My talk on Sandokan in Kota Kinabalu (Sabah, Malaysia), 25th Juli, 2025, in the Sabah Society:
Sandokan: The "Hero of Marudu" in Italian literature
SYNOPSIS
Sandokan was written by the Italian author Emilio Salgari (1862 - 1911). In his book cycle about the pirates of Malaysia, Sandokan is the main hero who fights the British invaders and their allies from his exile on the small island of Mompracem near Labuan, having lost his home in Marudu. In fact, this story is set against the historical backdrop of Syarif Osman of Marudu's confrontation with the British, which led to the fall of Marudu. But Salgari did not simply rename Syarif Osman to Sandokan, as he also appears in name variants in oral and written sources and comes from Melapi on the Kinabantangan.
Syarif Osman and Sandokan are two personalities who come from the area that is now Sabah. Both lived in the first half of the 19th century. Oral history and historical circumstances indicate that they must have known each other.
Good evening, ladies and gentlemen, dear friends of the Sabah Society. I am truly delighted to be here again today. Six years ago, I was here and gave a lecture on Syarif Osman of Marudu. Today I will focus more on Sandokan. Both Sandokan and Syarif Osman are two personalities who come from Sabah. So far, I have either given a lecture or written articles about one or the other. I am now working on a new book that will focus on both of them, not only because they were personally acquainted with each other, but also because the literary existence of one of them has brought the other back to mind. This is almost a marvellous story of coincidences, and I would like to tell you about that too.
My name is Bianca Maria Gerlich, I was born in 1967 in Braunschweig in Germany, and in April 1979, like most Germans, I sat in front of the TV and watched "Sandokan".
I had just turned 12 years old and was immediately hooked. The first thing I did the next morning was to look up Malaysia in the atlas. Unfortunately, it was too far away to just go there on holiday. But my curiosity was piqued and I wanted to know more about it. (So, here am I.)
Sandokan has been a very popular topic, especially in Italy, since the first Sandokan novel by the Italian author Emilio Salgari was published. Because the novel sold so well, he wrote more. After his death, other authors did the same, sometimes in his name. There were comic versions and the first Sandokan film was released in 1941. To date, there have been over 20 films. A new film will be released this year.
The popularity of Salgari's works can also be seen from the large number of editions in Italy and the countless translations. In addition to Italy, Salgari's works are particularly popular in Portuguese and Spanish-speaking countries.
This is probably not only because Salgari wrote highly readable adventure literature, but also because it has anti-imperialist and, above all, liberal tendencies. Since 2010, a translation into Malaysian has finally been available, namely ‘Sandokan Lanun Malaysia’.
But who was Emilio Salgari, the author of Sandokan? And how did he come up with this theme?
Emilio Salgari was born in Verona in August 1862.
His mother was Luigia Gradara and his father was Luigi Salgari, who earned his living as a textile merchant.
Emilio wanted to become a sea captain and studied at the nautical institute in Venice from 1878, but he did not finsih his studies. He wanted to write adventure stories and published his first story at the age of 21. He published further novels as sequels from 1883, one of these is ‘La tigre della Malesia’ (‘The Tiger of Malaysia’) and became editor of newspapers.
He was always in financial need, so he wrote a lot and worked at night. When his wife's mental state deteriorated, she had to be hospitalised in 1910.
This was another reason why Salgari's finances went steadily downhill
and he knew no other way out than to commit suicide in a park at Torino in April 1911.
Salgari wrote more than 80 novels. In terms of content, they are mostly action-packed and imaginative adventure novels spiced with humour, and some have futuristic, historical and even scientific elements. Salgari often described nature in great detail. His novels were mostly set in distant, often exotic countries.
His style corresponds to the late Romantic era and he is categorised as an adventure writer alongside Louis Stevenson, the inventor of this genre, as well as Jules Verne, Thomas Mayne Reid and Karl May.
Salgari is still known for the high recognition value of his protagonists.
His best-known works are his two mayor cycles (or series), namely the Indo-Malay Cycle (‘Ciclo indo-malese’) and the Black Corsair Cycle (‘Ciclo dei corsari delle Antille’). It is his character Sandokan who is best known. He comes from the Indo-Malay Cycle.
In principle, Salgari's career as a writer began with his first Sandokan novel; the character would accompany him until the end of his life.
