University of San Carlos Publications

THE MYTH OF THE SLEEPING HERO: THREE PHILIPPINE CASES

Author(s): Resil B. Mojares
Source: Philippine Quarterly of Culture and Society, Vol. 2, No. 3 (SEPTEMBER 1974), pp.
156-162
Published by: University of San Carlos Publications
Stable URL: http://www.jstor.org/stable/29791136
Accessed: 31-08-2016 04:44 UTC

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 156
THE MYTH OF THE SLEEPING HERO:
THREE PHILIPPINE CASES
Resil B. Mojares
The myth of the great king or warrior who
will one day return in the hour of his people's
need is one of those ubiquitous myths in folk?
lore. "It is found in most parts of the world,
and is not peculiar to any one of the great
religions(Thompson 1951:264).
The myth has for its central figure a king,
warrior or group of warriors, a culture-hero or a
divinity whose demise is a subject of popular
lamentation for it has also meant the passing
away of a Golden Age: a wise and prosperous
reign, a secure and heroic era. Hence, the per?
sistent belief that the hero is not really dead,
that he is still alive (A570); that he is sleeping
or in hibernation (A516), sulking or imprisoned,
usually in a mountain or cave (A571); and that
he will someday return (A580)?or that he has
already returned (A581)- to come to the
succour of his people in their hour of extreme
need. Thus his Second Coming is awaited by
the faithful. (Numbers in parentheses refer to
Professor Stith Thompson, Motif-Index of Folk
Literature).
In folklore we have the well-known examples
of The Seven Sleepers, the story of The Sleep?
ing Army (E502), the legend usually known as
Kyffh?user (Dl960.2) from the mountain in
which the aged Barbarossa sits through the ages
surrounded by his men. We have Arthur of the
Britons, Charlemagne of the Franks, the Hindu
Mucukunda, the Irish Fionn and his warriors;
and in our own time, we have similar myths
around such figures as Hitler and Kennedy.
Popular messianic movements, bred by crises
and fed by the clashing mixtures of wild hope
and despair spawn the inspiriting myths of The
Sleeping Monarch and the Second Coming
(Cohn 1961).
That such a myth should have a universal
appeal and a strong persistence-value is imme?
diately understandable in terms of the human
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needs it satisfies. Resurrection, salvationism
and messianic eschatologies are basic elements
in the world's great religions.
The present paper will attempt two things:
(1) to present and explain three Philippine cases
of the Sleeping Hero myth, and (2) to outline
its persistence and use in contemporary Philip?
pine folk movements.
Hari-sa-B o qued
The principal motif of the King's expected
return characterizes Hari-sa-Boqued, one of the
better-known tales in Philippine folklore.
Several versions of this tale are in existence,
notably those of the Povedano and Pavon
Manuscripts, but not all versions contain or
stress the Expected Return motif. In fact, only
two of the six versions in the above mentioned
manuscripts contain the motif; the rest are
largely sketchy tales of an etiological nature, to
explain the origin of places, of the volcano and
its smoke and of tobacco. It would be interest?
ing to trace the transformations and mutations
of this tale, taking into consideration the use of
tobacco, the didactic overlay as an element of
Spanish missionary influence, and others. (For
a discussion of the authenticity of the Manus?
cripts, see Scott 1968). Two versions are of
interest in this paper:
In Version A (Povedano 1578:70-72), Hari
sa-Boqued (literally, "King of the Mountain")
was a good and just king who did not tolerate
laziness. Fie had a large tobacco plantation and
his people were prosperous and happy. One
day, he went away to visit his king-friends and
bade his people to be industrious and to con?
tinue planting in his absence. During the first
ten years, the people followed his command and
they remained prosperous. But as the king
delayed his return they grew lazy and devoted
 Mojares / THE MYTH OF THE SLEEPING HERO 157

