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diff --git a/40559-0.txt b/40559-0.txt new file mode 100644 index 0000000..0e45225 --- /dev/null +++ b/40559-0.txt @@ -0,0 +1,5740 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 40559 *** + +[Illustration: A MANGUE INDIAN RECITING A LOGA. SEE PAGE XXV.] + + + + + BRINTON'S LIBRARY OF ABORIGINAL AMERICAN LITERATURE. + NUMBER III. + + + THE GÜEGÜENCE; + A COMEDY BALLET + IN THE + NAHUATL-SPANISH DIALECT OF NICARAGUA. + + + EDITED BY + DANIEL G. BRINTON + + + + + AMS PRESS NEW YORK + + + COPYRIGHT, + D. G. BRINTON. + 1883. + + + + + LIBRARY + OF + ABORIGINAL AMERICAN + LITERATURE. + + No. III. + + EDITED BY + D. G. BRINTON, M.D. + + PHILADELPHIA: + 1883. + + + + +PREFACE. + + +The play which is presented in this volume is the only specimen +known to me of the native American comedy. It is of comparatively +recent origin, and is composed in a mixed dialect, a jargon of low +Spanish and corrupt Aztec (Nahuatl); but, both in its history and +spirit, it bears so many marks of native composition, and is so +characteristic of the sort of humor popular with the tribes from +whom it was obtained, that it fairly merits a place in this series +of publications. + +The text was obtained in Nicaragua, by the late Dr. Carl Hermann +Berendt. But no translation of any part of it and no notes upon it +were found among his papers. The responsibility for the rendering +rests, therefore, with myself. It has presented extreme difficulty, +owing to the imperfect condition of the text, the deterioration of +the Nahuatl words and forms, the antiquated and provincial senses of +the Spanish words, and the obscure local references introduced. I +would rather speak of my work as a loose paraphrase, aimed to give +the general sense and humorous tone of the original, than as a +faithful translation. + +The text has been printed precisely as in the manuscript, even +obvious errors in spelling and punctuation having been preserved. +Suggestions with reference to these are made in the notes. + +For assistance in translating the Spanish text, I would acknowledge +my indebtedness to Professor Adolfo Pierra, of Philadelphia, and Dr. +F. C. Valentine, of New York, both of whom have passed considerable +periods in Central America. + +_Philadelphia, November, 1883._ + + + + +CONTENTS. + + PAGE + _Introduction._ + + § 1. _The Nahuas and Mangues of Nicaragua._ v + Location of the Nahuas of Nicaragua, v + Derivation of the word _Nicaragua_, v + Origin of the Nicaraguan Nahuas, vi + Location of the Mangues, viii + Why called _Chorotecas_, viii + Relationship to the Chapanecs, ix + Culture level of the Nahuas, x + Of the Mangues, x + Disappearance of their languages, xi + Comparison of the Nahuatl of Nicaragua and of Mexico, xiii + Comparison of the Mangue with the Chapanec, xiii + Differences between Nicaraguan and pure Nahuatl, xiv + Comparison of the Mangue or Chapanec, of Central + America, with the Aymara, of Peru, xv + Development of the Nahuatl-Spanish jargon, xvii + Specimens of it, xvii + + § 2. _The Bailes or Dramatic Dances of Nicaragua._ xix + Oviedo's description, xx + Symbolism of the dance, xxii + Benzoni's description, xxii + Gage's remarks, xxii + Historical character of the dances, xxiii + Five classes of dances, xxiii + Purpose and characters, xxiv + The Logas, xxv + Las Inditas, xxv + The Chinegritos, xxvi + The Negritos, xxvi + Toro-Guaca and other dances, xxvi + The drama of the Ollita, xxvii + + § 3. _Nicaraguan Musical Instruments and Music._ xxviii + The Marimba, its form and origin, xxviii + The Drum, xxx + The Ollita or Musical Jar, xxxi + The Pito or Whistle, xxxiii + Specimens of Airs, xxxiv + The long Flute, xxxv + The Juco, xxxv + The Quijongo or Carimba, xxxvi + The Chilchil or Ayacachtli, xxxvi + The Cacho, xxxvii + Character of native music, xxxvii + Air of the Malinche, xxxviii + Choruses and Cofradias, xxxviii + Melodies from the Güegüence, xl + + § 4. _History of the "Baile del Güegüence."_ xli + Whence the text was obtained, xli + Time and manner of its rehearsal, xli + Age of the play, xlii + Reasons for considering it a native production xlii + How different from the Spanish comedy, xliii + Native plots of similar character, xliv + Native comedians, xlv + + § 5. _The Dramatis Personæ of the Güegüence._ xlv + The Güegüence, xlv + Derivation of the name, xlv + Character, xlv + Malicious humor, xlvi + Costume, xlvi + Don Forcico and Don Ambrosio, xlvi + Contrast of actions, xlvii + The Governor Tastuanes, xlvii + Derivation of the name, xlvii + Minor characters, xlvii + The lady Suchi Malinche, xlvii + Derivation of the name, xlvii + The mules, xlvii + Their costume, xlviii + + § 6. _Epitome of the Story of the Güegüence._ xlviii + + THE GÜEGÜENCE; A COMEDY. 3 + + _Notes to the Güegüence._ 75 + + _Vocabulary._ 83 + + _Index._ 93 + + + + +LIST OF ILLUSTRATIONS. + + PAGE + + FRONTISPIECE. A MANGUE INDIAN RECITING A LOGA. + _From an original sketch by Dr. Berendt._ + + MAP OF THE LOCATION OF THE NAHUAS OF NICARAGUA AND + THEIR NEIGHBORS. xii + + ANCIENT DANCE IN NICARAGUA. xxii + _From Oviedo's Historia._ + + A MARIMBA PLAYER AND HIS INSTRUMENT. xxix + _From Von Tempsky's Mitla._ + + ANCIENT AZTEC MUSICIAN. xxx + _From Duran's Historia._ + + NICARAGUAN INDIANS PLAYING ON THE DRUM. xxxii + _From an original sketch by Dr. Berendt._ + + EARTHENWARE MUSICAL JAR FROM NICARAGUA. xxxiii + _From a drawing by Dr. Berendt._ + + EARTHENWARE WHISTLE FROM NICARAGUA. xxxiii + _From a drawing by Dr. Berendt._ + + NATIVE FLUTE MELODIES. xxxiv + _From MS. of Dr. Berendt._ + + WHISTLES FROM NICARAGUAN BURIAL MOUNDS. xxxv + _From Report of Dr. J. F. Bransford._ + + THE QUIJONGO OF NICARAGUA. xxxvi + _Original Drawing from description._ + + AZTEC MOURNER SINGING AND PLAYING. xxxvii + _From Aztec Codex in the Aubin Collection._ + + AIR OF MALINCHE. xxxviii + _From Morelet's Voyage._ + + MELODIES FROM GÜEGÜENCE. xl + _Original furnished by Dr. E. Flint._ + + EARTHENWARE CUP FROM NICARAGUA. lxxviii + _From a sketch by Dr. Berendt._ + + A NICARAGUAN PLOUGH. lxxx + _From Squier's Nicaragua._ + + A MACHETE. lxxxi + _From an original sketch._ + + + + +INTRODUCTION. + + +§ 1. _The Nahuas and Mangues of Nicaragua._ + +Among the outlying colonies of that important people whose chief +seat was in the Valley of Mexico, and who are variously known as +Aztecs, Mexicans or Nahuas, were several in Central America. "One of +these," writes Mr. Squier, "occupied the principal islands in the +Lake of Nicaragua, the narrow isthmus which intervenes between that +lake and the Pacific, and probably a portion of the country to the +southward, as far as the gulf of Nicoya. Their country was less than +a hundred miles long, by twenty-five broad; yet here they preserved +the same language and institutions, and practiced the same religious +rites, with the people of the same stock who dwelt more than two +thousand miles distant, on the plateau of Anahuac, from whom they +were separated by numerous powerful nations, speaking different +languages, and having distinct organizations."[1] + +This Nahuatl tribe gave the name to the Province, _Nicaragua_, this +being, according to some early authorities, the personal appellation +of their chief at the epoch of their discovery, in 1522, and, +according to others, their national name.[2] For no sufficient +reasons, Mr. Squier applied to them the term _Niquirans_, and Dr. +Berendt _Nicaraos_, but it seems better to retain, as distinctive +for them, the name _Nicaraguans_, or, more specifically, "the Nahuas +of Nicaragua." "Nicaragua" is undoubtedly a Nahuatl word, but, as +the letter _r_ is not found in that language, the precise original +form is uncertain. Father Francisco Vasquez explained it as a +compound of the Nahuatl _nican_, "here," and _anahuacos_, "here +dwell those from Anahuac;"[3] or it may be from _nican_ and _nahua_ +(plural form of _nahuatl_), "here dwell those speaking the Nahuatl +tongue;" or, as a personal name of a chief, it may be _ni +calaquiya_, "I entered into, or took possession." + +How it happened that this fragment of the Aztec nation had become +detached from the main body and resident so far from its central +seat, has not been clearly explained. Mr. Squier and some others +have maintained the hypothesis that the migration of all the Aztec +tribes was from south to north, and that their scattered members in +Central America were bands which had stopped on the road.[4] This +opinion, however, is refuted by the evidence of language, and also +by the unanimous traditions of the Aztecs themselves, both in +Nicaragua and in Mexico. + +The Nicaraguans had a very positive recollection that their +ancestors came from Mexico, driven forth by scarcity of food, and +that they wandered along the Pacific shore to the locality in which +the Spaniards found them.[5] They remembered the names of their +ancient home, or, rather, of their ancient kindred, and gave them as +_Ticomega_ and _Maguateca_, locating them toward the west ("hacia +donde se pone el sol"). It is easy to recognize in these words the +Aztec terminations signifying _gens_ or tribe, _mecatl_ and +_tecatl_, which in the plural drop the _tl_. Nor can we be far wrong +in identifying _magua_ with the Aztec _maque_, upper, above, and +_tico_ with _tiachcauh_, elder brother, and in translating these +names, the one as "the upper people," _i. e._, the dwellers on the +lofty interior plateau, and "our elder brothers," _i. e._, the +senior and ranking clans of their tribe, who remained in Anahuac.[6] + +Besides these traditions, the Nicaraguans showed their close +relationship to the Aztecs by a substantial identity of language, +mythology, religious rites, calendars, manners and customs. We have, +fortunately, an unusual mass of information about them, from an +examination of their leading men by the chaplain Francisco de +Bobadilla, in 1528, who took down their replies with as much +accuracy as we could expect, and whose narrative has been preserved +by the historian Oviedo. They also had retained a knowledge of the +Mexican hieroglyphics, and wrote, in books of paper and parchment, +their laws and ritual, their calendars and the boundaries of their +lands.[7] + +While this Aztec band thus acknowledged themselves to be intruders, +such appears not to have been the case with their immediate +neighbors to the northeast and southwest. These were of one blood +and language, and called themselves _mánkeme_, rulers, masters, +which the Spaniards corrupted into _Mangues_.[8] The invading Aztecs +appear to have split this ancient tribe into two fractions, the one +driven toward the south, about the Gulf of Nicoya, the other +northward, on and near Lake Managua, and beyond it on Fonseca +Bay.[9] Probably in memory of this victory, the Nicaraguans applied +to them the opprobrious name _Chololteca_, "those driven out," from +the Nahuatl verb _choloa_, and the suffix _tecatl_, which was +corrupted by the Spanish to _Chorotecas_.[10] + +The name does not by any means intimate that the Mangues came from +Cholula in Mexico, as some ancient, and some modern, writers have +hastily supposed;[11] nor is it a proof that they spoke an Aztec +dialect, as Ternaux Compans has asserted.[12] So far is this from +being the case, the Mangue has no sort of affinity with the Nahuatl, +and must stand wholly asunder from it in the classification of +American tongues. It has, indeed, a relative to the north, and a +close one, the Chapanec or Chiapenec,[13] spoken by the inhabitants +of three small villages in Chiapas, the largest of which has given +its name to the province. These Chapanecs, by their traditions, +still clearly remembered at the time of the Conquest, and preserved +by the historian Remesal, migrated from Nicaragua to their more +northern home. As they had no connection with the Aztecs, so, also, +they were wholly without affinities with the great Maya stock, which +extended far and wide over Central America, although the contrary +has been recently stated.[14] In fact, among the five different +languages which were spoken in the present province of Nicaragua at +the time of the discovery, not one belonged to any branch of the +Maya group.[15] + +My present theme does not extend to a discussion of these various +tongues, nor take me further into the ethnology of their locality. +It has to do solely with these two nations, the Nicaraguans and the +Mangues. The culture-level of the former was nearly as high as that +found in the Valley of Mexico. They had a settled government, +constructed edifices of stone, sculptured idols, utensils and +ornaments out of the same material, were skilled in ceramics, deft +in weaving cotton cloth and reed or grass mats, able in war, and +thoughtful enough to puzzle their first European visitors with +questions as to the stars and the earth, the beginning and the end +of things.[16] Careful archaeologists in our own day have searched +the territory they inhabited, and many museums contain specimens of +what they accomplished in the direction of the arts, and testify to +a respectable degree of intellectual advancement.[17] + +We know less about the Mangues. They are mentioned as differing in +religious rites from the Nicaraguans, and the impression is conveyed +that they were in a more primitive condition, but yet with fair +claims to be ranked among the cultivated nations of the new world. +Among them, in fact, Dr. Berendt located one of the "centres of +ancient American civilization," and considered the definite solution +of their affiliations as one of the problems of the first order in +the ethnology of America.[18] The Spanish historians relate that +they had hieroglyphic books, like the Mexicans; that they were +rather light in color, careful in dress, setting much store by their +long hair, which they sedulously combed, and had an autocratic +military government. Their country was thickly peopled, especially +that portion of it between the lakes. The district of Managua was +almost like a continuous town, so closely were the native houses +placed together for nearly ten miles. In fact, it was called one +city by the earliest explorers, and Oviedo, who takes pains to +criticise these for their tendency to exaggeration, estimated the +population of this limited district, at the time of the Conquest, at +forty thousand souls.[19] + +At present, scarcely any pure-blood remnants of either of these +nations can be found, and both languages are practically extinct. +When Mr. Squier visited Nicaragua, in 1850, he obtained, with great +difficulty, a short vocabulary of the Nahuatl dialect, spoken on the +island of Ometepec, in Lake Nicaragua; and, in 1874, Dr. Berendt, +only at the cost of repeated efforts, succeeded in securing from a +few survivors of advanced ages a moderately full collection of +Mangue words and sentences.[20] + +[Illustration: MAP OF THE LOCATION OF THE NAHUAS OF NICARAGUA AND +THEIR NEIGHBORS.] + +To illustrate the practical identity of the Nahuatl of Nicaragua +with that of Anahuac, and the Mangue of Nicaragua with that of +Chiapas, I will insert two short lists of common words with their +equivalents in those four dialects. The first is from Mr. Squier's +works above referred to, the second from the manuscripts of Dr. +Berendt now in my possession. + +_Comparison of the Nahuatl of Nicaragua and of Mexico._ + + ENGLISH. NAHUATL OF NICARAGUA. NAHUATL OF ANAHUAC. + + God, teot. teotl. + Man, tlacat. tlacatl. + Woman, ciuat. ciuatl. + Head, tzonteco. totzontecon. + Foot, hixt. ycxitl. + Dog, izcuindi. itzcuintli. + Deer, mazat. mazatl. + Rabbit, toste. tochtli. + Fire, tlet. tletl. + Water, at. atl. + House, calli. calli. + Maize, centl. centli. + Rain, quiavit quiahuitl. + Flower, sochit. xochitl. + Wind, hecat. ehecatl. + Snake, coat. coatl. + Eagle, oate. quauhtli. + Flint, topecat. tecpatl. + Mountain, tepec. tepec. + One, ce. ce. + Two, ome. ome. + Three, ye. yei. + Four, nau naui. + Five, macuil. macuilli. + + +_Comparison of the Mangue with the Chapanec._ + + ENGLISH. MANGUE OF NICARAGUA. MANGUE OF CHIAPAS. + + Man (homo), ndijpu. dipaju. + Man (vir), nyu'a. n[)o]jue, naha. + Woman, najui. najui. + Father, gooha. youa, poua. + Mother, ngumu. goma. + Head, gu t[chi]ima t[chi]ima. + Eye, nahte. nate. + Ear, nyujui. noj[)u]a. + Foot, ngra. taku. + Ruler (or chief), mánkeme. d[chi]amá _or_ mangheme. + Dog, nyumbí. numbí. + Mouse, nangi. nangi. + Bird, nyuri. nuri. + Snake, nule. nulú. + Fire, nyayu. n[)i][)i]ú. + Water, nimbu. nimbu. + House, nangu. nangu. + Maize, nama. nama. + Wind, nit[)i]ú. tijú. + Hill, diri, tiri. dili. + One, tike. tike. + Two, jami. jumiji. + Three, hajmi. jamiji. + Four, haeme. j[)u]amiji. + Five, jagusmi. ja[)o]miji. + +It needs but a cursory glance at these lists to see that, while +there is scarcely a dialectic difference between the two Nahuatl +columns, and again between the two Mangue columns, there is +absolutely no point of contact between Mangue and Nahuatl. + +The chief differences between Nicaraguan and pure Nahuatl were, that +the former changed the double consonant _tl_ into _t_, or dropped it +altogether; that the _c_, _ch_ and _q_ were confounded; that, in the +conjugation, they dropped the prefix _tla_, which in pure Nahuatl is +employed to indicate that the inanimate object of the verb is not +expressed; that certain terminal consonants, as _x_, were dropped; +and apparently that the sounds of _s_ and _r_, not known to the +tongue in its purity, were introduced. + +The linguistic relations of the Mangue or Chapanec tongue have never +been ascertained. I have compared it with the principal stocks in +the northern continent, as well as with the great Tupi-Guarani stem, +which has extensive affiliations in Central America, but without +discovering any analogies of value. It does appear, however, to have +a certain, though far from close, relationship to the Aymara tongue, +spoken in the Peruvian Andes, and especially in the vicinity of Lake +Titicaca, the celebrated site of a remarkable ancient civilization. +The following list of common words seems to indicate this. The +Aymara is taken from the dictionary of that tongue, by Father +Ludovico Bertonio, while the dialects of the Mangue are +discriminated by N, for Nicaraguan, and C, for Chapanec. + +_Comparison of the Mangue, or Chapanec, of Central America, with the +Aymara, of Peru._ + + ENGLISH. MANGUE OR CHAPANEC. AYMARA. + + Father, poua (C). pucara. + Man, naha (C). chacha. + Child, nasungi (N). iñasu. + Ear, nyuhui (N). hinchu. + Eye, nahte (N). nahui. + Bone, nyui (N). cayu. + Fire, niiu (C), nyayu (N). nina. + Water, nimbu (C). vma. + River, naju (C). mayu, jahu. + Wind, tihu (C). thaa. + Feathers, lari (C). lauralua (colored). + Maize, nama (C). ccama. + Earth, nekapu (C). ñeke, clay, yapu, soil. + Sky, naku paju (C). hanac (_or_ alakh) pacha. + Blind, saapi (C). saapi. + Dumb, napamu (C). amu. + Great, yáka (C). haccha. + Bitter, átsi (C). cata. + Dead, tuhua (C). hihua. + To eat, koita (N). kauita (to eat apples, etc). + Food, nomota (C). mamata. + To go, ota (C). aatha. + Thou, çimo (C). huma. + You (pl), çimecmo (C). humasa. + +There are also various grammatical similarities between the two +tongues. Both are highly synthetic; in both the division of nouns is +"vitalistic," that is, into animate and inanimate; the numeral +system is in both the decimal; in both the possessive pronoun +follows the noun; both possess the inclusive and exclusive plural; +and others could be mentioned. + +It is known that the Aymara partakes largely of the elements of the +Qquichua, and by some is classified merely as a dialect of that +tongue. Such similarities as appear to exist between Mangue and +Aymara are, however, less with the words and forms common to these +two Peruvian idioms, but rather more with those wherein the Aymara +differs from the Qquichua. + +With the trenchant differences above indicated, between the Nahuatl +and the Mangue, it is the more singular to observe how the Nahuatl +obtained the preponderance. We may attribute this to the superior +fighting power of the Aztec invaders; to the fact that many of the +native allies of the Spanish could speak that tongue and not the +Mangue; that the early missionaries came from Mexico; or, that the +Nahuatl was promptly reduced to writing, while the Mangue was not; +or to all these causes combined.[21] Certain it is, that at an early +date a mixed dialect came into vogue, both in the Mangue districts +of Nicaragua and elsewhere in Central America, composed of a +broken-down Nahuatl and a corrupt Spanish, which, at first, served +as a means of communication between the conquerors and their +subjects, and later became, to some degree, the usual tongue of the +latter. The Aztecs of pure blood spoke contemptuously of this jargon +as _in macehuallatolli_, the language of slaves, and Father Carochi, +writing little more than a century after the conquest, condemned +it as a hodge-podge of Spanish and Aztec, unintelligible in either +tongue.[22] + +This jargon was carried into the various nations who came into +contact with the Spaniards and half-breeds, and hence we may find +scattered words traceable to it in many of their tongues, and +sometimes formulas of a religious, social or business character.[23] +This is strikingly exemplified among the Mangues, and the fact is +one of considerable interest in connection with the literary +production which is the main topic of this volume. Even to a recent +day, in remote haciendas of the Province of Masaya, among the +descendants of the Mangues, the traveler might hear the grace before +meals, and other short formulas of the Church, spoken in this mixed +patois. + +The following is a specimen:-- + + _Jesu Criste no tecuase + tunanse Santa Maria + el Apostol + Santa Clara nos bendiga esta comida que tienen parte y + poder._ Amen. + +Here, _no tecuase_ is the Nahuatl _no tecuyotzin_, Our Lord, and +_tunanse_ is for _tonantzin_, Our Lady, or Mother. + +Another specimen is:-- + + _Marias te cuasti + Marias ticuisti guanse Dios + y + Espiritu Santo._ + +The correct reading of which should probably be-- + + _Maria tocihuatzin, Maria toquitznitli, yhuan in Dios, + yhuan in Espiritu Santo._ + +This Nahuatl-Spanish jargon became the _lingua franca_ of large +districts of Central America and Mexico. It was the current tongue +of the half-breeds, and to this day is the patois of the muleteers +who carry on the sparse commerce of the interior mountainous +regions. Many of its Spanish elements are ungrammatical, and others +are long since obsolete in the classical tongue. It is interlarded +with words and whole phrases borrowed from the Aztec, but with such +mutilations that they are scarcely, or not at all, recognizable. +Words from other native languages have crept in, which adds to the +difficulty of its lexicography. As for the construction, it became +looser and looser, until, in some phrases, all inflectional elements +disappear, and there is a naked juxtaposition of nominal and verbal +roots, the relation of which must be guessed simply from their +sequence. + +Probably in none of the Spanish provinces has the Castilian suffered +more from such admixture than in Nicaragua. The foreign words are +there so numerous that the country patois becomes nearly +unintelligible to one acquainted only with the Spanish of the +Academy. Here is the verse of a song, for example, in that dialect, +which will illustrate how far the amalgamation with the native +tongues has gone. The words in italic are either Nahuatl or +Mangue:-- + + "_Casahuyano_, mi amor, + Por vos esté _payaneado_. + No seas _tilinte_, mi bien." + "Se _selegue_, dueño amado." + + "My love, between girlhood and womanhood, + My heart is breaking for you. + Do not be severe, my loved one." + "I am yet unripe, my beloved master."