I would like to quote Claudio Gallo, who is truly an expert on Salgari:
Si può pertanto sostenere che 'La Tigre di Mompracem' [sic] nacque insieme al suo autore, perché il romanzo con cui ebbe inizio il ciclo indo-malese, il più amato tra quelli creati dallo scrittore veronese, cominciò in quello stesso 1883 [...].
Poiché si trattava del primo vero romanzo salgariano, di cui si conoscono, fino ad oggi, ben cinque versioni, è opportuno chiedersi dove il giovanissimo Salgari, ventun anni appena, avesse tratto quelle informazioni, particolare quelle a carattere geografico, che rendono quel lavoro, a lungo rimaneggiato, unico nella storia italiana. (Gallo 2003: 276/7)
[It can therefore be argued that ‘The Tiger of Mompracem’ [sic] was born together with its author, because the novel with which the Indo-Malay Cycle, the best-loved of those created by the Veronese writer, began in that same 1883 [...].
Since this was Salgari's first true novel, of which no less than five versions are known to date, it is appropriate to ask where the very young Salgari, barely 21 years old, got the information, particularly the geographical information, that makes that work, long reworked, unique in Italian history.]
I would like to quote Claudio Gallo, who is truly an expert on Salgari:
Si può pertanto sostenere che 'La Tigre di Mompracem' [sic] nacque insieme al suo autore, perché il romanzo con cui ebbe inizio il ciclo indo-malese, il più amato tra quelli creati dallo scrittore veronese, cominciò in quello stesso 1883 [...].
Poiché si trattava del primo vero romanzo salgariano, di cui si conoscono, fino ad oggi, ben cinque versioni, è opportuno chiedersi dove il giovanissimo Salgari, ventun anni appena, avesse tratto quelle informazioni, particolare quelle a carattere geografico, che rendono quel lavoro, a lungo rimaneggiato, unico nella storia italiana. (Gallo 2003: 276/7)
[It can therefore be argued that ‘The Tiger of Mompracem’ [sic] was born together with its author, because the novel with which the Indo-Malay Cycle, the best-loved of those created by the Veronese writer, began in that same 1883 [...].
Since this was Salgari's first true novel, of which no less than five versions are known to date, it is appropriate to ask where the very young Salgari, barely 21 years old, got the information, particularly the geographical information, that makes that work, long reworked, unique in Italian history.]
Salgari's works were written at his desk at home. He had a very fertile imagination, stimulated by reading novels, travel literature, atlases and even opera performances, and was able to empathise with his characters,
Salgari actually did a lot of research. He made extensive visits to the libraries in every city where he lived and found a lot of material there but information about Borneo in particular was not readily available in Italy at the time.
He was also inspired by the third Geographical Congress, which took place in Venice in September 1881. It was promoted by the Royal Geographical Society and was attended by explorers, missionaries, soldiers, navigators and scientists. People were particularly interested in news about Africa and the Orient. At this congress and during his training in Venice, Salgari certainly got to know people who told him about the big wide world.
To this day it is unclear whether Salgari ever personally traveled to India and Malaysia, the two main settings of his novels.
Until the 1960s, people were convinced that Salgari had actually travelled to these countries and met the characters in his novels, too. This claim goes back to his posthumously published autobiography ‘Le mie memorie’ (My memory), in which his adventures in Malaysia alongside Sandokan were recounted. However, it has since been proven that Lorenzo Chiosso wrote this autobiography, which was published in 1928 and reprinted nine years later. Chiosso also ghostwrote the last book of the Indo-Malay Cycle. The exposure of this construct then led to a general questioning of possible journeys on the part of Salgari. Salgari's claims that he had met and fought with Sandokan were now interpreted as his wish or fantasy.
However, there is a letter from July 1883 in which Salgari claims to have travelled the whole world, ...
He was also inspired by the third Geographical Congress, which took place in Venice in September 1881. It was promoted by the Royal Geographical Society and was attended by explorers, missionaries, soldiers, navigators and scientists. People were particularly interested in news about Africa and the Orient. At this congress and during his training in Venice, Salgari certainly got to know people who told him about the big wide world.
To this day it is unclear whether Salgari ever personally traveled to India and Malaysia, the two main settings of his novels.
