In an oral culture, to be able to sing an epic as well as listening to it, are a profound collective experience. Designated as ‘Literatures of voice’1 , epics are in fact ‘mental texts’2, or a ‘prenarrative’, a pre-frame of reference (L. Honko, 1996), formerly heard and memorized, then conveyed to an audience by another singer of tales most often at night time. In Palawan Highlands, the sung narrative has to come to a close as the first rays of the sun appear above the horizon. The performance may have last few hours, half a night, an entire night, but also 2 or 6 to 7 non successive nights. We are in presence of a construction of a mental model of human actions and the plot leads to a moral statement. The task for the analyst is to comprehend the deep truth of the story and several interpretations might be brought to light. The core of an epic, consists of two major narrative ganglia, namely, a Quest for a wife and the Deeds and Ordeals - an attack, a raid, a combat, a fight, a war - related to this quest. The conflict generates a chaos and as the it slowly comes to a close, the emplotment has to restore peace and harmony. The numerous forms of poetic compositions in the Philippines are the seal of each national cultural communities, and perpetuate their respective language, their music, their ethics, a very peculiar way to inhabit poetically their world.