[24] + +Another song, in which the lover expresses the strength of his +devotion with more force than elegance, has the following verse:-- + + "O fuera yo _carángano_, + En tus _cojines_ me metería + Para servirte todo el dia. + Te ama este zángano." + +Which may be freely rendered-- + + "Were I a little louse, I'd go + In your puffed and plaited hair; + With you all your toil I'd share; + This lazy fellow loves you so." + +The _carángano_ is the name of a species of louse, and the _cojines_ +are the little pads or cushions which women wear in their hair. + +In this dialect several satirical and political songs have been +composed, and, indeed, the licentiate Geronimo Perez, of Masaya, is +stated to have printed in it a political pamphlet, which I regret +not to have been able to obtain. + +Such is the jargon in which the _Güegüence_ is written, and although +this medley of tongues can claim no position of dignity in the +hierarchy of languages, it has its own peculiar points of interest, +as illustrating the laws of the degradation--which is but another +term for the evolution and progress--of human speech. To understand +its origin and position as a literary effort, we must review the +development of scenic representations in that part of the New World. + + +§ 2. _The Bailes, or Dramatic Dances of Nicaragua._ + +The historian, Fernandez de Oviedo, who was in Nicaragua in 1529, +gives a long account of the dramatic representations, or rites, +accompanied by songs, dances and masked actors, which he witnessed +among the natives of both Nahuatl and Mangue lineage in that +province. They took place at stated seasons, and at certain epochs +in the year. The name which he gives as that by which they were +locally known is _mitote_, which is the Aztec _mitotl_, a dance. He +himself calls them _areytos_, a Haytian word from the Arawack +_aririn_, to sing, and _bailes_, which is Spanish, from a classical +root, and means dances. + +One which he saw at Tecoatega, at that time a Nahuatl village, was +celebrated at the close of the cacao harvest and in honor of the god +of that plant. It offered a curious symbolism, which makes us keenly +regret the absence of a full explanation by some learned native. In +the centre of the village square a straight pole was set up about +forty feet in height. On its summit was placed the image of the god, +brilliantly colored, in a sitting position. Around the top of the +pole a stout grass rope was tightly wound, its two free ends passing +over a wooden platform. + +When the ceremony began, about seventy men appeared, some dressed as +women, some with masks and head-dresses of feathers, and all painted +skillfully on the naked flesh to imitate handsome costumes. They +danced in pairs, and sang in chorus certain songs, to the sound of +the sacred drums. After about half an hour, two boys, who had been +attached to the free ends of the rope, threw themselves from the +platform into the air, in such a manner that they turned round and +round the pole, unwinding the rope, and thus gradually descended +toward the ground. One boy held in one hand a bow, in the other, +some arrows; his companion held in one hand a fan or plume of +feathers, in the other a mirror, such as the natives made of +polished obsidian. As they descended, which, says the narrator, +required about as long a time as one might repeat the Creed five or +six times, the dancers ceased their song, and only the players on +the instruments, some ten or a dozen in number, continued their +noise. But, just as the boys, by the increasing length of the +unwound cord, touched the soil, all present set up a great shout, +and the festival ceased.[25] The cut which I have inserted is taken +from Oviedo's history, and represents the performance. + +[Illustration: ANCIENT DANCE IN NICARAGUA.] + +To one familiar with Nahuatl symbolism, the meaning of this ceremony +is, in a general way, obvious. The seated divinity on the summit of +the pole represents the god of fertility throned in the heavens. The +two boys are the messengers he sends to earth; the arrows refer to +the lightnings which he hurls below; the feather fan typifies the +breezes and the birds; the mirror, the waters and rains. After the +mortals have prayed in chants, for a certain season, the god sends +his messengers; men wait in suspense their arrival, whether it shall +be for good or for ill hap; and as they reach the earth, a shout of +joy is raised, for the food has ripened and been gathered in, and +the harvest-home is ended. + +In the same century the traveler Giralamo Benzoni, who visited +Nicaragua about 1540, was much impressed with the native dances. At +certain ones, as many as three or four thousand Indians assembled, +some dancing, others playing on drums, while others, who formed the +chorus, carried on the singing. The dancers displayed great agility, +and practiced a large variety of figures. They were ornamented with +feathers and plumes, and strings of shells were attached to their +arms and legs.[26] + +The Mangues of Chiapas, or the Chapanecs, near relatives, as we have +seen, of the Mangues of Nicaragua, were famous in the days of Thomas +Gage, the English priest, who traveled through Mexico and Nicaragua +about 1630,[27] for their dexterity in games and the elaborate +scenery of their dramatic representations. "As for acting of +Plays," he says, "this is a common part of their solemn Pastimes." + +This passion for scenic performances was by no means peculiar to +these tribes. It extended throughout almost the whole of the Red +Race, and there are many relics of it which have survived. The older +authors refer to it frequently, and the early missionaries, finding +that they could not extinguish it, sought to turn it to good account +by substituting for the native plays, which were idolatrous or +licentious, moral and instructive pieces. They encouraged the more +intelligent natives and half-breeds to prepare such, and they were +acted in connection with church festivals. + +But it would be an error to suppose that these attempts succeeded +completely in abolishing the older forms, or quenched entirely the +tribal historical character of these ceremonies. Even within our own +generation the contrary of this has been recognized by close +observers. Thus the _cura_ of Jutiapa, a town in Guatemala, Don Jose +Antonio Urrutia, wrote, in 1856: "In most of the Indian towns the +custom is still general of preserving a knowledge of great events in +their history by means of representations, called _bailes_ (dances), +which are, in fact, dances in the public squares, on the days or +evenings of great solemnities. It is most interesting for one who +understands something of the language to participate in these +_bailes_, as he can thereby obtain some knowledge of the most remote +traditions and events in the history of the Indians."[28] + +Confining our attention to the limits of Nicaragua, we find that the +different _bailes_ represented there within the memory of persons +still living may be arranged in five different classes:-- + + 1. Simple dances. + + 2. Dances with songs. + + 3. Dances with prose recitation. + + 4. Scenic recitations with music, by a single actor. These are + called _Logas_. + + 5. Complete dramas, with music, ballets, dialogue, and costumes. + +Most of these have a religious purpose. Thus, it is still a common +custom, in case of sickness or impending danger, to make a vow that, +in case of escape, the person will dance before the image of some +saint on a certain day, at a certain place, usually at a +festival.[29] Such dances are sometimes accompanied with songs or +chants of praise, or are performed in silence. The performer is +usually masked or in costume. + +It would be erroneous to suppose that there is much gaiety in their +dances. At least, it is not apparent to foreign eyes. The music is +monotonous and almost lugubrious, the singing is all in the minor +key, and the motions are dull, mechanical and ungraceful. A European +traveler has, indeed, characterized these spectacles rather as an +exhibition of profound melancholy, than outbursts of merriment, and +has instanced them as a proof of the psychical inferiority of the +race![30] + +Some of them, even to this day, as continued by the lower half-caste +population, are accused of an indecency which may be a reminiscence +of ancient Indian religious rites;[31] for we know that the native +Nicaraguans celebrated a festival strictly similar to that in +ancient Babylon, so condemned by the prophet, during which every +woman, of whatever class, had the right to yield her person to whom +she would, without incurring blame or exciting jealousy. + +The _Logas_ seem to be peculiar to the Mangues. A small theatre is +extemporized, music is provided, and the actor comes forward, +arrayed in some odd garb, and recites a sort of poem, with gestures +and dancing movements. The text of one of these was obtained at +Namotivá by Dr. Berendt, and is in my possession. It is entitled, +_Loga del Niño Dios_, and contains about two hundred lines. The +language is a corrupt Spanish, with a number of Mangue words +interspersed. The exordium reads-- + + "Atienda, Señores, + Pongan atencion + Del Mangue tiyo Pegro + La conversacion." + +The theme is an address to the patron saints and the infant Jesus, +but the tone is that of a burlesque, rather than a serious +composition. The costume of the orator, and his surroundings, the +little theatre, the holy infant, etc., are represented in the +frontispiece to this work, from a sketch taken from life.[32] + +Frequently a number of persons join in the dance. Such is one, still +occasionally seen, called _Las Inditas_, the Little Indian Girls. +The period of its celebration is on the day of St. Jerome. The +women are masked, and wear a loose mantle, a skirt with lace edging, +a sash of rose color, and a hat with feathers. They carry bouquets +and have a silk handkerchief fastened around the waist, the ends +meeting over the hips. The men are in grotesque costumes, with ugly +masks. They dance in couples, but without touching each other. The +music is the marimba and the guitar. The songs usually turn on some +matter of local interest. + +Another favorite dance is the _Baile de Chinegritos_, celebrated +by the Mangues. This name is applied to the masqueraders who take +part in it. They wear a cap of black straw, and the body is naked +to the waist, and painted. Each carries a stick or the dried yard +of a bull, and in turn lifts a companion from the ground and strikes +him with the whip. One, who keeps himself apart from the rest, is +called the _rucia_, or _yeguita_, the mare. He is in a framework +of cane adorned with women's skirts and colored handkerchiefs, +supposed to represent some animal. There is no fixed day for the +dance, but it is usually carried out in fulfillment of a vow. A +variety of this _baile_, called _Chinegritos à caballo_, is +performed by mounted actors, in brilliant costumes, with gaily +caparisoned horses. They are accompanied by music, and draw up in +front of a house, where they sing a song with a monotonous chorus, +_le-le-le-le-le-le-le-li-u_. + +The _Baile de Negritos_ is celebrated on the festivals of St. James +and St. Anna. The participants are on horseback, themselves and +their steeds adorned with bright-colored sashes and garlands of +flowers. They all wear the _mosote_, or black straw hat, from which +this and the preceding dance derive their names.[33] The songs which +they sing are called _Ensaladas_, salads or medleys, and usually +contain personal allusions. + +The _Baile de Toro-Guaca_, the Dance of the Graveyard Bull,[34] as +it may be rendered, is presented on the festival of the Virgin, of +St. Jerome, and other days, in accordance with a vow. It requires +fourteen dancers and seventeen masqueraders. The "bull" is +represented by a framework of reeds, surmounted by a pair of horns +and gaily decorated. + +Other such exhibitions are called the _Baile de diablitos_, _Baile +de la Yeguita_, _Baile de San Roman_, _Baile de San Martin_, _Baile +del Toro y Venado_, _Baile del Mantudo_ (in which a desperado, with +numerous _chichiltes_, small bells, appears), besides some +representations of Bible scenes, as the combat between David and +Goliath, etc. + +Although most of these are accompanied by songs, and some by +dialogues, they do not seem to reach to the height of a plot, or to +the depicting of character or emotion. Beside them, however, and no +doubt to take the place of original compositions of a similar kind, +were complete dramatic creations. + +Many of these were religious or historical plays, arranged by the +clergy, and offer little of interest. But some were of a secular +character, and appear to refer to historical events. + +One was The _Ollita_ or _Cañahuate_. It was acted in the Mangue +tongue at Masaya as late as 1822, but the text is, unfortunately, +lost. The _Ollita_ is the name of the whistling jar, on which, and +on the drum, a lugubrious musical accompaniment was played. The name +_Cañahuate_ is said to have been that of a dialect of the Mangue. +The plot turned on a proposed marriage between an old man, richly +dressed in Spanish garb, and a native princess. The chorus and +assistants carried bows, arrows and quivers, which would seem to +point to an early date as that of the supposed transaction. + + +§ 3. _Nicaraguan Musical Instruments and Music._ + +The musical instruments of the natives of Nicaragua, mentioned by +Oviedo, are drums, flutes of reeds, and _excoletes_, or trumpets. +This, however, by no means exhausted the list, and several others of +similar powers have been retained to the present day, and have been +referred to by travelers as local curiosities. Thus, Mr. Squier +writes as follows, in describing a festival in Leon de Nicaragua: +"It is impossible to describe the strange instruments. One consisted +of a large calabash, over which was stretched the skin of some +animal; this, when pressed in, recoiled with a dull, sullen noise, +like the suppressed bellow of a wild beast, and the wail of some of +the long reeds was like that of a man in the agonies of a violent +death."[35] + +The memoranda that I have obtained from various sources enable me to +supply this omission of the distinguished traveler, and to make out +the following list, which probably is not exhaustive. + +The most elaborate is the _Marimba_. Some writers say that both the +name and instrument are of African derivation, having been +introduced by the negroes. Others assert that the Indians have known +the marimba time out of mind, and undoubtedly invented it. Certain +it is, that they develop singular skill in its management. + +A good description and illustration of it are given by von Tempsky, +from whose work I extract them.[36] + +"They [the Indians of Central America] are still very fond of +dancing, and are very good musicians, performing on a peculiar +instrument, a native invention of antique date, the Marimba. A long, +horizontal stick supports a number of jicaras (or long, cylindrical +calabashes), arranged near one another, according to size, from two +feet in depth to four or three inches. Over the mouth of each of +them is drawn a thin piece of bladder, and over it, at the distance +of a quarter of an inch, are flat pieces of a very hard wood, +arranged like the claviature of a piano. These oblong pieces of wood +are supported on a frame of light wood, joined to the long stick +that supports the row of jicaras underneath. Two light legs sustain +the little piano, partly on the ground, and a hoop connects it with +the player, who sits within the hoop, pressing it on a bench. + +[Illustration: A MARIMBA PLAYER AND HIS INSTRUMENT.] + +"Two long drumsticks, with balls of India rubber at their heads, are +in the hands of the player, who strikes double notes at every touch +of the wooden claviature, with the resounding jicaras underneath. +The sound of this instrument is charming, clear, limpid in its +tones, like the intonation of a harp string of wire. The Indians +produce the justest and sweetest double notes, and blend a rattling +tune together in very harmonious chords. Their talent for playing +this instrument by ear is astonishing; in a day, they will pick up +the most difficult air, and play it with a good deal of expression, +accompanied with a chant of their own composition." + +Instead of calabashes, earthen jars of various sizes are +occasionally used to suspend beneath the key pieces; or, what in +some districts is equally common, they are vertical tubes of cedar +wood (_Cedrela odorata_). As described by the traveler Morelet, +these tubes are twenty-two in number, all of equal diameter, varying +in length from ten to forty centimeters, and forming three complete +octaves without semitones.[37] In many of the _bailes_ this is the +favorite means of music, and it is often associated with the guitar. + +That it was not unknown to the ancient Aztecs seems shown from the +following drawing from an original Mexican painting in Duran's +_Historia_, where the player does not appear to be striking a drum, +but the keys of the marimba, or an instrument of that nature. + +[Illustration: ANCIENT AZTEC MUSICIAN.] + +The _Drum_ was, and remains, a favorite instrument in Central +America. It is usually formed of a hollow piece of wood, which is +struck with sticks. In Nicaragua, however, some of the natives use a +short piece of bamboo, over the ends of which a skin is stretched. + +[Illustration: NICARAGUAN INDIANS PLAYING ON THE DRUM.] + +This is held in the left hand and struck with the tips of the +fingers or the knuckles of the right hand, keeping time to the chant +or song of the performer, while he throws himself into striking and +extraordinary attitudes. The illustration on the preceding page, +from a sketch by Dr. Berendt, shows their manner of performing on +this instrument. + +These two varieties of drums were also known to the ancient +Mexicans. They called the one which was struck with the hand the +_huehuetle_, "ancient object," and that played by sticks, +_teponaztli_. + +The _Ollita_, or Little Jar, is an instrument still remembered in +Nicaragua, and the drama, in the Mangue dialect, to which I have +referred, bearing this name, proves that it was familiarly known at +Managua early in this century. Its sound is described as grave and +suitable to serious emotions. The identical _ollita_ which was used +in this drama was preserved long after the last performance of the +play (about 1822), in the chest of the _cofradia_ of San Jose, in +Managua; but like so many other valuable relics, it disappeared in +the disturbances of the republic. + +From the name, and from what was told of its powers, it was +evidently not merely a whistle, but a sort of earthenware flute. +Such were known in Peru, and precisely in Nicaragua, on the island +of Ometepec, inhabited at the Conquest by the Nahuas, such a musical +jar was discovered of late years, and was examined and its musical +capacity described by Dr. Berendt in the following words:-- + +"Held with the two hands, the lower side turned upward, and the four +holes managed with two fingers on each side, blowing in the mouth +piece yields six different notes. Any two holes covered give the +tonica, one only covered the secunda, all open the tertia, and by +hard blowing a forced quarta; while all closed produces the dominant +(quint) in the underlying octave. Three holes closed yield notes not +in concordance with the others, varying between an imperfect sext +and a diminished septima of the lower octave. But those mentioned +as in accordance permit the playing of many varied tunes." + +The shape of this jar is shown in the following cut, which was +prepared for an interesting article on Indian Music by Mr. Edwin A. +Barber, in the _American Naturalist_. + +[Illustration: EARTHENWARE MUSICAL JAR FROM NICARAGUA.] + +It was capable of rendering various simple tunes. (See page xxxiv.) + +[Illustration: EARTHENWARE WHISTLE FROM NICARAGUA.] + +The _Pito_, or Whistle, was a simpler instrument than the _Ollita_. +It, also, was frequently made of baked clay, and in odd shapes. The +one shown in the following cut was found on the Island del Zapatero, +in Lake Nicaragua, which was also a possession of the Nahuas. Two +apertures lead into the cavity of the instrument. When they are +closed with the fingers, a higher note is produced than when they +are open. + +[Illustration: NATIVE FLUTE MELODIES.] + +In the investigations prosecuted in Nicaragua by Dr. J. F. +Bransford, he discovered many of these whistles in ancient burial +mounds. Indeed, in the district of Nicoya, inhabited at the period +of the Conquest by the Mangues, he states that "every body appeared +to have been interred with a small earthen vessel and a whistle."[38] +The latter are usually of odd shapes, representing some animal. + +The following cuts are taken from his report:-- + +[Illustration: WHISTLES FROM NICARAGUAN BURIAL MOUNDS.] + +The long _Flute_, either of cane, or of earthenware, was found in +common use by the early explorers in Central America, Mexico and +Florida. The Nahuas of Nicaragua do not seem to have made so much +use of it as their relatives in Mexico. + +The _Juco_ is employed in the noisier dances, such as the _Baile de +Diablitos_. It is a drinking gourd (_nambira_), or jar, over the +aperture of which is stretched a skin. This is crossed by a cord, to +which is attached a small piece of wood, which serves as a clapper +when the instrument is shaken. + +The _Quijongo_ is a stringed instrument, made by fastening a wooden +bow with a stretched cord over the mouth of a jar. A hollow reed, +about five feet long and an inch and a half thick, is bent by a wire +attached to the ends. This wire is then tied to the reed at +one-third the distance from one end, and at the same point, on the +convex surface of the reed, a gourd, or thin earthen jar, is +fastened, with its mouth downward. The notes are produced by +striking the two sections of wire with a light stick, and at the +same time the opening of the jar is more or less closed by the palm +of the left hand, thus producing a limited number of notes, which +are varied by changing the intervals. + +[Illustration: THE QUIJONGO OF NICARAGUA.] + +Among the Nahuatl tribes of the Balsam coast, this is called the +_Carimba_. It appears to have been an aboriginal invention, although +some writers have asserted that the Aztecs had no knowledge of any +stringed instrument. Something like a harp, however, is represented +in the following cut, from the Aztec funerary ritual, where a priest +or hired mourner is shown, chanting the praise of the departed, and +accompanying his words with music, on what appears to be a rude +stringed instrument. (See page xxxvii.) + +The _Chilchil_ is a small bell, a number of which are strung +together and shaken. This is an ancient Aztec instrument, the term +for it in Nahuatl being _Ayacachtli_. + +The _Cacho_ is a sort of trumpet, constructed of a horn. A blast +upon it can be heard a long distance, and it has thus become a +measure of length, a _legua de cacho_ being the distance at which +one can hear the horn when lustily blown. It is said to be rather +longer than a Spanish league. + +[Illustration: AZTEC MOURNER SINGING AND PLAYING.] + +As to the value of the music which was obtained from these +instruments, it is difficult to arrive at an opinion from capable +judges. Nearly all who have been in a position to study the subject +have lacked acquaintance with the scientific principles and +developmental history of music as an art. + +Hence it has usually been stated, and accepted without inquiry, that +the aborigines of America were exceedingly deficient in musical +ability, and that their best efforts rarely went beyond creating +discordant noise. Late investigations by competent critics have +disproved this opinion, and show that the melodies of the natives +are in accordance with a recognized scale, though not that to which +we are accustomed. For a parallel we must go back to the ancient +Phrygian and Lydian measures, where we shall find a development of +the art in a similar direction to that among the natives of this +continent.