as in the pre-elizabethan days the public amusements consisted of performances by priests and monks on scaffolding set up before the church, mystery plays, “moralities,” and “miracles,” religious pageants through the village streets,—so in the philippines, where they have not outlived the fourteenth century, the church plays an important part in popular fiestas. the christmas holidays are celebrated still by carol singing from house to house, and by the presentation of the old-time “mystery” by strolling bands of actors, with a wax-doll to represent the sacred child.

each town, besides the regular church holidays—as indicated by innumerable red marks in the calendar—has a fiesta for its patron saint, which is of more importance even than the “feast of aguinaldo” (“aguinaldo” is their word for [281]“christmas present”), which is held annually in december. one of these fiestas is announced by the ringing of the church-bells—big bells and little bells all turning somersaults, and being banged as they go round. during the intermissions the municipal band discourses spanish and visayan music, coming to the end with a triumphant bang. only on holy friday are the bells abandoned and tin pans and bamboo clappers, sticks and stones, resorted to for purposes of lamentation—functions for which these instruments are perfectly adapted.

people come in from far and near, riding in bancas or on ponies, often spending several nights upon the way. the great church at the morning mass is crowded; women faint; and, as the heat increases, it becomes a steaming oven. it is more spectacular at vespers, with the women kneeling among the goats and dogs; the men, uncovered, standing in the shadows of the gallery; the altar sparkling with a hundred candles; and the dying sunlight filtering through medi?val windows. as the resinous incense odor fills the house, through the wide-open doors the [282]sun can be seen setting in its tropical magnificence behind a grove of palms.

then the procession, in a haze of dust—led by the band, the padre, and the acolytes; the sacred relics borne aloft on floats encircled by a blaze of candles; young men holding each other’s hands; children and old women following, holding their tapers and reciting prayers—files through the streets to the eternal clamor of the bells.

the afternoon is given up to tournaments—carabao races, pony races, banca races, cock-fights. bamboo arches, decorated with red banners, are erected in the larger thoroughfares, and under these the horsemen ride together at full tilt, attempting to secure upon their lances the suspended rings which are the favors of the local se?oritas. on dropping in at that volcanic little town, mambajo, one hot afternoon, i found a goose hung up upon the bamboo framework which became the property of the competitor who, riding under it ventre á terre, could seize the prize, regardless of the feelings of the goose. the village had turned out in holiday attire, as [283]the dense atmosphere of cocoanut-oil and perfumery proclaimed. the band, in white pith helmets and new linen uniforms, was playing under the mimosa-tree. down the main road a struggling crowd of wheelmen came, and from a cloud of dust the winner of the mile bicycle-race shot past the tape. the difficulty in the carabao event was to stick on to the broad, clumsy animal, during the gallop around the course. one of the beasts, excited by the shouts, began to run amuck, and cut a swathe in the distracted crowd as clean as an ungovernable automobile might have made.

the ringing of a bell announced the cock-fight in the main beneath the cocoanut-trees. it was near the market-place, where venders of betel-nut, tobacco, cigarettes, and tuba squatted on the ground, their wares exposed for sale on mats. as the spectators crowded in, the gatekeeper would mark their bare feet with a red stamp, indicating that admission had been paid. on booths arranged within the last inclosure, se?oritas sold hot chocolate and raisin-cakes and beer. tethered to little stakes, and straining at their leashes, the excited game-cocks, the descendants [284]of the jungle-fowl, screamed in exultant unison. the small boys, having climbed the cocoanut-palms, clung to the notches, and looked down upon the scene of conflict.

little brown men, squatting around the birds, were critically hefting them, or matching couples of them in preliminary bouts, keeping a good hold of their tails. there was the wicked little moro bangcorong, the trainer of birds that never lost a fight. there was manolo, the visayan dandy, who on recent winnings in the main, supported a small stable of racing ponies at cebu. the person entering a bird deposits a certain amount of money with the bank. this wager is then covered by the smaller bets of hoi poiloi. when a “dark” bird is victorious, and the crowd wins, an enthusiastic yell goes up. but just as in a public lottery, fortune is seldom with the great majority. as the bell rings, the spectators press close around the bamboo pit, or climb to points of vantage in adjacent scaffolding. a line is drawn in the damp earth, and on one side all the money wagered on the favorite is arranged, which must be balanced by the coin placed by opposing [285]betters on the other side. there is a frantic rushing around at the last moment to place bets. the chinaman waves a ten-peso bill excitedly, and clamors “buenting! buenting!”—meaning that he puts his money on the speckled bird. somebody on the other side cries out “guingan!” or “green,” and thus they both find takers for their “sapi.” then the presidente, who referees the fight, sends two policemen to clear out the ring; the sheaths are removed from the razor-sharp steel spurs; the two cocks are held opposite each other, and are simultaneously launched into the arena. ruffling, and facing each other with their necks outstretched, “blood in their eyes,” and realizing to the full extent the danger of the situation, they prepare to fight it out to death. a quick stab, and the victim, trembling violently, a stream of red blood trickling down its leg, drops at the first encounter, and the fight is over.

