path: root/40559-0.txt

*** START OF THE PROJECT GUTENBERG EBOOK 40559 ***

[Illustration: A MANGUE INDIAN RECITING A LOGA. SEE PAGE XXV.]




  BRINTON'S LIBRARY OF ABORIGINAL AMERICAN LITERATURE.
  NUMBER III.


  THE GÜEGÜENCE;
  A COMEDY BALLET
  IN THE
  NAHUATL-SPANISH DIALECT OF NICARAGUA.


  EDITED BY
  DANIEL G. BRINTON




  AMS PRESS NEW YORK


  COPYRIGHT,
  D. G. BRINTON.
  1883.




  LIBRARY
  OF
  ABORIGINAL AMERICAN
  LITERATURE.

  No. III.

  EDITED BY
  D. G. BRINTON, M.D.

  PHILADELPHIA:
  1883.




PREFACE.


The play which is presented in this volume is the only specimen
known to me of the native American comedy. It is of comparatively
recent origin, and is composed in a mixed dialect, a jargon of low
Spanish and corrupt Aztec (Nahuatl); but, both in its history and
spirit, it bears so many marks of native composition, and is so
characteristic of the sort of humor popular with the tribes from
whom it was obtained, that it fairly merits a place in this series
of publications.

The text was obtained in Nicaragua, by the late Dr. Carl Hermann
Berendt. But no translation of any part of it and no notes upon it
were found among his papers. The responsibility for the rendering
rests, therefore, with myself. It has presented extreme difficulty,
owing to the imperfect condition of the text, the deterioration of
the Nahuatl words and forms, the antiquated and provincial senses of
the Spanish words, and the obscure local references introduced. I
would rather speak of my work as a loose paraphrase, aimed to give
the general sense and humorous tone of the original, than as a
faithful translation.

The text has been printed precisely as in the manuscript, even
obvious errors in spelling and punctuation having been preserved.
Suggestions with reference to these are made in the notes.

For assistance in translating the Spanish text, I would acknowledge
my indebtedness to Professor Adolfo Pierra, of Philadelphia, and Dr.
F. C. Valentine, of New York, both of whom have passed considerable
periods in Central America.

_Philadelphia, November, 1883._




CONTENTS.

                                                            PAGE
  _Introduction._

  § 1. _The Nahuas and Mangues of Nicaragua._                  v
    Location of the Nahuas of Nicaragua,                       v
    Derivation of the word _Nicaragua_,                        v
    Origin of the Nicaraguan Nahuas,                          vi
    Location of the Mangues,                                viii
    Why called _Chorotecas_,                                viii
    Relationship to the Chapanecs,                            ix
    Culture level of the Nahuas,                               x
    Of the Mangues,                                            x
    Disappearance of their languages,                         xi
    Comparison of the Nahuatl of Nicaragua and of Mexico,   xiii
    Comparison of the Mangue with the Chapanec,             xiii
    Differences between Nicaraguan and pure Nahuatl,         xiv
    Comparison of the Mangue or Chapanec, of Central
      America, with the Aymara, of Peru,                      xv
    Development of the Nahuatl-Spanish jargon,              xvii
    Specimens of it,                                        xvii

  § 2. _The Bailes or Dramatic Dances of Nicaragua._         xix
    Oviedo's description,                                     xx
    Symbolism of the dance,                                 xxii
    Benzoni's description,                                  xxii
    Gage's remarks,                                         xxii
    Historical character of the dances,                    xxiii
    Five classes of dances,                                xxiii
    Purpose and characters,                                 xxiv
    The Logas,                                               xxv
    Las Inditas,                                             xxv
    The Chinegritos,                                        xxvi
    The Negritos,                                           xxvi
    Toro-Guaca and other dances,                            xxvi
    The drama of the Ollita,                               xxvii

  § 3. _Nicaraguan Musical Instruments and Music._        xxviii
    The Marimba, its form and origin,                     xxviii
    The Drum,                                                xxx
    The Ollita or Musical Jar,                              xxxi
    The Pito or Whistle,                                  xxxiii
    Specimens of Airs,                                     xxxiv
    The long Flute,                                         xxxv
    The Juco,                                               xxxv
    The Quijongo or Carimba,                               xxxvi
    The Chilchil or Ayacachtli,                            xxxvi
    The Cacho,                                            xxxvii
    Character of native music,                            xxxvii
    Air of the Malinche,                                 xxxviii
    Choruses and Cofradias,                              xxxviii
    Melodies from the Güegüence,                              xl

  § 4. _History of the "Baile del Güegüence."_               xli
    Whence the text was obtained,                            xli
    Time and manner of its rehearsal,                        xli
    Age of the play,                                        xlii
    Reasons for considering it a native production          xlii
    How different from the Spanish comedy,                 xliii
    Native plots of similar character,                      xliv
    Native comedians,                                        xlv

  § 5. _The Dramatis Personæ of the Güegüence._              xlv
    The Güegüence,                                           xlv
    Derivation of the name,                                  xlv
    Character,                                               xlv
    Malicious humor,                                        xlvi
    Costume,                                                xlvi
    Don Forcico and Don Ambrosio,                           xlvi
    Contrast of actions,                                   xlvii
    The Governor Tastuanes,                                xlvii
    Derivation of the name,                                xlvii
    Minor characters,                                      xlvii
    The lady Suchi Malinche,                               xlvii
    Derivation of the name,                                xlvii
    The mules,                                             xlvii
    Their costume,                                        xlviii

  § 6. _Epitome of the Story of the Güegüence._           xlviii

  THE GÜEGÜENCE; A COMEDY.                                     3

  _Notes to the Güegüence._                                   75

  _Vocabulary._                                               83

  _Index._                                                    93




LIST OF ILLUSTRATIONS.

                                                            PAGE

  FRONTISPIECE. A MANGUE INDIAN RECITING A LOGA.
                       _From an original sketch by Dr. Berendt._

  MAP OF THE LOCATION OF THE NAHUAS OF NICARAGUA AND
    THEIR NEIGHBORS.                                         xii

  ANCIENT DANCE IN NICARAGUA.                               xxii
                                       _From Oviedo's Historia._

  A MARIMBA PLAYER AND HIS INSTRUMENT.                      xxix
                                     _From Von Tempsky's Mitla._

  ANCIENT AZTEC MUSICIAN.                                    xxx
                                        _From Duran's Historia._

  NICARAGUAN INDIANS PLAYING ON THE DRUM.                  xxxii
                       _From an original sketch by Dr. Berendt._

  EARTHENWARE MUSICAL JAR FROM NICARAGUA.                 xxxiii
                                _From a drawing by Dr. Berendt._

  EARTHENWARE WHISTLE FROM NICARAGUA.                     xxxiii
                                _From a drawing by Dr. Berendt._

  NATIVE FLUTE MELODIES.                                   xxxiv
                                      _From MS. of Dr. Berendt._

  WHISTLES FROM NICARAGUAN BURIAL MOUNDS.                   xxxv
                           _From Report of Dr. J. F. Bransford._

  THE QUIJONGO OF NICARAGUA.                               xxxvi
                            _Original Drawing from description._

  AZTEC MOURNER SINGING AND PLAYING.                      xxxvii
                     _From Aztec Codex in the Aubin Collection._

  AIR OF MALINCHE.                                       xxxviii
                                        _From Morelet's Voyage._

  MELODIES FROM GÜEGÜENCE.                                    xl
                           _Original furnished by Dr. E. Flint._

  EARTHENWARE CUP FROM NICARAGUA.                        lxxviii
                                 _From a sketch by Dr. Berendt._

  A NICARAGUAN PLOUGH.                                      lxxx
                                      _From Squier's Nicaragua._

  A MACHETE.                                               lxxxi
                                      _From an original sketch._




INTRODUCTION.


§ 1. _The Nahuas and Mangues of Nicaragua._

Among the outlying colonies of that important people whose chief
seat was in the Valley of Mexico, and who are variously known as
Aztecs, Mexicans or Nahuas, were several in Central America. "One of
these," writes Mr. Squier, "occupied the principal islands in the
Lake of Nicaragua, the narrow isthmus which intervenes between that
lake and the Pacific, and probably a portion of the country to the
southward, as far as the gulf of Nicoya. Their country was less than
a hundred miles long, by twenty-five broad; yet here they preserved
the same language and institutions, and practiced the same religious
rites, with the people of the same stock who dwelt more than two
thousand miles distant, on the plateau of Anahuac, from whom they
were separated by numerous powerful nations, speaking different
languages, and having distinct organizations."[1]

This Nahuatl tribe gave the name to the Province, _Nicaragua_, this
being, according to some early authorities, the personal appellation
of their chief at the epoch of their discovery, in 1522, and,
according to others, their national name.[2] For no sufficient
reasons, Mr. Squier applied to them the term _Niquirans_, and Dr.
Berendt _Nicaraos_, but it seems better to retain, as distinctive
for them, the name _Nicaraguans_, or, more specifically, "the Nahuas
of Nicaragua." "Nicaragua" is undoubtedly a Nahuatl word, but, as
the letter _r_ is not found in that language, the precise original
form is uncertain. Father Francisco Vasquez explained it as a
compound of the Nahuatl _nican_, "here," and _anahuacos_, "here
dwell those from Anahuac;"[3] or it may be from _nican_ and _nahua_
(plural form of _nahuatl_), "here dwell those speaking the Nahuatl
tongue;" or, as a personal name of a chief, it may be _ni
calaquiya_, "I entered into, or took possession."

How it happened that this fragment of the Aztec nation had become
detached from the main body and resident so far from its central
seat, has not been clearly explained. Mr. Squier and some others
have maintained the hypothesis that the migration of all the Aztec
tribes was from south to north, and that their scattered members in
Central America were bands which had stopped on the road.[4] This
opinion, however, is refuted by the evidence of language, and also
by the unanimous traditions of the Aztecs themselves, both in
Nicaragua and in Mexico.

The Nicaraguans had a very positive recollection that their
ancestors came from Mexico, driven forth by scarcity of food, and
that they wandered along the Pacific shore to the locality in which
the Spaniards found them.[5] They remembered the names of their
ancient home, or, rather, of their ancient kindred, and gave them as
_Ticomega_ and _Maguateca_, locating them toward the west ("hacia
donde se pone el sol"). It is easy to recognize in these words the
Aztec terminations signifying _gens_ or tribe, _mecatl_ and
_tecatl_, which in the plural drop the _tl_. Nor can we be far wrong
in identifying _magua_ with the Aztec _maque_, upper, above, and
_tico_ with _tiachcauh_, elder brother, and in translating these
names, the one as "the upper people," _i. e._, the dwellers on the
lofty interior plateau, and "our elder brothers," _i. e._, the
senior and ranking clans of their tribe, who remained in Anahuac.[6]

Besides these traditions, the Nicaraguans showed their close
relationship to the Aztecs by a substantial identity of language,
mythology, religious rites, calendars, manners and customs. We have,
fortunately, an unusual mass of information about them, from an
examination of their leading men by the chaplain Francisco de
Bobadilla, in 1528, who took down their replies with as much
accuracy as we could expect, and whose narrative has been preserved
by the historian Oviedo. They also had retained a knowledge of the
Mexican hieroglyphics, and wrote, in books of paper and parchment,
their laws and ritual, their calendars and the boundaries of their
lands.[7]

While this Aztec band thus acknowledged themselves to be intruders,
such appears not to have been the case with their immediate
neighbors to the northeast and southwest. These were of one blood
and language, and called themselves _mánkeme_, rulers, masters,
which the Spaniards corrupted into _Mangues_.[8] The invading Aztecs
appear to have split this ancient tribe into two fractions, the one
driven toward the south, about the Gulf of Nicoya, the other
northward, on and near Lake Managua, and beyond it on Fonseca
Bay.[9] Probably in memory of this victory, the Nicaraguans applied
to them the opprobrious name _Chololteca_, "those driven out," from
the Nahuatl verb _choloa_, and the suffix _tecatl_, which was
corrupted by the Spanish to _Chorotecas_.[10]

The name does not by any means intimate that the Mangues came from
Cholula in Mexico, as some ancient, and some modern, writers have
hastily supposed;[11] nor is it a proof that they spoke an Aztec
dialect, as Ternaux Compans has asserted.[12] So far is this from
being the case, the Mangue has no sort of affinity with the Nahuatl,
and must stand wholly asunder from it in the classification of
American tongues. It has, indeed, a relative to the north, and a
close one, the Chapanec or Chiapenec,[13] spoken by the inhabitants
of three small villages in Chiapas, the largest of which has given
its name to the province. These Chapanecs, by their traditions,
still clearly remembered at the time of the Conquest, and preserved
by the historian Remesal, migrated from Nicaragua to their more
northern home. As they had no connection with the Aztecs, so, also,
they were wholly without affinities with the great Maya stock, which
extended far and wide over Central America, although the contrary
has been recently stated.[14] In fact, among the five different
languages which were spoken in the present province of Nicaragua at
the time of the discovery, not one belonged to any branch of the
Maya group.[15]

My present theme does not extend to a discussion of these various
tongues, nor take me further into the ethnology of their locality.
It has to do solely with these two nations, the Nicaraguans and the
Mangues. The culture-level of the former was nearly as high as that
found in the Valley of Mexico. They had a settled government,
constructed edifices of stone, sculptured idols, utensils and
ornaments out of the same material, were skilled in ceramics, deft
in weaving cotton cloth and reed or grass mats, able in war, and
thoughtful enough to puzzle their first European visitors with
questions as to the stars and the earth, the beginning and the end
of things.[16] Careful archaeologists in our own day have searched
the territory they inhabited, and many museums contain specimens of
what they accomplished in the direction of the arts, and testify to
a respectable degree of intellectual advancement.[17]

We know less about the Mangues. They are mentioned as differing in
religious rites from the Nicaraguans, and the impression is conveyed
that they were in a more primitive condition, but yet with fair
claims to be ranked among the cultivated nations of the new world.
Among them, in fact, Dr. Berendt located one of the "centres of
ancient American civilization," and considered the definite solution
of their affiliations as one of the problems of the first order in
the ethnology of America.[18] The Spanish historians relate that
they had hieroglyphic books, like the Mexicans; that they were
rather light in color, careful in dress, setting much store by their
long hair, which they sedulously combed, and had an autocratic
military government. Their country was thickly peopled, especially
that portion of it between the lakes. The district of Managua was
almost like a continuous town, so closely were the native houses
placed together for nearly ten miles. In fact, it was called one
city by the earliest explorers, and Oviedo, who takes pains to
criticise these for their tendency to exaggeration, estimated the
population of this limited district, at the time of the Conquest, at
forty thousand souls.[19]

At present, scarcely any pure-blood remnants of either of these
nations can be found, and both languages are practically extinct.
When Mr. Squier visited Nicaragua, in 1850, he obtained, with great
difficulty, a short vocabulary of the Nahuatl dialect, spoken on the
island of Ometepec, in Lake Nicaragua; and, in 1874, Dr. Berendt,
only at the cost of repeated efforts, succeeded in securing from a
few survivors of advanced ages a moderately full collection of
Mangue words and sentences.[20]

[Illustration: MAP OF THE LOCATION OF THE NAHUAS OF NICARAGUA AND
THEIR NEIGHBORS.]