Until the 1960s, people were convinced that Salgari had actually travelled to these countries and met the characters in his novels, too. This claim goes back to his posthumously published autobiography ‘Le mie memorie’ (My memory), in which his adventures in Malaysia alongside Sandokan were recounted. However, it has since been proven that Lorenzo Chiosso wrote this autobiography, which was published in 1928 and reprinted nine years later. Chiosso also ghostwrote the last book of the Indo-Malay Cycle. The exposure of this construct then led to a general questioning of possible journeys on the part of Salgari. Salgari's claims that he had met and fought with Sandokan were now interpreted as his wish or fantasy.
However, there is a letter from July 1883 in which Salgari claims to have travelled the whole world, ...
... and another letter from 1909 in which he says that he had been to Egypt.1 This would have been possible in the period between the end of 1881 and the end of 1882. There is no evidence of Salgari in Italy for this period; it is not known what he did during this time. He did not appear for the autumn examination at the Nautical Institute and his traces are lost in September 1881 during the Geographical Congress in Venice.
It is therefore conceivable to me that Salgari met someone or heard something at this very congress that had a decisive influence on him. Perhaps he travelled with someone or alone. The fact is that he disappeared for a year from that point onwards.
1) Luraghi 1993: 183; Salgari's letter of 1909 is also reproduced in: Gallo/Bononi 2022: 50/51.
It is therefore possible that Salgari did process his experiences of travelling in his works. Considering that the first novel in his Indo-Malay Cycle was written in 1883, a journey that took place directly before that could have served as a trigger.
Even if he only travelled a short distance to the Orient, it is possible that he received his information from someone who was involved in the situation in Borneo or had an insight into it. Of course, it is also possible that he met someone in Venice during his training or at the Congress who provided him with information.
It is interesting to note that this period was precisely the time of the conflict between Sandokong's descendant Pengiran Sammah and the British, who wanted to control the bird's nest trade, which ended tragically, as Sammah was shot dead by the British in February 1884. The first written mention of the historical Sandokong by Europeans is in the context of Pengiran Sammah and the birds' nests, namely in February 1883 – under the name „Sandukur“. Salgari called him in the first version „Sandekao“, but only twice.
It is very striking that Salgari left no traces in Italy exactly in the period before the first publication of his serialised novel ‘La tigre della Malesia’. Whatever he did in this year, it was the impetus for this novel.
THE INDO-MALAY CYCLE
The Indo-Malay Cycle was written by Salgari between 1883 and 1911 and comprises eleven books. Five works (in red) are set in Malaysia (Nos. 1, 3, 5, 7 and 8), the other six in India or Assam:
1. ‘Le Tigri di Mompracem’ (1883/84 as „La Tigre della Malesia“ as serial novel, 1900 as book),
2. ‘I misteri della jungla nera’ (1887 as serial novel, 1895 as book),
3. ‘I pirati della Malesia’ (1891/92 as serial novel, 1896 as book),
4. ‘Le due Tigri’ (1904),
5. ‘Il Re del Mare’ ( 1904/05 as a serial novel, 1906 as book),
6. ‘Alla conquista di un impero’ (1907),
7. ‘Sandokan alla riscossa’ (1907),
8. ‘La riconquista del Mompracem’ (1908),
9. ‘Il bramino dell'Assam’ (1911, posthumous),
10. ‘La caduta di un impero’ (1911, posthumous),
11. ‘La rivincita di Yanez’ (1913, posthumous).
‘The Tigers of Mompracem’ is the title of the 1900 book version. The first version of this novel was published as ‘The Tiger of Malaysia’ - as a serial novel in the magazine ‘La Nuova Arena’ in 1883/1884. Under the same title and with slight alterations, this very successful novel appeared again as a serial novel in three other newspapers in other Italian cities. The book version has been largely revised.
The main characters are Sandokan, who comes from the north of Borneo, the Portuguese Yanez de Gomera and the Bengal Tremal-Naik, who become close friends and have to go through many adventures together.
The aim is to get together with their partners (Marianna, Surama, Ada) and rescue them. The books 4 and 5 concern Darma, the daughter of Tremal-Naik and Ada. In addition, the sovereign territories of Sandokan and Surama must be defended or recaptured, with the trio having to deal with a specific enemy.
The internationality of the six protagonists is interesting: Each pair therefore consists of an Asian and an European partner. The cycle spans 25 years.