more time to feasting and gossiping. As their (Miller 1904:9-16), Hari-sa-Boqued remains the
fields were left untilled, they were discredited wise and powerful old king of Mt. Canlaon.
in the eyes of other peoples. Then a strong But there are new motifs: he has a following of
earthquake came and the volcano started throw? good dwarves who do his bidding; he proscribes
ing up fire and smoke. In a terrible apparition, the people from planting tobacco beyond a
Hari-sa-Boqued returned to chastise the people line drawn around the mountain top. The
for their neglect and disobedience. Gathering people, out of greed, violate this command in
the tobacco, he carried it off to the earth's the king's absence. One day, while the people
center through a hole which, with a blow of his are feasting, the king springs out of the earth,
fist, he had torn right through the mountain sending the people running. The tobacco dis?
top. (The reference is to Mount Canlaon on the appears and the whole mountain top blows up
Island of Negros, Philippines.) When he is in a and pours forth fire and smoke. Much later,
good mood he smokes the tobacco: this explains the people return but now no tobacco can be
the volcano's smoke. The story ends: "Unless grown on the mountain side. The people will
his people will once again show their earlier in? have to wait until the king is mollified. "Hari
dustry and work, Hari-sa-Boqued will never saboqued is still smoking his tobacco."
more return the tobacco which he is still This version is basically the same as those
smoking in the center of the earth." found in Jocano (1969:68-69) and Del Cas?
In Version B (Pavon 1838-39:20-21) Hari tillo-Medina (1972:25-27), except that in Jo?
sa-Boqued is mentioned as the emissary of Canla cano there is no mention of the king's expect?
and Ona, the couple hidden under a huge clod ed return. In the version told by Del Castillo
of earth thrown down by the god Lalaon as and Medina, where the story is set in Southern
punishment for the people who had shown Luzon, the motif used is not the violation of
malice towards the couple. The story asserts the boundary and the people's greed but the
that "as soon as all people should become good, fields' neglect owing to the people's laziness.
and envy should exist no longer in the world, This last-named version ends: "Unless his
Canla and Ona would go forth into the world." people will once again show their industry
"And whenever the volcano bursts forth, they and work hard, Hari sa Bukid will never more
say that Canla and Ona have sent word to their return the tobacco which he is still smoking in
emissary, Hari-sa-Boqued, to see whether the the center of the earth." (See Povedano version
people of the world have yet become good, and above).
whether they have forgotten their envy. And in? It is difficult to date the origin and spread of
asmuch as this has not yet come to pass,Canla the legend of Hari-sa-Boqued and to outline the
and Ona will have to wait for some time yet, accretions or revisions of the story. For present
for malice still exists in the world." purposes it will be sufficient to sketch the
The Povedano and Pavon versions combine motifs relevant to the Sleeping Monarch myth.
a whole series of motifs and purposes: the There is a wise and powerful king who rules
origin of Mt. Canlaon, of the volcano's eruption, over a happy and prosperous kingdom (Al).
of tobacco, why the sky is high (the pestle There is the dissolution of a prosperous reign
motif), as well as the didactic purpose of show? (A3) because of the people's violation of a
ing the evil of sloth and envy. What is of in? norm out of laziness or greed (A2.5). For this
terest for our purpose is the motif of the Ex? reason, the king withdraws from his kingdom
pected Return: in this case, the idea of the (A2). Finally, there is the promise of the king's
wronged king (or culture-heroes) sulking (or return (A4.1). In this particular case, the re?
kept) in the mountain until a time when the turn hinges on the people's changing their evil
people shall have changed their evil ways. ways (A4.1.3). (The provisional index above is
In addition to the Povedano and Pavon ver? devised for the convenience of this paper. Refer
sions, there are a number of later transcripts of to the Motif-Index and explanatory notes at
the story. In a later, more popular retelling the end of this study.)

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 15 8 PHILIPPINE QUARTERLY OF CULTURE & SOCIETY