To illustrate the practical identity of the Nahuatl of Nicaragua
with that of Anahuac, and the Mangue of Nicaragua with that of
Chiapas, I will insert two short lists of common words with their
equivalents in those four dialects. The first is from Mr. Squier's
works above referred to, the second from the manuscripts of Dr.
Berendt now in my possession.

_Comparison of the Nahuatl of Nicaragua and of Mexico._

  ENGLISH.           NAHUATL OF NICARAGUA.   NAHUATL OF ANAHUAC.

  God,               teot.                   teotl.
  Man,               tlacat.                 tlacatl.
  Woman,             ciuat.                  ciuatl.
  Head,              tzonteco.               totzontecon.
  Foot,              hixt.                   ycxitl.
  Dog,               izcuindi.               itzcuintli.
  Deer,              mazat.                  mazatl.
  Rabbit,            toste.                  tochtli.
  Fire,              tlet.                   tletl.
  Water,             at.                     atl.
  House,             calli.                  calli.
  Maize,             centl.                  centli.
  Rain,              quiavit                 quiahuitl.
  Flower,            sochit.                 xochitl.
  Wind,              hecat.                  ehecatl.
  Snake,             coat.                   coatl.
  Eagle,             oate.                   quauhtli.
  Flint,             topecat.                tecpatl.
  Mountain,          tepec.                  tepec.
  One,               ce.                     ce.
  Two,               ome.                    ome.
  Three,             ye.                     yei.
  Four,              nau                     naui.
  Five,              macuil.                 macuilli.


_Comparison of the Mangue with the Chapanec._

  ENGLISH.           MANGUE OF NICARAGUA.    MANGUE OF CHIAPAS.

  Man (homo),        ndijpu.                 dipaju.
  Man (vir),         nyu'a.                  n[)o]jue, naha.
  Woman,             najui.                  najui.
  Father,            gooha.                  youa, poua.
  Mother,            ngumu.                  goma.
  Head,              gu t[chi]ima            t[chi]ima.
  Eye,               nahte.                  nate.
  Ear,               nyujui.                 noj[)u]a.
  Foot,              ngra.                   taku.
  Ruler (or chief),  mánkeme.                d[chi]amá _or_ mangheme.
  Dog,               nyumbí.                 numbí.
  Mouse,             nangi.                  nangi.
  Bird,              nyuri.                  nuri.
  Snake,             nule.                   nulú.
  Fire,              nyayu.                  n[)i][)i]ú.
  Water,             nimbu.                  nimbu.
  House,             nangu.                  nangu.
  Maize,             nama.                   nama.
  Wind,              nit[)i]ú.               tijú.
  Hill,              diri, tiri.             dili.
  One,               tike.                   tike.
  Two,               jami.                   jumiji.
  Three,             hajmi.                  jamiji.
  Four,              haeme.                  j[)u]amiji.
  Five,              jagusmi.                ja[)o]miji.

It needs but a cursory glance at these lists to see that, while
there is scarcely a dialectic difference between the two Nahuatl
columns, and again between the two Mangue columns, there is
absolutely no point of contact between Mangue and Nahuatl.

The chief differences between Nicaraguan and pure Nahuatl were, that
the former changed the double consonant _tl_ into _t_, or dropped it
altogether; that the _c_, _ch_ and _q_ were confounded; that, in the
conjugation, they dropped the prefix _tla_, which in pure Nahuatl is
employed to indicate that the inanimate object of the verb is not
expressed; that certain terminal consonants, as _x_, were dropped;
and apparently that the sounds of _s_ and _r_, not known to the
tongue in its purity, were introduced.

The linguistic relations of the Mangue or Chapanec tongue have never
been ascertained. I have compared it with the principal stocks in
the northern continent, as well as with the great Tupi-Guarani stem,
which has extensive affiliations in Central America, but without
discovering any analogies of value. It does appear, however, to have
a certain, though far from close, relationship to the Aymara tongue,
spoken in the Peruvian Andes, and especially in the vicinity of Lake
Titicaca, the celebrated site of a remarkable ancient civilization.
The following list of common words seems to indicate this. The
Aymara is taken from the dictionary of that tongue, by Father
Ludovico Bertonio, while the dialects of the Mangue are
discriminated by N, for Nicaraguan, and C, for Chapanec.

_Comparison of the Mangue, or Chapanec, of Central America, with the
Aymara, of Peru._

  ENGLISH.         MANGUE OR CHAPANEC.     AYMARA.

  Father,          poua (C).               pucara.
  Man,             naha (C).               chacha.
  Child,           nasungi (N).            iñasu.
  Ear,             nyuhui (N).             hinchu.
  Eye,             nahte (N).              nahui.
  Bone,            nyui (N).               cayu.
  Fire,            niiu (C), nyayu (N).    nina.
  Water,           nimbu (C).              vma.
  River,           naju (C).               mayu, jahu.
  Wind,            tihu (C).               thaa.
  Feathers,        lari (C).               lauralua (colored).
  Maize,           nama (C).               ccama.
  Earth,           nekapu (C).             ñeke, clay, yapu, soil.
  Sky,             naku paju (C).          hanac (_or_ alakh) pacha.
  Blind,           saapi (C).              saapi.
  Dumb,            napamu (C).             amu.
  Great,           yáka (C).               haccha.
  Bitter,          átsi (C).               cata.
  Dead,            tuhua (C).              hihua.
  To eat,          koita (N).              kauita (to eat apples, etc).
  Food,            nomota (C).             mamata.
  To go,           ota (C).                aatha.
  Thou,            çimo (C).               huma.
  You (pl),        çimecmo (C).            humasa.

There are also various grammatical similarities between the two
tongues. Both are highly synthetic; in both the division of nouns is
"vitalistic," that is, into animate and inanimate; the numeral
system is in both the decimal; in both the possessive pronoun
follows the noun; both possess the inclusive and exclusive plural;
and others could be mentioned.

It is known that the Aymara partakes largely of the elements of the
Qquichua, and by some is classified merely as a dialect of that
tongue. Such similarities as appear to exist between Mangue and
Aymara are, however, less with the words and forms common to these
two Peruvian idioms, but rather more with those wherein the Aymara
differs from the Qquichua.

With the trenchant differences above indicated, between the Nahuatl
and the Mangue, it is the more singular to observe how the Nahuatl
obtained the preponderance. We may attribute this to the superior
fighting power of the Aztec invaders; to the fact that many of the
native allies of the Spanish could speak that tongue and not the
Mangue; that the early missionaries came from Mexico; or, that the
Nahuatl was promptly reduced to writing, while the Mangue was not;
or to all these causes combined.[21] Certain it is, that at an early
date a mixed dialect came into vogue, both in the Mangue districts
of Nicaragua and elsewhere in Central America, composed of a
broken-down Nahuatl and a corrupt Spanish, which, at first, served
as a means of communication between the conquerors and their
subjects, and later became, to some degree, the usual tongue of the
latter. The Aztecs of pure blood spoke contemptuously of this jargon
as _in macehuallatolli_, the language of slaves, and Father Carochi,
writing little more than a century after the conquest, condemned
it as a hodge-podge of Spanish and Aztec, unintelligible in either
tongue.[22]

This jargon was carried into the various nations who came into
contact with the Spaniards and half-breeds, and hence we may find
scattered words traceable to it in many of their tongues, and
sometimes formulas of a religious, social or business character.[23]
This is strikingly exemplified among the Mangues, and the fact is
one of considerable interest in connection with the literary
production which is the main topic of this volume. Even to a recent
day, in remote haciendas of the Province of Masaya, among the
descendants of the Mangues, the traveler might hear the grace before
meals, and other short formulas of the Church, spoken in this mixed
patois.

The following is a specimen:--

     _Jesu Criste no tecuase + tunanse Santa Maria + el Apostol
     Santa Clara nos bendiga esta comida que tienen parte y
     poder._ Amen.

Here, _no tecuase_ is the Nahuatl _no tecuyotzin_, Our Lord, and
_tunanse_ is for _tonantzin_, Our Lady, or Mother.

Another specimen is:--

     _Marias te cuasti + Marias ticuisti guanse Dios + y
     Espiritu Santo._

The correct reading of which should probably be--

     _Maria tocihuatzin, Maria toquitznitli, yhuan in Dios,
     yhuan in Espiritu Santo._

This Nahuatl-Spanish jargon became the _lingua franca_ of large
districts of Central America and Mexico. It was the current tongue
of the half-breeds, and to this day is the patois of the muleteers
who carry on the sparse commerce of the interior mountainous
regions. Many of its Spanish elements are ungrammatical, and others
are long since obsolete in the classical tongue. It is interlarded
with words and whole phrases borrowed from the Aztec, but with such
mutilations that they are scarcely, or not at all, recognizable.
Words from other native languages have crept in, which adds to the
difficulty of its lexicography. As for the construction, it became
looser and looser, until, in some phrases, all inflectional elements
disappear, and there is a naked juxtaposition of nominal and verbal
roots, the relation of which must be guessed simply from their
sequence.

Probably in none of the Spanish provinces has the Castilian suffered
more from such admixture than in Nicaragua. The foreign words are
there so numerous that the country patois becomes nearly
unintelligible to one acquainted only with the Spanish of the
Academy. Here is the verse of a song, for example, in that dialect,
which will illustrate how far the amalgamation with the native
tongues has gone. The words in italic are either Nahuatl or
Mangue:--

          "_Casahuyano_, mi amor,
          Por vos esté _payaneado_.
          No seas _tilinte_, mi bien."
          "Se _selegue_, dueño amado."

    "My love, between girlhood and womanhood,
    My heart is breaking for you.
    Do not be severe, my loved one."
    "I am yet unripe, my beloved master."[24]

Another song, in which the lover expresses the strength of his
devotion with more force than elegance, has the following verse:--

    "O fuera yo _carángano_,
      En tus _cojines_ me metería
      Para servirte todo el dia.
    Te ama este zángano."

Which may be freely rendered--

    "Were I a little louse, I'd go
      In your puffed and plaited hair;
      With you all your toil I'd share;
    This lazy fellow loves you so."

The _carángano_ is the name of a species of louse, and the _cojines_
are the little pads or cushions which women wear in their hair.

In this dialect several satirical and political songs have been
composed, and, indeed, the licentiate Geronimo Perez, of Masaya, is
stated to have printed in it a political pamphlet, which I regret
not to have been able to obtain.

Such is the jargon in which the _Güegüence_ is written, and although
this medley of tongues can claim no position of dignity in the
hierarchy of languages, it has its own peculiar points of interest,
as illustrating the laws of the degradation--which is but another
term for the evolution and progress--of human speech. To understand
its origin and position as a literary effort, we must review the
development of scenic representations in that part of the New World.


§ 2. _The Bailes, or Dramatic Dances of Nicaragua._

The historian, Fernandez de Oviedo, who was in Nicaragua in 1529,
gives a long account of the dramatic representations, or rites,
accompanied by songs, dances and masked actors, which he witnessed
among the natives of both Nahuatl and Mangue lineage in that
province. They took place at stated seasons, and at certain epochs
in the year. The name which he gives as that by which they were
locally known is _mitote_, which is the Aztec _mitotl_, a dance. He
himself calls them _areytos_, a Haytian word from the Arawack
_aririn_, to sing, and _bailes_, which is Spanish, from a classical
root, and means dances.