In the works set in South-East Asia, Sandokan has to assert himself against his enemies, who threaten his self-imposed exile, the island of Mompracem, or his actual homeland in the north of Borneo. Although Salgari refers to Sandokan, his friend and deputy Yanez and his followers as pirates, he leaves no doubt that they are freedom fighters.
In the very first book (1981: 256), Salgari writes about Sandokan that he is an avenger of his family, spares and respects the weak, women and children and would one day like to regain the kingdom he lost to the British.
There is a description of Sandokan in the very first chapter of the first book. While it is very detailed in „The Tiger of Malaysia“ (‘La Tigre della Malesia’), it is limited to four very short paragraphs in „The Tigers of Mompracem“ (‘Le Tigri di Mompracem’). These are as shown there.
So, in the first version, ‘La Tigre della Malesia’, this description is much more detailed; Salgari gave Sandokan's appearance more attributes and embellished it. I chose the sentence about his eyes as an example.
The reader also learns a little more about Sandokan here, namely that he is 32 or 33 years old at the time, that he is the most terrible and unpredictable of all pirates in Malaysia, but that he is also very generous.
Salgari mentions that Sandokan's religion is Islam but he does not actively practise it. Sandokan is always open to information from other cultures and religions, he is musical.
Sandokan is generally impulsive, strong-willed and a born leader. He listens to his heart rather than his mind, and Yanez and the others sometimes have to slow him down so that he doesn't run into his own ruin. But he also accepts advice and is willing to reconcile, for example with his wife Marianna's uncle.
Sandokan often shows mercy and compassion, even towards animals. He is also loyal. He marries only once, Marianna, and after her death he constantly remembers her, naming his ships after her. He makes it clear that there will never be another woman in his life. He is prepared to make any sacrifice for his friends and rushes to their aid as soon as they ask him to.
In short, Sandokan has a noble character and has only become cruel to his enemies and a powerful opponent as a result of his personal experiences, earning him the nickname ‘Tiger of Malaysia’.
Racist resentment is alien to Salgari. For Salgari, the characters are all on an equal footing. He is neither racist nor sexist. He leaves no doubt that his Sandokan is on the side of justice when he defends himself against the superiority of the British.
Salgari writes at the beginning that no one really knows where Sandokan comes from. In the later narration of Sandokan's past in chapter 14, it then becomes clear that Sandokan comes from North Borneo. Salgari never refers to him as Malay, Dayak, Negrito or Javanese, but as „bornese“ - from Borneo.
The figure of Sandokan is so unique and central that the question of the historicity of this figure certainly arises. The narration of Sandokan's past (in chapter 14) in the first novel of the cycle in particular suggests that there is more to this character than a flourishing fantasy.
In this passage, Yanez is talking about Sandokan's past to Marianna. He is trying to explain to her how Sandokan happened to become the formidable 'Tiger of Malaysia'.
In this tale, Salgari describes the fate of Muluder/Marudu (Marudu) and assigns Sandokan the role of Marudu's heir apparent. Salgari mentions Koti/Kutai and Varauni/Brunei as the borders of the country.
Salgari further describes how this behavior became Sandokan's downfall, as his neighbors became jealous of the successful ruler. Salgari's description certainly corresponds to the political and geographical situation of the 19th century. Marudu's neighbours were the Spanish, the British, the Dutch, the sultanates of Kutei, and Brunei as Salgari told us in the first version.
In this book version, the fact that the Europeans first allied themselves with the locals, namely the Sultanate of Brunei, gives a fairly accurate account of the historical events that led to Marudu's fall in 1845. In later novels, Brunei remains the enemy of Sandokan and also threatens Sandokan's island Mompracem.
What is truly remarkable about Salgari's account is that he describes Marudu as a flourishing empire, which contrasts with the European reports of his time, where it was denigrated as a pirate hideout. Marudu was indeed establishing itself as the third power in northern Borneo - alongside Brunei and Sulu - until it was brutally and rather surprisingly brought down by the British attack.
So in history, Syarif Osman was the Raja of Marudu who ambitiously and successfully extended Marudu's borders to Brunei and Sulu. In doing so, he came into conflict with the British, especially James Brooke, who ruled Sarawak as the White Raja and wanted to extend his own sphere of influence over Brunei and have Labuan, the neighbouring island of Mompracem, under British suzerainty. He therefore defamed Syarif Osman as a pirate and had Marudu destroyed by the British Navy in 1845 after receiving sanctions from the Sultan of Brunei, Marudu's neighbour. Nothing more was heard of Syarif Osman after this event.
