74 ANNALS NEW YORK ACADEMY OF SCIENCES 



ago. All gold were his plants, his flowers, his sweet-smelling weeds . . . 

 Textiles of gold covered the sharp blades of the fresh-growing meadow-grass, 

 like a covering of dry leaves The Tuglibung decorated rattan neck- 

 bands with red dye, and she used black kinarum for coloring hemp. The 

 posts of the house were all of ivory: the raised walk to the kitchen was 

 made of eight guns; 159 all the doors were mirrors;' 60 the wood was gold; 

 the burden baskets were gold; the rattan bindings of the floor were flashes 

 of lightning. 



At the rim of the sky there is a bird 101 with feathers all downy, with 

 claws all of steel, with a beak that is a mirror, with a million scales over- 

 lapping one another. This bird looked at the town of Tuglay, and went 

 back home no more [i.e. because the town was so beautiful]. 



When Tuglay wished textile to grow on the mountains, it was there. 

 When he wanted rattan to grow, or when he wished to cut for boats the 

 large kind ot rattan, it was all ready ... He was very rich. 



159 A Moro pun called sinapang. 



160 la another story, the walls are all mirrors. Cf. Jour. Am. Folk-lore, vol. 26, 

 p. 27. Where the Bagobo got the visual image of a •mirrored wall" is a question. To 

 what extent this mythical conception exists among other Malay people, I do not know, 

 but it is to be found in Indian tales, e.g. "Its walls of precious stone were adorned 

 all round with living pictures, on account of the retlectious in them of the lovely 

 waiting women." Somadeva : op. cit., vol. 2, p. 199. 1884. 



161 Perhaps this is the Minokawa bird. Cf. Jour. Am. Folk-lore, vol. 26, p. 19. 1913. 

 •See also p. 47 supra. 