One which he saw at Tecoatega, at that time a Nahuatl village, was
celebrated at the close of the cacao harvest and in honor of the god
of that plant. It offered a curious symbolism, which makes us keenly
regret the absence of a full explanation by some learned native. In
the centre of the village square a straight pole was set up about
forty feet in height. On its summit was placed the image of the god,
brilliantly colored, in a sitting position. Around the top of the
pole a stout grass rope was tightly wound, its two free ends passing
over a wooden platform.

When the ceremony began, about seventy men appeared, some dressed as
women, some with masks and head-dresses of feathers, and all painted
skillfully on the naked flesh to imitate handsome costumes. They
danced in pairs, and sang in chorus certain songs, to the sound of
the sacred drums. After about half an hour, two boys, who had been
attached to the free ends of the rope, threw themselves from the
platform into the air, in such a manner that they turned round and
round the pole, unwinding the rope, and thus gradually descended
toward the ground. One boy held in one hand a bow, in the other,
some arrows; his companion held in one hand a fan or plume of
feathers, in the other a mirror, such as the natives made of
polished obsidian. As they descended, which, says the narrator,
required about as long a time as one might repeat the Creed five or
six times, the dancers ceased their song, and only the players on
the instruments, some ten or a dozen in number, continued their
noise. But, just as the boys, by the increasing length of the
unwound cord, touched the soil, all present set up a great shout,
and the festival ceased.[25] The cut which I have inserted is taken
from Oviedo's history, and represents the performance.

[Illustration: ANCIENT DANCE IN NICARAGUA.]

To one familiar with Nahuatl symbolism, the meaning of this ceremony
is, in a general way, obvious. The seated divinity on the summit of
the pole represents the god of fertility throned in the heavens. The
two boys are the messengers he sends to earth; the arrows refer to
the lightnings which he hurls below; the feather fan typifies the
breezes and the birds; the mirror, the waters and rains. After the
mortals have prayed in chants, for a certain season, the god sends
his messengers; men wait in suspense their arrival, whether it shall
be for good or for ill hap; and as they reach the earth, a shout of
joy is raised, for the food has ripened and been gathered in, and
the harvest-home is ended.

In the same century the traveler Giralamo Benzoni, who visited
Nicaragua about 1540, was much impressed with the native dances. At
certain ones, as many as three or four thousand Indians assembled,
some dancing, others playing on drums, while others, who formed the
chorus, carried on the singing. The dancers displayed great agility,
and practiced a large variety of figures. They were ornamented with
feathers and plumes, and strings of shells were attached to their
arms and legs.[26]

The Mangues of Chiapas, or the Chapanecs, near relatives, as we have
seen, of the Mangues of Nicaragua, were famous in the days of Thomas
Gage, the English priest, who traveled through Mexico and Nicaragua
about 1630,[27] for their dexterity in games and the elaborate
scenery of their dramatic representations. "As for acting of
Plays," he says, "this is a common part of their solemn Pastimes."

This passion for scenic performances was by no means peculiar to
these tribes. It extended throughout almost the whole of the Red
Race, and there are many relics of it which have survived. The older
authors refer to it frequently, and the early missionaries, finding
that they could not extinguish it, sought to turn it to good account
by substituting for the native plays, which were idolatrous or
licentious, moral and instructive pieces. They encouraged the more
intelligent natives and half-breeds to prepare such, and they were
acted in connection with church festivals.

But it would be an error to suppose that these attempts succeeded
completely in abolishing the older forms, or quenched entirely the
tribal historical character of these ceremonies. Even within our own
generation the contrary of this has been recognized by close
observers. Thus the _cura_ of Jutiapa, a town in Guatemala, Don Jose
Antonio Urrutia, wrote, in 1856: "In most of the Indian towns the
custom is still general of preserving a knowledge of great events in
their history by means of representations, called _bailes_ (dances),
which are, in fact, dances in the public squares, on the days or
evenings of great solemnities. It is most interesting for one who
understands something of the language to participate in these
_bailes_, as he can thereby obtain some knowledge of the most remote
traditions and events in the history of the Indians."[28]

Confining our attention to the limits of Nicaragua, we find that the
different _bailes_ represented there within the memory of persons
still living may be arranged in five different classes:--

  1. Simple dances.

  2. Dances with songs.

  3. Dances with prose recitation.

  4. Scenic recitations with music, by a single actor. These are
     called _Logas_.

  5. Complete dramas, with music, ballets, dialogue, and costumes.

Most of these have a religious purpose. Thus, it is still a common
custom, in case of sickness or impending danger, to make a vow that,
in case of escape, the person will dance before the image of some
saint on a certain day, at a certain place, usually at a
festival.[29] Such dances are sometimes accompanied with songs or
chants of praise, or are performed in silence. The performer is
usually masked or in costume.

It would be erroneous to suppose that there is much gaiety in their
dances. At least, it is not apparent to foreign eyes. The music is
monotonous and almost lugubrious, the singing is all in the minor
key, and the motions are dull, mechanical and ungraceful. A European
traveler has, indeed, characterized these spectacles rather as an
exhibition of profound melancholy, than outbursts of merriment, and
has instanced them as a proof of the psychical inferiority of the
race![30]

Some of them, even to this day, as continued by the lower half-caste
population, are accused of an indecency which may be a reminiscence
of ancient Indian religious rites;[31] for we know that the native
Nicaraguans celebrated a festival strictly similar to that in
ancient Babylon, so condemned by the prophet, during which every
woman, of whatever class, had the right to yield her person to whom
she would, without incurring blame or exciting jealousy.

The _Logas_ seem to be peculiar to the Mangues. A small theatre is
extemporized, music is provided, and the actor comes forward,
arrayed in some odd garb, and recites a sort of poem, with gestures
and dancing movements. The text of one of these was obtained at
Namotivá by Dr. Berendt, and is in my possession. It is entitled,
_Loga del Niño Dios_, and contains about two hundred lines. The
language is a corrupt Spanish, with a number of Mangue words
interspersed. The exordium reads--

    "Atienda, Señores,
    Pongan atencion
    Del Mangue tiyo Pegro
    La conversacion."

The theme is an address to the patron saints and the infant Jesus,
but the tone is that of a burlesque, rather than a serious
composition. The costume of the orator, and his surroundings, the
little theatre, the holy infant, etc., are represented in the
frontispiece to this work, from a sketch taken from life.[32]

Frequently a number of persons join in the dance. Such is one, still
occasionally seen, called _Las Inditas_, the Little Indian Girls.
The period of its celebration is on the day of St. Jerome. The
women are masked, and wear a loose mantle, a skirt with lace edging,
a sash of rose color, and a hat with feathers. They carry bouquets
and have a silk handkerchief fastened around the waist, the ends
meeting over the hips. The men are in grotesque costumes, with ugly
masks. They dance in couples, but without touching each other. The
music is the marimba and the guitar. The songs usually turn on some
matter of local interest.

Another favorite dance is the _Baile de Chinegritos_, celebrated
by the Mangues. This name is applied to the masqueraders who take
part in it. They wear a cap of black straw, and the body is naked
to the waist, and painted. Each carries a stick or the dried yard
of a bull, and in turn lifts a companion from the ground and strikes
him with the whip. One, who keeps himself apart from the rest, is
called the _rucia_, or _yeguita_, the mare. He is in a framework
of cane adorned with women's skirts and colored handkerchiefs,
supposed to represent some animal. There is no fixed day for the
dance, but it is usually carried out in fulfillment of a vow. A
variety of this _baile_, called _Chinegritos à caballo_, is
performed by mounted actors, in brilliant costumes, with gaily
caparisoned horses. They are accompanied by music, and draw up in
front of a house, where they sing a song with a monotonous chorus,
_le-le-le-le-le-le-le-li-u_.

The _Baile de Negritos_ is celebrated on the festivals of St. James
and St. Anna. The participants are on horseback, themselves and
their steeds adorned with bright-colored sashes and garlands of
flowers. They all wear the _mosote_, or black straw hat, from which
this and the preceding dance derive their names.[33] The songs which
they sing are called _Ensaladas_, salads or medleys, and usually
contain personal allusions.

The _Baile de Toro-Guaca_, the Dance of the Graveyard Bull,[34] as
it may be rendered, is presented on the festival of the Virgin, of
St. Jerome, and other days, in accordance with a vow. It requires
fourteen dancers and seventeen masqueraders. The "bull" is
represented by a framework of reeds, surmounted by a pair of horns
and gaily decorated.

Other such exhibitions are called the _Baile de diablitos_, _Baile
de la Yeguita_, _Baile de San Roman_, _Baile de San Martin_, _Baile
del Toro y Venado_, _Baile del Mantudo_ (in which a desperado, with
numerous _chichiltes_, small bells, appears), besides some
representations of Bible scenes, as the combat between David and
Goliath, etc.

Although most of these are accompanied by songs, and some by
dialogues, they do not seem to reach to the height of a plot, or to
the depicting of character or emotion. Beside them, however, and no
doubt to take the place of original compositions of a similar kind,
were complete dramatic creations.

Many of these were religious or historical plays, arranged by the
clergy, and offer little of interest. But some were of a secular
character, and appear to refer to historical events.

One was The _Ollita_ or _Cañahuate_. It was acted in the Mangue
tongue at Masaya as late as 1822, but the text is, unfortunately,
lost. The _Ollita_ is the name of the whistling jar, on which, and
on the drum, a lugubrious musical accompaniment was played. The name
_Cañahuate_ is said to have been that of a dialect of the Mangue.
The plot turned on a proposed marriage between an old man, richly
dressed in Spanish garb, and a native princess. The chorus and
assistants carried bows, arrows and quivers, which would seem to
point to an early date as that of the supposed transaction.


§ 3. _Nicaraguan Musical Instruments and Music._

The musical instruments of the natives of Nicaragua, mentioned by
Oviedo, are drums, flutes of reeds, and _excoletes_, or trumpets.
This, however, by no means exhausted the list, and several others of
similar powers have been retained to the present day, and have been
referred to by travelers as local curiosities. Thus, Mr. Squier
writes as follows, in describing a festival in Leon de Nicaragua:
"It is impossible to describe the strange instruments. One consisted
of a large calabash, over which was stretched the skin of some
animal; this, when pressed in, recoiled with a dull, sullen noise,
like the suppressed bellow of a wild beast, and the wail of some of
the long reeds was like that of a man in the agonies of a violent
death."[35]

The memoranda that I have obtained from various sources enable me to
supply this omission of the distinguished traveler, and to make out
the following list, which probably is not exhaustive.

The most elaborate is the _Marimba_. Some writers say that both the
name and instrument are of African derivation, having been
introduced by the negroes. Others assert that the Indians have known
the marimba time out of mind, and undoubtedly invented it. Certain
it is, that they develop singular skill in its management.

A good description and illustration of it are given by von Tempsky,
from whose work I extract them.[36]

"They [the Indians of Central America] are still very fond of
dancing, and are very good musicians, performing on a peculiar
instrument, a native invention of antique date, the Marimba. A long,
horizontal stick supports a number of jicaras (or long, cylindrical
calabashes), arranged near one another, according to size, from two
feet in depth to four or three inches. Over the mouth of each of
them is drawn a thin piece of bladder, and over it, at the distance
of a quarter of an inch, are flat pieces of a very hard wood,
arranged like the claviature of a piano. These oblong pieces of wood
are supported on a frame of light wood, joined to the long stick
that supports the row of jicaras underneath. Two light legs sustain
the little piano, partly on the ground, and a hoop connects it with
the player, who sits within the hoop, pressing it on a bench.

[Illustration: A MARIMBA PLAYER AND HIS INSTRUMENT.]

"Two long drumsticks, with balls of India rubber at their heads, are
in the hands of the player, who strikes double notes at every touch
of the wooden claviature, with the resounding jicaras underneath.
The sound of this instrument is charming, clear, limpid in its
tones, like the intonation of a harp string of wire. The Indians
produce the justest and sweetest double notes, and blend a rattling
tune together in very harmonious chords. Their talent for playing
this instrument by ear is astonishing; in a day, they will pick up
the most difficult air, and play it with a good deal of expression,
accompanied with a chant of their own composition."

Instead of calabashes, earthen jars of various sizes are
occasionally used to suspend beneath the key pieces; or, what in
some districts is equally common, they are vertical tubes of cedar
wood (_Cedrela odorata_). As described by the traveler Morelet,
these tubes are twenty-two in number, all of equal diameter, varying
in length from ten to forty centimeters, and forming three complete
octaves without semitones.[37] In many of the _bailes_ this is the
favorite means of music, and it is often associated with the guitar.

That it was not unknown to the ancient Aztecs seems shown from the
following drawing from an original Mexican painting in Duran's
_Historia_, where the player does not appear to be striking a drum,
but the keys of the marimba, or an instrument of that nature.

[Illustration: ANCIENT AZTEC MUSICIAN.]

The _Drum_ was, and remains, a favorite instrument in Central
America. It is usually formed of a hollow piece of wood, which is
struck with sticks. In Nicaragua, however, some of the natives use a
short piece of bamboo, over the ends of which a skin is stretched.

[Illustration: NICARAGUAN INDIANS PLAYING ON THE DRUM.]

This is held in the left hand and struck with the tips of the
fingers or the knuckles of the right hand, keeping time to the chant
or song of the performer, while he throws himself into striking and
extraordinary attitudes. The illustration on the preceding page,
from a sketch by Dr. Berendt, shows their manner of performing on
this instrument.