It is to be noted here that the king's with?
drawal from his people is intended as a punish?
ment for the people's disobedience and that the
king's return is premised on a change for the
better that the people will effect among them?
selves. There is here a significant variant to more
apocalyptic versions where the death or with?
drawal is caused by the enemies of the king;
where his return will come in a time of great
suffering as an answer to his people's need for him to go to a cave where lightning dwells.
the Redeemer who will lead them to the Pro? Bernardo enters the cave behind the brushing
mised Kingdom. Clearly, this variation is also hills; the hills draw together and the cave is
indicative of shifts in the social experience and sealed."
religious temper of the people among whom
these tales can be found.
Bernardo Carpio
Spanish rule brought with it the infusion of
new types and motifs into Philippine folklore.
These elements were quickly assimilated into
existing folklore material, bringing about the
mutations which make Philippine folklore both
a difficult and exciting field of study.
A Spanish tale which quickly gained hold of
the popular imagination, through such forms as
the corrido, the moro-moro, and the oral nar?
rative, was the story of Bernardo Carpio, which
is one of the most popular stories in the
country. Drawn from Spanish sources ? e.g.,
Bernardo Balbuena's Bernardo, o victoria de
Roncesvalles (1624) ? this story of a fictitious
Spanish warrior Was soon adapted by local
troubadours and storytellers to local con?
ditions: the hero was placed astride a carabao;
he was entombed in San Mateo, Rizal, near the
foothills of the Sierra Madre Mountains, bet?
ween two crushing rocks, there to remain until
the Philippines was freed from foreign domi?
nance (Del Castillo-Medina 1972:125).
In the original narrative, Bernardo Carpio is
the child of the illicit love of the Spanish king's
sister. His parents are exiled and he is raised by
the man who schemed against his parents. He
grows up endowed with supernatural strength
and is later taken in by the Spanish king as a
ward, ignorant of the fact that the King is his
uncle. Knighted, he becomes an extraordinary
warrior, who single-handledly conquers the
Moorish empire. After a series of stupendous
exploits, a miracle reunites him with his dying
father and his mother withdraws into a con?
vent. Despondent, Bernardo Carpio leaves Spain.
He comes to a stone church guarded by two
bronze lions. Lightning strikes one and turns it
into ashes. Incensed, Bernardo hurls away the
other lion but fails to find where it has fallen.
Searching, he finds "two hills in contact brush?
ing." There he finds an Angel who challenges
Inside the cave, Bernardo now lies amidst skulls
and bones: the ancient years cling now to his beard.
There he lies, alone, more alone, but still hoping to
be redeemed to save the world seeking redemption:
"Remember you, my brothers, the Second Person is
not turned to dust after death, but is resurrected."
(Del Castillo-Medina 1972:127-131). (On the motif
of "the clashing rocks," see Thompson, D1553.)
This story has taken hold of the popular
imagination, but subjected to modifications
inevitable not only because of its oral trans?
mission but because of the changing needs of
both the teller and hearers. Hence, one popular
version holds that Bernardo Carpio is chained
in a cave in the mountains and that one day he
will break free from his bonds to lead his
people in the final struggle which will drive
foreign rulers from this country. It is this
version which is alluded to in Jose Rizal's?/
filibusterismo (1889). Here one finds an
example of a story changed to serve a more
militant and political purpose.
As in the Legend of Hari-sa-Boqued we find
here the primary motifs of the Sleeping Warrior
myth: a noble and heroic warrior who is the
protector of his kingdom (Al); who is kept
captive in a cave (A2.2); and who will someday
return (A4.1). In the popular version of the
Bernardo Carpio story, his return will come
about when in a period of crisis (A4.1.1), he
will lead the people in the struggle to drive
away their enemies (A4.1.4, A4.1.5) and install
a just and prosperous reign for all (A4.1.6).
In this we have a version that is reflective of
objective and subjective conditions in the
Philippines during the time when this tale must