In Emilio Salgari's novels, Sandokan is the Raja of Marudu who was so ambitious that he kept expanding Marudu's borders until he came into conflict with native neighbours and European powers, who eventually plotted together to destroy Marudu, which they succeeded in doing. Sandokan was driven out and wandered the coasts of North Borneo, for years until he finally settled on the island of Mompracem.
Now one could assume that Salgari simply renamed the historical Syarif Osman Sandokan.
But there is a second account of past events in the novel number 7, that is: ‘Sandokan alla riscossa’, and this one speaks against equating Sandokan with Syarif Osman. This is primarily about Sandokan reconquering his old homeland, and now Salgari becomes more specific. In this story, he remains on the territory of Marudu, which was also known to the Europeans as Kini Balu and which Salgari also calls Kini Balu. In fact, this story begins in the bay of Marudu, which Sandokan is familiar with and where he has allies. Here about half of the novel takes place. But then the protagonists make their way southwards through the jungle and all kinds of adventures to Sandokan's actual home, namely the place where his father was the Raja: Lake Kini/Kinkini in the interior of North Borneo.
In this report, Sandokan's father is the active conqueror of further areas in Borneo - as far as the coast - and not Sandokan himself as in the first book of the cycle. The father is also mentioned in the 1883 version, but no longer in the book version. In the book version Salgari deleted the father altogether because – perhaps - it is strange that Sandokan should ascend a throne when his father is still alive; in book 7, he finally moved Sandokan's domain to where it is actually much closer to the historical Sandokong, namely more in the interior part of Borneo.
In book 7, Salgari explains that the Sandokan family has lived there for 200 years, comes from eastern Borneo and claims leadership, facts which actually apply to the family of the historical Sandokong. The previously conquered inland population is subservient to the family. Salgari refers to the inland inhabitants of Borneo as ‘Dayak’, which in his time was a collective term for various non-Malay ethnic groups. He would also categorise the Kadazan-Dusun in the Marudu and Kinabatangan regions of Sabah as ‘Dayak’. However, Salgari explicitly does not consider Sandokan to be a Dayak.
He calls the dominion ‘Kinabalu’, which in turn fits in with his narrative from the first novel, as ‘Marudu’ and ‘Kinabalu’ were described as identical in the historical sources by local Europeans in the first half of the 19th century.
Hunt lists the areas in Borneo in 1812 and writes that they are identical.When Sandokan succeeds in reclaiming the throne of his ancestors in book 7, it is also said that the whole area, from the bay of Marudu in the north, where the novel begins, to the lake in the south, belongs to him again:
Salgari moves Sandokan's hometown inland, which fits in perfectly with the home of the historical Sandokong. He lived in Melapi at the Kinabatangan River in the interior of the domain of Marudu. According to travel literature that mentions Lake Kinabalu, the Kinabatangan is also fed by this huge lake (Hoevell 1849: 76) or is associated with it (Tregonning 1954: 40).
Salgari thus portrays Sandokan as a ruler of an inland area in northern Borneo, as a raja from the area of Marudu or Kinabalu. Salgari may also have been aware that Brunei and the British were responsible for the downfall of Sandokan's homeland (Marudu) and that a certain power-mad – nameless - Briton, acting unofficially, was behind it.
THE HISTORICAL SANDOKONG
So what do we know about the historical Sandokong?
First of all, he appears under slightly different name variations:
According to Marudu oral tradition Sandokan had been a friend and confidant of Syarif Osman, he was his deputy, bodyguard and comrade-in-arms. They are said to have been very similar, but were not related to each other. Sandokan came from an area influenced by Sulu. According to the Limau-Limawan-tale, a person named Sandokong was the admiral ('Laksamana') of the sultan of Sulu and dominated the sea between Sulu and Malaya. Sandokong is also said to have assisted Syarif Osman in the battle against the British. He has had a close relationship with Syarif Osman.
In Sukau at the Kinabatangan, Sandokan and his mother are still remembered today, whose grave is said to known to some residents. In 2019, our guide showed me the old settlement site (Old Melapi) and the cemetery where Sandokong's mother, Adora(n), is said to be buried.. This site is usually not visited by locals out of respect for the old spirits.
This was also written down by the Italian journalist Andrea Semplici in 2003 as shown here.