These two varieties of drums were also known to the ancient
Mexicans. They called the one which was struck with the hand the
_huehuetle_, "ancient object," and that played by sticks,
_teponaztli_.

The _Ollita_, or Little Jar, is an instrument still remembered in
Nicaragua, and the drama, in the Mangue dialect, to which I have
referred, bearing this name, proves that it was familiarly known at
Managua early in this century. Its sound is described as grave and
suitable to serious emotions. The identical _ollita_ which was used
in this drama was preserved long after the last performance of the
play (about 1822), in the chest of the _cofradia_ of San Jose, in
Managua; but like so many other valuable relics, it disappeared in
the disturbances of the republic.

From the name, and from what was told of its powers, it was
evidently not merely a whistle, but a sort of earthenware flute.
Such were known in Peru, and precisely in Nicaragua, on the island
of Ometepec, inhabited at the Conquest by the Nahuas, such a musical
jar was discovered of late years, and was examined and its musical
capacity described by Dr. Berendt in the following words:--

"Held with the two hands, the lower side turned upward, and the four
holes managed with two fingers on each side, blowing in the mouth
piece yields six different notes. Any two holes covered give the
tonica, one only covered the secunda, all open the tertia, and by
hard blowing a forced quarta; while all closed produces the dominant
(quint) in the underlying octave. Three holes closed yield notes not
in concordance with the others, varying between an imperfect sext
and a diminished septima of the lower octave. But those mentioned
as in accordance permit the playing of many varied tunes."

The shape of this jar is shown in the following cut, which was
prepared for an interesting article on Indian Music by Mr. Edwin A.
Barber, in the _American Naturalist_.

[Illustration: EARTHENWARE MUSICAL JAR FROM NICARAGUA.]

It was capable of rendering various simple tunes. (See page xxxiv.)

[Illustration: EARTHENWARE WHISTLE FROM NICARAGUA.]

The _Pito_, or Whistle, was a simpler instrument than the _Ollita_.
It, also, was frequently made of baked clay, and in odd shapes. The
one shown in the following cut was found on the Island del Zapatero,
in Lake Nicaragua, which was also a possession of the Nahuas. Two
apertures lead into the cavity of the instrument. When they are
closed with the fingers, a higher note is produced than when they
are open.

[Illustration: NATIVE FLUTE MELODIES.]

In the investigations prosecuted in Nicaragua by Dr. J. F.
Bransford, he discovered many of these whistles in ancient burial
mounds. Indeed, in the district of Nicoya, inhabited at the period
of the Conquest by the Mangues, he states that "every body appeared
to have been interred with a small earthen vessel and a whistle."[38]
The latter are usually of odd shapes, representing some animal.

The following cuts are taken from his report:--

[Illustration: WHISTLES FROM NICARAGUAN BURIAL MOUNDS.]

The long _Flute_, either of cane, or of earthenware, was found in
common use by the early explorers in Central America, Mexico and
Florida. The Nahuas of Nicaragua do not seem to have made so much
use of it as their relatives in Mexico.

The _Juco_ is employed in the noisier dances, such as the _Baile de
Diablitos_. It is a drinking gourd (_nambira_), or jar, over the
aperture of which is stretched a skin. This is crossed by a cord, to
which is attached a small piece of wood, which serves as a clapper
when the instrument is shaken.

The _Quijongo_ is a stringed instrument, made by fastening a wooden
bow with a stretched cord over the mouth of a jar. A hollow reed,
about five feet long and an inch and a half thick, is bent by a wire
attached to the ends. This wire is then tied to the reed at
one-third the distance from one end, and at the same point, on the
convex surface of the reed, a gourd, or thin earthen jar, is
fastened, with its mouth downward. The notes are produced by
striking the two sections of wire with a light stick, and at the
same time the opening of the jar is more or less closed by the palm
of the left hand, thus producing a limited number of notes, which
are varied by changing the intervals.

[Illustration: THE QUIJONGO OF NICARAGUA.]

Among the Nahuatl tribes of the Balsam coast, this is called the
_Carimba_. It appears to have been an aboriginal invention, although
some writers have asserted that the Aztecs had no knowledge of any
stringed instrument. Something like a harp, however, is represented
in the following cut, from the Aztec funerary ritual, where a priest
or hired mourner is shown, chanting the praise of the departed, and
accompanying his words with music, on what appears to be a rude
stringed instrument. (See page xxxvii.)

The _Chilchil_ is a small bell, a number of which are strung
together and shaken. This is an ancient Aztec instrument, the term
for it in Nahuatl being _Ayacachtli_.

The _Cacho_ is a sort of trumpet, constructed of a horn. A blast
upon it can be heard a long distance, and it has thus become a
measure of length, a _legua de cacho_ being the distance at which
one can hear the horn when lustily blown. It is said to be rather
longer than a Spanish league.

[Illustration: AZTEC MOURNER SINGING AND PLAYING.]

As to the value of the music which was obtained from these
instruments, it is difficult to arrive at an opinion from capable
judges. Nearly all who have been in a position to study the subject
have lacked acquaintance with the scientific principles and
developmental history of music as an art.

Hence it has usually been stated, and accepted without inquiry, that
the aborigines of America were exceedingly deficient in musical
ability, and that their best efforts rarely went beyond creating
discordant noise. Late investigations by competent critics have
disproved this opinion, and show that the melodies of the natives
are in accordance with a recognized scale, though not that to which
we are accustomed. For a parallel we must go back to the ancient
Phrygian and Lydian measures, where we shall find a development of
the art in a similar direction to that among the natives of this
continent.[39] As is remarked by Mr. A. S. Gatschet, "Although the
Indian uses all the seven notes of our musical scales, he avoids
many of our melodial sequences; the majority of his tunes follow the
_dur_ or _sharp_ scales, and the two-eighths or two-fourths
measure."[40]

In Central America, the native race has a keen musical sense. Von
Tempsky found that they learned by ear, with great ease, the
compositions of Bellini; and in Vera Paz and among the Lacandons,
Morelet heard upon the _Chirimoya_, an aboriginal wind instrument,
an air which he characterizes as "very remarkable" and "extremely
touching." What brings this air into relation to my present theme is
the singular fact that it was known as _la Malinche_, but Morelet
could not learn from what connection.[41] Quite possibly it was from
the character of that name in the play of _Güegüence_.

[Illustration: MALINCHE.]

In the public _bailes_ in ancient times, as we are informed by both
Oviedo and Benzoni, the musicians were separated from the singers
and other performers, forming an actual orchestra, and this is also
intimated in the Güegüence. Having thus the position of a class by
themselves, it may fairly be presumed that they cultivated with
assiduity their peculiar art.

In later days, the _cofradias_, the brotherhoods and sisterhoods
organized in connection with the churches, made it part of their
business to learn singing and music, so as to take part in the
celebration of church festivals. It was through these _cofradias_
that the art of playing on the ancient instruments was preserved. By
the loss of influence of the church at the separation of the
colonies from the mother country, the _cofradias_ were mostly
dissolved.[42]

The music which accompanies the ballets in the Güegüence has been
written down, and is familiar to many in Nicaragua. I have obtained
a portion of it, through the obliging efforts of Dr. Earl Flint, of
Rivas, an earnest cultivator in the field of archaeological
research. The score appears, however, on examination by competent
persons, to be probably of Spanish origin, and it would not be worth
while to give more than a specimen of it. (See p. xl.)

[Illustration: MELODIES FROM GUEGUENCE.]


§ 4. _History of the_ "_Baile del Güegüence._"

Among the scenic representations which have been preserved by the
descendants of the Mangues, in the ancient province of Masaya, the
only one of length which has been committed to writing is the _Baile
del Güegüence, ô Macho-Raton_. Several copies of this exist in
manuscript, and from a comparison of two of them the late Dr. C. H.
Berendt obtained, in 1874, the text which is printed in this volume.
But he did not obtain, nor did he attempt himself, any translation
of any portion of it. He states, positively, that the Nahuatl parts
are not understood by the natives themselves at the present day. Its
antiquity and authorship are alike unknown. It is certain that it
was acted before the beginning of the present century, but with this
single fact its external history ceases.

Within the memory of those now living, this _Baile_ has occasionally
been acted in fulfillment of a religious vow pronounced in some
emergency of life or affairs. The period selected for its
performance is, usually, at the festival of St. Jerome, September
30th. The preparations for it are elaborate and expensive. In former
times the rehearsals took place daily, sometimes for as much as six
or eight months before the public performance. The actors provided
their own costumes, which required a considerable outlay. There
were, however, always plenty of applicants, as it was not only
considered an honor to take part, but also, the patron or patroness
of the festival, who had pledged himself to give the drama, was
expected to furnish refreshments, in the way of food and drink, at
each rehearsal. As the appetites were usually keen, and the
libations liberal, it was almost ruinous for one of moderate means
to undertake it. For that reason, as Dr. Earl Flint writes me, it
has now been dropped, and will probably not again be brought out, at
least, in full.

How far beyond the close of the last century we should place the
composition of the Güegüence is a difficult question. Dr. Berendt,
basing his opinion on what he could learn by local tradition, on the
archaisms of the Spanish construction, and on other internal
evidence, referred it in general terms to the first periods (_los
primeros siglos_) of the Spanish occupation. It is probable that we
may assign the early portion of the eighteenth century as the latest
date for its composition, and there is some evidence, which I shall
refer to in the notes to the text, that a more remote period is not
improbable. Of course, it does not contradict this that a few modern
expressions have crept into the text. Nothing else could be
expected.

No hint as to the author is anywhere found. There are, however,
reasons which I consider weighty ones, to believe that it is the
production either of a native Indian or a half-caste. Several of
them are of a negative character, and I will give these first.

All the dramas, so far as I know, which were introduced by the
Spanish priests as substitutes for the native _bailes_, are either
religious or instructive in aim. As the Germans say, they are
strongly _tendenciös_. Such are the _Baile de St. Martin_, which
gives scenes from the life of the saint, and in which a wheel,
called the _horquilla_, covered with feathers and flowers, is drawn
along; the _Baile de los Cinco Pares de Francia_, which sets forth
the conquest of the infidel Moors by the Christians, both of which
plays have been popular in Nicaragua; among the Kekchis, of Coban,
the _Baile de Moros y Cristianos_, similar to the last mentioned;
the _Zaki-Koxol, ô Baile de Cortes_, in Kiche, a copy of which I
have, and the like. But in the _Güegüence_ there is absolutely no
moral purpose nor religious tone; so much, indeed, of the reverse,
that we cannot conceive of its introduction by a priest.

On the other hand, had it been composed by a secular Spanish writer,
we should hardly fail to find it, in a general way, modeled after
the stock Spanish comedy. It differs, however, in several striking
and fundamental features, from the Spanish models, and these
differences are precisely those which would flow from the native
habits of thought. I would note, first, that while females are
introduced, they are strictly _mutæ personæ_, even the heroine not
speaking a word; that there are no monologues nor soliloquies; that
there is no separation into scenes, the action being continuous
throughout; that there is neither prologue, epilogue nor chorus; and
especially that the wearisome repetition of the same phrases, and by
one speaker of what a previous one has said--a marked characteristic
of the native scenic orations[43]--are all traits which we can
scarcely believe any Spaniard sufficiently cultivated to write at
all, would exhibit.

Furthermore, the "business" of the play is strictly within the range
of the native thought and emotion. The admiration of the coarse
cunning and impudent knavery of Güegüence is precisely what we see
in the modern camp-fire tales of Michabo among the Algonkins, of
Tezcatlipoca among the Aztecs, and of a score of other heroes. It is
of a piece with the delight which our own ancestors derived from the
trickeries of Reynard the Fox.

The devices for exciting laughter are scarcely more than three in
number; one the assumed deafness of the Güegüence, the second,
a consequence of this, that he misunderstands, or pretends to,
the words of the other actors, thus giving rise to amusing
quid-pro-quos, and third, the introduction of obscene references. Of
course, I am aware that these are the stock resources of many
European low comedians; but I also consider it a fact of very
considerable importance in deciding the probable authorship of the
play, that all of these, especially the first two, are prominently
mentioned by old authors, as leading devices of the native Nahuatl
comedies. Thus, Benzoni and Coreal tell us that in the _bailes_ in
Nicaragua, which they witnessed, some of the actors pretended to be
deaf, and others to be blind, so as to excite laughter by their
mistakes.[44] And Father Diego Duran tells us of a native Mexican
comedy, upon which this of Güegüence may, perhaps, have been
founded, full of songs and coarse jests,[45] in which the clown
pretends to understand at cross purposes what his master orders,
transforming his words into others like them. As to the general
leaning to indecent gestures and jokes, it is frequently commented
on by the missionaries, and given as a reason for discountenancing
these exhibitions.

The absence of all reference to the emotions of love, and the naive
coarseness indicated in the passages about women, point rather to a
native than a European hand. They are in remarkable contrast to the
Spanish school of comedy.[46] The neglect of common rules of Spanish
construction seems to arise from the ignorance of one imperfectly
acquainted with the language, rather than of deliberate purpose. It
must also be remembered that this piece was one acted altogether by
the native Indians, and not by the Spanish population.