[39] As is remarked by Mr. A. S. Gatschet, "Although the +Indian uses all the seven notes of our musical scales, he avoids +many of our melodial sequences; the majority of his tunes follow the +_dur_ or _sharp_ scales, and the two-eighths or two-fourths +measure."[40] + +In Central America, the native race has a keen musical sense. Von +Tempsky found that they learned by ear, with great ease, the +compositions of Bellini; and in Vera Paz and among the Lacandons, +Morelet heard upon the _Chirimoya_, an aboriginal wind instrument, +an air which he characterizes as "very remarkable" and "extremely +touching." What brings this air into relation to my present theme is +the singular fact that it was known as _la Malinche_, but Morelet +could not learn from what connection.[41] Quite possibly it was from +the character of that name in the play of _Güegüence_. + +[Illustration: MALINCHE.] + +In the public _bailes_ in ancient times, as we are informed by both +Oviedo and Benzoni, the musicians were separated from the singers +and other performers, forming an actual orchestra, and this is also +intimated in the Güegüence. Having thus the position of a class by +themselves, it may fairly be presumed that they cultivated with +assiduity their peculiar art. + +In later days, the _cofradias_, the brotherhoods and sisterhoods +organized in connection with the churches, made it part of their +business to learn singing and music, so as to take part in the +celebration of church festivals. It was through these _cofradias_ +that the art of playing on the ancient instruments was preserved. By +the loss of influence of the church at the separation of the +colonies from the mother country, the _cofradias_ were mostly +dissolved.[42] + +The music which accompanies the ballets in the Güegüence has been +written down, and is familiar to many in Nicaragua. I have obtained +a portion of it, through the obliging efforts of Dr. Earl Flint, of +Rivas, an earnest cultivator in the field of archaeological +research. The score appears, however, on examination by competent +persons, to be probably of Spanish origin, and it would not be worth +while to give more than a specimen of it. (See p. xl.) + +[Illustration: MELODIES FROM GUEGUENCE.] + + +§ 4. _History of the_ "_Baile del Güegüence._" + +Among the scenic representations which have been preserved by the +descendants of the Mangues, in the ancient province of Masaya, the +only one of length which has been committed to writing is the _Baile +del Güegüence, ô Macho-Raton_. Several copies of this exist in +manuscript, and from a comparison of two of them the late Dr. C. H. +Berendt obtained, in 1874, the text which is printed in this volume. +But he did not obtain, nor did he attempt himself, any translation +of any portion of it. He states, positively, that the Nahuatl parts +are not understood by the natives themselves at the present day. Its +antiquity and authorship are alike unknown. It is certain that it +was acted before the beginning of the present century, but with this +single fact its external history ceases. + +Within the memory of those now living, this _Baile_ has occasionally +been acted in fulfillment of a religious vow pronounced in some +emergency of life or affairs. The period selected for its +performance is, usually, at the festival of St. Jerome, September +30th. The preparations for it are elaborate and expensive. In former +times the rehearsals took place daily, sometimes for as much as six +or eight months before the public performance. The actors provided +their own costumes, which required a considerable outlay. There +were, however, always plenty of applicants, as it was not only +considered an honor to take part, but also, the patron or patroness +of the festival, who had pledged himself to give the drama, was +expected to furnish refreshments, in the way of food and drink, at +each rehearsal. As the appetites were usually keen, and the +libations liberal, it was almost ruinous for one of moderate means +to undertake it. For that reason, as Dr. Earl Flint writes me, it +has now been dropped, and will probably not again be brought out, at +least, in full. + +How far beyond the close of the last century we should place the +composition of the Güegüence is a difficult question. Dr. Berendt, +basing his opinion on what he could learn by local tradition, on the +archaisms of the Spanish construction, and on other internal +evidence, referred it in general terms to the first periods (_los +primeros siglos_) of the Spanish occupation. It is probable that we +may assign the early portion of the eighteenth century as the latest +date for its composition, and there is some evidence, which I shall +refer to in the notes to the text, that a more remote period is not +improbable. Of course, it does not contradict this that a few modern +expressions have crept into the text. Nothing else could be +expected. + +No hint as to the author is anywhere found. There are, however, +reasons which I consider weighty ones, to believe that it is the +production either of a native Indian or a half-caste. Several of +them are of a negative character, and I will give these first. + +All the dramas, so far as I know, which were introduced by the +Spanish priests as substitutes for the native _bailes_, are either +religious or instructive in aim. As the Germans say, they are +strongly _tendenciös_. Such are the _Baile de St. Martin_, which +gives scenes from the life of the saint, and in which a wheel, +called the _horquilla_, covered with feathers and flowers, is drawn +along; the _Baile de los Cinco Pares de Francia_, which sets forth +the conquest of the infidel Moors by the Christians, both of which +plays have been popular in Nicaragua; among the Kekchis, of Coban, +the _Baile de Moros y Cristianos_, similar to the last mentioned; +the _Zaki-Koxol, ô Baile de Cortes_, in Kiche, a copy of which I +have, and the like. But in the _Güegüence_ there is absolutely no +moral purpose nor religious tone; so much, indeed, of the reverse, +that we cannot conceive of its introduction by a priest. + +On the other hand, had it been composed by a secular Spanish writer, +we should hardly fail to find it, in a general way, modeled after +the stock Spanish comedy. It differs, however, in several striking +and fundamental features, from the Spanish models, and these +differences are precisely those which would flow from the native +habits of thought. I would note, first, that while females are +introduced, they are strictly _mutæ personæ_, even the heroine not +speaking a word; that there are no monologues nor soliloquies; that +there is no separation into scenes, the action being continuous +throughout; that there is neither prologue, epilogue nor chorus; and +especially that the wearisome repetition of the same phrases, and by +one speaker of what a previous one has said--a marked characteristic +of the native scenic orations[43]--are all traits which we can +scarcely believe any Spaniard sufficiently cultivated to write at +all, would exhibit. + +Furthermore, the "business" of the play is strictly within the range +of the native thought and emotion. The admiration of the coarse +cunning and impudent knavery of Güegüence is precisely what we see +in the modern camp-fire tales of Michabo among the Algonkins, of +Tezcatlipoca among the Aztecs, and of a score of other heroes. It is +of a piece with the delight which our own ancestors derived from the +trickeries of Reynard the Fox. + +The devices for exciting laughter are scarcely more than three in +number; one the assumed deafness of the Güegüence, the second, +a consequence of this, that he misunderstands, or pretends to, +the words of the other actors, thus giving rise to amusing +quid-pro-quos, and third, the introduction of obscene references. Of +course, I am aware that these are the stock resources of many +European low comedians; but I also consider it a fact of very +considerable importance in deciding the probable authorship of the +play, that all of these, especially the first two, are prominently +mentioned by old authors, as leading devices of the native Nahuatl +comedies. Thus, Benzoni and Coreal tell us that in the _bailes_ in +Nicaragua, which they witnessed, some of the actors pretended to be +deaf, and others to be blind, so as to excite laughter by their +mistakes.[44] And Father Diego Duran tells us of a native Mexican +comedy, upon which this of Güegüence may, perhaps, have been +founded, full of songs and coarse jests,[45] in which the clown +pretends to understand at cross purposes what his master orders, +transforming his words into others like them. As to the general +leaning to indecent gestures and jokes, it is frequently commented +on by the missionaries, and given as a reason for discountenancing +these exhibitions. + +The absence of all reference to the emotions of love, and the naive +coarseness indicated in the passages about women, point rather to a +native than a European hand. They are in remarkable contrast to the +Spanish school of comedy.[46] The neglect of common rules of Spanish +construction seems to arise from the ignorance of one imperfectly +acquainted with the language, rather than of deliberate purpose. It +must also be remembered that this piece was one acted altogether by +the native Indians, and not by the Spanish population. + +Nor are we without examples of persons of native lineage preparing +comedies for their fellows. About 1625, Bartholome de Alva, a +descendant of the native kings of Tezcuco, wrote three comedies, in +Nahuatl, drawing his plots from Lope de Vega. It is quite as likely +that another Alva rose from the Nahuas of Nicaragua, and prepared +for their amusement the production I now present. + +For these various reasons I class it among aboriginal productions. + + +§ 5. _The Dramatis Personæ of The Güegüence._ + +The central figure of the drama, and the personage from whom it +derives its name, is _The Güegüence._ This is a Nahuatl word, from +the root _hue_, old; _huehue_ is "old man;" to this is added what +grammarians call the "reverencial" termination _tzin_, denoting +reverence or affection, and we have, intercalating the euphonic _n_, +_huehuentzin_, which, in the vocative, becomes _huehuentzé_. It +means, therefore, "the honored elder," or "the dear old man," and +may be used, as it is in the play, either as a proper name or as a +common noun. In his description of the Nahuas of Nicaragua, Oviedo +gives the word _huehue_, and tells us that it was applied to certain +old men of influential position, who were elected by the natives as +rulers of the villages, and that they in turn selected the +war-chief, whose duty it was to look to the defence of the +community. The name was, therefore, one familiar to the Nicaraguans, +though the character would seem to be drawn as a burlesque or +satire. + +He is, in fact, anything but a respectable person. His indifference +to truth, his cynical impudence, his licentious jokes about and +before his sons, and the unscrupulous tricks of which he boasts, are +calculated to detract from the element of the comic in his +portraiture, for those who have been accustomed to the higher +productions of humor. But it would be an error to allow this +sentiment to affect much our estimate of the influence of the play. +As Lessing very well observes, the true value of comedy is to train +us to see the ridiculous and the absurd, wherever it is, in +flagitious as well as in merely inconsiderate actions, as thus the +observer is prompted to morality as well as forethought.[47] + +As I have said, his character is a marked type of the peculiar form +of humor which the native mind preferred, and of the class of +actions in which it especially found amusement, to wit, in that +jocularity which is assumed to deceive and get the better of one's +neighbor. This is strikingly shown by the number of words in the +Nicaraguan patois which express such actions. Thus, _chamarrear_ is +to take advantage of some one by a joke; _trisca_ is a conversation +in which some one is made ridiculous; _féfere_ is an idle tale with +which a hearer is cajoled; _dar un caritazo_ is to deceive a person +by a trick, etc. This is the humor in the Güegüence. The old man +nearly always has a selfish aim to gain by his jokes and his +stories; they are intended to further his own interests, and, at the +close of the play, he, on the whole, comes out victorious by these +questionable measures. + +As the drama was formerly represented, the Güegüence wore the most +magnificent apparel of any of the actors. Chains of gold, strings of +silver coins, and ornaments of steel draped his person. Indeed, all +the participants vied with each other in extravagant costumes. Their +garments were fantastically adorned with feathers and flowers, and +set off with sashes and handkerchiefs of brilliant colors. + +The two sons of Güegüence, _Don Forcico_ and _Don Ambrosio_, are +drawn in as strong contrast as possible. The former follows the +paternal example faithfully, and sustains his parent in all his +tricks and lies; the latter as invariably opposes and exposes the +old man's dishonesty. The bitter words which pass between them, +however, must not be taken in dead earnest; they, too, are only half +serious, and do not lead to any separation of interests. + +The _Governor Tastuanes_ appears on the scene in Spanish costume, +with a staff and sabre. His name, however, seems to be from the +Nahuatl, probably a corruption of _tlatoani_, chief, lord.[48] He is +little more than a lay figure, designed to draw forth the ruses of +Güegüence. + +The _Alguacil_, the _Secretary_ and _Registrar_ appear in what is +supposed to be full official dress, with their staffs of office. + +The _mutæ personæ_ of the drama are the women and the _machos_, or +mules. Of the former, only one is named, the lady _Suchi-Malinche_, +daughter of the Governor. She enters clothed in a sort of tunic, +fastened to her person with gay silken sashes; chains of gold and +costly jewels adorn her garments, and a wreath of flowers crowns her +hair. The latter may be a reference to her name. _Suchi_ is a +corruption of the Nahuatl _xochitl_, flower; _Malinche_, it may be +remembered, was the name of the famous Indian girl who served Cortes +as interpreter in his first campaign in Mexico, and became his +mistress. Some have supposed that it was a corruption of the Spanish +Christian name _Marina_, but, as Señor Icazbalceta has conclusively +shown, it is the name of one of the days of the Aztec month, +_malinalli_, with the termination _tzin_, signifying affection. It +was the custom in Mexico and Central America, and still is in many +parts, for the natives to name their children after the day on +which they were born, led thereto by certain ancient astrological +notions.[49] In Nicaragua, _malinche_ is also the name of a tree, a +species of _Poinciana_, which bears a handsome red flower. + +The _Machos_, or mules, are twelve or more in number. They give the +second title to the piece,_ El Macho raton_, an appropriate +translation of which I am at a loss to give. Literally it means "The +Male Mouse." As used at present, it signifies a masker, or +masquerading dress. An acquaintance, who has lived in Nicaragua, +tells me that he has heard the children call out: "See, there goes +the _Macho-raton_," which would prove to be an Indian in a fantastic +costume. In the play, they wear heads of skins, imitating those of +mules, surmounted with horns of goats, and a _petaca_, or wicker +basket frame draped with sashes, etc. In their hands they carry +bells. + +Among the ancient Nahuas, and probably to this day, there were +various curious superstitions relating to mice. If they gnawed a +hole in the dress of a wife, her husband took it as a sign that she +had been unfaithful to him; and she entertained the same suspicion +were his garments attacked. When food was attacked by mice, it +indicated that the people of the house would be falsely accused of +something.[50] + + +§ 6. _Epitome of the Story of The Güegüence._ + +[Sidenote: p. 6.] + +The Governor and the Alguacil meet and enter into conversation. The +Governor directs that the songs and dances which are for the +diversion of the Royal Council should cease, and bewails its +poverty. + +[Sidenote: p. 8.] + +[Sidenote: p. 10.] + +He also directs that no one shall be allowed to enter his province +(or presence?) without a permit from the patrol. The Alguacil +complains that their poverty is so great that they have no fit +clothing, and lays the blame on Güegüence. The Governor refers to +Güegüence in severe terms, and orders that he be brought before him, +by any means. + +Güegüence, who with his two sons is within earshot, hears the +Governor's orders, and pretends to think that it refers to a calf or +a colt. + +[Sidenote: p. 12.] + +[Sidenote: p. 14.] + +[Sidenote: p. 16.] + +[Sidenote: p. 18.] + +[Sidenote: pp. 20-22.] + +[Sidenote: p. 24.] + +[Sidenote: p. 26.] + +[Sidenote: p. 28.] + +The Alguacil announces himself as a servant of the Governor. +Güegüence professes to understand that it is a female servant who +desires to see him. The Alguacil corrects him in this, and informs +him that he is to fly to the Governor. Güegüence takes the word in +its literal sense, and chaffs about an old man flying. The Alguacil +suggests to him that he had better learn how to salute the Governor +properly on entering his presence, and offers to teach him the +customary salutation for a consideration. This proposal Güegüence +accepts, but chooses to misunderstand the considerations suggested +by the Alguacil, and replies in a series of quid-pro-quos and gibes. +At last, he produces some money, which, however, he will not pay +over until the Alguacil gives the promised instruction. The Alguacil +recites the formal salutations, which Güegüence pretends to +misunderstand, and repeats, instead, some phrases of similar sound, +which are discourteous to the Governor. For this the Alguacil +threatens to whip him, and on Güegüence continuing in his taunts, +gives him two blows, and recommences his lesson. + +[Sidenote: p. 30.] + +[Sidenote: p. 32.] + +At this juncture the Governor appears, answers Güegüence's salute, +and asks him why he has entered the province without a permit. At +first Güegüence answers by relating how he had traveled without a +permit in other provinces. Finding this does not meet the case, he +seeks to turn the inquiry by a dubious story how a girl once gave +him a permit for something besides traveling. The Governor, not +choosing to be put off with this, Güegüence proposes they shall be +friends, and that the Governor shall have some of the immense riches +and beautiful clothing which Güegüence possesses. The Governor +expresses some doubt as to this wealth, and proposes to examine, +apart, Güegüence's oldest son, Don Forcico. + +[Sidenote: p. 34.] + +He does so; and Don Forcico corroborates, in the most emphatic +terms, the statements of his father: "the day and the night are too +short to name all his possessions." + +[Sidenote: p. 36.] + +[Sidenote: p. 38.] + +The Governor remains, however, uncertain about the truth, and +requests a similar private talk with Güegüence's younger son, Don +Ambrosio. The latter tells a very different story, asserting that +all his father's boasts were lies, and that he is, in fact, a poor, +old, thieving ragamuffin. Güegüence, who overhears him, rails at him +as a disgrace to the family; and Don Forcico assures the Governor, +in very clear terms, that Don Ambrosio has none of Güegüence's blood +in his veins. + +[Sidenote: p. 40.] + +[Sidenote: p. 42.] + +To settle the question, Güegüence proposes to show the Governor the +contents of his tent-shop, and has the two boys bring it forward and +raise the sides. He then offers the Governor several impossible +things, as a star, which is seen through the tent, and an old +syringe, which he suggests might be profitably applied to the Royal +Council. As the Governor replies roughly, Geügüence at once changes +the subject to a laudation of the remarkable skill of Don Forcico in +many vocations. The Governor is interested and proposes to inquire +of Don Forcico himself as to the truth of this. The latter repeats +the boasts, and on the Governor inquiring as to whether he knows +some diverting dances, with his father and his brother, he dances a +ballet. + +[Sidenote: p. 46.] + +[Sidenote: p. 48.] + +The Governor wishes to see another ballet, which the three perform, +also; and this is followed by two others, in which the Governor and +Alguacil also take part. + +[Sidenote: p. 50.] + +[Sidenote: p. 52.] + +[Sidenote: p. 54.] + +[Sidenote: p. 56.] + +[Sidenote: p. 58.] + +[Sidenote: p. 60.] + +[Sidenote: p. 62.] + +Following these the Governor asks for the masquerade of the +_macho-raton_, or the mules. They are led in by Don Forcico, and +march around the stage. Güegüence avails himself of this auspicious +moment to ask for the hand of the Lady Suche-Malinche, the +Governor's daughter. The Governor sends the Alguacil for the Chief +Secretary, who returns with Suche-Malinche and other young women. +The Secretary describes what an elegant costume is expected of the +son-in-law of the Governor, and the latter suggests that Güegüence +has cast his eyes too high. The old man explains that it was not for +himself, but for Don Forcico, that the request was made, and +pretends to feel quite badly about the marriage. He, nevertheless, +brings up the young women, one by one, who are rejected by Don +Forcico, with very uncomplimentary remarks, until Suche-Malinche +comes forward, who pleases him, and with whom he is married. The +Governor then suggests that Güegüence treat the Council with some +Spanish wine. This the old man does not find it convenient to +understand, and when he can no longer escape, and is at a loss where +to obtain the liquor, is relieved by Don Forcico, who has secured +it in a questionable manner. + +[Sidenote: p. 64.] + +[Sidenote: p. 66.] + +[Sidenote: p. 68.] + +The mules, that is, the masqueraders who represent them, are then +brought up, and as Güegüence examines first one and then another, +they give him opportunity for a series of extremely broad jokes and +vulgar allusions. + +Finally, the loads are placed on the mules, the boys mount them and +move off, while Güegüence, having offered his wine to the Governor, +the Secretary, the Registrar and the Alguacil, who each in turn tell +him to be off, leaves the stage shouting to his sons that they will +all have a rouse that will cost them nothing. + + +FOOTNOTES: + +[1] E. G. Squier, _The States of Central America_, p. 317 (London, +1858). + +[2] The conquest of Nicaragua is described by Oviedo, _Historia +General de las Indias_, Lib. XXIX, cap. XXI, and Herrera, _Decadas +de Indias_, Dec. III, Lib. IV, and see Dec. IV, Lib. VIII, cap. X. + +[3] "_Nicaragua_ es lo mismo que _Nica anahuac_, aqui estan los +Mexicanos ò Anahuacos." Fray Francisco Vasquez, _Cronica de la +Provincia de Guatemala_, Parte II, Lib. V, cap. I (Guatemala, 1716). +The form _Nicarao_, adopted by Dr. Berendt, is certainly corrupt, as +the termination of a proper name in _ao_ is not found in correct +Nahuatl. Squier's term _Niquirans_ was adopted by him from a +misreading of Oviedo, and has no authority whatever; so, also, his +attempted discrimination between Chorotegans and Cholotecans, as +both these are forms of the same word. + +[4] "The hypothesis of a migration from Nicaragua and Cuscatlan to +Anahuac is altogether more consonant with probabilities, and with +traditions, than that which derives the Mexicans from the +north."--E. G. Squier. _Notes on Central America_, p. 349. It is +difficult to understand how Mr. Squier could make this statement in +the face of the words of Herrera and so many other writers. + +[5] "La Gente de esta tierra decia, que havia descendido de la +Mexicana; su Trage, i Lengua, era casi, como el de Mexico."