The written sources on Sandokan are information from locals, recorded by various, mostly European authors who were on site. The written family trees are also included in written source material.
The oldest written document on Sandokong known to me was written by Bampfylde, an official of the British North Borneo Company (BNBC). Bampfylde had travelled to the Kinabatangan River and wrote a report of this voyage to the Governor of the BNBC, named William Hood Treacher, in February 1883. The story of the natives of the river, called the 'Segalud Buludupies' runs as follows:
Tom Harrisson, Curator of the Sarawak Museum from 1947 to 1966, quotes the text by Bampfylde (Harrisson 1966: 82 n) and deals with the history of the bird's nest caves at Kinabantangan himself. In this context, he also paid a visit to the owner. He writes (1966: 134):
Supriya Bhar conducted an interview with Pengiran Galpam in Sandakan on 11 April 1979. This is the same Pengiran that Tom Harrisson had already met and interviewed. She has listed a family tree in which the name Sindukung appears as an ancestor of Pengiran Galpam and also Sammah. In addition, she has recorded a legend of how the three brothers found the Gomantong cave (Paid, Sindukung und Kasannuddin).
Bampfylde, Harrisson and Bhar identified Sandokong as the grandfather of Pengiran Sammah. It is clear to Harrisson that Sandukung and Sandukur, as he is called in Bampfylde's record, which Harrison reproduces, are the same person.
I made contact with the descendants of Pengiran Galpam and conducted in 1997 an interview with more or less 30 members in Sandakan and they remembered their genealogy and the stories connected with it.
They drew up a family tree in which the founder of the family estate appears as ‘Sandukung’ and is the great-uncle of Pengiran Sammah.
The mother of Sandukung is named Adoran and the father Maringganlapasentdhan. They told me that the father was also a well-known personality who was called with the heroic title “Taribong Mandog Awan” which means in Malay “Harimau Udara” and in English “Tiger of the Air”. The male descendents were also called by similar heroic names but these are not remembered today.
Sandokong was – according to the interview – the founder of the Gomantong caves and therefore the founder of the wealth of the family. Sandokong is said to have been buried high up in a cave near Gomantong.
It is interesting that the genealogy starts five generations before Sandokong.
Salgari (1982: 42) writes in the review that Sandokan gives in ‘Sandokan alla riscossa’ that Sandokan's family comes from a warrior caste from eastern Borneo and has ruled Kini Balú for two hundred years. He even uses the Plural form “the Sandokans” ("I Sandokan")
Genealogies serve in Southeast Asia to legitimise the nobility and the leading abilities of family members. Normally only noble families remember exactly their genealogy. Sandokong seems a very prominent and important forefather of his family. The family members of Sandokong's following generations called themselves by the noble title ‘Pengiran Digadong’. He had lived at the Kinabatangan River, in a village called ‘Melapi’. Later the family moved to Sandakan.
Sandokong is memorably remembered both by the locals on the Kinabatangan River and by his family in Sandakan, as are his parents, who are characterised as heroic: his father as a ‘Tiger of the Air’ and his mother as a kind of saint. The title “Tiger of the Air” is reminiscent of Salgari’s title “Tiger of Malaysia”.
The tiger theme extends not only to Sandokan's nickname, but also to his flag. The flag he flies on his island and on his ships is red and features a tiger's head.
The red flag with the tiger
The red tiger flag was actually the flag of Syarif Osman of Marudu.
The first mentioning of that flag in British reports goes back to an eyewitness of the battle of Marudu, named Pascoe, who took part in the battle on the British side and wrote of the flag.
However, since Pascoe did not publish his report on Marudu until April 1886, Emilio Salgari could not have used it as a source for his story about Sandokan, which he had already published three years earlier. He also couldn't understand English. He must have come across the tiger flag and Marudu elsewhere.
This constellation alone, that Sandokan flies the tiger flag and his home is in the Marudu region, suggests that Salgari's Sandokan epic is not invented, but is set against a historical background.
And here we are in midst the history of Syarif Osman who must have been a contemporary of Sandokong.
Syarif Osman had been the Raja of Marudu since at least the 1830s.