Nor are we without examples of persons of native lineage preparing
comedies for their fellows. About 1625, Bartholome de Alva, a
descendant of the native kings of Tezcuco, wrote three comedies, in
Nahuatl, drawing his plots from Lope de Vega. It is quite as likely
that another Alva rose from the Nahuas of Nicaragua, and prepared
for their amusement the production I now present.

For these various reasons I class it among aboriginal productions.


§ 5. _The Dramatis Personæ of The Güegüence._

The central figure of the drama, and the personage from whom it
derives its name, is _The Güegüence._ This is a Nahuatl word, from
the root _hue_, old; _huehue_ is "old man;" to this is added what
grammarians call the "reverencial" termination _tzin_, denoting
reverence or affection, and we have, intercalating the euphonic _n_,
_huehuentzin_, which, in the vocative, becomes _huehuentzé_. It
means, therefore, "the honored elder," or "the dear old man," and
may be used, as it is in the play, either as a proper name or as a
common noun. In his description of the Nahuas of Nicaragua, Oviedo
gives the word _huehue_, and tells us that it was applied to certain
old men of influential position, who were elected by the natives as
rulers of the villages, and that they in turn selected the
war-chief, whose duty it was to look to the defence of the
community. The name was, therefore, one familiar to the Nicaraguans,
though the character would seem to be drawn as a burlesque or
satire.

He is, in fact, anything but a respectable person. His indifference
to truth, his cynical impudence, his licentious jokes about and
before his sons, and the unscrupulous tricks of which he boasts, are
calculated to detract from the element of the comic in his
portraiture, for those who have been accustomed to the higher
productions of humor. But it would be an error to allow this
sentiment to affect much our estimate of the influence of the play.
As Lessing very well observes, the true value of comedy is to train
us to see the ridiculous and the absurd, wherever it is, in
flagitious as well as in merely inconsiderate actions, as thus the
observer is prompted to morality as well as forethought.[47]

As I have said, his character is a marked type of the peculiar form
of humor which the native mind preferred, and of the class of
actions in which it especially found amusement, to wit, in that
jocularity which is assumed to deceive and get the better of one's
neighbor. This is strikingly shown by the number of words in the
Nicaraguan patois which express such actions. Thus, _chamarrear_ is
to take advantage of some one by a joke; _trisca_ is a conversation
in which some one is made ridiculous; _féfere_ is an idle tale with
which a hearer is cajoled; _dar un caritazo_ is to deceive a person
by a trick, etc. This is the humor in the Güegüence. The old man
nearly always has a selfish aim to gain by his jokes and his
stories; they are intended to further his own interests, and, at the
close of the play, he, on the whole, comes out victorious by these
questionable measures.

As the drama was formerly represented, the Güegüence wore the most
magnificent apparel of any of the actors. Chains of gold, strings of
silver coins, and ornaments of steel draped his person. Indeed, all
the participants vied with each other in extravagant costumes. Their
garments were fantastically adorned with feathers and flowers, and
set off with sashes and handkerchiefs of brilliant colors.

The two sons of Güegüence, _Don Forcico_ and _Don Ambrosio_, are
drawn in as strong contrast as possible. The former follows the
paternal example faithfully, and sustains his parent in all his
tricks and lies; the latter as invariably opposes and exposes the
old man's dishonesty. The bitter words which pass between them,
however, must not be taken in dead earnest; they, too, are only half
serious, and do not lead to any separation of interests.

The _Governor Tastuanes_ appears on the scene in Spanish costume,
with a staff and sabre. His name, however, seems to be from the
Nahuatl, probably a corruption of _tlatoani_, chief, lord.[48] He is
little more than a lay figure, designed to draw forth the ruses of
Güegüence.

The _Alguacil_, the _Secretary_ and _Registrar_ appear in what is
supposed to be full official dress, with their staffs of office.

The _mutæ personæ_ of the drama are the women and the _machos_, or
mules. Of the former, only one is named, the lady _Suchi-Malinche_,
daughter of the Governor. She enters clothed in a sort of tunic,
fastened to her person with gay silken sashes; chains of gold and
costly jewels adorn her garments, and a wreath of flowers crowns her
hair. The latter may be a reference to her name. _Suchi_ is a
corruption of the Nahuatl _xochitl_, flower; _Malinche_, it may be
remembered, was the name of the famous Indian girl who served Cortes
as interpreter in his first campaign in Mexico, and became his
mistress. Some have supposed that it was a corruption of the Spanish
Christian name _Marina_, but, as Señor Icazbalceta has conclusively
shown, it is the name of one of the days of the Aztec month,
_malinalli_, with the termination _tzin_, signifying affection. It
was the custom in Mexico and Central America, and still is in many
parts, for the natives to name their children after the day on
which they were born, led thereto by certain ancient astrological
notions.[49] In Nicaragua, _malinche_ is also the name of a tree, a
species of _Poinciana_, which bears a handsome red flower.

The _Machos_, or mules, are twelve or more in number. They give the
second title to the piece,_ El Macho raton_, an appropriate
translation of which I am at a loss to give. Literally it means "The
Male Mouse." As used at present, it signifies a masker, or
masquerading dress. An acquaintance, who has lived in Nicaragua,
tells me that he has heard the children call out: "See, there goes
the _Macho-raton_," which would prove to be an Indian in a fantastic
costume. In the play, they wear heads of skins, imitating those of
mules, surmounted with horns of goats, and a _petaca_, or wicker
basket frame draped with sashes, etc. In their hands they carry
bells.

Among the ancient Nahuas, and probably to this day, there were
various curious superstitions relating to mice. If they gnawed a
hole in the dress of a wife, her husband took it as a sign that she
had been unfaithful to him; and she entertained the same suspicion
were his garments attacked. When food was attacked by mice, it
indicated that the people of the house would be falsely accused of
something.[50]


§ 6. _Epitome of the Story of The Güegüence._

[Sidenote: p. 6.]

The Governor and the Alguacil meet and enter into conversation. The
Governor directs that the songs and dances which are for the
diversion of the Royal Council should cease, and bewails its
poverty.

[Sidenote: p. 8.]

[Sidenote: p. 10.]

He also directs that no one shall be allowed to enter his province
(or presence?) without a permit from the patrol. The Alguacil
complains that their poverty is so great that they have no fit
clothing, and lays the blame on Güegüence. The Governor refers to
Güegüence in severe terms, and orders that he be brought before him,
by any means.

Güegüence, who with his two sons is within earshot, hears the
Governor's orders, and pretends to think that it refers to a calf or
a colt.

[Sidenote: p. 12.]

[Sidenote: p. 14.]

[Sidenote: p. 16.]

[Sidenote: p. 18.]

[Sidenote: pp. 20-22.]

[Sidenote: p. 24.]

[Sidenote: p. 26.]

[Sidenote: p. 28.]

The Alguacil announces himself as a servant of the Governor.
Güegüence professes to understand that it is a female servant who
desires to see him. The Alguacil corrects him in this, and informs
him that he is to fly to the Governor. Güegüence takes the word in
its literal sense, and chaffs about an old man flying. The Alguacil
suggests to him that he had better learn how to salute the Governor
properly on entering his presence, and offers to teach him the
customary salutation for a consideration. This proposal Güegüence
accepts, but chooses to misunderstand the considerations suggested
by the Alguacil, and replies in a series of quid-pro-quos and gibes.
At last, he produces some money, which, however, he will not pay
over until the Alguacil gives the promised instruction. The Alguacil
recites the formal salutations, which Güegüence pretends to
misunderstand, and repeats, instead, some phrases of similar sound,
which are discourteous to the Governor. For this the Alguacil
threatens to whip him, and on Güegüence continuing in his taunts,
gives him two blows, and recommences his lesson.

[Sidenote: p. 30.]

[Sidenote: p. 32.]

At this juncture the Governor appears, answers Güegüence's salute,
and asks him why he has entered the province without a permit. At
first Güegüence answers by relating how he had traveled without a
permit in other provinces. Finding this does not meet the case, he
seeks to turn the inquiry by a dubious story how a girl once gave
him a permit for something besides traveling. The Governor, not
choosing to be put off with this, Güegüence proposes they shall be
friends, and that the Governor shall have some of the immense riches
and beautiful clothing which Güegüence possesses. The Governor
expresses some doubt as to this wealth, and proposes to examine,
apart, Güegüence's oldest son, Don Forcico.

[Sidenote: p. 34.]

He does so; and Don Forcico corroborates, in the most emphatic
terms, the statements of his father: "the day and the night are too
short to name all his possessions."

[Sidenote: p. 36.]

[Sidenote: p. 38.]

The Governor remains, however, uncertain about the truth, and
requests a similar private talk with Güegüence's younger son, Don
Ambrosio. The latter tells a very different story, asserting that
all his father's boasts were lies, and that he is, in fact, a poor,
old, thieving ragamuffin. Güegüence, who overhears him, rails at him
as a disgrace to the family; and Don Forcico assures the Governor,
in very clear terms, that Don Ambrosio has none of Güegüence's blood
in his veins.

[Sidenote: p. 40.]

[Sidenote: p. 42.]

To settle the question, Güegüence proposes to show the Governor the
contents of his tent-shop, and has the two boys bring it forward and
raise the sides. He then offers the Governor several impossible
things, as a star, which is seen through the tent, and an old
syringe, which he suggests might be profitably applied to the Royal
Council. As the Governor replies roughly, Geügüence at once changes
the subject to a laudation of the remarkable skill of Don Forcico in
many vocations. The Governor is interested and proposes to inquire
of Don Forcico himself as to the truth of this. The latter repeats
the boasts, and on the Governor inquiring as to whether he knows
some diverting dances, with his father and his brother, he dances a
ballet.

[Sidenote: p. 46.]

[Sidenote: p. 48.]

The Governor wishes to see another ballet, which the three perform,
also; and this is followed by two others, in which the Governor and
Alguacil also take part.

[Sidenote: p. 50.]

[Sidenote: p. 52.]

[Sidenote: p. 54.]

[Sidenote: p. 56.]

[Sidenote: p. 58.]

[Sidenote: p. 60.]

[Sidenote: p. 62.]

Following these the Governor asks for the masquerade of the
_macho-raton_, or the mules. They are led in by Don Forcico, and
march around the stage. Güegüence avails himself of this auspicious
moment to ask for the hand of the Lady Suche-Malinche, the
Governor's daughter. The Governor sends the Alguacil for the Chief
Secretary, who returns with Suche-Malinche and other young women.
The Secretary describes what an elegant costume is expected of the
son-in-law of the Governor, and the latter suggests that Güegüence
has cast his eyes too high. The old man explains that it was not for
himself, but for Don Forcico, that the request was made, and
pretends to feel quite badly about the marriage. He, nevertheless,
brings up the young women, one by one, who are rejected by Don
Forcico, with very uncomplimentary remarks, until Suche-Malinche
comes forward, who pleases him, and with whom he is married. The
Governor then suggests that Güegüence treat the Council with some
Spanish wine. This the old man does not find it convenient to
understand, and when he can no longer escape, and is at a loss where
to obtain the liquor, is relieved by Don Forcico, who has secured
it in a questionable manner.

[Sidenote: p. 64.]

[Sidenote: p. 66.]

[Sidenote: p. 68.]

The mules, that is, the masqueraders who represent them, are then
brought up, and as Güegüence examines first one and then another,
they give him opportunity for a series of extremely broad jokes and
vulgar allusions.

Finally, the loads are placed on the mules, the boys mount them and
move off, while Güegüence, having offered his wine to the Governor,
the Secretary, the Registrar and the Alguacil, who each in turn tell
him to be off, leaves the stage shouting to his sons that they will
all have a rouse that will cost them nothing.


FOOTNOTES:

[1] E. G. Squier, _The States of Central America_, p. 317 (London,
1858).

[2] The conquest of Nicaragua is described by Oviedo, _Historia
General de las Indias_, Lib. XXIX, cap. XXI, and Herrera, _Decadas
de Indias_, Dec. III, Lib. IV, and see Dec. IV, Lib. VIII, cap. X.

[3] "_Nicaragua_ es lo mismo que _Nica anahuac_, aqui estan los
Mexicanos ò Anahuacos." Fray Francisco Vasquez, _Cronica de la
Provincia de Guatemala_, Parte II, Lib. V, cap. I (Guatemala, 1716).
The form _Nicarao_, adopted by Dr. Berendt, is certainly corrupt, as
the termination of a proper name in _ao_ is not found in correct
Nahuatl. Squier's term _Niquirans_ was adopted by him from a
misreading of Oviedo, and has no authority whatever; so, also, his
attempted discrimination between Chorotegans and Cholotecans, as
both these are forms of the same word.

[4] "The hypothesis of a migration from Nicaragua and Cuscatlan to
Anahuac is altogether more consonant with probabilities, and with
traditions, than that which derives the Mexicans from the
north."--E. G. Squier. _Notes on Central America_, p. 349. It is
difficult to understand how Mr. Squier could make this statement in
the face of the words of Herrera and so many other writers.

[5] "La Gente de esta tierra decia, que havia descendido de la
Mexicana; su Trage, i Lengua, era casi, como el de Mexico."--Herrera,
Decada III, Lib. V, Cap. XII. "Dicèn, que huvo en los tiempos
antiguos, en Nueva España una gran Seca, por lo qúal se fueron por
aquella Mar Austral à poblar à Nicaragua."--Id. Dec. III, Lib. IV,
cap. VII. Torquemada, specifically quoting the traditions obtained
from the oldest natives, states that the Nicaraguans came from
Anahuac at no remote epoch.--_Monarquia Indiana_, Lib. III, cap. XL.
See, also, Gomara, _Hist. de las Indias_, cap. 206.