--Herrera, +Decada III, Lib. V, Cap. XII. "Dicèn, que huvo en los tiempos +antiguos, en Nueva España una gran Seca, por lo qúal se fueron por +aquella Mar Austral à poblar à Nicaragua."--Id. Dec. III, Lib. IV, +cap. VII. Torquemada, specifically quoting the traditions obtained +from the oldest natives, states that the Nicaraguans came from +Anahuac at no remote epoch.--_Monarquia Indiana_, Lib. III, cap. XL. +See, also, Gomara, _Hist. de las Indias_, cap. 206. + +[6] Prof. Buschmann, who obtained these names in a garbled form from +Ternaux-Compans' translation of Oviedo, gave them up as insoluble, +while recognizing their value as indicating the wanderings of the +Nicaraguans. "Unglücklicherweise," he says, "sind jene zwei Namen +von so ungünstigem Gehalte, das ich nichts aus ihnen hervorlocken +kann."--_Ueber die Aztekischen Ortsnamen_, p. 768 (Berlin, 1852). + +[7] The careless statement of the historian Herrera, that it was +only the Chorotegans who had such books, can be corrected from his +own volumes, and also from the explicit words of Oviedo and Gomara. +Compare Herrera, Dec. III, Lib. IV, cap. VII, with Oviedo, _Hist. de +las Indias_, Lib. XLII, cap. I, and Gomara, _Hist. de las Indias_, +cap. 202. + +[8] The word _mánkeme_ is a derivative from _[chi]imá_, the head, +whence the Chapanec _d[chi]ämä_, the ruler or head man, and +_mand[chi]ämä_, master, chief, in which word _ma_ is a possessive +prefix, and _n_ a particle, sometimes relative, sometimes euphonic, +of exceedingly frequent use in this tongue. It may be compared to +the Nahuatl _in_. + +[9] This latter, or a portion of them, inhabiting a hilly country +south of Masaya, were called _Dirians_, from the Mangue word +_diri_=, a hill, a name which has improperly been extended to the +whole tribe. + +[10] The "compulsive" form of the verb _choloa_, to run away, is +_chololtia_, to cause to run away, to drive out. No doubt the name +of Cholula (Cholollan) in Mexico is of the same derivation, but it +arose from a different, though similar, historical event. + +[11] Torquemada appears to have been the first to make this guess; +and it has recently been advocated by Dr. Valentini, _The Olmecas +and the Tultecas_, p. 20 (Worcester, 1883), and was also sanctioned +by Dr. Berendt. + +[12] In a note to his translation of Oviedo's _Nicaragua_. + +[13] The proper spelling is "Chapanec." It is not an Aztec word, but +from the Mangue tongue, in which _Chapa_ means the ara, or red +macaw, their sacred bird. The name was derived from that of the +lofty peak on which their principal town in Chiapas was +situated--_chapa niiu_, the ara of fire. + +[14] In Mr. Bancroft's _Native Races of the Pacific States_, Vol. V, +p. 659. + +[15] The contrary of this has been very positively stated by Dr. +Valentini (_ubi supra_). The only evidence he brings forward is the +word _calachuni_, for chieftain, applied by Gil Gonzalez to one of +the rulers in Nicaragua. This is, no doubt, the Maya _halach uinic_, +holy man, but Gonzalez wrote in 1522, and this word was adopted by +the Spaniards in 1518, during Grijalva's expedition to Yucatan, as +the accounts show, and was promiscuously applied, just as _cacique_, +_canoe_, etc., from the Haytian dialect. A careful analysis of all +the native words in Oviedo's account of Nicaragua does not show a +single Maya affinity. + +[16] The chief asked Gonzalez if, at the end of the world, the earth +would be overturned, or would the sky fall? How large are the stars, +why they move, and what keeps them in their courses? When, and how +do the sun and moon change their brightness? Why is the night dark +and the winter cold, since light and warmth are so much better? +(Herrera, Decad. III, Lib. IV, cap. V.) + +[17] The leading authorities on the antiquities of Nicaragua are E. +G. Squier, _Nicaragua, Its People, Scenery and Monuments_, together +with his numerous other works pertaining to Central America; and the +reports of Dr. Earl Flint and Dr. J. F. Bransford, to the +Smithsonian Institution. Dr. Habel and Dr. Berendt also made +numerous investigations, but their reports have not appeared in +adequate detail. + +[18] See his essay, _Remarks on the Centres of Ancient American +Civilization in Central America, and their Geographical +Distribution, in the Bulletin of the American Geog. Soc. No. 2, +1876._ + +[19] _Historia General de las Indias_, Lib. XLII, cap. V. + +[20] The older writers have left scant information about these +idioms. Oviedo preserved thirty or forty Nahuatl words, most of +which have been analyzed by Buschman; and Benzoni, in a brief +passage, notes the identity of the Nicaraguan and Mexican. "Chiamano +li Signori Tutruane, il pane tascal, and le galline totoli, and +occomaia tanto vuol dire como aspetta un poco e al infirmita +mococoua and al ballare mitote." _La Historia del Mondo Nuovo_, p. +103. It is said that a _Doctrina_ was printed in the Mangue; but the +only work on that tongue I know of is the _Apuntamientos de la +Lengua Mangue_, by Don Juan Eligio de la Rocha (MS. Masaya, 1842) a +fragment of which is in my possession. + +Dr. S. Habel, who visited Nicaragua in 1865, in spite of the +greatest efforts, was unable to find a single person speaking +Nahuatl; they told him it was all forgotten.--_Archæological and +Ethnological Investigations in Central and South America_, p. 24 +(Washington, 1878). + +[21] The superior position of the Nahuatl among the Nicaraguan +languages was noted by Benzoni, in his visit to that country, as +early as about 1550. He observes: "Parlano in Nicaragua quatro +lenguaggi, pero la meglio è la Messicana, laquale si stende piu di +mille e cinquecento miglia di paese and è la piu facile da +imparare."--_Istoria del Nuovo Mondo_, p. 103 (Venetia, 1565). + +[22] "Una mezcla de Castellano y Mexicano, que ni en uno ni en otro +idioma se entiende."--_Compendio del Arte de la Lengua Mexicana_, +pp. 93, 202. + +[23] Speaking of the natives of Nicaragua and Honduras, Father +Francisco Vasquez says: "Muchos de aquellos Indios por la +comunicacion que tienen con gente ladina de las estancias vecinas +alcanzan mucho de la lengua Castellana."--_Historia de la Provincia +de Guatemala._ Parte II, Lib. V, Trat. I, Cap. 1 (Guatemala, 1716). + +[24] This verse is from a song by Dr. Gollena, a highly appreciated +poet of Guatemala, who has written, but I believe never published, +some poems in the Nicaraguan dialect. + +[25] Oviedo, _Historia General de las Indias_, Lib. XLII, cap. XI. +Precisely this baile, or one altogether like it, is described by +Diego Duran as common in Mexico in his day (about 1580). He writes: +"Tambien usaban bailar al rededor de un volador alto vistiendose +como pájaros y otras veces como monas volaban de lo alto de el +dejandose venir por unas cuerdas que en la punta de este palo estan +arolladas, desliándose poco à poco por un bastidor que tiene +arriba," etc.--_Historia de las Indias de Nueva España._ Tomo II, p. +232 (Mexico, 1880). + +[26] _Historia del Nuovo Mondo_, fol. 103 (Venetia, 1565). Benzoni +gives a wood cut exhibiting the dances, but it is not instructive. +Another traveler, François Coreal, claimed to have visited Nicaragua +about 1680, and also describes the native dances, but in words so +similar to Benzoni that it is an evident plagiarism.--_Relation des +Voyages de François Coreal aux Indes Occidentales_, Tome I, p. 88 +(Amsterdam, 1722). + +[27] Thomas Gage, _A New Survey of the West Indies_, p. 234 (4th Ed. +London, 1699). + +[28] Letter to the London _Athæneum_, 1856, p. 1537. Oviedo also +states that the songs sung at certain _bailes_ were of an historical +character, intended to recall the important incidents in personal +and tribal history, "que les quedan en lugar de historia é memoria +de las cosas pasadas."--_Historia General de las Indias_, Lib. XLII, +cap. XI. + +[29] "Hay santos à quienes se hace el voto, en caso de enfermedad ú +de desgracia de ir á _bailar_ ante su imagen, en tal pueblo, el dia +de su fiesta, cuando le sacan procesionalmente."--Pablo Levy, _Notas +Geograficas y Económicas sobre la Republica de Nicaragua_, p. 281 +(Paris, 1873). + +[30] "Welligt blijkt de geesteloosheid dezer menschen nit niets zoo +zeer als uit hunne dansen, een vermaak, hetwelk trouwens vrij +zeldzaam onder hen is. Bij het eentoonige geluid van een paar +fluiten, en het kloppen op een hol blok hout, draaijen mannen en +vrouwen afzonderlijk, langzaam en bedaard, in alle rigtingen herom, +en schijnen veeleer diepe treurigheid dan vreugde aan den dag te +leggen."--J. Haefkens, _Centraal Amerika_, p. 407 (Dordrecht, 1832). + +[31] Such dances are the "bailes usados en el populacho, y que estan +muy lejos de brillar por su desencia," referred to by Don Pablo +Levy, _Notas_, etc., _sobre Nicaragua_, p. 294. + +[32] The word _Loga_ is, I have no doubt, a corruption of the +Spanish _loa_. The _loas_ in Spain were at first rhymed prologues to +the plays, but later took a more dramatic form and "differed little +from the farces that followed them." See George Ticknor, _History of +Spanish Literature_, vol. ii, pp. 527-529 (5th edition). + +[33] "_Mosote._ Un casco ô gorra de cabuya teñida negra, con cola à +trensa, usada en el baile de los _Chinegritos_."--Berendt, MSS. + +[34] "_Guaca._ Montecillo de sepultura de los inhabitantes antiguos. +Cueva; madriguera de animales. Hoyo subteraneo para madurar ô +guardar frutas y verduras."--Berendt, MSS. + +[35] _Nicaragua, Its People, Scenery and Monuments_, Vol. I, p. 340. + +[36] _Narrative of Incidents on a Journey in Mexico, Guatemala and +San Salvador_, pp. 384-6 (London, 1858). The Smithsonian Institution +contains a good specimen of the Marimba. + +[37] Arthur Morelet, _Voyage dans l'Amerique Centrale_, Tome II, pp. +42, 43 (Paris, 1857). + +[38] _Archæological Researches in Nicaragua_, p. 75 (Washington, +1881). + +[39] The most satisfactory discussion of native music is that by +Theodore Baker, _Ueber die Musik der Nord Amerikanischen Wilden_ +(Leipzig, 1882). Mr. Edwin A. Barber has also contributed some +valuable articles on the subject. + +[40] _The American Naturalist_, February, 1883. + +[41] _Voyage dans l'Amerique Centrale_, Tom. II, p. 44. + +[42] So little is understood about the system of the _cofradias_, +and the point is one of so much importance in the study of the +organization of Spanish ecclesiasticism in America, that it is worth +while to explain it. They are created by the priest of a parish, in +such number as he sees fit, and each bears the name of a saint or +religious occurrence. Each should have, of male members, a major +domo, a steward (_prioste_), and four or more appointees +(_diputados_). They attend the priest, serve in the church, aid in +the offices of religion, have a monthly mass, act as choristers, +etc., at fixed periods. Of female members there should be the +patroness (_patrona_ or _capitana_), and the _alguazila mayor_, each +of whom should have two special attendants, and there should be +other members. Their duties are to sweep the church, deck it with +flowers when necessary, and aid the male members in their duty. Each +_cofradia_ should have its strong box and financial resources, +independently, and the major domo is expected to keep a book +accounting for the funds. I have in my possession such a volume, in +the Chapanec language, the _Libro de Cuentas de la Cofradia del +Rosario_, 1796. + +From ten to fifty cofradias were formerly attached to one church, +but the modern curas complain that they can no longer be kept up. +"Es verdad," exclaims the worthy presbyter Navarro, "que los Sres. +Curas, mis antecessores, y yo, hemos procurado organizarlas de +nuevo, pero es moralmente impossible."--_Memoria de la Parroquia de +Villa Nueva_, p. 18. (Guatemala, 1868). + +[43] See, for example, the _Rabinal-Achi, ou le Drame-Ballet du +Tun_, in Kiche, published by the Abbé Brasseur de Bourbourg, and the +translation of the song of the Uluas of Nicaragua given by Pablo +Levy.--_Notas sobre la Republica de Nicaragua_, p. 307 (Paris, +1873). + +[44] "Il y en a qui font les sourds, d'autres les aveugles. +Ils rient, ils crient, et font en un mot toute sorte de +singeries."--_Voyages de François Coreal aux Indes Occidentales +depuis 1666 jusqu'en 1697._ Tom. I, p. 88 (Amsterdam, 1722). +Borrowed, probably, from Benzoni, who says the same. + +[45] "Habia un baile y canto de truhanes en el cual introducian un +bobo que fingia entender al reves lo que su amo le mandaba, +trastocandole las palabras."--P. F. Diego Duran, _Historia de las +Indias de la Nueva España_, Tomo II, p. 231 (Mexico, 1880). + +[46] As Mr. George Ticknor very pointedly says, in speaking of the +Spanish drama:--"Above all, it was necessary that it should be +Spanish; and therefore, though its subject be Greek or Roman, +Oriental or mythological, the characters represented were always +Castilian, and Castilian after the fashion of the seventeenth +century,--governed by Castilian notions of gallantry, and the +Castilian point of honor."--_History of Spanish Literature_, vol II, +p. 539 (5th edition). + +[47] Speaking of the comedy, he says:--"Ihr wahrer allgemeiner +Nutzen liegt in dem Lachen selbst, in der Uebung unserer +Fähigkeit das Lächerliche zu bemerken; es unter allen Bemäntelungen +der Leidenschaft und der Mode, es in allen Vermischungen +mit noch schlimmern oder mit guten Eigenschaften, sogar in den +Runzeln des feierlichen Ernstes, leicht und geschwind zu +bemerken."--_Hamburgische Dramaturgie_, 29 Stück. + +[48] _Tlatoani_ means, literally, "the speaker," from _tlatoa_, to +speak, to ask, but it is translated by the Spanish lexicographers +"gran señor." The chiefs were probably so called, from their right +of speech in the assemblies. Benzoni gives something like this as +the title of the Nicaraguan chiefs. "Chiamano li Signori Tutruane," +which I suspect is a misprint for _Tattruani_.--_Istoria del Mondo +Nuovo_, p. 103 (Venetia, 1565). + +[49] Icazbalceta's discussion of the name may be found in his notes +to the _Diálogos de Francisco Cervantes Salazar_, p. 181 (Mexico, +1875). Malinalli is the twelfth day of the Mexican month. According +to Duran, the word means underbrush (_matorral_), and the prognostic +was, that those born on that day should have an annual attack of +sickness, like this underbrush, which dries up, or loses its leaves +yearly.--_Historia de la Nueva España_, Tomo II, p. 261 (Mexico, +1880). + +[50] See the rare work of Fray Joan Baptista (often spelled +Bautista). _Advertencias para los Confessores de los Naturales_, +vols. 107, 108 (Mexico, en el Convento de Sanctiago Tlatilulco, año +1600). + + + + +THE GÜEGÜENCE. + +A COMEDY BALLET +IN THE +NAHUATL-SPANISH DIALECT OF NICARAGUA. + + + + +BAILE DEL GÜEGÜENCE + +ó + +MACHO-RATON. + + +PERSONAS. + +EL GOBERNADOR TASTUANES. +EL ALGUACIL MAYOR. +EL GÜEGÜENCE. +DON FORCICO. +DON AMBROSIO. +DOÑA SUCHI-MALINCHE. +EL ESCRIBANO REAL. +EL REGIDOR DE CANA. + + + + +THE +BALLET OF THE GÜEGÜENCE; + +OR, + +THE MACHO-RATON. + + +DRAMATIS PERSONÆ. + +THE GOVERNOR TASTUANES. +THE CHIEF ALGUACIL. +THE GÜEGÜENCE. +DON FORCICO, HIS ELDER SON. +DON AMBROSIO, HIS YOUNGER SON. +THE LADY SUCHI-MALINCHE. +THE ROYAL SECRETARY. +THE REGISTRAR. + +6 + + + + +BAILE DEL GÜEGÜENCE. + + + Se da principio bailando, y habla el + +_Alguacil._ + +Matateco Dio mispiales, Señor Gobernador Tastuanes. + +_Gobernador._ + +Matateco Dio miscuales quilis no pilse Capitan Alguacil Mayor ya +tiguala neme? + +_Alguacil._ + +Mascamayagua Sor. Gob^r Tastuanes. + + Dan vuelta bailando y habla el + +_Alguacil._ + +Matateco Dio mispiales, Señor Gobernador Tastuanes. + +_Gobernador._ + +Matateco Dio miscuales quilis no pilce Capitan Alguacil Mayor: no +pilces simocague campamento Señores principales, sones, mudanzas, +velancicos necana y paltechua linar mo Cabildo Real. En primer lugar +tecetales seno mesa de oro, seno carpeta de bordado, seno tintero de +oro, seno pluma de oro, seno salvadera de oro, y no mas hemo papel +blanco y paltechua sentar mo Cabildo Real. + + Dan vuelta bailando y habla el + +_Alguacil._ + +Matateco Dio mispiales, Señor Gobernador Tastuanes. + +_Gobernador._ + +Matateco Dio miscuales quilis no pilces Capitan Alguacil Mayor. + +7 + + + + +THE COMEDY-BALLET OF GÜEGÜENCE. + + + (The Alguacil and Governor enter, dancing.) + +_Alg._ I pray God to protect you, Governor Tastuanes. + +_Gov._ I pray God to prosper you, my son, Captain Chief Alguacil; +are you well? + +_Alg._ At your service, Governor Tastuanes. + + (They dance around the stage.) + +_Alg._ I pray God to protect you, Governor Tastuanes. + +_Gov._ I pray God to prosper you, my son, Captain Chief Alguacil: my +son, suspend in the quarters of the leading men the music, dances, +songs, ballets, and such pleasant matters of amusement to the Royal +Court. It is a great shame that we have no golden table, no +embroidered table-cloth, no golden inkstand, no pen of gold, no +golden sand-box, not even white paper, and such like suitable +things, for a session of the Royal Court. + + (They dance around the stage.) + +_Alg._ I pray God to protect you, Governor Tastuanes. + +_Gov._ I pray God to prosper you, my son, Captain Chief Alguacil. + +8 + +_Alguacil._ + +Ya lichua linar mo Cabildo Real. En primer lugar tecetales seno mesa +de oro, seno carpeta de bordado, seno tintero de oro, seno pluma de +oro, seno salvadera de oro, no mas hemo papel blanco y paltechua +sentar mo Cabildo Real. + +_Gobernador._ + +No pilces Cap^n Alg^l M^{or} simocagüe campamento Sres. principales +sones, mudanzas, velancicos necana y paltechua seno la ronda +quinquimagua licencia galagua no provincia real. + +_Alguacil._ + +Mascamayagua Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Srs. +principales sones, mudanzas, velancicos necana y paltechua seno la +ronda del Señor Gobernador Tastuanes. + + Aqui se toca la ronda, dan vuelta bailando y habla el + +_Alguacil._ + +Sor. Gob^{or} Tastuanes, ya nemo niqui nistipampa, ya nemo niqui +samo la ronda, son rastros y pedazos de cinchones rompidos de +corage, sombrero de Castor rompido de corage, no mas hemo mantera de +revoso, no mas hemo capotin colorado á sones panegua sesule +Güegüence, Sor. Gob^{or} Tastuanes. + +_Gobernador._ + +No pilces Cap^n Alg^l M^{or} asamatimaguas consentidor, afrentador, +ticino mo Cabildo Real. + +_Alguacil._ + +Acaso no me de consentidor ticino mo Cabildo Real. + +9 + +_Alg._ Something to amuse the Royal Court. It is a great shame that +we have no golden table, no embroidered table-cloth, no golden +inkstand, no pen of gold, no golden sand-box, not even white paper, +and such like suitable things, for a session of the Royal Court. + +_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of +the leading men the music, dances, songs, ballets, and such matters, +unless the patrol gives a permit to enter my royal province [for +that purpose]. + +_Alg._ Yours to command, Governor Tastuanes. I pray God to protect +you. The leading men [shall give no] music, dances, songs, ballets, +and such things, without [the permission of] the patrol of Governor +Tastuanes. + + (The patrol is sounded and they dance.) + +_Alg._ Governor Tastuanes, I am here, as is proper, but the patrol +is not; their girdles are in rags and tatters, and their hats +smashed in from their frays, and we have not a single saddle cloth +or red cloak better, perhaps, than that good-for-nothing Güegüence, +Governor Tastuanes. + +_Gov._ My son, Captain Chief Alguacil, you must bring that pimp, +that impudent fellow, that charlatan, before the Royal Court. + +_Alg._ Perhaps that pimp and charlatan won't come with me to the +Royal Court. + +10 + +_Gobernador._ + +No pilces Cap^n Alg^l M^{or} simocagüe campamento Sres. principales +sones, mudanzas, velancicos necana y paltechúa sesule Güegüence, ó +de la cola, ó de las piernas, ó de las narices, ó de onde Dios te +ayudare, Cap^n Alg^l M^{or}. + +_Alguacil._ + +Mascamayagua, Sor. Gob^{or} Tastuanes, sones, mudanzas, velancicos +necana. + +_Güegüence._ + +¡Ha muchachos, güil ternero, (ó) güil potro para quichuas rebiatar +de la cola, ó de las piernas, ó de las narices? + +_D. Ambrosio._ + +Asi lo mereces, Güegüence embustero. + +_Güegüence._ + +¿Me hablas, Don Forcico? + +_D. Forcico._ + +No, tatita, seran los oidos que le chillan. + +_Güegüence._ + +¿Me hablas, Don Ambrosio? + +_D. Ambrosio._ + +¿Quien te ha de hablar, Güegüence embustero? + +_Güegüence._ + +Como no, mala casta, saca fiestas sin vigilias en los dias de +trabajos. Ora quien vá, quien quiere saber de mi nombre? + +_Alguacil._ + +Un criado del Sor. Gob^{or} Tastuanes. + +11 + +_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of +the leading men the music, dances, songs, ballets, and such things, +[and bring] that good-for-nothing Güegüence, either by the tail, or +the legs, or the nose, or by whatever God will help you [to bring +him], Captain Chief Alguacil. + +_Alg._ At your service, Governor Tastuanes, the music, dances, +songs, ballets [will be suspended]. + +_Güegüence._ Ho, boys! is it a calf or is it a colt that is to be +tied behind by the tail, or the legs, or the nose? + +_Don Ambrosio._ That's what you deserve, Güegüence, you old humbug. + +_Güe._ Do you speak to me, Don Forcico? + +_Don Forcico._ No, little papa, perhaps it's your ears that are +buzzing. + +_Güe._ Do you speak to me, Don Ambrosio? + +_Don Am._ Who would speak to you, Güegüence, you old humbug? + +_Güe._ Why not, you bad breed, you lazy loafer on working days? Who +is it now who wants to know my name? + +_Alg._ A servant of the Governor Tastuanes. + +12 + +_Güegüence._ + +Como que criada, güil chocolatera, ó güil lavandera, ó componedera +de la ropa del Sor. Gob^{or} Tastuanes? + +_Alguacil._ + +Chocolatera ó lavandera no; criado del Sor. Gob^{or} Tastuanes. + +_Güegüence._ + +Pues que criada, güil cocinera ó güil componedora del plato del Sor. +Gob^{or} Tastuanes? + +_Alguacil._ + +Asuyungua me negua, no me cele componedora del plato, Capitan +Alguacil Mayor del Sor. Gob^{or} Tastuanes. + +_Güegüence._ + +Ha! Cap^n Alg^l M^{or} del Sor. Gob^{or} Tastuanes: O amigo Cap^n +Alg^l M^{or} del Sor. Gob^{or} Tastuanes, asa campamento insigna +vara? + +_Alguacil._ + +Asa neganeme, Güegüence. + +_Güegüence._ + +Asetato, amigo Cap^n Alg^l M^{or}. + +_Alguacil._ + +Asetato, Güegüence. + +_Güegüence._ + +Amigo Cap^n Alg^l M^{or}, y que dice el Sor. Gobernador Tastuanes? + +_Alguacil._ + +Que vayas corriendo y volando, Güegüence. + +_Güegüence._ + +Corriendo y volando? Como quiere que corra y vuela un pobre viejo, +lleno de dolores y continuas calamidades? + +13 + +_Güe._ What sort of a servant-girl is it, the chocolate maker, the +washwoman, or the clothes patcher of the Governor Tastuanes? + +_Alg._ Neither waiter-girl nor washwoman; a servant of the Governor +Tastuanes. + +_Güe._ Then which servant-girl, cook or grub-fixer of the Governor +Tastuanes? + +_Alg._ Let me disclose myself; I have nothing to do with the +grub-fixer; I am the Captain Chief Alguacil of the Governor +Tastuanes. + +_Güe._ Ha! Captain Chief Alguacil of the Governor Tastuanes! O +friend Captain Chief Alguacil of the Governor Tastuanes, your +official staff is perhaps at your quarters? + +_Alg._ Perhaps I may offer you one, Güegüence. + +_Güe._ Take a seat, friend Captain Chief Alguacil. + +_Alg._ Take a seat, Güegüence. + +_Güe._ Friend Captain Chief Alguacil, and what has Governor +Tastuanes to say? + +_Alg._ That you go to him a-running and a-flying, Güegüence. + +_Güe._ A-running and a-flying? How does he expect a poor old man, +full of pains and aches, to run and + +14 + +Amigo Cap^n Alg^l M^{or} y un silguero que está en la portada del +Sor. Gob^{or} Tastuanes, que es lo que hace? + +_Alguacil._ + +Cantando y alegrando á los Señores grandes. + +_Güegüence._ + +Ese es mi consuelo y mi divertimiento. Amigo Cap^n Alg^l M^{or} con +que corriendo y volando? + +_Alguacil._ + +Corriendo y