Under his charismatic leadership, Marudu developed into a strong, economically expanding kingdom, which also extended over many spheres of influence in the tradition of Malay-Bornean maritime coastal states (shown in red). Syarif Osman‘s authorization was based on his origin, his actions, the marriage to a Sulu princess as well as other marriages, his style of leadership, his charismatic qualities and, of course, the acceptance and loyalty of his followers. His descendants also took over positions of power in Marudu, so that his reign can be regarded neither as coincidental nor as usurpative. Similar to a Malay Raja, Syarif Osman built a fortress in the centre of his kerajaan, organised a military apparatus and above all seized hold of the trade. Under his reign, he united Marudu Bay and the islands offshore and exerted influence over districts that were located further away. Furthermore, he entered into alliances with other regional leaders. Syarif Osman was regarded as an ambitious and strong leader, whose government was effective and successful.
This brought him into conflict with James Brooke, who had established himself as Raja in Sarawak since the early 1840s and attempted to extend his influence to Brunei from 1844. Brooke also wanted to place the island of Labuan under British rule. Syarif Osman's position and influence in the still independent part of Borneo had been in competition with Brooke's claim to leadership.
To remove Osman, Brooke needed the official support of British Navy. To gain this support, Brooke declared that Syarif Osman was a pirate, as the Navy was deployed to combat piracy in the South China Sea.
So Brooke intensified his accusations against Syarif Osman through letter-writing campaigns designed to influence all the important authorities in London and India as well as the Navy officers on site. He finally won Admiral Cochrane's help, who destroyed Marudu on 19th August 1845.
Brooke's triumph in the journal reflected the aim of his defamation of Osman: he had destroyed Osman's "power".
Brooke had already demonstrated his radicalism in insisting on his claim to leadership by conducting the pirate campaigns of 1843 and 1844, in which he portrayed neighbouring river regents who did not want to submit to his leadership as pirates and had them destroyed with Captain Keppel's help.
This is what happened to Pengiran Mahkota, Syarif Sahap and Syarif Mular, Pengiran Usop and also Syarif Osman.
Syarif Osman's authority, probably more far-reaching than that of other independent rulers in North Borneo in the early 1840s, may have been too dangerous for Brooke. He undoubtedly saw Syarif Osman as a leader, but portrayed his leadership role as illegitimate: Brooke's defamation turned a "leader" into a "pirate leader".
Before Brooke's accusations, the Governor-General in Manila, Claveria, and the British Governor in Singapore, Butterworth, had recognized Syarif Osman as Raja of Marudu.
Even Brooke's contemporary Belcher saw Syarif Osman as the "only energetic ruler":
Belcher's attribution of Osman's ability to grant protection to the British merchants stands in contrast to the accusations of piracy made by Brooke and the British officers.
Syarif Osman of Marudu was regarded as a pirate in 19th and most 20th century literature, based on statements by James Brooke and the officers of the British Navy.
However, Syarif Osman was mainly a charismatic leader, a Raja, who, using his political, economical and organizational abilities, was about to develop Marudu as a Malay-Bornean maritime coastal state, as his kerajaan.
That was very very roughly the summary of my book from 2003.
Fortunately, things have changed since then regarding the accusation of piracy and the role that Syarif Osman played in history.
Syarif Osman has no longer disappeared into oblivion - or rather, dealing with him was no longer avoided because of his supposedly bad reputation. People are proud of him, or at least interested in him.
So the view of Syarif Osman has changed in the last two decades. The reason for this may be that Syarif Osman is no longer ostracised as a pirate in official historiography.
I was lucky that after the publication of my book, the situation with regard to worldwide communication changed abruptly. The world wide web made the exchange of information much easier. This and the re-evaluation of Syarif Osman gave new impetus to the study of this era. Some people contacted me who were convinced that they were descendants of Syarif Osman. In fact, the majority of them come from regions what is now the Philippines. This is not so surprising, however, because Syarif Osman's sphere of influence extended over parts of what is now the southern Philippines. The history of Syarif Osman was also generally discussed and exchanged in forums and blogs.
In general, there is still a risk of misinformation, and it is certainly difficult to verify information that is randomly posted on the internet.
For my new book project, I have decided to deal with the new information that I have received personally and that can be based on a family tree that has existed for a long time.
This type of tradition is, after all, the only type of written indigenous historical tradition up to the 19th century.
So that nothing is lost, I have also decided to include further information that was collected after 2003.
Hopefully there will be more information and interesting aspects that will expand our knowledge about Syarif Osman, Sandokong and that era.
@Bianca Maria Gerlich, 25th July, 2025