while no record has been kept of how the bets were placed, every one seems to remember, and the money is handed over honestly. if filipinos were as honorable in all their dealings as they are in this, they would be ideal people to do business [286]with; for although they will beg and borrow, or even steal, to get the money which is wagered at these “combats,” they will never evade a debt of honor thus incurred. regarding gambling as a livelihood, or a profession in good standing, they devote their best hours to the study and the mastery of it. they, with their false philosophy, believe that wealth is thus produced, and that there is a gain for every one.

the list of fights progresses, some of the cocks only giving up the struggle after a last dying kick has been directed at the breast of the antagonist, who, desperately wounded, summons strength for one triumphant, but a rather husky, crow. sometimes both birds are taken from the cockpit dead. the bird that loses a fight through cowardice is rent limb from limb by the indignant owner, and is ignominiously hung upon the bamboo paling,—bird of ill omen, that has ruined the finances of a family, mortgaged the house and carabao, and plunged its owner into debt for the next year!

sometimes a “free for all” is substituted for the dual contest. eighteen or twenty fighting-cocks will be arranged in a large circle, dropped [287]at the same time in the ring, and set to work. half of the birds, not realizing what is going on, will innocently start to scratch for worms, or set out on a search for seeds. it is amusing then to see the astonished look they give when suddenly confronted by a couple of antagonists. they settle their disputes in bunches of three and four, and soon the ring is full of chickens running to get out of danger, maimed and crippled, or still innocently scratching after worms. there was a little white cock at the recent main at oroquieta, who avoided every fight without, however, leaving the arena. the game old buzzard that belonged to capitan a-bey—a bird with legs like stilts and barren patches in his foliage—had put down every challenger in turn. confronted by two birds at once, he seemed to say, “one side, old fellow, for a moment; will attend to your case later”—which he did. dizzy and staggering from loss of blood, still “in the ring,” he sidled up to the immaculate white bird that had so ingeniously evaded every fight. it was a case of out-and-out bluff. if the little bird had struck, he must have won. a single look, however, at his reprehensible [288]antagonist sufficed. the little bird made a direct line for the gate, while capitan a-bey’s old rooster, with defiance in his look and voice, was carried away in triumph. in the parade next day, where the competing game-cocks were exhibited, the “buzzard,” though he was exempt from taking part in the proceedings, led the procession and was loudly cheered.

my introduction to polite society in filipinia was certainly auspicious. “betel-nut sal,” the wife of the constabulary sergeant, had a birthday, and invited everybody to the dance and the reception which would take place in the jail. the se?orita tonio, most prominent of the receiving ladies, was engaged when i arrived, in meting out gin to the visitors. her teeth were red from betel-chewing, and a cigarette hung from the corner of her mouth. the orchestra, armed with guitars and mandolins, had seated themselves upon a bench, barefooted with their legs crossed, ready to begin. the insufficiency of partners for the ladies had necessitated letting out most of the prisoners on parole. a certain young dandy who [289]had been locked up on charge of murder, was the hero of the hour. while he was dancing, soldiers with their remingtons guarded the door. i was induced to try a dance with tonio. the hum of music could be heard above the “clack-clack” of the carpet-slippers tapping on the floor. then suddenly the se?orita swore a white man’s oath, and stopped. her carpet-slipper had come off, and as she wore no hosiery, the situation was indeed embarrassing. our hostess asked us twenty times if everything was satisfactory, and finally confessed that she had spent almost a year’s income for the refreshments. “dancee now; ma?ana, washie, washie.”

i must tell you of bernarda’s party. “we expect you for the eating,” read the invitation, and when dinner was all ready i was sent for. then we sat down to a feast of roast pork, rice, and goat-flesh, with a rather soggy cake for the dessert. at most balls it is customary for the ladies to be seated first at the refreshment-table, where the most substantial articles of diet are boiled ham with sugar frosting, cakes flavored with the native lime, and lemon soda. like the coy nun in [290]chaucer’s “prologue,” she who is most elegant will take care not to spill the food upon her lap, eat with the fingers, or spit out the bones. at wedding feasts the gentlemen are given preference at the table.

when the orchestra arrived—a trifle late after a six-mile hike through muddy roads and over swollen streams—the company was more delighted than a nursery. the orchestra began the program with the piece entitled “just one girl,” to which the people sang visayan words. vivan, the old clown, in clumsy commissary shoes, skated around the floor to the amusement of the whole assembly. the chair-dance was announced, and the most favored se?orita occupied a chair set in the middle of the room. a dozen suitors came in order, bowing low, entreating her not to reject their plea. one after another they were thrown down, and retired crestfallen. but at last the right one came, and waltzed off with the girl triumphantly. there was a salvo of applause, the more intense because in this case an engagement had been practically announced. no native ball would be complete [291]without the symbolistic dance which so epitomizes filipino character. this is performed by a young lady and her partner wielding fans and scented handkerchiefs, advancing and retreating with all kinds of coquetries.

long after midnight, when the party broke up with the customary horse-play, the accommodating orchestra, who had enjoyed the evening with the rest, still playing “just one girl,” escorted the assembly home.