volando, Güegüence. + +_Güegüence._ + +¡Ha, muchachos! me hablan? + +_D. Ambrosio._ + +Quien te ha de hablar, Güegüence embustero? + +_Güegüence._ + +¿Me hablas, Don Forcico? + +_D. Forcico._ + +No, tatita, seran los oidos que le chillan. + +_Güegüence._ + +Ese será, muchachos. Pues ten cuenta con la bodega, que voi á ver si +puedo volar. + +_Alguacil._ + +Ha, Güegüence, con que modo y con que cortecilla te calas, qui +provincia real del Sor. Gob^{or} Tastuanes? + +_Güegüence._ + +Pues, y como, amigo Cap^n Alg^l M^{or}? + +_Alguacil._ + +Primero ha de ser un velancico, y paltechúa consolar el Cabildo Real +del Sor. Gob^{or} Tastuanes. + +15 + +fly? Friend Captain Chief Alguacil, and a linnet that reaches the +door of Governor Tastuanes, what does it do there? + +_Alg._ It sings and amuses the grandees there. + +_Güe._ That is my consolation and delight. Friend Captain Chief +Alguacil, how about this running and flying? + +_Alg._ A-running and a-flying, Güegüence. + +_Güe._ Ho, boys! do you speak to me? + +_Don. Am._ Who wants to speak to you, Güegüence, old humbug? + +_Güe._ Do you speak to me, Don Forcico? + +_Don For._ No, little papa, perhaps it's your ears that are buzzing. + +_Güe._ That may be, boys. Well, then, look after the shop, and I +will go and see if I can fly. + +_Alg._ Ho, Güegüence! in what style, and with what etiquette, are +you going to enter the royal presence of the Governor Tastuanes? + +_Güe._ Well, now, how should I, friend Captain Chief Alguacil? + +_Alg._ First, there should be a song, and such like, to amuse the +Royal Court of the Governor Tastuanes. + +16 + +_Güegüence._ + +Velancico, amigo Cap^n Alg^l M^{or}, pues simocagüe campamento Sres +principales sones, mudanzas, velancicos necana y paltechua consolar +mo Cabildo Real del Sor. Gob^{or} Tastuanes. + +_Alguacil._ + +Mascamayagua Güegüence. Matateco Dio mispiales Sres. principales +sones, mudanzas, velancicos necana y paltechua sesule Güegüence. + + Dan vuelta los dos bailando y habla el. + +_Alguacil._ + +Ha, Güegüence, ya estamos en el paraje. + +_Güegüence._ + +Ya estamos con coraje. + +_Alguacil._ + +En el paraje. + +_Güegüence._ + +En el obraje. + +_Alguacil._ + +En el paraje. + +_Güegüence._ + +En el paraje. Pues, amigo Cap^n Alg^l M^{or}, no me enseñará con que +modo y con que cortecilla he de entrar y salir ante la presencia +real del Sor. Gob^{or} Tastuanes? + +_Alguacil._ + +Si, te enseñaré, pero no de balde; primero ha de ser mi salario. + +_Güegüence._ + +Pescados salados? Ha, muchachos! Ahí estan las redes de pescados +salados? + +17 + +_Güe._ A song, friend Captain Chief Alguacil; then suspend in the +quarters of the leading men the music, dances, songs, ballets, and +such things, to amuse the Royal Court of the Governor Tastuanes. + +_Alg._ At your service, Güegüence. I pray God to protect the leading +men [and they will suspend] the music, dances, songs, ballets, and +such like, for this good-for-nothing Güegüence. + + (They dance around the stage.) + +_Alg._ Ha, Güegüence! here we are at the place. + +_Güe._ Here we are, with heart of grace. + +_Alg._ At the place. + +_Güe._ To work apace. + +_Alg._ At the place. + +_Güe._ At the place. Now, friend Captain Chief Alguacil, won't you +teach me with what style, and with what etiquette, I ought to go in +and come out of the royal presence of the Governor Tastuanes? + +_Alg._ Yes, I'll teach you; but not for nothing. First, I want my +salary. + +_Güe._ Salted fish? Ho, boys! are the nets of salted fish here? + +18 + +_D. Forcico._ + +Ahi estan, tatita. + +_D. Ambrosio._ + +Que redes de pescados salados has de tener, Güegüence, embustero? + +_Güegüence._ + +Como no! mala casta, ojos de sapo muerto! Amigo Cap^n Alg^l M^{or}, +ya estamos desaviados de los pescados salados. + +_Alguacil._ + +Acaso no me cele de pescados salados, Güegüence. + +_Güegüence._ + +Pues, y como, amigo Cap^n Alg^l M^{or}? + +_Alguacil._ + +Reales de plata, Güegüence. + +_Güegüence._ + +Ha! redes de platos. A! muchachos, ahí estan las redes de platos? + +_D. Forcico._ + +Ahi estan, tatita. + +_Güegüence._ + +Pues, amigo Cap^n Alg^l M^{or}, ya estamos aviados de platos. Y como +de que platos quiere? de la china, ó de barro? + +_Alguacil._ + +Ayugama, no me cele de platos, Güegüence. + +_Güegüence._ + +Pues, y como, amigo Cap^n Alg^l M^{or}? + +_Alguacil._ + +Pesos duros, Güegüence. + +19 + +_Don For._ Here they are, little papa. + +_Don Amb._ What nets of salted fish do you pretend to have, +Güegüence, you old humbug? + +_Güe._ Why not, you bad breed, you evil-eyed brat? Friend Captain +Chief Alguacil, we are just now out of salted fish. + +_Alg._ Perhaps I don't care for salted fish, Güegüence. + +_Güe._ Well, what then, Captain Chief Alguacil? + +_Alg._ Pieces of eight, Güegüence. + +_Güe._ Ha! dishes and plates. Ho, boys! have we some dishes and +plates? + +_Don For._ Here they are, little papa. + +_Güe._ Well, then, Captain Chief Alguacil, we are supplied with +plates. What kind of plates do you want, china plates or earthen +plates? + +_Alg._ Neither one nor the other. I don't care for plates, +Güegüence. + +_Güe._ Well, what then, Captain Chief Alguacil? + +_Alg._ Hard pieces, Güegüence. + +20 + +_Güegüence._ + +Ha! Quesos duros de aquellos grandotes. A, muchachos, ahi estan los +quesos duros que trajimos de sobornal? + +_D. Forcico._ + +No, tatita; se los comió mi hermanito, Don Ambrosio. + +_D. Ambrosio._ + +Que quesos duros has de tener, Güegüence, embustero? + +_Güegüence._ + +Como no, mala casta, despues que te los has comido. Amigo Cap^n +Alg^l M^{or}, ya estamos desaviados de los quesos duros, porque ahi +traigo un muchacho tan ganzo, que no me deja nada. + +_Alguacil._ + +Acaso no me cele de quesos duros, Güegüence. + +_Güegüence._ + +Pues, y como, amigo Cap^n Alg^l M^{or}? + +_Alguacil._ + +Doblones de oro y de plata, Güegüence. + +_Güegüence._ + +Ha! dobles. A! muchachos, sabes doblar? + +_D. Forcico._ + +Si, tatita. + +_Güegüence._ + +Pues dobla, muchachos, Dios persogue á mi amigo Cap^n Alg^l M^{or}, +que ahora endenantes estuvimos tratando y contratando con el, y ya +se lo llevó una bola de fuego á mi amigo. + +_Alguacil._ + +Para tu cuerpo, Güegüence. Acaso no me cele de dobles. + +21 + +_Güe._ Ha! hard cheeses; those big ones. Ho, boys! have we those +hard cheeses which we brought along as extras? + +_Don For._ No, little papa, my little brother, Don Ambrosio, ate +them up. + +_Don Am._ What hard cheeses do you pretend to have, Güegüence, you +old humbug? + +_Güe._ Why not, you bad breed, since you ate them up? Friend Captain +Chief Alguacil, we are just now out of hard cheeses, because I have +a boy here who is such a hog that he leaves me nothing. + +_Alg._ Perhaps I don't care for hard cheeses, Güegüence. + +_Güe._ Well, what then, Captain Chief Alguacil? + +_Alg._ I want toll of gold and silver, Güegüence. + +_Güe._ Ha! toll. Ho, boys! do you know how to toll? + +_Don For._ Yes, little papa. + +_Güe._ Well, then, toll away, boys, for God has got after my friend +the Captain Chief Alguacil, with whom we were talking and bargaining +a moment ago, and has carried off my friend in a ball of fire. + +_Alg._ May it burn your body, Güegüence. Perhaps I don't care for +tolling. + +22 + +_Güegüence._ + +Pues, y como, amigo Cap^n Alg^l M^{or}? + +_Alguacil._ + +Doblones de oro y de plata, Güegüence. + +_Güegüence._ + +Doblones de oro y de plata! Pues hableme recio, que como soi viejo y +sordo, no oigo lo que me dicen; y por esas tierras adentro no se +entiende de redes de platos, ni de pescados salados, ni de quesos +duros, ni de dobles, sino onzas de oro y moneda de plata. Y, vamos, +¿cuanto quiere? + +_Alguacil._ + +Todo lo que hubiere en la bodega, Güegüence. + +_Güegüence._ + +¿Todo, todo?--¿No me dejas nada? + +_Alguacil._ + +Nada, nada, Güegüence. + +_Güegüence._ + +Ni batuchito? + +_Alguacil._ + +Ni batuchito, Güegüence. + +_Güegüence._ + +Ya lo ven, muchachos, lo que hemos trabajado para otro hambriento. + +_D. Forcico._ + +Así es, tatita. + +_D. Ambrosio._ + +Así lo mereces, Güegüence, embustero. + +_Güegüence._ + +Arra ya, mala casta, comeras tus uñas. + +23 + +_Güe._ Well, what then, friend Captain Chief Alguacil? + +_Alg._ Doubloons of gold and silver. + +_Güe._ Doubloons of gold and silver! Then speak loud, for I am old +and deaf; and in these inland places people know nothing of nets of +plates, and of salted fish, nor about hard cheeses, nor about tolls, +but only about ounces of gold and coins of silver. Well, let us come +to it, how much do you want? + +_Alg._ Everything in the shop, Güegüence. + +_Güe._ Everything? Everything? You won't leave me anything? + +_Alg._ Nothing, nothing, Güegüence. + +_Güe._ Not so much as an empty box? + +_Alg._ Not even an empty box, Güegüence. + +_Güe._ Now, boys, you see how we have worked to feed another hungry +fellow. + +_Don For._ So it is, little papa. + +_Don Am._ So you deserve, Güegüence, you old humbug. + +_Güe._ Get out, you bad breed, you shall eat your finger nails. + +24 + +_D. Ambrosio._ + +Las comeremos, Güegüence. + +_Güegüence._ + +Pues, ponga las manos: y las dos manos pone el hambriento, y que +buenas uñas se tiene mi amigo Cap^n Alg^l M^{or}, parecen de +perico-ligero! a! una bomba caliente para estas uñas! + +_Alguacil._ + +Para tu cuerpo, Güegüence. + +_Güegüence._ + +Pues, tome! Uno, dos, tres, cuatro. Ha! mi plata, muchachos! Cuatro +cientos y tantos pesos le he dado á mi amigo Cap^n Alg^l +M^{or}--Vd., amigo Cap^n Alg^l M^{or}, no sabe cual es real, ni cual +es medio. + +_Alguacil._ + +Como no? Si, entiendo de todo, Güegüence. + +_Güegüence._ + +La mitad de este medio hacen dos cuartillos; un cuartillo dos +octavos, un octavo dos cuartos, un cuarto dos maravedis, cada +maravedi dos blancos. + +_Alguacil._ + +Pues, échelos todos. + +_Güegüence._ + +Pues, enséñeme. + +_Alguacil._ + +Pues, azetagago. + +_Güegüence._ + +Pues, maneta congon. + +_Alguacil._ + +Matateco Dio mispiales, Sor. Gob^{or} Tastuanes. + +25 + +_Don Am._ Let us eat them, Güegüence. + +_Güe._ Then put out your hands, and let this hungry fellow put out +both his hands; and my! what fine nails has my friend, the Captain +Chief Alguacil! They are like those of a scratching monkey! Ho, +there! a hot shot for these nails! + +_Alg._ May it burn your body, Güegüence. + +_Güe._ Well, here then [_shows four coins_]. One, two, three, four. +Ha! my money, boys! Four hundred and some odd dollars I have given +to my friend, the Captain Chief Alguacil. But you, friend Captain +Chief Alguacil, you don't know a real from a half a one. + +_Alg._ Why not? I understand all about them, Güegüence. + +_Güe._ The half of this half real makes two cuartillos; a cuartillo +is two octavos; an octavo is two quartos; a quarto is two maravedis; +and each maravedi is two blancos. + +_Alg._ Well, then, down with them all. + +_Güe._ Well then, teach me. + +_Alg._ Well, then, pay attention. + +_Güe._ Well, then, show me. + +_Alg._ I pray God to protect you, Governor Tastuanes. + +26 + +_Güegüence._ + +Matateco Dio cuascuane cuascuane Tastuanes. + +_Alguacil._ + +Matateco Dio mispiales, Sor. Gob^{or} Tastuanes. + +_Güegüence._ + +Matateco Dio panegüe palegüe Tastuanes. + +_Alguacil._ + +Hace porfiado, Güegüence; Vd. ha menester una docena de cueros. + +_Güegüence._ + +Docena de cueros? Ha, muchachos, nos faltan reatas ó cobijones. Aqui +el amigo Cap^n Alg^l M^{or} nos ofrece una docena de cueros. + +_D. Forcico._ + +Si, tatita. + +_Güegüence._ + +Amigo Cap^n Alg^l M^{or}, y como de que cueros, ¿de crudia ó de +gamusa? + +_Alguacil._ + +Mas azetagago, Güegüence. + +Le da dos rejazos. + +_Güegüence._ + +Arra ya, con que bueno, despues de pagado me has azotado; esos no +son cueros, esos son azotes. + +_D. Ambrosio._ + +Así lo mereces, Güegüence, embustero. + +_Alguacil._ + +Matateco Dio mispiales Sor. Gob^{or} Tastuanes, quinimente motales, +quinimente moseguan, Alcaldes ordinarios de la Sta. hermandad, +regidores y notarios y depositarios. + +27 + +_Güe._ I pray God will make you sing, Tastuanes. + +_Alg._ I pray God to protect you, Governor Tastuanes. + +_Güe._ I pray God to overcome Tastuanes. + +_Alg._ You are stubborn, Güegüence, you need a dozen hidings. + +_Güe._ Ho, boys! do we need some lines or covers? Our friend here, +the Captain Chief Alguacil, offers us a dozen hides. + +_Don For._ Yes, little papa. + +_Güe._ How about those hides, friend Captain Chief Alguacil, are +they green or dressed? + +_Alg._ Find out more about them, Güegüence. + + (Gives him two blows.) + +_Güe._ Get out! what right have you to beat me when I have paid? +These are not hides, they are blows. + +_Don Am._ So you deserve, Güegüence, you old humbug. + +_Alg._ I pray God to protect the Governor Tastuanes, those who carry +his messages and transact his business, the regular alcaldes of the +Holy Brotherhood, the registrars, + +28 + +Eguan noche mo Cabildo Real del Sor Gob^{or} Tastuanes. + +_Güegüence._ + +Amigo Cap^n Alg^l M^{or}, si de balde le he dado mi dinero, si estos +son mis lenguajes asonesepa negualigua seno libro de romance, lichúa +rezar escataci, iscala ñonguan iscumbatasi à campaneme Tastuanes? + +_Alguacil._ + +Asaneganeme, Güegüence. + +_Güegüence._ + +Si cana amigo Cap^n Alg^l M^{or} -- -- -- -- -- + +Matateco Dio mispiales, Sor. Gob^{or} Tastuanes. + +_Gobernador._ + +Matateco Dio miscuales quilis Güegüence yatiguala neme? + +_Güegüence._ + +Ya nemo niqui nistipampa quinimente moseguan. Alcaldes ordinarios de +la Santa hermandad, regidores y notarios (y) depositarios(.) Eguam +noche mo Cabildo Real del Sor. Gob^{or} Tastuanes. + +_Gobernador._ + +Pues, Güegüence, quinquimagua licencia te calas qui provincia real? + +_Güegüence._ + +Valgame Dios, Sor. Gob^{or} Tastuanes, pues que es menester +licencia? + +_Gobernador._ + +Es menester licencia, Güegüence. + +_Güegüence._ + +O valgame Dios, Sor. Gob^{or} Tastuanes! Cuando yo + +29 + +notaries and archivists, [by day] and night, in the Royal Court of +Governor Tastuanes. + +_Güe._ Friend Captain Chief Alguacil, I have given my money for +nothing, if these are to be my words; and shall I not bargain for a +book in Spanish, to read these prayers out of when I come before +Tastuanes? + +_Alg._ Perhaps I may offer you one, Güegüence. + +_Güe._ If anywhere, friend Captain Chief Alguacil--[_The Governor +enters abruptly._] I pray God to protect you, Governor Tastuanes. + +_Gov._ I pray God to prosper you, Güegüence; are you well? + +_Güe._ I am here, as is proper, [and I pray God to protect] those +who transact the business, the regular alcaldes of the Holy +Brotherhood, the registrars, notaries and archivists, [by day] and +night, in the Royal Court of Governor Tastuanes. + +_Gov._ Well, Güegüence, who has given you a permit to enter this +royal province. + +_Güe._ God bless me, Governor Tastuanes, what is it to need a +permit? + +_Gov._ A permit is necessary. + +_Güe._ O! God bless me, Governor Tastuanes; when I + +30 + +anduve por esas tierras adentro, por la carrera de Mexico, por la +Veracruz, por la Vera Paz, por Antepeque, arriando mi recua, guia +muchachos, opa Don Forcico llega donde un mesonero tupile traiga una +docena de huevos, vamos comiendo y descargando y vuelto á cargar, y +me voy de paso, y no es menester licencia para ello, Sor. Gob^{or} +Tastuanes. + +_Gobernador._ + +Pues aqui es menester licencia para ello, Güegüence. + +_Güegüence._ + +Valgame Dios, Sor. Gob^{or} Tastuanes, viniendo yo por una calle +derecha me columbró una niña que estaba sentada en una ventana de +oro, y me dice: que galan el Güegüence, que bizarro el Güegüence, +aqui tienes bodega, Güegüence, entra, Güegüence, siéntato, +Güegüence, aqui hay dulce, Güegüence, aqui hay limon. Y como soy un +hombre tan gracejo, salté á la calle con un cabriolé, que con sus +adornos no se distinguia de lo que era, lleno de plata y oro hasta +el suelo, y así una niña me dió licencia, Sor. Gob^{or} Tastuanes. + +_Gobernador._ + +Pues una niña no puede dar licencia, Güegüence. + +_Güegüence._ + +O valgame Dios, Sor. Gob^{or} Tastuanes, no seremos guancos, no +seremos amigos, y seremos de sones sepanegaligua, no fardesia de +ropa; en primer lugar cajoneria de oro, cajoneria de plata, ropa de +Castilla, ropa de contrabando, güipil de pecho, güipil de pluma, +medias de seda, zapatos de oro, sombrero de castor, estriberas de + +31 + +was traveling up country, on the road to Mexico, through Vera Cruz, +and Vera Paz, and Antepeque, driving my mules, leading my boys, +twice Don Forcico comes across a constable innkeeper who brings us a +dozen eggs; and we go on eating and unloading, and we load up again, +and I go right along, and there is no need of a permit for it, +Governor Tastuanes. + +_Gov._ Well, here there is need of a permit for it, Güegüence. + +_Güe._ God bless me, Governor Tastuanes, as I was coming up a +straight street, a girl who was sitting in a golden window descried +me, and says to me: "What a fine fellow is Güegüence; how gallant is +Güegüence; here's the shop for you, Güegüence; come in, Güegüence; +sit down, Güegüence; there's sweatmeats here, Güegüence; there's a +lemon here." And, as I am such a funny fellow, I jumped off, with my +riding cloak on, so full of ornaments that you could not tell what +it was, covered with gold and silver to the ground; and that's the +way a girl gave me a permit, Governor Tastuanes. + +_Gov._ Well, a girl can't give a permit [here], Güegüence. + +_Güe._ O! God bless me, Governor Tastuanes, we won't be fools; no, +we will be friends, and we will bargain about my packs of goods. In +the first place, chests of gold, chests of silver, cloth of Spain, +cloth from smugglers, vests, feather skirts, silk stockings, golden +shoes, beaver + +32 + +lazo de oro y de plata, ya pachigüe muyule Sor. Gob^{or} Tastuanes. + +_Gobernador._ + +Pachigüete no pachigüete, Güegüence, asamatimagas, (a sones) se +palparesia motel polluse D. Forcico y D. Ambrosio timaguas y verdad, +tin riquezas y hermosuras tumile mo Cabildo Real. + +_Güegüence._ + +No chopa quimate mollule, Sor. Gob^{or} Tastuanes. + +_Gobernador._ + +No chiquimate, Güegüence. + +_Güegüence._ + +Pues si cana amigo Cap^n Alg^l M^{or}, simocagüe nistipampa, Sres. +principales, sones, mudanzas, velancicos, necana, y palparesia D. +Forcico timaguas y verdad, tin hermosura, tin bellezas tumiles mo +Cabildo Real. + +_Gobernador._ + +No pilse Cap^n Alg^l M^{or} simocagüe campamento Sres. principales, +sones, mudanzas, velancicos, necana y palparesia D. Forcico timagas +y verdad, tin hermosura, tin belleza tumile mo Cabildo Real. + +_Alguacil._ + +Mascamayagua Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Sres. +principales, sones, mudanzas, velancicos, necana y palparesia D. +Forcico timaguas y verdad. + + Aqui el Alguacil saca à D. Forcico p^a hablar con el + Gob^{or}. + +_D. Forcico._ + +Matateco Dio mispiales, Sor. Gob^{or} Tastuanes. + +33 + +hats, stirrup straps of gold and silver lace, as may satisfy the +clever Governor Tastuanes. + +_Gov._ No, I am not satisfied with what you say, Güegüence. Don +Forcico and Don Ambrosio must give a truthful account to our Royal +Court, whether you have riches and abundant treasures. + +_Güe._ Do you not know it already, clever Governor Tastuanes? + +_Gov._ I do not know it, Güegüence. + +_Güe._ Then, if friend Captain Chief Alguacil will suspend, in my +presence, the music, dances, songs and ballets of the leading men, +Don Forcico will give a truthful account to the Royal Court about my +riches and abundant treasures. + +_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of +the leading men the music, dances, songs and ballets, and Don +Forcico will give a truthful account to the Royal Court about their +riches and abundant treasures. + +_Alg._ At your service, Governor Tastuanes. I pray God to protect +the leading men, and [they suspend] the music, dances, songs and +ballets, and Don Forcico will give a truthful account. + + (The Alguacil takes Don Forcico aside to talk with the + Governor.) + +_Don For._ I pray God to protect you, Governor Tastuanes. + +34 + +_Gobernador._ + +Matateco Dio miscuales quilis Don Forcico ya tiguala neme. + +_D. Forcico._ + +Ya nemo niqui nistipampa, quinimente motales, quinimentes moseguan, +Alcaldes ordinarios de la Sta. hermandad, regidores, notarios y +depositarios. Eguan noche mo Cabildo Real del Sor. Gob^{or} +Tastuanes. + +_Gobernador._ + +Pues, Don Forcico asamatimaguas semo verdad a sones sepaguala +motalce Güegüence quichua contar güil hombre rico, tin riquezas, tin +hermosura, tin belleza, en primer lugar cajoneria de oro, cajoneria +de plata, doblones de oro, monedas de plata, hay me sagua Don +Forcico. + +_D. Forcico._ + +O valgame Dios, Sor. Gob^{or} Tastuanes, es corto el dia y la noche +para contar las riquezas de mi padre; en primer lugar cajoneria de +oro, cajoneria de plata, ropa de Castilla, ropa de contrabando, +estriberas de lazo de oro y de plata, ya pachigüe muyule Sor. +Gob^{or} Tastuanes. + +_Gobernador._ + +Pachigüete no pachigüete pues, Don Forcico, á sones se palparesia tu +hermanito Don Ambrosio timaguas y verdad tin riquezas y hermosuras +tumiles mo Cabildo real. + +_D. Forcico._ + +Sor. Gob^{or} Tastuanes, sicana amigo Cap^n Alg^l M^{or}, mayague +campamento Sres. principales, sones, mudanzas, velancicos, necana y +palparesia mi hermanito Don Ambrosio timaguas y verdad. + +35 + +_Gov._ I pray God to prosper you, Don Forcico; are you well? + +_Don For._ I am here, as is proper, [and I pray God to protect] +those who carry the messages, those who transact the business, the +regular alcaldes of the Holy Brotherhood, the registrars, notaries +and archivists, [by day] and night, in the Royal Court of Governor +Tastuanes. + +_Gov._ Well, Don Forcico, you are to tell me the truth about the +stories which Güegüence tells, saying that he is a rich man, and has +property, and handsome and beautiful things; in the first place, +chests of gold, chests of silver, doubloons of gold, coins of +silver; so tell me clearly, Don Forcico. + +_Don For._ O! God bless me, Governor Tastuanes, the day and the +night are too short to tell you all the riches of my father. In the +first place, chests of gold, chests of silver, cloth of Spain, cloth +from smugglers, stirrup straps of lace of gold and silver, as may +satisfy the clever Governor Tastuanes. + +_Gov._ No, not satisfied yet, Don Forcico; for next, your little +brother, Don Ambrosio, will give a truthful account to the Royal +Court about these riches and abundant treasures. + +_Don For._ Governor Tastuanes, if friend Captain Chief Alguacil will +suspend in the quarters of the leading men the music, dances, songs +and ballets, my little brother, Don Ambrosio, will give a truthful +account. + +36 + +_Gobernador._ + +No pilse Cap^n Alg^l M^{or}, simocagüe campamento Sres. principales, +sones, mudanzas, velancicos, necana, y palparesia su hermanito D. +Ambrosio timaguas y verdad tin riquezas, tin hermosuras. + +_Alguacil._ + +Mascamayagua Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Sres. +principales, sones, mudanzas, velancicos, necana, y palparesia Don +Ambrosio timaguas y verdad. + + Aqui el Alg^l saca à D. Ambrosio p^a hablar con el + Gob^{or}. + +_D. Ambrosio._ + +Matateco Dio mispiales, Sor. Gobernador Tastuanes. + +_Gobernador._ + +Matateco Dio miscuales, quilis Don Ambrosio, ya tiguala neme? + +_D. Ambrosio._ + +Ya nemo niqui nistipampa quinimente motales, quinimente moseguan +Alcaldes ordinarios de la Sta. hermandad, regidores y notarios, y +depositarios. Eguan noche mo Cabildo Real del Sor. Gob^{or} +Tastuanes. + +_Gobernador._ + +Pues Don Ambrosio asamatimaguas semo verdad á sones (se) paguala +motalce Güegüence quichua contar güil hombre rico. En primer lugar +cajoneria de oro, cajoneria de plata, ropa de Castilla, ropa de +contrabando, güipil de pecho, güipil de pluma, medias de seda, +zapatos de oro, sombrero de castor, estriberas de lazo de oro y de +plata, muchintes hermosuras quichua contar sesule Güegüence hoy +melagüe Don Ambrosio. + +37 + +_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of +the leading men the music, dances, songs and ballets, and his little +brother, Don Ambrosio, will give a truthful account of the riches +and treasures. + +_Alg._ At your service, Governor Tastuanes. I pray God to protect +the leading men, [and they suspend] the music, dances, songs and +ballets, and Don Ambrosio will give a truthful account. + + (The Alguacil takes Don Ambrosio aside to talk to the + Governor.) + +_Don Am._ I pray God to protect you, Governor Tastuanes. + +_Gov._ I pray God to prosper you, Don Ambrosio; are you well? + +_Don Am._ I am here, as is proper, [and I pray God to protect] those +who carry the messages, those who transact the business, the regular +alcaldes of the Holy Brotherhood, the registrars, notaries and +archivists, [by day] and by night, in the Royal Court of Governor +Tastuanes. + +_Gov._ Well, Don Ambrosio, you are to tell me the truth about the +stories which Güegüence relates, saying that he is a rich man. In +the first place, [that he has] chests of gold, chests of silver, +cloth of Spain, cloth from smugglers, vests, skirts of feathers, +silk stockings, golden shoes, a beaver hat, stirrup straps of lace +of gold and silver, quantities of pretty things, as that +good-for-nothing Güegüence relates; so tell me clearly, Don +Ambrosio. + +38 + +_D. Ambrosio._ + +Valgame Dios, Sor. Gob^{or} Tastuanes, vergüenza me da contar las +cosas de ese Güegüence embustero, pues solo está esperando que +cierre la noche para salir de casa en casa á hurtar lo que hay en +las cocinas para pasar el, y su hijo Don Forcico. Dice que tiene +cajoneria de oro, y es una petaca vieja totolatera, que tiene catre +de seda y es un petate viejo revolcado, dice que tiene medias de +seda y son unas botias viejas sin forro, que tiene zapatos de oro, y +son unas chancletas viejas sin suelas, que tiene un fusil de oro, y +es solo el palo, porque el cañon se lo quitaron. + +_Güegüence._ + +Ve, que afrenta de muchacho, hablador, boca floja! revientale, hijo, +la cabeza, que como no es hijo mio me desacredita. + +_D. Forcico._ + +Quitate de aquí, mala casta! No se espante Sor. Gob^{or} Tastuanes +en oir á este hablador, que cuando yo anduve con mi padre por la +carrera de Mexico y cuando venimos ya estaba mi madre en cinta de +otro, y por eso salió tan mala casta, Sor. Gob^{or} Tastuanes. + +_Güegüence._ + +Sor. Gob^{or} Tastuanes ya pachigüe muyules teguane motel poyuce Don +Forcico contar tin hermosuras, tin bellezas, tumiles mo Cabildo +Real. + +_Gobernador._ + +Pachigüete no pachigüete, Güegüence, asamaquimate mollule mo Cabildo +real. + +39 + +_Don Am._ God bless me, Governor Tastuanes, I am ashamed to talk +about the affairs of this old humbug, Güegüence, for he is only +waiting until it is dark, to go from house to house, stealing +whatever is in the kitchens, to keep him and his son, Don Forcico, +alive. He says he has a chest of gold, and it is an old bird-basket; +that he has a silken cot, and it is a dirty old mat; he says he has +silk stockings, and they are old leggings, without lining; that he +has golden shoes, and they are worn out slippers, without soles; +that he has a golden gun, and it is only a wooden stock, because +they took the barrel away from him. + +_Güe._ Heavens! what an impudent boy, a babbler, a lying tongue! +Break his head, my boy, for no son of mine would slander me in that +way. + +_Don For._ Get out of here, you bad breed. Don't be shocked, +Governor, to hear this babbler; for when I went with my father on +the road to Mexico, when we came back my mother was big by another, +and that is why this one is such a bad breed, Governor Tastuanes. + +_Güe._ Governor Tastuanes, now are you not satisfied completely +about us, by what Don Forcico told the Royal Court, that I have +quantities of pretty and beautiful things? + +_Gov._ No, not satisfied; the Royal Court would like to know it. + +40 + +_Güegüence._ + +No chiquimate mollule Sor. Gob^{or} Tastuanes: pues mayagüe amigo +Cap^n Alg^l M^{or}, campamento Srs. principales, sones, mudanzas, +velancicos, necana y palparesia mo tinderia turna güiso mo Cabildo +Real. + +_Gobernador._ + +No pilse Cap^n Alg^l M^{or}, simocagüe campamento Sres. principales, +sones, mudanzas, velancicos, necana, y paltechua consolar sesule +Güegüence(.) Eguan mo tinderia y paltechua consolar mo cabildo real. + +_Alguacil._ + +Mascamayagua, Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Sres. +principales, sones, mudanzas, velancicos, necana y palparesia +tinderia mo Cabildo Real. + + Da vuelta el Güegüence y los muchachos bailando con la + tienda, y habla el + +_Güegüence._ + +Matateco Dio mispiales, Sor. Gob^{or} Tastuanes, asanega neme mo +tinderia matamagüeso mo Cabildo Real. Alzen muchachos, miren cuanta +hermosura. En primer lugar cajoneria de oro, cajoneria de plata, +güipil de pecho, güipil de pluma, medias de seda, zapatos de oro, +sombrero de castor, estriberas de lazo de oro y de plata, muchintes +hermosuras, Sor. Gob^{or} Tastuanes, asaneganeme ese lucero de la +mañana que relumbra del otro lado del mar, asanecaneme esa +jeringuita de oro para ya remediar el Cabildo Real del Sor. Gob^{or} +Tastuanes. + +_Gobernador._ + +Para tu cuerpo, Güegüence. + +41 + +_Güe._ The clever Governor Tastuanes does not know it. Well, then, +let friend Captain Chief Alguacil suspend in the quarters of the +leading men the music, dances, songs, ballets and talk, and I will +open my tent to the Royal Court. + +_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of +the leading men the music, dances, songs, ballets and such like, to +please this good-for-nothing Güegüence, and he will show his tent, +to please the Royal Court. + +_Alg._ At your service, Governor Tastuanes. I pray God to protect +the leading men, [and they suspend] the music, dances, songs, +ballets and talk, [to show] the tent to the Royal Court. + + (Güegüence and the boys dance around the stage with the + tent.) + +_Güe._ I pray God to protect you, Governor Tastuanes. Let me offer +you my tent, to show to the Royal Court. Heft it, boys. See what +pretty things! In the first place, a chest of gold, a chest of +silver, vests, feather skirts, silk stockings, golden shoes, a +beaver hat, stirrup straps of lace of gold and silver, quantities of +pretty things, Governor Tastuanes. Let me offer you this star of the +morning, which shines from the other side of the sea; let me offer +you this syringe of gold, with which to medicate the Royal Court of +the Governor Tastuanes. + +_Gov._ May it be for your own body, Güegüence. + +42 + +_Güegüence._ + +Como este mi muchacho tiene tantos oficios, que hasta en las uñas +tiene encajados los oficios. + +_Gobernador._ + +Seran de arena, Güegüence. + +_Güegüence._ + +Pues mas ha sido escultor, fundidor, repicador, piloto de alturas de +aquellos que se elevan hasta las nubes, Sor. Gob^{or} Tastuanes. + +_Gobernador._ + +Esos no son oficios de continuo, Güegüence. + +_Güegüence._ + +Pues mas ha sido carpintero, hacedor de yugos aunque sean de papayo, +hacedor de arados, aunque sean de tecomajoche ya pachigüe muyule +Sor. Gob^{or} Tastuanes. + +_Gobernador._ + +Ya pachigüete no pachigüete, pues Güegüence asanese palparesia mo +Don Forcico timaguas y verdad tin oficios. + +_Güegüence._ + +Pues si cana amigo Cap^n Alg^l M^{or}. Mayague nistipampa Sres. +principales, sones, mudanzas, velancicos, necana y palparesia Don +Forcico timaguas y verdad tin oficios. + +_Alguacil._ + +Mascamayagua, Güegüence. Matateco Dio mispiales Sres. principales, +sones, mudanzas, velancicos, necana y palparesia D. Forcico mo +Cabildo Real. + + Vuelve el Alguacil à sacar à D. Forcico. + +43 + +_Güe._ It is wonderful how many trades this boy of mine has. He is +deep in trades to his fingers' ends. + +_Gov._ They are of no account, Güegüence. + +_Güe._ Why, he has been a sculptor, a metal founder, a bell-ringer, +and a pilot to the heights which rise above the clouds, Governor +Tastuanes. + +_Gov._ These are not permanent employments, Güegüence. + +_Güe._ Then he has been a carpenter, a maker of yokes, though of +papaya wood, a maker of plows, though of temple tree wood. This +should satisfy the clever Governor Tastuanes. + +_Gov._ No, I am not yet satisfied. Let Güegüence tell his son, Don +Forcico, to give a truthful account of his trades. + +_Güe._ Then, if friend Captain Chief Alguacil will, in my presence, +cause the leading men to suspend the music, dances, songs and +ballets, Don Forcico will give a truthful account of his trades. + +_Alg._ At your service, Güegüence. I pray God will protect the +leading men, [and they suspend] the music, dances, songs and +ballets, for the talk of Don Forcico to the Royal Court. + + (The Alguacil brings Don Forcico forward.) + +44 + +_D. Forcico._ + +Sor. Gob^{or} Tastuanes, hasta en las uñas tengo encajados los +oficios. + +_Gobernador._ + +Seran de arena, Don Forcico. + +_D. Forcico._ + +Pues mas he sido escultor, fundidor, repicador, piloto de alturas de +aquellas que se elevan hasta las nubes, Sor. Gob^{or} Tastuanes. + +_Gobernador._ + +Pachigüete no pachigüete, pues Don Forcico asamaguimate mollule tin +mudanzas, tin sapatetas mo Cabildo Real. + +_D. Forcico._ + +O valgame Dios, Sor. Gob^{or} Tastuanes, sicana amigo Cap^n Alg^l +M^{or}, campamento Sres. principales, sones, mudanzas, velancicos, +necana tin corridos y palechua consolar mo Cabildo Real. + +_Gobernador._ + +No pilse Cap^n Alg^l M^{or} simocagüe campamento Sres. principales, +sones, mudanzas, velancicos, necana y palparesia lichua consolar +sesule Güegüence. + +_Alguacil._ + +Mascamayagua Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Sres. +principales, sones, mudanzas, velancicos, necana y palparesia +consolar mo Cabildo Real sesule Güegüence. + + Primera bailada del Corrido, y habla el + +45 + +_Don For._ Governor Tastuanes, I am deep in trades to my finger +ends. + +_Gov._ They are of no account, Don Forcico. + +_Don For._ Why, I have been a sculptor, a metal founder, a +bell-ringer, and a pilot to the heights which rise above the clouds, +Governor Tastuanes. + +_Gov._ No, I am not satisfied, since Don Forcico should also know +some clever dances and caperings, [to amuse] the Royal Court. + +_Don For._ O! God bless me, Governor Tastuanes, if friend Captain +Chief Alguacil [will suspend] in the quarters of the leading men the +music, dances, songs and ballets, they shall have some running +dances and such things, to amuse the Royal Court. + +_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of +the leading men the music, dances, songs, ballets and talk, in order +that this good-for-nothing Güegüence may amuse [the Royal Court]. + +_Alg._ At your service, Governor Tastuanes. I pray God to protect +the leading men, [and they suspend] the music, dances, songs, +ballets and talk, in order that the good-for-nothing Güegüence may +amuse the Royal Court. + + (First ballet with the running dance.) + +46 + +_Güegüence._ + +Sor. Gob^{or} Tastuanes, ya pachigüe mollule tigüita tin mudanzas, +tin sapatetas, lichua consolar mo Cabildo Real. + +_Gobernador._ + +Pachigüete no pachiguete, Güegüence, asamaquimate muyule, asanese +palparesia motel poyuse Don Forcico y Don Ambrosio à consolar el +Cabildo Real. + +_Güegüence._ + +No chopa quimate muyule, Sor. Gob^{or} Tastuanes. + +_Gobernador._ + +No chopa quimate Güegüence. + +_Güegüence._ + +Mayague amigo Cap^n Alg^l M^{or}, campamento Sres. principales, +sones, corridos, necana y paltechua consolar Don Forcico eguan D. +Ambrosio mo Cabildo Real. + +_Gobernador._ + +No pilse Cap^n Alg^l M^{or}, simocagüe campamento Sres. principales, +sones, corridos, necana y paltechua consolar Don Forcico eguan Don +Ambrosio mo Cabildo Real. + + Segunda bailada del Güegüence, y los dos muchachos. + +_Güegüence._ + +Sor Gob^{or} Tastuanes, ya pachigüe mollule tigüita tin mudanzas, +tin sapatetas lichua consolar mo Cabildo Real. + +_Gobernador._ + +Pachigüete no pachigüete, Güegüence. + +_Güegüence._ + +Sor. Gob^{or} Tastuanes asamaquimate mollule tin mudanzas, tin +sapatetas sones San Martin, à lichua consolar Don Forcico eguan Don +Ambrosio mo Cabildo Real. + +47 + +_Güe._ Governor Tastuanes, now you are satisfied that they have +dances and caperings to amuse the Royal Court. + +_Gov._ No, I am not satisfied. I would know thoroughly what Don +Forcico and Don Ambrosio can do to amuse the Royal Court. + +_Güe._ Do you not know it, Governor Tastuanes? + +_Gov._ I do not know it, Güegüence. + +_Güe._ Let friend Captain Alguacil Major [suspend] in the quarters +of the leading men the music, dances, songs and such like, that Don +Forcico and Don Ambrosio may amuse the Royal Court. + +_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of +the leading men the music, dances, songs and such like, that Don +Forcico and Don Ambrosio may amuse the Royal Court. + + (Second ballet of Güegüence and the two boys.) + +_Güe._ Governor Tastuanes, now you are certainly satisfied that they +have dances, have caperings, to amuse the Royal Court. + +_Gov._ No, I am not satisfied, Güegüence. + +_Güe._ Governor Tastuanes may certainly know that Don Forcico and +Don Ambrosio have dances and caperings, to the tune of St. Martin, +to amuse the Royal Court. + +48 + +_Gobernador._ + +No chopa quimate mollule Güegüence. No pilse Cap^n Alg^l M^{or} +simocagüe campamento Sres. principales, sones San Martin a lichua +consolar mo Cabildo Real sesule Güegüence. + + Aqui se toca S. Martin y dan vuelta todos bailando. + +_Gobernador._ + +A Güegüence ya pachigüe muyule tigüita tin sapatetas lichuas +consolar mo Cabildo Real. + +_Güegüence._ + +Pachigüete no pachigüe, Sor. Gob^{or} Tastuanes asamaquimate muyule +sones Portorico no amigo Cap^n Alg^l M^{or} à lichua consolar Don +Forcico, y Don Ambrosio mo Cabildo Real. + +_Gobernador._ + +No pilse Cap^n Alg^l M^{or}, simocagüe campamento Sres. principales, +sones Portorico lichua consolar sesule Güegüence. + + Aqui se toca un ton antiguo y dan vuelta todos bailando. + +_Gobernador._ + +A Güegüence ya pachigüe muyule tigüita tin sapatetas lichua consolar +mo Cabildo Real. + +_Güegüence._ + +Pachigüete no pachigüe, Sor. Gob^{or} Tastuanes, que unos van para +atras, y otros para delante. + +_Gobernador._ + +Eso no lo sé, Güegüence. Pues, Güegüence, asamaquimate muyule, tin +mudanzas, tin sapatetas semula macho-raton à lichua consolar mo +Cabildo Real. + +49 + +_Gov._ I do not certainly know it. My son, Captain Chief Alguacil, +suspend in the quarters of the leading men [the music, etc.], that +this good-for-nothing Güegüence may amuse the Royal Court with the +tune of St. Martin. + + (The tune of St. Martin is played, and they all dance + around.) + +_Gov._ Now, Güegüence, I am satisfied that they have caperings to +amuse the Royal Court. + +_Güe._ But I am not satisfied; and, Governor Tastuanes, my friend, +Captain Chief Alguacil, might like to know how Don Forcico and Don +Ambrosio can amuse the Royal Court, to the tune of Porto Rico. + +_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of +the leading men [the music, etc.], that this good-for-nothing +Güegüence may console [us] with the tune of Porto Rico. + + (An ancient tune is played, and they all dance around.) + +_Gov._ Now, Güegüence, I am satisfied that they have caperings to +amuse the Royal Court. + +_Güe._ But I am not satisfied, Governor Tastuanes, as some go from +behind and others from in front. + +_Gov._ I know nothing about that, Güegüence. Now, Güegüence, whether +they have dances, caperings, like the _macho-raton_, to amuse the +Royal Court? + +50 + +_Güegüence._ + +Sor. Gob^{or} Tastuanes, ya bueno amigo Cap^n Alg^l M^{or}, +campamento Sres. principales, sones, mudanzas, necana, à lichua +consolar semula macho-raton mo Cabildo Real. A, muchachos! que es de +los machos? + +_D. Forcico._ + +Ahí estan, tatita. + + Aqui se toca la Valona para los machos, y habla el + +_Güegüence._ + +Sor. Gob^{or} Tastuanes ya pachigüe mollule, tin mudanzas, tin +sapatetas, tin remates, tin corcobios semula macho-raton. + +_Gobernador._ + +Pachigüete no pachigüe, Güegüence. + +_Güegüence._ + +Pues Sor. Gob^{or} Tastuanes, no haremos un trato y contrato, que el +sin tuno, sin tunal de eguan mo Doña Suche-Malinche? + +_Gobernador._ + +No chopa quimate muyule, Güegüence. + +_Güegüence._ + +No chiquimate, Sor. Gob^{or} Tastuanes. + +_Gobernador._ + +No pilse Cap^n Alg^l M^{or} simocagüe campamento el Señor Escribano +Real, chigüigua no provincia real lichua obedecer eguan mo Doña +Suche-Malinche. + + Va el Alguacil à hablar con el Escribano Real. + +_Alguacil._ + +Matateco Dio mispiales, Sr. Escribano Real. + +51 + +_Güe._ Governor Tastuanes, and good friend Captain Chief Alguacil, +[suspend] in the quarters of the leading men the music, dances and +songs, in order that we may amuse the Royal Court with the +_macho-raton_. Ho, boys! how about the mules? + +_Don For._ Here they are, little papa. + + (The Valona is played for the mules.) + +_Güe._ Governor Tastuanes, you are certainly satisfied that they +have dances, caperings, finishing touches and curvetings, like the +_macho-raton_. + +_Gov._ No, I am not satisfied, Güegüence. + +_Güe._ Well, then, Governor Tastuanes, shall we not make a trade and +a treaty between him, without a folly or a fig-tree, and the lady +Suche-Malinche? + +_Gov._ Do you not know of it already, Güegüence? + +_Güe._ I do not know it, Governor Tastuanes. + +_Gov._ My son, Captain Chief Alguacil, suspend [the labor] in the +quarters of the Royal Secretary, and let him obey our order to enter +my royal presence, with the lady Suche-Malinche. + + (The Alguacil goes to speak with the Royal Secretary.) + +_Alg._ I pray God to protect you Mr. Secretary. + +52 + +_Escribano._ + +Matateco Dio miscuales, quilis Cap^n Alg^l M^{or}, ya tiguala neme? + +_Alguacil._ + +Ya nemo niqui nistipampa Sor. Escribano Real, negua ligua y +Provincia Real, del Sor. Gob^{or} Tastuanes, lichua obedecer eguan +mo Doña Suche-Malinche. + +_Escribano._ + +Pues, no pilse Cap^n Alg^l M^{or} simocagüe campamento Sres. +principales, sones, rujeros, y paltechua obedecer eguan mo Doña +Suche-Malinche. + +_Alguacil._ + +Mascamayagua, Sor. Escribano Real. + + Aqui se toca el Rujero, dan vuelta bailando los dos y habla + el + +_Escribano._ + +Matateco Dio mispiales, Sor. Gob^{or} Tastuanes. + +_Gobernador._ + +Matateco Dio miscuales quilis Sor. Escribano Real, ya tiguala neme? + +_Escribano._ + +Ya nemo niqui nistipampa lichua obedecer, eguan mo Doña +Suche-Malinche. + +_Gobernador._ + +Pues, Sor. Escribano Real, asanegaguala sesule Güegüence güil hombre +rico, eguan mo Doña Suche-Malinche. + +_Escribano._ + +Sor. Gob^{or} Tastuanes, asanegualigua vestir saya de la China, +güipil de pecho, güipil de pluma, medias de seda, + +53 + +_Sec._ I pray God to prosper you, Captain Chief Alguacil; are you +well? + +_Alg._ I am, as is proper, Mr. Secretary. You will enter the royal +presence of Governor Tastuanes, to obey his orders, and also the +lady Suche-Malinche. + +_Sec._ Well, then, my son, Captain Chief Alguacil, suspend in the +quarters of the leading men the music, the shoutings, and such like, +that I may obey, with the lady Suche-Malinche. + +_Alg._ At your service, Mr. Secretary. + + (The Rujero is played, and the two dance around.) + +_Sec._ I pray God to protect you, Governor Tastuanes. + +_Gov._ I pray God to prosper you, Mr. Secretary; are you well? + +_Sec._ I am, as is proper, [and come] to obey your orders, with the +lady Suche-Malinche. + +_Gov._ Well, Mr. Secretary, there is a bargain between this +good-for-nothing Güegüence, who is a rich man, and the lady +Suche-Malinche. + +_Sec._ Governor Tastuanes, let the bargain be for clothing, a +petticoat from China, vest, feather skirt, silk stockings, + +54 + +zapatos de oro, sombrero de castor, para monistilco al Sor. Gob^{or} +Tastuanes. + + Se vuelve el Escribano à su lugar, bailando con el + Alguacil. + +_Gobernador._ + +Ha, Güegüence, asiguala lichua escojer mosamonte. + +_Güegüence._ + +¿Desmonte? + +_Gobernador._ + +Mosamonte, Güegüence. + +_Güegüence._ + +Yo no he hecho trato ni contrato con el Sor. Gob^{or} Tastuanes, +solo que sea mi muchacho. + +_Gobernador._ + +Eso no lo sé, Güegüence. + +_Güegüence._ + +Ha, muchachos, que trato y contrato tienes con el Sor. Gob^{or} +Tastuanes. + +_D. Forcico._ + +De casarme, tatita. + +_Güegüence._ + +De casarte! ¿y tan chiquito te atreves à casarte, muchacho? + +_D. Forcico._ + +Si, tatita. + +_Güegüence._ + +Y con quien me dejas, muchacho? + +_D. Forcico._ + +Con mi hermanito, Don Ambrosio. + +_Güegüence._ + +Que caso me hará ese jipato! + +55 + +shoes of gold, a beaver hat, for a son-in-law of Governor Tastuanes. + + (The Secretary returns to his place, dancing with the + Alguacil.) + +_Gov._ Ha, Güegüence! it angers me that you choose so +presumptuously. + +_Güe._ Trumpery? + +_Gov._ Presumptuously, Güegüence. + +_Güe._ I have not made any trade or treaty with the Governor +Tastuanes; it must be my boy. + +_Gov._ I don't know about that, Güegüence. + +_Güe._ Ho, boys! what trade or treaty have you with the Governor +Tastuanes? + +_Don For._ For me to get married, little papa. + +_Güe._ For you to get married! What, boy! a little chap like you +dares to get married? + +_Don For._ Yes, little papa. + +_Güe._ And with whom are you going to leave me boy? + +_Don For._ With my little brother, Don Ambrosio. + +_Güe._ What care will that imp take of me? + +56 + +_D. Ambrosio._ + +Y yo tambien me quiero casar. + +_Güegüence._ + +Para eso seres bueno. Don Forcico asiguale lichúa escojer mosamonte. +Ve, que bizarra dama aqui, muchacho. + +_D. Forcico._ + +No está de mi gusto, tatita. + +_Güegüence._ + +Porque, muchacho? + +_D. Forcico._ + +Porque está muy pachaca, tatita. + +_Güegüence._ + +Pues, que es iguana ó garrobo para que esté pachaca? Quien la echó á +perder, muchacho? + +_D. Forcico._ + +Mi hermanito, Don Ambrosio. + +_Güegüence._ + +Para eso será bueno este soplado, ojos de sapo muerto, por eso está +tan apupujado. Ve, que bizarra maneca, muchacho. + +_D. Forcico._ + +Si está aventada, tatita. + +_Güegüence._ + +Quien la aventó, muchacho? + +_D. Forcico._ + +Mi hermanito, Don Ambrosio. + +_Güegüence._ + +Como aventastes esta dama, Don Ambrosio? + +57 + +_Don Am._ And I too want to get married. + +_Güe._ You're good enough for that. Don Forcico makes a bargain to +choose presumptuously. See what a gay lady is here, my boy? + +_Don For._ She is not to my taste, little papa. + +_Güe._ Why not, my boy? + +_Don For._ Because she is too much stuffed, little papa. + +_Güe._ Is she, then, an iguana or a garrobo, that she is stuffed? +Who has spoiled her, my boy? + +_Don For._ My little brother, Don Ambrosio. + +_Güe._ For that the bloated fellow is good enough, the evil-eyed +brat; that is the reason he is so played out. See, here's a gay +cake-baker my boy. + +_Don For._ She _is_ puffed up, little papa. + +_Güe._ Who puffed her up, boy? + +_Don For._ My little brother, Don Ambrosio. + +_Güe._ How did you puff up this lady, Don Ambrosio? + +58 + +_D. Ambrosio._ + +De dormir con vos, Güegüence. + +_Güegüence._ + +Callate, mala casta. Ve que bizarra dama, esta otra, muchacho. + +_D. Forcico._ + +Esta, sí, está de mi gusto, tatita. + +_Güegüence._ + +Sabes escojer, no muchacho, pero no sabes escojer un buen machete +para hacer un buen desmonte. + +_D. Forcico._ + +Tambien, tatita. + +_Güegüence._ + +Sor. Gob^{or} Tastuanes, mosegua trato y contrato. + +_Gobernador._ + +No mocegua, Güegüence. + +_Güegüence._ + +No mocegua, Sor. Gob^{or} Tastuanes; lo que siento es mi muchacho +que se me pierde. + +_Gobernador._ + +Eso no lo sé, Güegüence. + + Aqui se casan, y habla el. + +_Gobernador._ + +No pilse Cap^n Alg^l M^{or} chigüigua mo Provincia Real, campamento +sesule Güegüence lichua obedecer con una yunta de botijas de vino de +Castilla para en chocolá y paltechua brindar mo Cabildo Real. + +_Regidor._ + +Simocagüe, Sor. Alg^l M^{or}.