ent justification
for a man to abandon his wife and kill her admirer (p. 78); but Kanag
appears as a hero when he refuses to attack his father who has sought
his life (p. 121).

Of the ceremonies connected with death we learn very little except that
the women discard their arm beads, the mourners don old clothing, and
all wail for the dead (pp. 44, 90). Three times we are told that the
deceased is placed on a _tabalang_, or raft, on which a live rooster is
fastened before it is set adrift on the river. In the tales the raft
and fowl are of gold, but this is surprising even to the old woman
Alokotan, past whose home in Nagbotobotan all these rafts must go
(p. 131).

Up to this time in our reconstruction of the life of "the first
times" we have mentioned nothing impossible or improbable to the
present day Tinguian, although, as we shall see later, there are some
striking differences in customs and ideas. We have purposely left the
description of the people and their practice of magic to the last,
although their magical practices invade every activity of their lives,
for it is here that the greatest variations from present conditions
apparently occur.

These people had intimate relations with some of the lesser spirits,
especially with the _liblibayan_ [26], who appear to be little more
than their servants, with the evil spirits known as _banbanayo_,
and with the _alan_ (p. 123). The _alan_, just mentioned, are to-day
considered as deformed spirits who live in the forests: "They are
as large as people but have wings and can fly; their toes are at
the back of their feet and their fingers point backwards from their
wrists." The several references to them in the tales such as "you
_alan_ girls whose toes on your feet turn out" indicate they were so
considered in the first times (p. 161). Some of them are addressed as
"you _alan_ of the springs," and in one instance a man dives down
into the water where the _alan_ live (p. 148), but in general their
homes seem to be similar to but much finer than those of the people
of Kadalayapan and Kaodanan. These spirits appear time after time as
the foster mothers of the leading characters: Generally they secure
a drop of menstrual blood, a miscarriage, or the afterbirth, and all
unknown to the real parents, change them into children and raise them
(p. 83). These foster children are pictured as living in houses of
gold situated near springs, the pebbles of which are of gold or beads;