uster
into groups fairly distinguishable in type. Foremost in significance
for the cultural tradition of the people is the ulit, a long, romantic
tale relating in highly picturesque language the adventures of the
mythical Bagobo, who lived somewhere back in the hazy past, before
existing conditions were established. Semi-divine some of them were,
or men possessing magical power. The old Mona people; the Malaki,
who portrayed the Bagobo's ideal of manhood; and the noble lady called
Bia,--these and other well-marked characters figure in the ulit.

Another class of stories deals with the demons known as Buso, who
haunt graveyards, forests, and rocks. These tales have been built up
by numerous accretions from the folk-lore of many generations. The
fear of Buso is an ever-present element in the mental associations of
the Bagobo, and a definite factor in shaping ritual forms and magical
usages. But the story-teller delights to represent Buso as tricked,
fooled, brought into embarrassing situations.

Still another type of myth is associated with cosmogony and natural
phenomena. It is probable that more extended research would disclose a
complete cosmogonic myth to replace the somewhat fragmentary material
here offered.

The number of explanatory animal tales thus far collected is
surprisingly small. Doubtless there are many more to be gathered. Yet,
in view of the comparatively scanty mammalian fauna of Mindanao,
we might anticipate a somewhat limited range of animal subjects.

It will be observed that these groups of stories, tentatively thus
classified for convenience, are not separated by sharp lines. Buso
figures prominently in the ulit; animals play the part of heroes in
Buso tales; while in nature myths the traditional Mona are more or
less closely associated with the shifting of sky and sun. But this
is merely equivalent to saying that all the tales hang together.

A word as to the form of the stories and the manner of narration. Here
we find two distinct styles dependent on the content of the myth. The
tales of animals, cosmogonic myths, and the folk-lore of Buso,
are all told in prose, with many inflections of the voice, and often
accompanied by an animated play of dramatic gesture. In marked contrast
is the style of the mythical romance, or ulit, which is recited in a
rapid monotone, without change of pitch, with no gestures, and with a
regard to accent and quantity that gives a rhythmic swing suggestive
of a m