--Mayagüe, amigo sesule Güegüence. En +nombre mo Cabildo Real te damos los + +59 + +_Don Am._ It came from sleeping with you, Güegüence. + +_Güe._ Shut up, you bad breed. See, my boy, what a gay lady this +other one is. + +_Don For._ This one? Yes, she suits me, little papa. + +_Güe._ You know how to choose, my boy; but you don't know how to +choose a good axe to make a good clearing. + +_Don For._ That also, little papa. + +_Güe._ Governor Tastuanes, let us make a trade and a treaty. + +_Gov._ I will make it, Güegüence. + +_Güe._ I will make it, Governor Tastuanes. What I feel is the loss +of my boy. + +_Gov._ I don't know about that, Güegüence. + + (The marriage takes place.) + +_Gov._ My son, Captain Chief Alguacil, let it be known in the +quarters of my Royal Province that this good-for-nothing Güegüence +is going to treat the Royal Court to a yoke of jars of Spanish wine. + +_Reg._ Suspend [business], Mr. Chief Alguacil, and attend, friend +good-for-nothing Güegüence. In the name of the Royal Court, we give +the congratulations, and also + +60 + +parabienes de eguan mo Doña Suche-Malinche, de inmenso que goce con +Don Forcico, tu hijo, Güegüence. + +_Alguacil._ + +Ha, Güegüence, asanegualigua y Provincia Real del Sor. Gob^{or} +Tastuanes y paltechua obedecer con una yunta de botijas de vino de +Castilla en chocolá y paltechua brindar mo Cabildo Real del Sor. +Gob^{or} Tastuanes. + +_Güegüence._ + +Ha, muchachos, ya lo ven, aviados estamos. Bueno es, ser casado, +pero ahora se nos ofrece un gran trabajo. Ya viene el provincial y +no tenemos provision. Amigo Cap^n Alg^l M^{or}, á onde dejó al +provincial, en Managua ó en Nindiri? + +_Alguacil._ + +Acaso no me cele de provincial, Güegüence; una yunta de botijas de +vino. + +_Güegüence._ + +Ya lo ven, muchachos, una yunta de bueyes, y ha de ser con carreta. + +_Alguacil._ + +Acaso no me cele de bueyes ò de carreta, Güegüence. Una yunta de +botijas de vino de Castilla para en chocolá brindar su Cabildo Real +Sor. Gob^{or} Tastuanes. + +_Güegüence._ + +Ya lo ves, muchacho, en que empeño me metes, con ser casado. Ya ves +la providencia que pide el Sor. Gob^{or} Tastuanes, una yunta de +botijas de vino de Castilla para en chocolá del Sor. Gob^{or} +Tastuanes; te atreves á buscarla ó á sacarla, muchacho? + +61 + +to the lady Suche Malinche, that she may enjoy herself hugely with +Don Forcico, your son, Güegüence. + +_Alg._ Ha, Güegüence! it is known in the Royal Province of the +Governor Tastuanes that you are to obey him, and treat the Royal +Court of the Governor Tastuanes to a yoke of jars of Spanish wine. + +_Güe._ Ho, boys! you see we are already provided for. It is a fine +thing to be married, but now we have a big job on hand. The +Provincial is coming, and we have not prepared for him. Friend +Captain Chief Alguacil, where did you leave the Provincial, in +Managua or in Nindiri? + +_Alg._ Perhaps I don't care about the Provincial; a yoke of +wine-jars. + +_Güe._ Now you see, boys, a yoke of oxen, and, no doubt, the cart as +well. + +_Alg._ Perhaps I don't care about carts or oxen, Güegüence; a yoke +of jars of Spanish wine for a lunch, to treat the Royal Court of +Governor Tastuanes. + +_Güe._ Now, boy, you see in what a bother you put me by getting +married. Now you see the contribution which the Governor asks, a +yoke of jars of Spanish wine for the Governor's lunch. Are you equal +to hunting for it, or to getting it, boy? + +62 + +_D. Forcico._ + +No tengo de onde, tatita. + +_Güegüence._ + +Para escojer mosamonte si eres bueno. Te atreves a buscar una yunta +de botijas de vino de Castilla, Don Ambrosio? + +_D. Ambrosio._ + +No tengo de onde, Güegüence. + +_Güegüence._ + +Que cosa buena has de hacer, mala casta! Con que, ¿no te atreves, +muchacho? + +_D. Forcico._ + +No, tatita. + +_Güegüence._ + +Pues á ganar ò á perder voy à buscar la yunta de botijas de vino. + +_D. Forcico._ + +No vaya, tatita, ya me avié de la yunta de botijas de vino. + +_Güegüence._ + +A onde te aviastes, muchacho? + +_D. Forcico._ + +En casa de un amigo. + +_Güegüence._ + +Quien te enseño hacer amigo? + +_D. Forcico._ + +Usted, tatita. + +_Güegüence._ + +Calla, muchacho, que dirá la gente que yo te enseño á hacer amigo? + +63 + +_Don For._ I don't know whence, little papa. + +_Güe._ You are bold enough to choose [a wife] presumptuously. Are +you bold enough to hunt up a yoke of jars of Spanish wine, Don +Ambrosio? + +_Don Am._ I don't know where, Güegüence. + +_Güe._ What are you good for, you bad breed? Well, don't _you_ dare +to, boy? + +_Don For._ No, little papa. + +_Güe._ Well, then, be it to win or lose, I shall go in search of the +wine myself. + +_Don For._ Don't go, little papa, I have already provided the wine. + +_Güe._ Where did you get it, boy? + +_Don For._ In the house of a friend. + +_Güe._ Who taught you to make a friend? + +_Don For._ You, little papa. + +_Güe._ Shut up, boy. What will the folks say [if they hear] that I +taught you to make a friend? + +64 + +_D. Ambrosio._ + +Y pues no es verdad que enseñas á malas mañas á tu hijo? + +_Güegüence._ + +Arra ya, mala casta! malas mañas como las tienes vos. Amigo Cap^n +Alg^l M^{or}, ya estamos aviados de la yunta de botijas de vino, no +habrá un macho de la cofradia ò de la comunidad? + +_Alguacil._ + +Vean, que fama de hombre de bien! + +_Güegüence._ + +Soy hombre de bien. Traigo mis machos, pero estan algo raspados +desde su cruz hasta su rabo a lichuas diligencia, amigo Cap^n Alg^l +M^{or}. Ha, muchachos, que es de los machos? + +_D. Forcico._ + +Ahi, estan, tatita. + + Aqui dan una vuelta bailando y cojen los machos. + +_D. Forcico._ + +Ya estan cojidos los machos, tatita. + +_Güegüence._ + +Encojidos? Será de frio. + +_D. Forcico._ + +Los machos ya estan cojidos. + +_Güegüence._ + +Cojudos? Pues no eran capones. + +_D. Forcico._ + +Cojidos los machos, tatita. + +65 + +_Don Am._ And is it not true that you teach your son evil ways? + +_Güe._ Get out, you bad breed; you are the one with evil ways. +Friend Captain Chief Alguacil, we have now provided the wine. Have +you not a mule of the brotherhood, or of the village? + +_Alg._ See, what a reputation for an honest man! + +_Güe._ I am an honest man. I have my own mules, but they are a +little raw, from withers to crupper, in consequence of my energy, +Captain Chief Alguacil. Ha, boys! what about the mules? + +_Don For._ Here they are, little papa. + + (They dance around the stage and lead in a number of masks, + dressed as mules.) + +_Don For._ The mules are now driven up, little papa. + +_Güe._ Shriveled up? That must be from cold. + +_Don For._ I say the mules are driven up. + +_Güe._ Livin' studs? Then they were not altered. + +_Don For._ The mules are driven up. + +66 + +_Güegüence._ + +Cojidos los machos? Pues hableme recio! A onde estan los machos? + +_D. Forcico._ + +Aquí estan, tatita. + +_Güegüence._ + +Que macho es este puntero, muchacho? + +_D. Forcico._ + +El macho viejo, tatita. + +_Güegüence._ + +Y este otro macho? + +_D. Forcico._ + +El macho guajaqueño. + +_Güegüence._ + +Y este otro macho? + +_D. Forcico._ + +El macho mohino. + +_Güegüence._ + +Y este otro macho? + +_D. Forcico._ + +El macho moto. + +_Güegüence._ + +¿Ya aparejaron, muchachos? + +_D. Forcico._ + +No, tatita, aparejeselos Vd. + +_Güegüence._ + +Todo lo ha de hacer el viejo. + +_D. Forcico._ + +Sí, es mejor, tatita. + +67 + +_Güe._ Driven up, are they? Speak out loud to me. Where are the +mules? + +_Don For._ Here they are, little papa. + +_Güe._ Which mule is this thin one, boy? + +_Don For._ The old mule, little papa. + +_Güe._ And this other mule? + +_Don For._ That is the dried-up one. + +_Güe._ And this other? + +_Don For._ That is the quarrelsome mule. + +_Güe._ And this other one? + +_Don For._ The rowdy mule. + +_Güe._ Are they harnessed, boys? + +_Don For._ No, little papa; harness them yourself. + +_Güe._ The old man has to do everything. + +_Don For._ Yes, it's better, little papa. + +68 + +_Güegüence._ + +Ya está sana la cinchera de este macho, muchacho? + +_D. Forcico._ + +Ya está, tatita. + +_Güegüence._ + +Y este otro macho ¿ya esta sana la riñonada? + +_D. Forcico._ + +Ya está, tatita. + +_Güegüence._ + +Que sana ha de estar, muchacho, si asi tanta estaca tiene por +delante? A onde se estacó este macho, muchacho? + +_D. Forcico._ + +En el potrero, tatita. + +_Güegüence._ + +Eso merece por ralirse del potrero á otro potrero. Y la vaticola de +este macho, ya está sana, muchacho? + +_D. Forcico._ + +Ya está, tatita. + +_Güegüence._ + +Que sana ha de estar, muchacho, si le ha bajado la flucion por de +bajo de las piernas y la tiene muy hinchada? Reviéntalo, muchacho. + +_D. Forcico._ + +Reviéntelo Vd, tatita. + +_Güegüence._ + +Ahi se reventará solo, muchacho, que falta? + +_D. Forcico._ + +Alzar el fardo, tatita. + +69 + +_Güe._ Is the girth-gall of this mule well yet, boy? + +_Don For._ It is, little papa. + +_Güe._ And this other mule, is its backband-gall well yet? + +_Don For._ It is, little papa. + +_Güe._ How can it be well if it has such a stick in front of it? +Where did this mule run such a stick in itself, boy? + +_Don For._ In the colt yard, little papa. + +_Güe._ That is what it deserved for running from one pasture to +another. And the crupper-gall of this other mule, is it now well, +boy? + +_Don For._ It is, little papa. + +_Güe._ How can it be well, boy, if the inflammation has passed down +beneath the legs, and there's a great swelling there? Burst it open, +boy. + +_Don For._ Burst it open yourself, little papa. + +_Güe._ It will burst of itself, boy. What's wanting now? + +_Don For._ Heave up the pack, little papa. + +70 + +_Güegüence._ + +¿Calentar el jarro? + +_D. Forcico._ + +Alzar el fardo. + +_Güegüence._ + +Ha! el fardo! A onde está el fardo? + +_D. Forcico._ + +Aqui está tatita. + +_Güegüence._ + +A mi tiempo, cuando fui muchacho, el tiempo del hilo azul, cuando me +vei en aquellos campos de los Diriomos alzando aquellos fardos de +guayabas,--no muchachos? + +_Alguacil._ + +Date priesa, Güegüence. + +_Güegüence._ + +Me llevas preso? Porque, amigo Cap^n Alg^l M^{or}? + +_Alguacil._ + +Que te des priesa! + +_Güegüence._ + +Dejeme acordar de mi tiempo, que con eso me consuelo. Ha! muchachos, +para onde vamos, para atras ò para delante? + +_D. Forcico._ + +Para delante, tatita. + +_Güegüence._ + +Pues, á la guia, muchachos. + + Aqui se montan los muchachos en los machos. + +_Güegüence._ + +Muchachos, ¿no habrá un peinador para brindar el Cabildo Real del +Sor Gob^{or} Tastuane? + +71 + +_Güe._ Heat up the flask? + +_Don For._ Heave up the pack. + +_Güe._ O! the pack. Where is the pack? + +_Don For._ Here it is, little papa. + +_Güe._ In my time, when I was a boy, in the time of the blue thread, +when I was in those plains of the Diriomos, lifting those packs of +guayabas--isn't it so, boys? + +_Alg._ Hurry up, Güegüence. + +_Güe._ You take me up? What for, friend Captain Chief Alguacil? + +_Alg._ I mean hurry up. + +_Güe._ Let me recall old times, that I may console myself with that. +Say, boys, do we go in front or behind? + +_Don For._ In front, little papa. + +_Güe._ Then go ahead, boys. + + (The boys mount the mules.) + +_Güe._ Boys, isn't there a cheeky fellow to toast the Royal Court of +the Governor Tastuanes? + +72 + +_D. Forcico._ + +Si, hay, tatita. + +_Güegüence._ + +Señor Gob^{or} Tastuanes, asaneganeme Castilla en chocola de vino. + +_Gobernador._ + +Siguale, Güegüence. + +_Gobernador._ + +Sor. Escribano Real, asaneganeme Castilla en chocola de vino. + +_Escribano._ + +Siguale, Güegüence. + +_Güegüence._ + +Sor. Regidor Real, asaneganeme Castilla en chocola de vino. + +_Regidor._ + +Siguale, Güegüence. + +_Güegüence._ + +Amigo Cap^n Alg^l M^{or} asaneganeme Castilla en chocola de vino. + +_Alguacil._ + +Siguale, Güegüence. + +_Güegüence._ + +Pues nosotros, á la gorra, muchachos! + + +FIN. + +73 + +_Don For._ Yes, there is, little papa. + +_Güe._ Governor Tastuanes, let me offer you some Spanish wine, as a +treat. + +_Gov._ Follow him, Güegüence. + +_Güe._ Mr. Secretary, let me offer you some Spanish wine, as a +treat. + +_Sec._ Follow him, Güegüence. + +_Güe._ Mr. Registrar, let me offer you some Spanish wine, as a +treat. + +_Reg._ Follow him, Güegüence. + +_Güe._ Friend Captain Chief Alguacil, let me offer you some Spanish +wine, as a treat. + +_Alg._ Follow him, Güegüence. + +_Güe._ Then, for us, boys; we'll get it for nothing, and drink it +ourselves. + + +END. + + + + +NOTES. + + +_Page 4._ The Dramatis Personæ. These have been discussed in the +Introduction, page xlv. I may add that the "Regidor de Cana" may be +for "Regidor Decano." Otherwise I do not see a meaning to it. The +term "Alguacil" might be translated "constable," or "bailiff." + +_Page 6._ The salutations exchanged between the Alguacil and +Governor are repeated frequently between the characters. In the +first, the words would seem to be the Nahuatl _matataca_, to beg, to +pray, and _miecpialia_, to watch over, to protect; in the reply, for +the latter is substituted _miequilia_, to prosper, followed by +_qualli_, good, or well. The terminal _s_, in _mispiales_, +_miscuales_, is probably a remnant of the Spanish _os_, you. _No +pilse_ is the vocative _nopiltze_, my dear son, compounded of the +inseparable possessive pronoun of the first person, _no_, and +_tepiltzin_, an affectionate or reverential form, from the root +_pilli_. The expression need not be taken as literally meaning +relationship, as the Nahuas used the formula _nopiltzintzinê_ in +addressing all persons of position. "_Ma moyolicaizin_, +_Nopiltzintzine_, seas bien venido, ó ilustre Señor." Carochi, +_Gram. Mex._, p. 20. + +_Ya tiguala neme_, I take to be _yê tiqualli tinemi_, in which _yê_ +is a particle of contraposition, and both the adjective-adverb +_qualli_, and the verb _nemi_, to live, to be, are preceded by the +second personal pronoun _ti_. The compound _mascamayagua_ appears to +be from _maxca_, yours, literally, your thing (_mo_, your, _axca_, +thing), and the optative particle _mayecuele_, equivalent to the +Spanish _ojalá_; hence the meaning is "yours to command," or "at +your service." + +In his next words the Governor uses a phrase which is repeated by +various speakers with a "damnable iteration" throughout the comedy. +_Simocague_ would, in pure Nahuatl, be _ximocauoltia_, the +imperative second person singular, of the compulsive form of +_mocaua_, to cease, to stop, or to suspend something. The noun +_mocacaua_ is the word for the pauses or intervals in music. The +reason for the frequent repetition of the request, I suppose to be +that in the ancient exhibitions of the drama numerous assistants +joined in dancing, singing and playing on musical instruments; and +when a specified ballet was to be performed, or an important +conversation to be repeated, they were courteously addressed, and +requested to be silent for a time. Dr. Valentine tells me that in +Guatemala the term _gente principal_ is commonly used to designate +the most prominent inhabitants of a pueblo. + +_Necana y paltechua_, Nahuatl words, united by the Spanish +conjunction. The former is Nah. _nequaniliztli_, dancing motions; +the latter, elsewhere written _palechua_ and _paleguisa_, is a +corruption of _paleuqui_, suitable, or appropriate things. _Hemo_, a +form of Sp. _hemos_, is an antiquated expression for _tenemos_. + +The word _mo_ in the expression _mo Cabildo Real_ may be the Spanish +_mio_, my; or the Nah. _mo_, thy, thine. The _Cabildo_ was +originally the chapter of a religious house, and later a council, +but at present it is applied in Central America to the municipal +courts, and the house in which they sit. + +_Page 8._ In the second reply of the Alguacil on this page there are +evidently several words omitted which I have supplied in brackets in +the translation. The same has occurred elsewhere, and it was to be +expected, as nearly all the Nahuatl expressions have become +unintelligible to the native population of the present generation. +As most of these formulas are repeated several times, we can +approximate to what the full expression should be. + +_Ya nemo niqui nistipampa_, is a frequent reply in the play to a +formal salutation of a superior. I have translated it as some +corruption of the Nahuatl words, _yê nemonequi nixtlipampa_, +literally, "my presence is proper," _i. e._, "I am present before +you, as is my duty." The Alguacil, as having charge of the patrol, +hastens to speak of its wretched uniform. The adjective _sesule_, +constantly applied to Güegüence, evidently in a depreciatory manner, +is probably from the Nah. _tçulli_, worthless. + +_Page 10._ While the Governor and Alguacil are conversing, Güegüence +and his sons enter, and overhear the last directions of the +Governor. All three understand whom he means, but it is the cue of +Güegüence to assume a different signification. To the brusque +rejoinder of Don Ambrosio he pretends to be deaf, and this feigned +difficulty of hearing is depended on as one of the main elements of +the comic throughout. + +The epithet _mala casta_, of bad blood, as applied by Güegüence to +his own (putative) son, becomes intelligible later in the play, +where it is stated that he was begotten during his legal father's +absence in Mexico. + +_Embustero_, which I have rendered "humbug," is more exactly a +boasting, bragging charlatan. Dr. Valentine suggests "blower," in +the slang sense of that word. + +_Page 12._ _Asuyungua._ The numerous words which begin in _asu_, +_asa_, and _ase_, seem to be compounds with the Nah _aço_, +"perhaps," used in introducing a positive statement mildly, or in +presenting a question in the form of an assertion, as _aço amo +timoçahua_, "perhaps you have not fasted," meaning "you surely have +not." (Carochi.) It is usually combined with other particles, and +the analysis of such compounds in the altered form presented in the +text becomes exceedingly uncertain. + +After the announcement of his person and official position by the +Alguacil, Güegüence repeats his titles in a tone of affected +admiration, and inquires after his staff of office, which was not +visible. This staff was all-important to the dignity of an alcalde +or alguacil. In Nahuatl this official is called _topilê_, he who +carries the staff, from _topilli_, staff. + +_Page 14._ Güegüence, who has no desire to appear before the +Governor, makes an excuse that he will learn how to fly, and is +about leaving, when he is called back by the Alguacil. The words _te +calas_, _qui provincia real_, should probably read, _ticalaquia +presencia real_, the first from _calaquia_, to enter, as on page 8. + +_Page 16._ Having agreed to take a lesson in etiquette, Güegüence +pretends quite to misunderstand the Alguacil, when he claims pay for +his instructions. + +_Redes_, "nets" of salted fish. The reference is to the method +adopted by the Indians of Central America in carrying burdens. This +is in a net which is suspended between the shoulders by means of a +strap which passes across the forehead. Such a net is called in +Nicaragua _matate_, and in pure Nahuatl, _matlauacalli_; the strap +or band by which it is supported is the _mecapal_, Nah. _mecapalli_. +When the material to be transported is a fluid, a jar of earthenware +is suspended in the same manner. A small earthenware cup, found in +Nicaragua exhibits this, and also some ingenuity of arrangement. It +represents a woman, with one of these jars on her back, seated. (See +p. 78.) + +_Page 18._ _Ojos de sapo muerto_, lit. "eyes of a dead toad." Such +eyes were considered to exercise an evil influence, and to bring bad +luck. + +_Page 20._ _Doblar._ This Spanish word means to toll a bell, as at a +death. Güegüence chooses to understand the Alguacil's demand for +_doubloons_ to be a request to _doblar_, and hastens to announce to +his sons that the Alguacil has suddenly died. + +[Illustration: CUP FROM NICARAGUA.] + +_Page 24._ The coins which Güegüence names are those of the old +Spanish currency. A cuarto was a brass piece, equal to a half-penny +English, or one American cent (Delpino, _Spanish and English +Dictionary_, 1763.) It was worth four maravedis, and eight cuartos +equaled a _real de vellon_. + +The phrase _maneta congon_ is of uncertain signification. I have +translated the first word as the imperative form of _nextia_, to +show, to disclose; _congon_ may perhaps be a corruption of +_conetontli_, boy. + +The Alguacil now begins his instruction, and repeats, for the +benefit of Güegüence, the proper salutation which should be used in +addressing the Governor. The old man pretends to misunderstand them, +and makes use of other words, similar in sound, but of an insulting +signification. I have not succeeded in showing, in the English text, +this play upon words. + +_Page 28._ _Asonesepa negualigua_, etc. This passage has proved +unintelligible to me, and the rendering is little more than a guess. +The phrase is the same as at the foot of p. 30. + +In the midst of the conversation the Governor suddenly appears, and +Güegüence turns to him with the customary and proper salutation, +thus showing that his desire for instruction from the Alguacil was a +sham. + +On the phrase _te calas qui provincia real_, see the Notes to page +14. + +_Page 30._ _Mesonero_, a person who owns or has charge of a _meson_, +a house in which the poorer classes of travelers sleep, providing +their own food, and that of their beasts (Dr. Valentine). For +_tupile_ see Vocabulary. + +_Antepeque_ or Tecoantepeque, the seaport of Guaxaca. Thomas Gage, +who visited it in 1625, wrote of it: "This Port of Tecoantepeque is +the chief for fishing in all that country; we met here in the ways, +sometimes with fifty, sometimes with a hundred mules together, laden +with nothing but salt fish for Guaxaca, the City of Angels, and +Mexico."--_A new Survey of the West Indies_, p. 195. (London, 1699.) + +_Dulces_ are sweetmeats of various kinds, eaten usually between +meals. Squier remarks: "The Spanish taste for 'dulces' long ago +passed into a proverb, but it rather surpasses itself in Nicaragua. +The venders of 'dulces', generally bright Indian girls, gaily +dressed, and bearing a tray, covered with the purest white napkins, +and temptingly spread upon their heads, pass daily from house to +house; and it is sometimes difficult, and always ungallant, to +refuse purchasing something from their stock."--_Nicaragua_, Vol. I, +p. 275. + +The punctuation toward the foot of the page should probably be, +"_no seremos guancos; no; seremos amigos_," etc. The _guipil de +pecho_ is the short upper jacket worn by the women. A _guipil de +pluma_ is a skirt woven of feathers. In ancient times, these +garments, skillfully constructed of the beautiful plumes of tropical +birds, were esteemed as the most valued articles in the treasures of +kings, and the most magnificent of royal costumes. The art of +feather-weaving continued for some generations after the Conquest. +Indeed, as late as 1840 one family in Mechoacan preserved it. The +reference to it in the text, however, is a sign of antiquity, as it +has long since disappeared in Central America. See an interesting +monograph on the subject by the eminent French antiquary, Ferdinand +Denis.