[6] Prof. Buschmann, who obtained these names in a garbled form from
Ternaux-Compans' translation of Oviedo, gave them up as insoluble,
while recognizing their value as indicating the wanderings of the
Nicaraguans. "Unglücklicherweise," he says, "sind jene zwei Namen
von so ungünstigem Gehalte, das ich nichts aus ihnen hervorlocken
kann."--_Ueber die Aztekischen Ortsnamen_, p. 768 (Berlin, 1852).

[7] The careless statement of the historian Herrera, that it was
only the Chorotegans who had such books, can be corrected from his
own volumes, and also from the explicit words of Oviedo and Gomara.
Compare Herrera, Dec. III, Lib. IV, cap. VII, with Oviedo, _Hist. de
las Indias_, Lib. XLII, cap. I, and Gomara, _Hist. de las Indias_,
cap. 202.

[8] The word _mánkeme_ is a derivative from _[chi]imá_, the head,
whence the Chapanec _d[chi]ämä_, the ruler or head man, and
_mand[chi]ämä_, master, chief, in which word _ma_ is a possessive
prefix, and _n_ a particle, sometimes relative, sometimes euphonic,
of exceedingly frequent use in this tongue. It may be compared to
the Nahuatl _in_.

[9] This latter, or a portion of them, inhabiting a hilly country
south of Masaya, were called _Dirians_, from the Mangue word
_diri_=, a hill, a name which has improperly been extended to the
whole tribe.

[10] The "compulsive" form of the verb _choloa_, to run away, is
_chololtia_, to cause to run away, to drive out. No doubt the name
of Cholula (Cholollan) in Mexico is of the same derivation, but it
arose from a different, though similar, historical event.

[11] Torquemada appears to have been the first to make this guess;
and it has recently been advocated by Dr. Valentini, _The Olmecas
and the Tultecas_, p. 20 (Worcester, 1883), and was also sanctioned
by Dr. Berendt.

[12] In a note to his translation of Oviedo's _Nicaragua_.

[13] The proper spelling is "Chapanec." It is not an Aztec word, but
from the Mangue tongue, in which _Chapa_ means the ara, or red
macaw, their sacred bird. The name was derived from that of the
lofty peak on which their principal town in Chiapas was
situated--_chapa niiu_, the ara of fire.

[14] In Mr. Bancroft's _Native Races of the Pacific States_, Vol. V,
p. 659.

[15] The contrary of this has been very positively stated by Dr.
Valentini (_ubi supra_). The only evidence he brings forward is the
word _calachuni_, for chieftain, applied by Gil Gonzalez to one of
the rulers in Nicaragua. This is, no doubt, the Maya _halach uinic_,
holy man, but Gonzalez wrote in 1522, and this word was adopted by
the Spaniards in 1518, during Grijalva's expedition to Yucatan, as
the accounts show, and was promiscuously applied, just as _cacique_,
_canoe_, etc., from the Haytian dialect. A careful analysis of all
the native words in Oviedo's account of Nicaragua does not show a
single Maya affinity.

[16] The chief asked Gonzalez if, at the end of the world, the earth
would be overturned, or would the sky fall? How large are the stars,
why they move, and what keeps them in their courses? When, and how
do the sun and moon change their brightness? Why is the night dark
and the winter cold, since light and warmth are so much better?
(Herrera, Decad. III, Lib. IV, cap. V.)

[17] The leading authorities on the antiquities of Nicaragua are E.
G. Squier, _Nicaragua, Its People, Scenery and Monuments_, together
with his numerous other works pertaining to Central America; and the
reports of Dr. Earl Flint and Dr. J. F. Bransford, to the
Smithsonian Institution. Dr. Habel and Dr. Berendt also made
numerous investigations, but their reports have not appeared in
adequate detail.

[18] See his essay, _Remarks on the Centres of Ancient American
Civilization in Central America, and their Geographical
Distribution, in the Bulletin of the American Geog. Soc. No. 2,
1876._

[19] _Historia General de las Indias_, Lib. XLII, cap. V.

[20] The older writers have left scant information about these
idioms. Oviedo preserved thirty or forty Nahuatl words, most of
which have been analyzed by Buschman; and Benzoni, in a brief
passage, notes the identity of the Nicaraguan and Mexican. "Chiamano
li Signori Tutruane, il pane tascal, and le galline totoli, and
occomaia tanto vuol dire como aspetta un poco e al infirmita
mococoua and al ballare mitote." _La Historia del Mondo Nuovo_, p.
103. It is said that a _Doctrina_ was printed in the Mangue; but the
only work on that tongue I know of is the _Apuntamientos de la
Lengua Mangue_, by Don Juan Eligio de la Rocha (MS. Masaya, 1842) a
fragment of which is in my possession.

Dr. S. Habel, who visited Nicaragua in 1865, in spite of the
greatest efforts, was unable to find a single person speaking
Nahuatl; they told him it was all forgotten.--_Archæological and
Ethnological Investigations in Central and South America_, p. 24
(Washington, 1878).

[21] The superior position of the Nahuatl among the Nicaraguan
languages was noted by Benzoni, in his visit to that country, as
early as about 1550. He observes: "Parlano in Nicaragua quatro
lenguaggi, pero la meglio è la Messicana, laquale si stende piu di
mille e cinquecento miglia di paese and è la piu facile da
imparare."--_Istoria del Nuovo Mondo_, p. 103 (Venetia, 1565).

[22] "Una mezcla de Castellano y Mexicano, que ni en uno ni en otro
idioma se entiende."--_Compendio del Arte de la Lengua Mexicana_,
pp. 93, 202.

[23] Speaking of the natives of Nicaragua and Honduras, Father
Francisco Vasquez says: "Muchos de aquellos Indios por la
comunicacion que tienen con gente ladina de las estancias vecinas
alcanzan mucho de la lengua Castellana."--_Historia de la Provincia
de Guatemala._ Parte II, Lib. V, Trat. I, Cap. 1 (Guatemala, 1716).

[24] This verse is from a song by Dr. Gollena, a highly appreciated
poet of Guatemala, who has written, but I believe never published,
some poems in the Nicaraguan dialect.

[25] Oviedo, _Historia General de las Indias_, Lib. XLII, cap. XI.
Precisely this baile, or one altogether like it, is described by
Diego Duran as common in Mexico in his day (about 1580). He writes:
"Tambien usaban bailar al rededor de un volador alto vistiendose
como pájaros y otras veces como monas volaban de lo alto de el
dejandose venir por unas cuerdas que en la punta de este palo estan
arolladas, desliándose poco à poco por un bastidor que tiene
arriba," etc.--_Historia de las Indias de Nueva España._ Tomo II, p.
232 (Mexico, 1880).

[26] _Historia del Nuovo Mondo_, fol. 103 (Venetia, 1565). Benzoni
gives a wood cut exhibiting the dances, but it is not instructive.
Another traveler, François Coreal, claimed to have visited Nicaragua
about 1680, and also describes the native dances, but in words so
similar to Benzoni that it is an evident plagiarism.--_Relation des
Voyages de François Coreal aux Indes Occidentales_, Tome I, p. 88
(Amsterdam, 1722).

[27] Thomas Gage, _A New Survey of the West Indies_, p. 234 (4th Ed.
London, 1699).

[28] Letter to the London _Athæneum_, 1856, p. 1537. Oviedo also
states that the songs sung at certain _bailes_ were of an historical
character, intended to recall the important incidents in personal
and tribal history, "que les quedan en lugar de historia é memoria
de las cosas pasadas."--_Historia General de las Indias_, Lib. XLII,
cap. XI.

[29] "Hay santos à quienes se hace el voto, en caso de enfermedad ú
de desgracia de ir á _bailar_ ante su imagen, en tal pueblo, el dia
de su fiesta, cuando le sacan procesionalmente."--Pablo Levy, _Notas
Geograficas y Económicas sobre la Republica de Nicaragua_, p. 281
(Paris, 1873).

[30] "Welligt blijkt de geesteloosheid dezer menschen nit niets zoo
zeer als uit hunne dansen, een vermaak, hetwelk trouwens vrij
zeldzaam onder hen is. Bij het eentoonige geluid van een paar
fluiten, en het kloppen op een hol blok hout, draaijen mannen en
vrouwen afzonderlijk, langzaam en bedaard, in alle rigtingen herom,
en schijnen veeleer diepe treurigheid dan vreugde aan den dag te
leggen."--J. Haefkens, _Centraal Amerika_, p. 407 (Dordrecht, 1832).

[31] Such dances are the "bailes usados en el populacho, y que estan
muy lejos de brillar por su desencia," referred to by Don Pablo
Levy, _Notas_, etc., _sobre Nicaragua_, p. 294.

[32] The word _Loga_ is, I have no doubt, a corruption of the
Spanish _loa_. The _loas_ in Spain were at first rhymed prologues to
the plays, but later took a more dramatic form and "differed little
from the farces that followed them." See George Ticknor, _History of
Spanish Literature_, vol. ii, pp. 527-529 (5th edition).

[33] "_Mosote._ Un casco ô gorra de cabuya teñida negra, con cola à
trensa, usada en el baile de los _Chinegritos_."--Berendt, MSS.

[34] "_Guaca._ Montecillo de sepultura de los inhabitantes antiguos.
Cueva; madriguera de animales. Hoyo subteraneo para madurar ô
guardar frutas y verduras."--Berendt, MSS.

[35] _Nicaragua, Its People, Scenery and Monuments_, Vol. I, p. 340.

[36] _Narrative of Incidents on a Journey in Mexico, Guatemala and
San Salvador_, pp. 384-6 (London, 1858). The Smithsonian Institution
contains a good specimen of the Marimba.

[37] Arthur Morelet, _Voyage dans l'Amerique Centrale_, Tome II, pp.
42, 43 (Paris, 1857).

[38] _Archæological Researches in Nicaragua_, p. 75 (Washington,
1881).

[39] The most satisfactory discussion of native music is that by
Theodore Baker, _Ueber die Musik der Nord Amerikanischen Wilden_
(Leipzig, 1882). Mr. Edwin A. Barber has also contributed some
valuable articles on the subject.

[40] _The American Naturalist_, February, 1883.

[41] _Voyage dans l'Amerique Centrale_, Tom. II, p. 44.

[42] So little is understood about the system of the _cofradias_,
and the point is one of so much importance in the study of the
organization of Spanish ecclesiasticism in America, that it is worth
while to explain it. They are created by the priest of a parish, in
such number as he sees fit, and each bears the name of a saint or
religious occurrence. Each should have, of male members, a major
domo, a steward (_prioste_), and four or more appointees
(_diputados_). They attend the priest, serve in the church, aid in
the offices of religion, have a monthly mass, act as choristers,
etc., at fixed periods. Of female members there should be the
patroness (_patrona_ or _capitana_), and the _alguazila mayor_, each
of whom should have two special attendants, and there should be
other members. Their duties are to sweep the church, deck it with
flowers when necessary, and aid the male members in their duty. Each
_cofradia_ should have its strong box and financial resources,
independently, and the major domo is expected to keep a book
accounting for the funds. I have in my possession such a volume, in
the Chapanec language, the _Libro de Cuentas de la Cofradia del
Rosario_, 1796.

From ten to fifty cofradias were formerly attached to one church,
but the modern curas complain that they can no longer be kept up.
"Es verdad," exclaims the worthy presbyter Navarro, "que los Sres.
Curas, mis antecessores, y yo, hemos procurado organizarlas de
nuevo, pero es moralmente impossible."--_Memoria de la Parroquia de
Villa Nueva_, p. 18. (Guatemala, 1868).

[43] See, for example, the _Rabinal-Achi, ou le Drame-Ballet du
Tun_, in Kiche, published by the Abbé Brasseur de Bourbourg, and the
translation of the song of the Uluas of Nicaragua given by Pablo
Levy.--_Notas sobre la Republica de Nicaragua_, p. 307 (Paris,
1873).

[44] "Il y en a qui font les sourds, d'autres les aveugles.
Ils rient, ils crient, et font en un mot toute sorte de
singeries."--_Voyages de François Coreal aux Indes Occidentales
depuis 1666 jusqu'en 1697._ Tom. I, p. 88 (Amsterdam, 1722).
Borrowed, probably, from Benzoni, who says the same.

[45] "Habia un baile y canto de truhanes en el cual introducian un
bobo que fingia entender al reves lo que su amo le mandaba,
trastocandole las palabras."--P. F. Diego Duran, _Historia de las
Indias de la Nueva España_, Tomo II, p. 231 (Mexico, 1880).

[46] As Mr. George Ticknor very pointedly says, in speaking of the
Spanish drama:--"Above all, it was necessary that it should be
Spanish; and therefore, though its subject be Greek or Roman,
Oriental or mythological, the characters represented were always
Castilian, and Castilian after the fashion of the seventeenth
century,--governed by Castilian notions of gallantry, and the
Castilian point of honor."--_History of Spanish Literature_, vol II,
p. 539 (5th edition).