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 Mojares / THE MYTH OF THE SLEEPING HERO 159
have spread, the closing decades of the 19th
century. It differs in its emphasis from the
Legend of Hari-sa-Boqued, a difference which
may partly be explained through what appears
to be a Spanish missionary overlay in the
Negros tale. With additional data and more
accurate histories of these tales, these obser?
vations can perhaps be strengthened. Suffice it
to say that from Hari-sa-Boqued to Bernardo
Carpio we have the persistence of a myth that
appeals to basic human aspirations for a better
order of things.
The Rizal Myth
In this connection one can cite another
interesting Philippine instance of the Sleeping
Warrior myth: the group of myths revolving
around the national hero, Jose Rizal.
The basic motif of these myths is that Rizal,
the culture-hero, is still alive (A4). He is either
imagined as living in the mountain (A2.4) or
exiled in a foreign country (A2.3); and that he
will someday return (A4.1) to lead his people
to the Golden Age (A4.1.6).
A curious tale illustrating this is recorded by
Coronel (1968:165-167), "The Tale of the
Doce Pares of Mt. Banahaw." The tale mixes
elements from European legend (The Twelve
Peers of France) and national history (Jose
Rizal) with assorted folkloristic motifs. The
story revolves around a golden calf living on the
top of Mt. Banahaw as its supernatural guardian.
It is to be noted that Mt. Banahaw, Laguna,
figured prominently as a divine sanctuary for
Colorum and Rizalista sects in the closing phase
of Spanish rule and the early decades of American
occupation. Coronel also records a tale in which Mt.
Banahaw is believed to be Jerusalem, for here strange
apparitions were to be seen: of Calvary's crosses,
Roman centurions, Christ's footprints and blood?
stains and others (Coronel 1968:167-169). All these
are relevant, for the New Jerusalem is a motif pro?
minent in both eschatological tales and movements.
Also, it is to be noted that mountains have always
been invested in the folk mind with high mystic
significance.
All intruders have been killed by this enormous
and fierce animal but this has not kept others
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from coveting the calf for its wealth and the
prestige that would attend its conquest. It was
then that the Doce Pares, the twelve bravest
young men of the town, led by Rizal, embarked
on the mission to capture the calf. Through a
number of ordeals, they forge on towards the
mountain top. Finally, the people of the village
hear the sounds of a terrible battle: claps of
thunder, falling trees, hissing winds, cracks of
lightning. When it is over, there is an ominous
silence. The people wait but the twelve young
men do not return. One version has it that the
twelve live under the mountain making guns on
each of which is written the name of every
person who lives in Lucban (Quezon). These
guns are to be given to the people when the
Third World War comes.
But strangest of all, some old men still believe
that Jose Rizal was not the person shot at Bagum
bayan but that he was with the twelve and that they,
the Doce Pares, will come back at the end of the
world as giants together with the golden calf. They
say that the end of this strange story is still to come.
This version clearly contains broken-down
elements of older tales. For the moment, it is
sufficient to point out the motifs relevant to
this paper. Around the primary motif that the
culture-hero still lives, one may discern the fol?
lowing secondary motifs: that he is hibernating
in the mountain (A2.4); that he will return
(A4.1) with an avenging army (A4.1.5) at the
end of the world (A4.1.2). It is implied that
such a time will be preceded by an apocalyptic
final struggle and that his return will usher in
the Golden Age (A4.1.6).
The Rizal Sects
It is important to note that this myth exists
not only in the form of oral or written narrative
but has also inspired popular politico-religious
movements in the Philippines. The belief that
Jose Rizal is still alive and that he will return
figures prominently in such folk movements as
the Colorum, Rizalista, and Pulahan. The belief
became current not long after the execution of
Jose Rizal in 1896. One version has it that he
is still alive in a foreign country and will soon
return to free his people from foreign domi?
nation; that he would have risen from his grave
 160 PHILIPPINE QUARTERLY OF CULTURE & SOCIETY

three days after his execution had not the
Spaniards guarded his tomb during this length
of time (Angeles 1911:77).
Among the Colorums, ill-defined groups with
a distinctly millenarian orientation, one finds
either the promise of Rizal's return or the actual
appearance of a "resurrected Rizal"(A4.2) as
proselytizer of the movement (Guerrero 1967).
The idea of a resurrected Rizal was current in
the Colorum movement in Tarlac in the early
years of American rule and in Pangasinan in
1930-31. A resurrected Rizal proselytized among
the Colorums of Cebu in 1907-09, and of Malaya uprising in Pasay City led by an old
Surigao in 1918-1924. One travel account man who prophesied the Second Coming and
(Mayo 1925:189) records the belief in the claimed that he was in direct communication
imminence of a Great War, a belief current
among the Surigao Colorums in 1923-24:
Then, after four months of fighting, Dr. Jose
Rizal would arrive . .. in a large ship. In this ship he
would embark all the faithful and would carry them
triumphantly to the Island of Cebu. There they
would celebrate victory in company of the Holy
Child. (This is an interesting variant of the cargo
cult, a type of what social anthropologists call
"revitalization movements." See Wallace, 1956).
A study of the Pulahan movement in Leyte
and Samar in the early decades of American
rule reports that the Pulahanes of Wright, Samar,
believed that Rizal would return to life and
that there would be a time when rich and poor
would fare alike.
The most numerous examples of the opera?
tion of the Rizal myth in folk movements are
provided by the Rizalistas, the aggrupation of
sects divinizing Rizal. (Rizal was canonized by
the Aglipayan Church in 1903. though this
decree is no longer seriously recognized by this
Church today. Foronda 1961). Foronda (ibid.)
noted this belief in some selected Rizalist a
sects. Watawatng Lahi (1914+) believes, perhaps
somewhat confusedly, that Rizal is alive; that
he was reincarnated in the sect founder Arsenio
de Guzman; that he lives "physically and
materially" in the New Jerusalem located on a
site extending from Mt. Makiling to Mt. Bana
haw; that many will perish in the Third World
War but that after the war Rizal will appear to
lead the Army of God.
The Iglesia Sagrada Filipina (1926+) also
believes that Rizal is alive and that "after the
second coming of Christ, Rizal will be the
successor and will do the functions of Christ."
The Bathalismo, Inc. (1936+) believes that
Rizal was not killed when he was "supposedly"
shot at Bagumbayan; that he left for China
disguised as a Chinese; that he is the rein?
carnation of Christ. The Adamistas (1938+)
share with the others the belief that Rizal is
alive.
As late as 1967, there was the Lapiang
with Rizal and other Filipino heroes (Sturtevant
1969). Sturtevant estimates that the combined
membership of all Rizaista sects ranges from
250,000 to 1,000,000.
Tlie Durable Myth
The Myth of the Sleeping Hero also sur?
rounds other, more local historical figures. One
is Pantaleon Villegas (Leon Kilat), the hero of
the anti-Spanish uprising in Cebu. who was
killed in 1898. A resurrected Leon Kilat, to?
gether with Rizal and Bonifacio, appeared
among the Cebu Colorumsin 1919.
Other folk heroes around whom the myth
of the Second Coming revolves are Felipe Sal?
vador of the Santa Iglesia sect in Northern
Luzon, whose sphere of influence was centered
on Mt. Arayat and who was captured in 1910
(Hurley 1938:121-23), and Ponciano Elopre
(Buhawi, King Kanoy), folk hero in Negros,
who was killed by the Spaniards in 1889 (Hart
1967). There is also the case of Mampuroc, the
Manobo shaman of Northern Cotabato who led
the Langkat sect and was taken by his followers
to be the reincarnation of Datu Ali, resistance
hero against the Spaniards and the Americans.
He was killed by government soldiers in 1937
and was believed by his followers to be still
alive long after his death (Hurley 1938:367-69;
Olson 1967:12-13).
One cannot possibly discuss all the Philippine
cases of this myth, particularly if we consider
the fact that the Philippines is very rich in
subterranean religious groups and folk revital

