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diff --git a/40559-8.txt b/40559-8.txt deleted file mode 100644 index a65aaea..0000000 --- a/40559-8.txt +++ /dev/null @@ -1,6125 +0,0 @@ -The Project Gutenberg EBook of The Güegüence; A Comedy Ballet in the -Nahuatl-Spanish Dialect of Nicaragua, by Daniel G. Brinton - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The Güegüence; A Comedy Ballet in the Nahuatl-Spanish Dialect of Nicaragua - -Author: Daniel G. Brinton - -Release Date: August 22, 2012 [EBook #40559] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE GUEGUENCE; A COMEDY BALLET *** - - - - -Produced by Andrea Ball, David Starner and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -[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. 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