[47] Speaking of the comedy, he says:--"Ihr wahrer allgemeiner
Nutzen liegt in dem Lachen selbst, in der Uebung unserer
Fähigkeit das Lächerliche zu bemerken; es unter allen Bemäntelungen
der Leidenschaft und der Mode, es in allen Vermischungen
mit noch schlimmern oder mit guten Eigenschaften, sogar in den
Runzeln des feierlichen Ernstes, leicht und geschwind zu
bemerken."--_Hamburgische Dramaturgie_, 29 Stück.

[48] _Tlatoani_ means, literally, "the speaker," from _tlatoa_, to
speak, to ask, but it is translated by the Spanish lexicographers
"gran señor." The chiefs were probably so called, from their right
of speech in the assemblies. Benzoni gives something like this as
the title of the Nicaraguan chiefs. "Chiamano li Signori Tutruane,"
which I suspect is a misprint for _Tattruani_.--_Istoria del Mondo
Nuovo_, p. 103 (Venetia, 1565).

[49] Icazbalceta's discussion of the name may be found in his notes
to the _Diálogos de Francisco Cervantes Salazar_, p. 181 (Mexico,
1875). Malinalli is the twelfth day of the Mexican month. According
to Duran, the word means underbrush (_matorral_), and the prognostic
was, that those born on that day should have an annual attack of
sickness, like this underbrush, which dries up, or loses its leaves
yearly.--_Historia de la Nueva España_, Tomo II, p. 261 (Mexico,
1880).

[50] See the rare work of Fray Joan Baptista (often spelled
Bautista). _Advertencias para los Confessores de los Naturales_,
vols. 107, 108 (Mexico, en el Convento de Sanctiago Tlatilulco, año
1600).




THE GÜEGÜENCE.

A COMEDY BALLET
IN THE
NAHUATL-SPANISH DIALECT OF NICARAGUA.




BAILE DEL GÜEGÜENCE

ó

MACHO-RATON.


PERSONAS.

EL GOBERNADOR TASTUANES.
EL ALGUACIL MAYOR.
EL GÜEGÜENCE.
DON FORCICO.
DON AMBROSIO.
DOÑA SUCHI-MALINCHE.
EL ESCRIBANO REAL.
EL REGIDOR DE CANA.




THE
BALLET OF THE GÜEGÜENCE;

OR,

THE MACHO-RATON.


DRAMATIS PERSONÆ.

THE GOVERNOR TASTUANES.
THE CHIEF ALGUACIL.
THE GÜEGÜENCE.
DON FORCICO, HIS ELDER SON.
DON AMBROSIO, HIS YOUNGER SON.
THE LADY SUCHI-MALINCHE.
THE ROYAL SECRETARY.
THE REGISTRAR.

6




BAILE DEL GÜEGÜENCE.


     Se da principio bailando, y habla el

_Alguacil._

Matateco Dio mispiales, Señor Gobernador Tastuanes.

_Gobernador._

Matateco Dio miscuales quilis no pilse Capitan Alguacil Mayor ya
tiguala neme?

_Alguacil._

Mascamayagua Sor. Gob^r Tastuanes.

     Dan vuelta bailando y habla el

_Alguacil._

Matateco Dio mispiales, Señor Gobernador Tastuanes.

_Gobernador._

Matateco Dio miscuales quilis no pilce Capitan Alguacil Mayor: no
pilces simocague campamento Señores principales, sones, mudanzas,
velancicos necana y paltechua linar mo Cabildo Real. En primer lugar
tecetales seno mesa de oro, seno carpeta de bordado, seno tintero de
oro, seno pluma de oro, seno salvadera de oro, y no mas hemo papel
blanco y paltechua sentar mo Cabildo Real.

     Dan vuelta bailando y habla el

_Alguacil._

Matateco Dio mispiales, Señor Gobernador Tastuanes.

_Gobernador._

Matateco Dio miscuales quilis no pilces Capitan Alguacil Mayor.

7




THE COMEDY-BALLET OF GÜEGÜENCE.


     (The Alguacil and Governor enter, dancing.)

_Alg._ I pray God to protect you, Governor Tastuanes.

_Gov._ I pray God to prosper you, my son, Captain Chief Alguacil;
are you well?

_Alg._ At your service, Governor Tastuanes.

     (They dance around the stage.)

_Alg._ I pray God to protect you, Governor Tastuanes.

_Gov._ I pray God to prosper you, my son, Captain Chief Alguacil: my
son, suspend in the quarters of the leading men the music, dances,
songs, ballets, and such pleasant matters of amusement to the Royal
Court. It is a great shame that we have no golden table, no
embroidered table-cloth, no golden inkstand, no pen of gold, no
golden sand-box, not even white paper, and such like suitable
things, for a session of the Royal Court.

     (They dance around the stage.)

_Alg._ I pray God to protect you, Governor Tastuanes.

_Gov._ I pray God to prosper you, my son, Captain Chief Alguacil.

8

_Alguacil._

Ya lichua linar mo Cabildo Real. En primer lugar tecetales seno mesa
de oro, seno carpeta de bordado, seno tintero de oro, seno pluma de
oro, seno salvadera de oro, no mas hemo papel blanco y paltechua
sentar mo Cabildo Real.

_Gobernador._

No pilces Cap^n Alg^l M^{or} simocagüe campamento Sres. principales
sones, mudanzas, velancicos necana y paltechua seno la ronda
quinquimagua licencia galagua no provincia real.

_Alguacil._

Mascamayagua Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Srs.
principales sones, mudanzas, velancicos necana y paltechua seno la
ronda del Señor Gobernador Tastuanes.

     Aqui se toca la ronda, dan vuelta bailando y habla el

_Alguacil._

Sor. Gob^{or} Tastuanes, ya nemo niqui nistipampa, ya nemo niqui
samo la ronda, son rastros y pedazos de cinchones rompidos de
corage, sombrero de Castor rompido de corage, no mas hemo mantera de
revoso, no mas hemo capotin colorado á sones panegua sesule
Güegüence, Sor. Gob^{or} Tastuanes.

_Gobernador._

No pilces Cap^n Alg^l M^{or} asamatimaguas consentidor, afrentador,
ticino mo Cabildo Real.

_Alguacil._

Acaso no me de consentidor ticino mo Cabildo Real.

9

_Alg._ Something to amuse the Royal Court. It is a great shame that
we have no golden table, no embroidered table-cloth, no golden
inkstand, no pen of gold, no golden sand-box, not even white paper,
and such like suitable things, for a session of the Royal Court.

_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of
the leading men the music, dances, songs, ballets, and such matters,
unless the patrol gives a permit to enter my royal province [for
that purpose].

_Alg._ Yours to command, Governor Tastuanes. I pray God to protect
you. The leading men [shall give no] music, dances, songs, ballets,
and such things, without [the permission of] the patrol of Governor
Tastuanes.

     (The patrol is sounded and they dance.)

_Alg._ Governor Tastuanes, I am here, as is proper, but the patrol
is not; their girdles are in rags and tatters, and their hats
smashed in from their frays, and we have not a single saddle cloth
or red cloak better, perhaps, than that good-for-nothing Güegüence,
Governor Tastuanes.

_Gov._ My son, Captain Chief Alguacil, you must bring that pimp,
that impudent fellow, that charlatan, before the Royal Court.

_Alg._ Perhaps that pimp and charlatan won't come with me to the
Royal Court.

10

_Gobernador._

No pilces Cap^n Alg^l M^{or} simocagüe campamento Sres. principales
sones, mudanzas, velancicos necana y paltechúa sesule Güegüence, ó
de la cola, ó de las piernas, ó de las narices, ó de onde Dios te
ayudare, Cap^n Alg^l M^{or}.

_Alguacil._

Mascamayagua, Sor. Gob^{or} Tastuanes, sones, mudanzas, velancicos
necana.

_Güegüence._

¡Ha muchachos, güil ternero, (ó) güil potro para quichuas rebiatar
de la cola, ó de las piernas, ó de las narices?

_D. Ambrosio._

Asi lo mereces, Güegüence embustero.

_Güegüence._

¿Me hablas, Don Forcico?

_D. Forcico._

No, tatita, seran los oidos que le chillan.

_Güegüence._

¿Me hablas, Don Ambrosio?

_D. Ambrosio._

¿Quien te ha de hablar, Güegüence embustero?

_Güegüence._

Como no, mala casta, saca fiestas sin vigilias en los dias de
trabajos. Ora quien vá, quien quiere saber de mi nombre?

_Alguacil._

Un criado del Sor. Gob^{or} Tastuanes.

11

_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of
the leading men the music, dances, songs, ballets, and such things,
[and bring] that good-for-nothing Güegüence, either by the tail, or
the legs, or the nose, or by whatever God will help you [to bring
him], Captain Chief Alguacil.

_Alg._ At your service, Governor Tastuanes, the music, dances,
songs, ballets [will be suspended].

_Güegüence._ Ho, boys! is it a calf or is it a colt that is to be
tied behind by the tail, or the legs, or the nose?

_Don Ambrosio._ That's what you deserve, Güegüence, you old humbug.

_Güe._ Do you speak to me, Don Forcico?

_Don Forcico._ No, little papa, perhaps it's your ears that are
buzzing.

_Güe._ Do you speak to me, Don Ambrosio?

_Don Am._ Who would speak to you, Güegüence, you old humbug?

_Güe._ Why not, you bad breed, you lazy loafer on working days? Who
is it now who wants to know my name?

_Alg._ A servant of the Governor Tastuanes.

12

_Güegüence._

Como que criada, güil chocolatera, ó güil lavandera, ó componedera
de la ropa del Sor. Gob^{or} Tastuanes?

_Alguacil._

Chocolatera ó lavandera no; criado del Sor. Gob^{or} Tastuanes.

_Güegüence._

Pues que criada, güil cocinera ó güil componedora del plato del Sor.
Gob^{or} Tastuanes?

_Alguacil._

Asuyungua me negua, no me cele componedora del plato, Capitan
Alguacil Mayor del Sor. Gob^{or} Tastuanes.

_Güegüence._

Ha! Cap^n Alg^l M^{or} del Sor. Gob^{or} Tastuanes: O amigo Cap^n
Alg^l M^{or} del Sor. Gob^{or} Tastuanes, asa campamento insigna
vara?

_Alguacil._

Asa neganeme, Güegüence.

_Güegüence._

Asetato, amigo Cap^n Alg^l M^{or}.

_Alguacil._

Asetato, Güegüence.

_Güegüence._

Amigo Cap^n Alg^l M^{or}, y que dice el Sor. Gobernador Tastuanes?

_Alguacil._

Que vayas corriendo y volando, Güegüence.

_Güegüence._

Corriendo y volando? Como quiere que corra y vuela un pobre viejo,
lleno de dolores y continuas calamidades?

13

_Güe._ What sort of a servant-girl is it, the chocolate maker, the
washwoman, or the clothes patcher of the Governor Tastuanes?

_Alg._ Neither waiter-girl nor washwoman; a servant of the Governor
Tastuanes.

_Güe._ Then which servant-girl, cook or grub-fixer of the Governor
Tastuanes?

_Alg._ Let me disclose myself; I have nothing to do with the
grub-fixer; I am the Captain Chief Alguacil of the Governor
Tastuanes.

_Güe._ Ha! Captain Chief Alguacil of the Governor Tastuanes! O
friend Captain Chief Alguacil of the Governor Tastuanes, your
official staff is perhaps at your quarters?

_Alg._ Perhaps I may offer you one, Güegüence.

_Güe._ Take a seat, friend Captain Chief Alguacil.

_Alg._ Take a seat, Güegüence.

_Güe._ Friend Captain Chief Alguacil, and what has Governor
Tastuanes to say?

_Alg._ That you go to him a-running and a-flying, Güegüence.

_Güe._ A-running and a-flying? How does he expect a poor old man,
full of pains and aches, to run and

14

Amigo Cap^n Alg^l M^{or} y un silguero que está en la portada del
Sor. Gob^{or} Tastuanes, que es lo que hace?

_Alguacil._

Cantando y alegrando á los Señores grandes.

_Güegüence._

Ese es mi consuelo y mi divertimiento. Amigo Cap^n Alg^l M^{or} con
que corriendo y volando?

_Alguacil._

Corriendo y volando, Güegüence.

_Güegüence._

¡Ha, muchachos! me hablan?

_D. Ambrosio._

Quien te ha de hablar, Güegüence embustero?

_Güegüence._

¿Me hablas, Don Forcico?

_D. Forcico._

No, tatita, seran los oidos que le chillan.

_Güegüence._

Ese será, muchachos. Pues ten cuenta con la bodega, que voi á ver si
puedo volar.

_Alguacil._

Ha, Güegüence, con que modo y con que cortecilla te calas, qui
provincia real del Sor. Gob^{or} Tastuanes?

_Güegüence._

Pues, y como, amigo Cap^n Alg^l M^{or}?

_Alguacil._

Primero ha de ser un velancico, y paltechúa consolar el Cabildo Real
del Sor. Gob^{or} Tastuanes.

15

fly? Friend Captain Chief Alguacil, and a linnet that reaches the
door of Governor Tastuanes, what does it do there?

_Alg._ It sings and amuses the grandees there.

_Güe._ That is my consolation and delight. Friend Captain Chief
Alguacil, how about this running and flying?

_Alg._ A-running and a-flying, Güegüence.

_Güe._ Ho, boys! do you speak to me?

_Don. Am._ Who wants to speak to you, Güegüence, old humbug?

_Güe._ Do you speak to me, Don Forcico?