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 Mojares / THE MYTH OF THE SLEEPING HERO 161
ization movements which provide the kind of
cultural matrix natural for the flourishing of
this myth. One can only observe for the moment
that the myth of the Sleeping Hero and all its
variants are a prominent element in Philippine
folk literature and folk movements. They per?
sist because they satisfy a primary human need
for a better world order, a need that will always
be with us though it may acquire varying
religious and sociopolitical colorations and
fluctuate according to historical crisis-levels.
On the basis of present findings, one must
look forward to extensions of the present A3 Kingdom laid waste in the absence of cul?
study. For one, it would be interesting to ture-hero.
calibrate the scale of variations in this myth,
from passivist-gradualistic versions to activist
apocalyptic ones. At one far end of this scale,
one sees the withdrawal of the divinity because
of the loss of traditional values in the world,
in the manner of Hari-sa-Boqued (or, at another
remove, that of Mariang Makiling and Maria
Cacao). At the other end, one has the vision of
millenarian change marked by avenging angels,
the resurrected army, or the wrathful god come
to vanquish infidels, foreign powers, or the
legions of the Anti-Christ. At one end there is
the expression of a nostalgia for a lost Arcadia
or Eden; at the other, the militant legends that
announce with drums the coming Millenium.
Such a study will demand many things: the REFERENCES
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ful and instructive.
MOTIF-INDEX
This is a provisional index: it does not ex?
haust the possible variations of the myth. Under
A4.1, for instance, the hero's return may be
effected after a spell is broken or a mystic
penance completed (as e.g., in the story of
Barbarossa). The present list is limited to cases
cited in the paper.
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AI Culture-hero (pi., sing., divinity, king)
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A2 Culture-hero withdraws from kingdom.
A2.1 Killed by enemies.
A2.2 Captive in cave or mountain.
A2.3 Exiled in foreign country.
A2.4 Sleeping or hibernating in cave or
mountain.
A2.5 Sulking because of people's misdeeds.
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A4.1 Culture-hero will return.
A4.1.1 In time of people's need.
A4.1.2. At the end of the world.
A4.1.3 When people change their ways.
A4.1.4 To drive away people's enemies.
A4.1.5 To lead Army of the Faithful.
A4.1.6 To lead people to Golden Age.
A4.2 Culture-hero returns.
A4.2.1 In his own form.
A4.2.2 In a different form.
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