrative functions which are repetitive in occurrence. For
example, each folktale showed that some narrative functions appear redundantly.
As for instance in Katigbak’s Juan and His adventures and Vicente’s Juan and
Clotilde, the narrative function Road of Trials appeared twice. While in Caedo’s
The Story of Carancal, the narrative functions Call to Adventure, Road of Trials,
3. The result showed that the essence of the main conflicts to be solved by the
Protagonist is the Stock character. This means that even if the given Batangas
folktale focuses on the Protagonist, its conflict which makes it exciting is not
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4. While another custom of Filipinos was seen as well from the result of the table
above where the Confidant or Confidante shares the hardships and triumphs of the
Protagonist.
5. The researchers found out that Batangas folktales have dynamic dramatis
personae. For example, in the case of Katigbak’s Juan and His Adventure and
Vicente’s Juan and Clotilde, some foil and antagonist type of dramatis personae
are not directly against the protagonist or evil-willed from the start. However, in
Caedo’s Story of Carancal, some foil and antagonist type of dramatis personae
Conclusions
In the light of the important findings revealed in this study, the following
1. Batangas narratives are composed of the stages Departure, Initiation and Return.
The protagonist in the stories decided to leave his home, seeks for adventure but in
the end the protagonist always comes back to his family to share the fruits of his
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2. Most narratives originated in Batangas have a repeated cycle of events. Events
manifested in the stories are often appeared repetitively even those instances harm
the characters until the accounts ended. This stresses that Batangueños and their
Batangas folktales are highly imbued with morals and values such as
4. Also the study showed that because Batangas folktales have dynamic folktales,
the researchers therefore conclude that Batangueños are open and adaptable to
changes so that they will be able to conform to the society and protect the image
hard on their ambition and motives so that they will be able to give the needs of
their family.
Recommendations
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In view of the findings obtained in this study, the following
school subjects starting from basic education to inculcate the structure of these
folktales among its people. By that, its citizens will gain consciousness about
the kind of narratives they have. Likewise, the structure revealed while
studying the folk literature might serve as a guide to those aspiring writers; it
could serve as their pattern or framework since they are in the starting phase of
their writing endeavor. The structure revealed could serve also as a cue for
inclined in writing.
different localities to revive their own narratives and to identify its variation
from the narratives of other regions. Thus, the significant feature of both
significance of the narratives in their localities since it reflects the unique traits
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of their place, their life and culture because folk literature are mostly drawn
3. The values that will serve as agents in directing the lives of the young
educators among the learners. This will certainly help the learners to foster
respect, love, peace and harmony among diverse cultures and beliefs of people
will be able to give and gain love and respect from their own identities and to
others.
writing competitions and the likes which offers not only cash and gift checks
as a prize but also gives writing workshops as a reward for joining such
established. Those areas will develop the awareness of the youth in integrating
their customs, beliefs, literature and culture into different activities and turned
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provide them with a more optimistic and sustainable outlook about the
culture in building their own identity. Additionally, the established areas for
from Batangas.
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