--_Arte Plumaria; Les Plumes, leur Valeur et leur Emploi dans +les Arts au Mexique, au Perou, etc._ Paris, 1875. + +_Page 32._ Much of this page is rendered with doubtful accuracy, as +the text is very obscure. + +_Page 34._ _Hay me sagua_, the same as _hoy melague_, p. 36; hoy, +Spanish, now, to-day, _melaua_, Nah., to speak out, or openly. + +_Page 40._ The reference to the star would seem to be that when the +tent is opened a star is visible through it, which Güegüence offers +to the Governor. + +_Para tu cuerpo_, "an extremely filthy expression." (Dr. Valentine.) + +_Page 42._ _Seran de arena._ "They may be of sand," _i. e._, they +are of no value or importance. + +_Yugos de papayo_, yokes of papaw wood, a soft wood, worthless for +the purpose, as is also the wood of the tecomajoche, the _Plumeria_, +for plows. The intimation is that Don Forcico was smart enough to +cheat his customers. + +The Nicaraguan plow is a wooden instrument of the most primitive +construction. The following cut from Mr. Squier's work represents +one. + +[Illustration: A NICARAGUAN PLOW.] + +_Page 48._ The tunes mentioned, the St. Martin, the Valona, the +Porto rico and others, are still preserved in Nicaragua. + +_Page 50._ _Sin tuno, sin tunal._ An obscure phrase which none of my +advisers can explain. _Tuna_ is the prickly pear, _tunal_, the plant +that bears it, various species of _Opuntia_. _Tuna_, in the +university slang, means beggarly, reckless; "estudiantes de la +tuna," mendicant or vagabond students. (See Don J. Arias Giron, +_Costumbres Salamanquinas_.) + +_Page 54._ When the Governor uses the Nahuatl word _mocemati_, +presumptuously, Güegüence feigns to understand him to say +_desmonte_, which means, in Nicaraguan Spanish, a clearing, and also +the worthless waste products thrown out of a mine. + +_Page 56._ Güegüence leads in several girls, and presents them to +Don Forcico, which gives the pair an opportunity for some coarse +jokes. _Pachaca_, stuffed up, here meant in the sense of being with +child. _Iguana ô garroba_, the latter the male of the iguana, a +thick tree lizard of the tropics. _Aventada_, puffed up, taken in +the same sense as _pachaca_. + +_Page 58._ The _machete_, which I have translated "axe," is a long, +heavy knife or cutlass, in extensive use in Spanish America, for +domestic and agricultural purposes. It is shown in the following +cut. + +[Illustration: THE MACHETE.] + +_Una yunta de botijas de vino_, a yoke or brace of wine jars, +probably so called from having been carried by a neck yoke, one +suspended on each side. + +_Page 60._ The Alguacil speaks to Güegüence of toasting, _brindar_, +the Court, and Güegüence feigns to hear him speak of the +_provincial_ or ecclesiastical officer in charge of the province. It +is an example of assonance which is lost in the translation. Managua +and Nindiri are towns in the Mangue district of Nicaragua. See the +map on page xii. + +The next affected misunderstanding of the old man is to take _una +yunta de botijas_, a yoke of bottles, for _una yunta de bueyes_, a +yoke of oxen. + +_Page 62._ _Hacer amigo_, to make a friend. This is the phrase which +is used by courtezans with reference to securing a male patron to +pay their expenses, and for that reason Güegüence affects to be +shocked by the employment of it by Don Forcico. + +_Page 64._ The words of the Alguacil, "What a reputation, etc.," are +with reference to the charge of Don Ambrosio, that Güegüence had +taught his son evil ways. + +The introduction of the mules, _i. e._, the actors dressed as mules, +as described on page xlviii, is the occasion of several extremely +obscene puns and allusions. + +_Page 68._ _Potrero_, colt-yard, or pasture-lot, a play on the +similarity of the word to _puteria_, a brothel. The estaca referred +to is, of course, an obscene allusion, as is also the _fluccion por +debajo de las piernas_, _i. e._, the scrotum. + +_Page 70._ _El tiempo del hilo azul._ This idiom has foiled all whom +I have consulted. Dr. Valentine thinks it refers to the season of +the year when the verdure reappears after the drouth. F. Diego Duran +states that the village conjurors were accustomed to suspend charms +to the necks of boys by blue and green threads. (_Historia de las +Indias de la Nueva España._ Tom. II, p. 275.) Thus understood, the +time of the blue thread would be equivalent to boyhood. + +_Campos de los Diriomos._ The Mangue word _Diriomo_ means the hill +of abundance, or of great fertility. The locality so named is shown +on the map, page xii. + +_Guayaba._ This is the fruit of the guayabo tree, the _Psidium +pyriferum_. It is red in color, and about the size of a small apple. + +_Page 72._ _A la gorra_, literally "for the cap," an idiom meaning +that one receives something merely for taking off the cap; a +gratuity. Dr. Valentine, however, writes me: "I understand _nosotros +á la gorra_ to mean 'then we shall have to do without.'" + + + + +VOCABULARY + +OF + +_Nahuatl and Provincial, Unusual or Antiquated Spanish Words_. + + +A + + Apupujado, Sp. Worn out, played out. + + Arra! "Get up! Get along!" A cry of the muleteers to their + animals. + + Asa--. The various words beginning thus are compounds + commencing with the Nah. _aço_, which expresses a doubt, + or implies a question, == perhaps, maybe. Olmos says: + "Quiere decir _por ventura_, respondiendo ô + dudando."--_Gram. Nahuatl_, p. 179. + + Asama--. This prefix to various words is the Nah. _açoma_, + which is a strengthened form of _aço_.--Carochi, _Gram. + Mex._, p. 181. The syllable _ma_ is also the sign of the + imperative. + + Asamaquimate, Nah. A compound of _açamo_, as above, and + _mati_, to know. The _qui_ is the objective pronoun of + the third singular, him, her, it, that; but its + employment in this connection is incorrect. + + Asamatimaguas, _or_ --timagas, Nah. Probably from _açoma_ + (see above), and either _temachtico_, to come to teach, + or tell; or _temaca_, to give something to a person. + + Asanecaneme, _see_ Asaneganeme. + + Asanegaguala, _see_ Asanegualigua. + + Asaneganeme, Nah. Probably _aço ni ca nemactia_, the last + word meaning to give or offer something to another, + "perhaps I may offer something," == "May I offer you + some?" + + Asanegualigua, Nah. Probably _aço_ and _necuilhuia_, to + deal, bargain, treat for. + + Asanese, Nah. p. 42. A compound of _aço_ and some unknown + word. Probably == _asones_, q.v. + + Asetato, Sp. ant. and prov. for _sientate_, sit down. + + Asiguala, Nah. From _aço_ and perhaps _qualani_, to grow + angry (?). + + Asones, Nah. From _aço_, and probably _nechca_ or _nepa_, + adverbs of place and time, "these," "then," "once," + "formerly." Sometimes it is written _à sones_, and + _asonesepa_. + + Asuyungua, Nah. Compound of _aço_ and _noyuhqui_, thus, in + this manner (? Cf. Carochi, _Gram. Mex._ p. 190). + + Ayugama, Nah. == _ayoccampa_, nowhere, not at all, never. + + Azetagago, Nah. Apparently a corrupt form from _acicacaqui_, + to understand. + + +B + + Batuchito, Sp. prov. A small box, in which money, etc., is + kept. + + +C + + Cabildo, Sp. A chapter; a council. In Central America, the + municipal court. See p. 76. + + Cabriolé, Sp. A kind of riding coat; "a narrow riding coat + without sleeves." (Delpino, _Span. Dict._) + + Campaneme, ?. p. 28. Probably for _campamento_. + + Cana, Nah. A particle, expressing doubt, "any time," + "anywhere." _Cuix cana otimoyolcuiti_, Have you + confessed anywhere? It cannot begin a sentence, but must + always follow some other word (Carochi, _Gram. Mex._, p. + 158). + + Cele, Sp. prov. A form of _zelar_, to be zealous for, to be + anxious for; _no me cele_, I do not very strongly + desire; used ironically. + + Chiguigua, Nah. Perhaps _ti calaquia_, you will enter in. + + Chiquimate, Nah. From _mati_, to know, _qui_, objective. + + Chopaquimate, Nah. _Quimati_, see above. _Chopa_ and _chi_ + seem to be personal forms. + + Chocola, Nah. _Chocolatl_, a drink made from cacao. It has + been doubted whether there was a Nahuatl word in this + form. Don Jesus Sanchez denies it in his _Glosario de + Voces Castellanas derivadas del Idioma Nahuatl_, sub + voce (Mexico, 1883). But its pure Nahuatl origin seems + to be established by another writer (_An. del Museo + Nacional de Mexico_, Tom. iii, p. 86). From the text, + its meaning was in a wider sense a refection in general, + just as the English word "tea" means a meal. + + Cinchera, Sp. The portion of the body of a horse or mule + where the saddle girth is fastened. + + Cobijones, Sp. Large leather coverings to protect goods, + etc. + + Cojudo, Sp. Not castrated. Applied to the entire horse, etc. + + Columbrar, Sp. To descry, to discern at a distance. "Lo que + veo y columbro, respondió Sancho," etc.--Don Quixote, + Pt. I, cap. xxi. + + Congon, Nah. p. 24. Perhaps _conetontli_, a boy, or young + person. + + Consentidor, Sp. A conniver, procurer, pimp. + + Corcobios, Sp. Curvetings, gambolings. Applied to the steps + in certain dances. + + Corridos, Sp. Running steps, or motions, in certain dances. + + Cuascuane, Nah. From _cuicani_, to sing, chant. + + +D + + Desmonte, Sp. A clearing; the refuse from a clearing, or + from a mine. See note, page 80. + + +E + + Eguan, Nah. A form of _ihuan_, and, as well as. + + Escataci, p. 28 (?). + + +G + + Galagua, Nah., _calaquia_, to enter, to come into. + + Ganzo, Sp. prov. a goose; a fool; also a glutton. + + Garrobo. A large species of tree lizard; the male of the + iguana (Berendt, _Lengua Castellana de Nicaragua_, MSS). + + Guajaqueño, Nah. From _quauhuaqui_, to appear thin and dry, + like a stick. + + Guancos, Sp. prov. for _guanacos_, foolish, silly persons. + + Güil, Sp. prov. Probably for _que es el_, or _quel_, who is + the, or which? + + Guipil, Nah. A form of _gueipil_, or _huipilli_. The short + skirt, without sleeves, used by the Indian women. "Camisa + de algodon sin mangas."--Jesus Sanchez, _Glosario de Voces + Castellanas derivadas del Náhuatl_, s.v. + + Guiso, _see_ Tomaguiso. + + +L + + Lichua, Nah. Probably an abbreviated form from _tla + achiua_, to do, or make something; _lichua obedecer_, + to make to obey. + + Linar, Sp. prov. To please, amuse, == _consolar_, for which + it is used in some districts. (Berendt.) + + +M + + Machete, Sp. prov. A heavy knife, or sort of cutlass (a + Biscayan word). See page 81. + + Macho, Sp. A male of any animal, especially of a mule; used + generally for mule in the Güegüence. + + Macho-raton, Sp. Literally, "the male mouse," but in + Nicaragua applied to a fantastic costume, and hence to + the play, or _baile_, in which it is worn. See page + xlvii. It may also mean a mouse-colored jack. + + Maneca, Nah. From _mana_, to make maize cakes, or tortillas; + _manacan_, one who likes to make such (cf. Carochi, + _Gram. Mex._, p. 136). + + Maneta, Nah. Probably the imperative form of _nextia_ (_mâ + xi nextia_), to show, to disclose or inform. + + Mascamayagua. Nah. A compound of _maxca_ (== _mo, axca_) + thine, it is thine (literally, thy thing), and + _mayacuele_, the optative particle, or else _ma ayc + caui_, thine always. It is evidently equivalent to + "yours to command," "at your service," etc. + + Matamagueso, _see_ Tumaguiso. + + Matateco, Nah. Slightly altered form of _matataca_, to beg, + to pray, possibly by the addition of the Spanish + personal pronoun, I, "yo." + + Mayagua, _or_ Mayague, Nah. Apparently the sign of the + optative, _mayacuele_, and expressive of a wish; + _yecuel_, in Nah., also conveys the idea of promptness + and earliness (Carochi, _Gram. Mex._, p. 175). + + Melague, _or_ Melagua, Nah. A form of _melaua_, to say + clearly, to speak openly. The termination _que_, in + Nah., marks the plural of certain nouns and tenses. + + Miscuales, Nah. From _miequilia_, to prosper, augment, + increase. + + Mispiales, Nah. From _miecpialia_, to watch over, guard, + protect. In both the above words, the prefix is _miec_, + much, used as an intensive particle. + + Mo, Nah. Second person, sing., of the inseparable possessive + pronoun, _no_, my, _mo_, thy, _y_, his, _to_, our, + _amo_, your, _yn_, their. _Mo_ is also the reflexive + pronoun of the third person singular, and appears to be + occasionally used in the Güegüence as the possessive of + the third person, probably from analogy with the Spanish + _su_. + + Mocegua, _or_ Mosegua, Nah. Apparently from _mocenchiua_, to + unite in doing something. The _n_ is euphonic, the + composition being _ce_, one, and _achiua_, to do. + + Mohino, Sp. Applied to a mule proceeding from a stud and a + jenny; also, peevish, cross. + + Mollule, _or_ Muyule, Nah. Apparently from _molotl_, smart, + clever, crafty; itself a derivative from _yollo_, able, + ingenious, talented. + + Monistilco, Nah. Apparently from _monetli_, son-in-law, with + the postposition _co_, for, by, etc. + + Mosamonte, Nah. _mocemati_, presumptuously, too boldly. + + Motales, _or_ Motalce, Nah. Derivatives, apparently, from + _motlaloa_, to run, to carry messages, with the + signification messengers. + + Motel, Nah. p. 38. An interrogative negative particle, + properly _monel_. + + Moto, Sp. prov. Noisy, rowdyish; a noisy, blustering person. + "El muchacho mal criado que motea." (Berendt, _La Lengua + Castellana de Nicaragua_, MSS.) + + Muchintes, The Sp. _mucho_, much, with the Nah. augmentative + termination _tzin_, == very much, very extensive. Or + else, the pure Nah. _muchintin_, all, plural of + _muchi_.--Olmos, _Gram. Nahuatl_, p. 48. + + Mudanzas, Sp. prov. The motions in a dance. + + Muyule, _see_ Mollule. + + +N + + Necana, Nah. From _nequanaliztli_, dancing motions, as are + used in _bailes_. + + Neganeme, _see_ Asaniganeme. + + Negua, Nah. If a separate word, this is probably from + _neci_, to disclose oneself, to show oneself; it is, + however, a doubtful expression. + + Negualigua, Nah. From _necuilhuia_, to bargain, to deal for. + + Neme, Nah. From _nemi_, to live, to be (Sp. _estar_), to + dwell. + + Nemo, _see_ Niqui. + + Niqui, Nah. Found in the construction _nemo niqui_, which + should probably read _ni monequi_, it is proper for me, + becoming or necessary. Sp. _me conviene_. + + Nistipampa, Nah. The postposition _pampa_, _ixtli_, the + face, and the first possessive pronoun _no_. The + compound means "I, present," or "in my presence." + Carochi, _Gram. Mex._, p. 45. + + No, Nah. First person, singular, of the inseparable + possessive pronoun. See _mo_. It is also used for the + Spanish negative, _no_, not, throughout the play. + + Ñonguan, page 28. An unknown word which, from its initial + nasal, has the appearance of being from the Mangue + tongue, in which this sound is very common. + + +O + + Opa, Nah., _oppa_, twice. + + +P + + Pachaca, Nah. A derivative from _pachiui_, to stuff with + food, to satisfy the appetite, etc. The verbal nouns + ending in _ca_ or _can_ usually signify place where, + but this is to be considered a verbal adjective, from + the pluperfect _pachiuhca_. + + Pachigue, _or_ Pachiguete, Nah. From _pachiuitia_, to + satisfy a person. The frequent expression, _pachigue no + pachiguete_, should probably be punctuated _pachigue_? + _No pachigutee_, == Satisfied? No, you do not satisfy + me. + + Paguala, p. 36, Nah. A truncated word. Compare _a sones + sepaguala_, p. 34, and _a sonesepa negualigua_, p. 28. + + Palegue, _see_ Panegue. + + Palparesia, Nah. From _papal_, or _papallotl_, talk, + conversation. Sp. _parleria_. No doubt an onomatopoietic + word, like the English babble, Hebrew, Babel, which it + resembles, both in pronunciation and meaning. + + Paltechua, Nah. From _paleuhqui_, favorable, advantageous or + appropriate things. See page 76. + + Paneguia, _or_ Panegue, _or_ Palegue, Nah. From _panauia_, + to get the better of another, to overcome, conquer. The + termination, _gue_, or _guia_, in this and other verbal + forms, is one of past time in the Nahuatl. See Carochi, + _Gram. Mex._, p. 54. + + Peinador, p. 70. Perhaps the Spanish word so spelled, which + means a hairdresser, and hence an effeminate person. But + it may be a Spanish form from the Nah. _pinauhtia_, to + put another to the blush, or out of countenance, the + compulsive form of _pinaua_, to be ashamed. + + Perico ligero, Sp. prov. In Nicaragua, the night-monkey, + _Cercoleptes caudivolvulus_, which has sharp claws. It + is elsewhere applied to a species of parrot, and to the + bee bear, _Myrmecophaga_, (Berendt, _Lengua Castellana + de Nicaragua_, MSS). + + Petaca, Nah. From _petlacalli_, a box, trunk or chest; + especially a square basket, with a lid; "cajon + quadrangular con tapa, hecho de palma" (Berendt, _id_). + + Petate, Nah., _petlatli_, the native rug or mat, woven of + palm leaves or rushes. + + Pilse, Nah., _piltzin_, son, vocative, _piltze_. See page + 75. + + Polluse, _or_ Poyuse, Nah. Apparently a form of poa, to + tell, relate, give an account, preterit, _pouh_, + _pouhca_. + + +Q + + Qui, Sp., who; also at times for Sp. _aqui_, here. + + Quichuas, Nah. Probably a derivative from _achiua_, to do or + make. Compare _Lichua_. + + Quilis, Nah., _qualli_, good, well. + + Quinimente, Nah., _quin_, he, those, _aquin_, who. It would + seem to be a demonstrative form, but its analysis is + obscure. + + Quinquimagua, Nah. A compound of _macua_, to give, to + concede, with the pronouns _quin_ or _aquin_. + + +R + + Rebiatar, Sp. prov. To tie behind, as the muleteers tie one + mule in the line to the mule in front of it. + + Recua, Sp. prov. A team, or line, of mules. + + Remates, Sp. prov. The finishing steps, or closing figures + of a dance. + + Riñonada. The hinder portion of a horse or mule, over which + passes one of the harness straps. + + Rujeros, Sp. prov. for _rugidos_, bellowings or shoutings. + The name of a tune. + + +S + + Sagua, p. 34. A mutilated word; see _Melague_. + + Sapatetas, Sp. prov. for _zapatetas_, from _zapato_, a shoe. + Shoe-slappings, the name of the figures in a rough, + noisy dance. + + Samo, Nah., p. 8. Probably some compound of _amo_, no, not. + + Semula, Sp. prov. for _similar_, like, similar to. + + Seno, Sp. prov. for _sin_, without. + + Sepaguala, Nah. See _Paguala_. + + Sepanegaligua, Nah. A compound of _calaquia_, to enter, with + some prefix, as _cepan_, together, or _ixpan_, in the + presence of some one. + + Sesule, Nah. A compound of _tçulli_, good for nothing, + worthless, perhaps with _ce_, one, or _te_, some one. It + is an adjective, applied in a depreciatory manner to the + Güegüence. + + Sicana, Nah. See _Cana_. + + Silguerio, Sp. prov. for _xilguero_, a linnet, or thrush. + + Simocague, Nah. Imperative form of _mocaua_, to pause, + suspend, cease. See page 75. + + Sobornal, Sp. The excess or addition to a load. + + Sones, Sp. Tunes, music. + + +T + + Tatita, Sp. Little papa. A diminutive of endearment. It + could also be derived from the Nah. _tatli_, father. + + Tecetales, _or_ Tesetales, Nah. From _tetzauia_, to be a + shame, to be scandalous. + + Tecomajoche, Nah., _tecomatl_, vase, _xochitl_, flower; a + tree bearing small white flowers, a species of + _Plumiera_, allied to the East Indian "temple tree." + + Teguane, Nah. Form of _tehuantin_, pronoun, first person + plural, we, us. + + Ticino, Nah., _ticitl_, a native doctor, a charlatan; one + who casts lots for divination; a personal form, from + _ticiti_, might be _ticitoni_. + + Tiguala, Nah. A compound of _ti_, thou, and _qualli_, good + or well. See note, page 75. + + Tiguita, Nah. A word of uncertain meaning, pages 46, 48, in + the phrase _mollule tiguita_. It may be a first person + plural, from _quixtia_, _tic quixtia_, we do our duty, + we do our best. + + Timaguas, Nah. Either from _temaca_, to give something to + another; or from _temachti_, a teacher, an instructor. + + Tin, Sp. A form for _tener_, to have. It stands in different + passages for _tiene_, _tenemos_, and _tienen_, and is a + good illustration of the wearing away of forms in this + mixed dialect. + + Tinderia, Sp. for _tenderia_, a shop, booth or tent, in + which wares are displayed for sale. + + Totolatera, Nah. From _tototl_, a bird or fowl; _petaca + totolatera_, a basket for carrying fowls. + + Tumaguiso, Nah. A compound of _tuma_, to untie, open, and + _quiça_, a verbal termination, which signifies a + performance of the action of the verb to which it is + added.--Olmos, _Gram. Nah._, p. 157. + + Tumiles, Nah. An adjective from the same root as + _tomanaliztli_, fatness, corpulence, and signifies + abounding, abundant. + + Tunal, Sp. prov., from a Haytian (Arawack) word. It means a + plantation of the native American cactus figs, or + prickly pears. See page 80. + + Tupile, Nah. An officer of justice, an alcalde or alguacil. + From _topilê_, he who carries a staff; _topilli_, staff, + this being the badge of the office. + + +V + + Vaticola, Sp. prov. The posterior of an animal; the crupper + region. Possibly from _veta di cola_, vein of the tail. + + Velancicos, Sp. prov. for _villancicos_, rustic songs sung + at the doors of the brotherhoods (_cofradias_) at + certain festivals (Berendt, _Leng. Castel. de + Nicaragua_, MSS). + + +Y + + Ya. Interjection. You there! Yes, there! + + + + +INDEX. + + + Alva, B. de, xlv. + + Anahuac, v, vi, vii. + + Antepeque, 79 + + Arawack language, xx. + + Ayacachtli, the, xxxvi. + + Aymaras, xv. + + Aztecs, v, xvi. + migrations of, vi. + + + Baker, Theodore, xxxviii. + + Bancroft, H. H., ix. + + Baptista, J., xlviii. + + Balsam Coast, the, xxxvi. + + Barber, E. A., xxxiii, xxxviii. + + Benzoni, G., xi, xvi, xxii, xliv. + + Berendt, C. H., v, vi, xi, xxv, xxxi, xli. + + Bertonio, L., xv. + + Bobadilla, F. de, vii. + + Brantford, Dr. J. F., x, xxxv. + + Brasseur de Bourbourg, xliii. + + Buschmann, vii, xi. + + + Cacho, the, xxxvii. + + Canahuate, dance, xxvi. + + Carimba, the, xxxvi. + + Carochi, H., xvi, 75, 77. + + Chapanecs, H., viii, ix, xxii, xxxix. + + Chiapanec, see Chapanecs. + + Chiapas, ix. + + Chilchil, the, xxxvi. + + Chinegritos, Los, xxvi. + + Chirimoya, the, xxxviii. + + Cholotecans, vi, n, viii. + + Cholula, derivation, viii. + + Chorotegans, _see_ Cholotecans. + + Cofradias, the, xxxix. + + Coreal, F., xxii, xliv. + + Cuscatlan, vi. + + + Delpino, F., 78. + + Denis, F., 79. + + Dirians, viii. + + Drums, xxx. + + Duran, D., xxi, xxx, xliv, xlviii, 82. + + + Feather weaving, 79. + + Flint, Dr. Earl, x, xxxix, xli. + + Flutes, xxxv. + + Fonseca Bay, viii. + + + Gage, Thomas, xxii, 79. + + Gatschet, A. S., xxxviii. + + Giron, J. A., 80. + + Gollena, Dr., xviii. + + Gomara, vii. + + Güegüence, + Play described, xli. + Derivation, xlv. + Story of, xlviii. + + + Haefkens, J., xxiv. + + Honduras, xvii. + + + Icazbalceta, J. G., xlviii. + + + Juco, the, xxxv. + + + Kekchis, xlii. + + Kiches, xliii. + + + Lacandons, xxxviii. + + Las Inditas, xxx. + + Lessing, G. C., xlvi. + + Levy, Pablo, xxiv, xxx, xliii. + + Logas, xxv. + + + Machete, the, 81. + + Macho-Raton, the, xlviii. + + Maguateca, vii. + + Malinche, air of, xxxviii. + + Managua, Lake, viii. + Province, xi, xxxi. + + Mangue language, xi, xiii. + + Mangues, v, viii, xxii. + + Marimba, the, xxviii. + + Masaya, viii, xvii. + + Mayas, ix. + + Mice, superstitions about, xlviii. + + Morelet, A., xxx, xxxviii. + + + Nahuas, v. + + Nahuatl language, v, vi, xiii. + + Nahuatl Spanish jargon, xxi. + + Namotiva, xxx. + + Navarro, J. M., xxxix. + + Negritos, dance, xxvi. + + Nets, for burdens, 77. + + Nicaragua, v. + Derivation of, vi. + Lake of, v, xi. + + Nicaraguans, vi. + + Nicaraos, vi. + + Nicoya, Gulf of, v, viii, xxxv. + + Niquirans, v, vi. + + + Ollita, Dance of, xxvi. + + Ollita, instrument, xxxi. + + Ometepec, Island, xi, xxxi. + + Oviedo, F. de, v, viii, xi, xix, xxi. + + + Perez, Geronimo, xix. + + Peru, xv, xxxi. + + Pito, the, xxxiii. + + Plow, Nicaraguan, 80. + + + Qquichua Language, xvi. + + Quijongo, the, xxxvi. + + + Remesal, P. F., ix. + + Rocha, J. E. de la, xii. + + + Salazar, F. C., xlviii. + + Squier, E. G., v, vi, x, 79. + + Suchi-Malinche, Derivation of, xlvii. + + + Tastuanes, derivation of, xlvii. + + Tecoatega, xx. + + Tecoantepeque, 79. + + Tempsky, Von, xxviii, xxxviii. + + Ternaux-Compans, vii, ix. + + Ticknor, George, xxv, xliv. + + Ticomega, vii. + + Titicaca, Lake, xv. + + Toro-Guaca, dance of, xxvi. + + Torquemada, vii, ix. + + + Uluas, xliii. + + Urrutia, J. A., xxiii. + + + Vasquez, F., vi, xxii. + + Valentine, F. H., 76, 82. + + Valentine, P. J. J., ix. + + Vera Paz, Province, xxxviii. + + + Whistles, xxxiii, xxxv. + + + Zapatero, Island, xxxiii. + + +Transcriber's Note: + +Original spelling has been preserved, as have any inconsistencies. + +Minor punctuation errors have been repaired. + +In this etext a superscript character is represented by ^. Two +superscripted letters are surrounded by { }. + + + + + +End of the Project Gutenberg EBook of The Güegüence; A Comedy Ballet in the +Nahuatl-Spanish Dialect of Nicaragua, by Daniel G. Brinton + +*** END OF THE PROJECT GUTENBERG EBOOK 40559 *** |