_Don For._ No, little papa, perhaps it's your ears that are buzzing.

_Güe._ That may be, boys. Well, then, look after the shop, and I
will go and see if I can fly.

_Alg._ Ho, Güegüence! in what style, and with what etiquette, are
you going to enter the royal presence of the Governor Tastuanes?

_Güe._ Well, now, how should I, friend Captain Chief Alguacil?

_Alg._ First, there should be a song, and such like, to amuse the
Royal Court of the Governor Tastuanes.

16

_Güegüence._

Velancico, amigo Cap^n Alg^l M^{or}, pues simocagüe campamento Sres
principales sones, mudanzas, velancicos necana y paltechua consolar
mo Cabildo Real del Sor. Gob^{or} Tastuanes.

_Alguacil._

Mascamayagua Güegüence. Matateco Dio mispiales Sres. principales
sones, mudanzas, velancicos necana y paltechua sesule Güegüence.

     Dan vuelta los dos bailando y habla el.

_Alguacil._

Ha, Güegüence, ya estamos en el paraje.

_Güegüence._

Ya estamos con coraje.

_Alguacil._

En el paraje.

_Güegüence._

En el obraje.

_Alguacil._

En el paraje.

_Güegüence._

En el paraje. Pues, amigo Cap^n Alg^l M^{or}, no me enseñará con que
modo y con que cortecilla he de entrar y salir ante la presencia
real del Sor. Gob^{or} Tastuanes?

_Alguacil._

Si, te enseñaré, pero no de balde; primero ha de ser mi salario.

_Güegüence._

Pescados salados? Ha, muchachos! Ahí estan las redes de pescados
salados?

17

_Güe._ A song, friend Captain Chief Alguacil; then suspend in the
quarters of the leading men the music, dances, songs, ballets, and
such things, to amuse the Royal Court of the Governor Tastuanes.

_Alg._ At your service, Güegüence. I pray God to protect the leading
men [and they will suspend] the music, dances, songs, ballets, and
such like, for this good-for-nothing Güegüence.

     (They dance around the stage.)

_Alg._ Ha, Güegüence! here we are at the place.

_Güe._ Here we are, with heart of grace.

_Alg._ At the place.

_Güe._ To work apace.

_Alg._ At the place.

_Güe._ At the place. Now, friend Captain Chief Alguacil, won't you
teach me with what style, and with what etiquette, I ought to go in
and come out of the royal presence of the Governor Tastuanes?

_Alg._ Yes, I'll teach you; but not for nothing. First, I want my
salary.

_Güe._ Salted fish? Ho, boys! are the nets of salted fish here?

18

_D. Forcico._

Ahi estan, tatita.

_D. Ambrosio._

Que redes de pescados salados has de tener, Güegüence, embustero?

_Güegüence._

Como no! mala casta, ojos de sapo muerto! Amigo Cap^n Alg^l M^{or},
ya estamos desaviados de los pescados salados.

_Alguacil._

Acaso no me cele de pescados salados, Güegüence.

_Güegüence._

Pues, y como, amigo Cap^n Alg^l M^{or}?

_Alguacil._

Reales de plata, Güegüence.

_Güegüence._

Ha! redes de platos. A! muchachos, ahí estan las redes de platos?

_D. Forcico._

Ahi estan, tatita.

_Güegüence._

Pues, amigo Cap^n Alg^l M^{or}, ya estamos aviados de platos. Y como
de que platos quiere? de la china, ó de barro?

_Alguacil._

Ayugama, no me cele de platos, Güegüence.

_Güegüence._

Pues, y como, amigo Cap^n Alg^l M^{or}?

_Alguacil._

Pesos duros, Güegüence.

19

_Don For._ Here they are, little papa.

_Don Amb._ What nets of salted fish do you pretend to have,
Güegüence, you old humbug?

_Güe._ Why not, you bad breed, you evil-eyed brat? Friend Captain
Chief Alguacil, we are just now out of salted fish.

_Alg._ Perhaps I don't care for salted fish, Güegüence.

_Güe._ Well, what then, Captain Chief Alguacil?

_Alg._ Pieces of eight, Güegüence.

_Güe._ Ha! dishes and plates. Ho, boys! have we some dishes and
plates?

_Don For._ Here they are, little papa.

_Güe._ Well, then, Captain Chief Alguacil, we are supplied with
plates. What kind of plates do you want, china plates or earthen
plates?

_Alg._ Neither one nor the other. I don't care for plates,
Güegüence.

_Güe._ Well, what then, Captain Chief Alguacil?

_Alg._ Hard pieces, Güegüence.

20

_Güegüence._

Ha! Quesos duros de aquellos grandotes. A, muchachos, ahi estan los
quesos duros que trajimos de sobornal?

_D. Forcico._

No, tatita; se los comió mi hermanito, Don Ambrosio.

_D. Ambrosio._

Que quesos duros has de tener, Güegüence, embustero?

_Güegüence._

Como no, mala casta, despues que te los has comido. Amigo Cap^n
Alg^l M^{or}, ya estamos desaviados de los quesos duros, porque ahi
traigo un muchacho tan ganzo, que no me deja nada.

_Alguacil._

Acaso no me cele de quesos duros, Güegüence.

_Güegüence._

Pues, y como, amigo Cap^n Alg^l M^{or}?

_Alguacil._

Doblones de oro y de plata, Güegüence.

_Güegüence._

Ha! dobles. A! muchachos, sabes doblar?

_D. Forcico._

Si, tatita.

_Güegüence._

Pues dobla, muchachos, Dios persogue á mi amigo Cap^n Alg^l M^{or},
que ahora endenantes estuvimos tratando y contratando con el, y ya
se lo llevó una bola de fuego á mi amigo.

_Alguacil._

Para tu cuerpo, Güegüence. Acaso no me cele de dobles.

21

_Güe._ Ha! hard cheeses; those big ones. Ho, boys! have we those
hard cheeses which we brought along as extras?

_Don For._ No, little papa, my little brother, Don Ambrosio, ate
them up.

_Don Am._ What hard cheeses do you pretend to have, Güegüence, you
old humbug?

_Güe._ Why not, you bad breed, since you ate them up? Friend Captain
Chief Alguacil, we are just now out of hard cheeses, because I have
a boy here who is such a hog that he leaves me nothing.

_Alg._ Perhaps I don't care for hard cheeses, Güegüence.

_Güe._ Well, what then, Captain Chief Alguacil?

_Alg._ I want toll of gold and silver, Güegüence.

_Güe._ Ha! toll. Ho, boys! do you know how to toll?

_Don For._ Yes, little papa.

_Güe._ Well, then, toll away, boys, for God has got after my friend
the Captain Chief Alguacil, with whom we were talking and bargaining
a moment ago, and has carried off my friend in a ball of fire.

_Alg._ May it burn your body, Güegüence. Perhaps I don't care for
tolling.

22

_Güegüence._

Pues, y como, amigo Cap^n Alg^l M^{or}?

_Alguacil._

Doblones de oro y de plata, Güegüence.

_Güegüence._

Doblones de oro y de plata! Pues hableme recio, que como soi viejo y
sordo, no oigo lo que me dicen; y por esas tierras adentro no se
entiende de redes de platos, ni de pescados salados, ni de quesos
duros, ni de dobles, sino onzas de oro y moneda de plata. Y, vamos,
¿cuanto quiere?

_Alguacil._

Todo lo que hubiere en la bodega, Güegüence.

_Güegüence._

¿Todo, todo?--¿No me dejas nada?

_Alguacil._

Nada, nada, Güegüence.

_Güegüence._

Ni batuchito?

_Alguacil._

Ni batuchito, Güegüence.

_Güegüence._

Ya lo ven, muchachos, lo que hemos trabajado para otro hambriento.

_D. Forcico._

Así es, tatita.

_D. Ambrosio._

Así lo mereces, Güegüence, embustero.

_Güegüence._

Arra ya, mala casta, comeras tus uñas.

23

_Güe._ Well, what then, friend Captain Chief Alguacil?

_Alg._ Doubloons of gold and silver.

_Güe._ Doubloons of gold and silver! Then speak loud, for I am old
and deaf; and in these inland places people know nothing of nets of
plates, and of salted fish, nor about hard cheeses, nor about tolls,
but only about ounces of gold and coins of silver. Well, let us come
to it, how much do you want?

_Alg._ Everything in the shop, Güegüence.

_Güe._ Everything? Everything? You won't leave me anything?

_Alg._ Nothing, nothing, Güegüence.

_Güe._ Not so much as an empty box?

_Alg._ Not even an empty box, Güegüence.

_Güe._ Now, boys, you see how we have worked to feed another hungry
fellow.

_Don For._ So it is, little papa.

_Don Am._ So you deserve, Güegüence, you old humbug.

_Güe._ Get out, you bad breed, you shall eat your finger nails.

24

_D. Ambrosio._

Las comeremos, Güegüence.

_Güegüence._

Pues, ponga las manos: y las dos manos pone el hambriento, y que
buenas uñas se tiene mi amigo Cap^n Alg^l M^{or}, parecen de
perico-ligero! a! una bomba caliente para estas uñas!

_Alguacil._

Para tu cuerpo, Güegüence.

_Güegüence._

Pues, tome! Uno, dos, tres, cuatro. Ha! mi plata, muchachos! Cuatro
cientos y tantos pesos le he dado á mi amigo Cap^n Alg^l
M^{or}--Vd., amigo Cap^n Alg^l M^{or}, no sabe cual es real, ni cual
es medio.

_Alguacil._

Como no? Si, entiendo de todo, Güegüence.

_Güegüence._

La mitad de este medio hacen dos cuartillos; un cuartillo dos
octavos, un octavo dos cuartos, un cuarto dos maravedis, cada
maravedi dos blancos.

_Alguacil._

Pues, échelos todos.

_Güegüence._

Pues, enséñeme.

_Alguacil._

Pues, azetagago.

_Güegüence._

Pues, maneta congon.

_Alguacil._

Matateco Dio mispiales, Sor. Gob^{or} Tastuanes.

25

_Don Am._ Let us eat them, Güegüence.

_Güe._ Then put out your hands, and let this hungry fellow put out
both his hands; and my! what fine nails has my friend, the Captain
Chief Alguacil! They are like those of a scratching monkey! Ho,
there! a hot shot for these nails!

_Alg._ May it burn your body, Güegüence.

_Güe._ Well, here then [_shows four coins_]. One, two, three, four.
Ha! my money, boys! Four hundred and some odd dollars I have given
to my friend, the Captain Chief Alguacil. But you, friend Captain
Chief Alguacil, you don't know a real from a half a one.

_Alg._ Why not? I understand all about them, Güegüence.

_Güe._ The half of this half real makes two cuartillos; a cuartillo
is two octavos; an octavo is two quartos; a quarto is two maravedis;
and each maravedi is two blancos.

_Alg._ Well, then, down with them all.

_Güe._ Well then, teach me.

_Alg._ Well, then, pay attention.

_Güe._ Well, then, show me.

_Alg._ I pray God to protect you, Governor Tastuanes.

26

_Güegüence._

Matateco Dio cuascuane cuascuane Tastuanes.

_Alguacil._

Matateco Dio mispiales, Sor. Gob^{or} Tastuanes.

_Güegüence._

Matateco Dio panegüe palegüe Tastuanes.

_Alguacil._

Hace porfiado, Güegüence; Vd. ha menester una docena de cueros.

_Güegüence._

Docena de cueros? Ha, muchachos, nos faltan reatas ó cobijones. Aqui
el amigo Cap^n Alg^l M^{or} nos ofrece una docena de cueros.

_D. Forcico._

Si, tatita.

_Güegüence._

Amigo Cap^n Alg^l M^{or}, y como de que cueros, ¿de crudia ó de
gamusa?

_Alguacil._

Mas azetagago, Güegüence.

Le da dos rejazos.

_Güegüence._

Arra ya, con que bueno, despues de pagado me has azotado; esos no
son cueros, esos son azotes.

_D. Ambrosio._

Así lo mereces, Güegüence, embustero.

_Alguacil._

Matateco Dio mispiales Sor. Gob^{or} Tastuanes, quinimente motales,
quinimente moseguan, Alcaldes ordinarios de la Sta. hermandad,
regidores y notarios y depositarios.

27

_Güe._ I pray God will make you sing, Tastuanes.

_Alg._ I pray God to protect you, Governor Tastuanes.

_Güe._ I pray God to overcome Tastuanes.

_Alg._ You are stubborn, Güegüence, you need a dozen hidings.

_Güe._ Ho, boys! do we need some lines or covers? Our friend here,
the Captain Chief Alguacil, offers us a dozen hides.

_Don For._ Yes, little papa.

_Güe._ How about those hides, friend Captain Chief Alguacil, are
they green or dressed?

_Alg._ Find out more about them, Güegüence.

     (Gives him two blows.)

_Güe._ Get out! what right have you to beat me when I have paid?
These are not hides, they are blows.

_Don Am._ So you deserve, Güegüence, you old humbug.

_Alg._ I pray God to protect the Governor Tastuanes, those who carry
his messages and transact his business, the regular alcaldes of the
Holy Brotherhood, the registrars,

28

Eguan noche mo Cabildo Real del Sor Gob^{or} Tastuanes.

_Güegüence._

Amigo Cap^n Alg^l M^{or}, si de balde le he dado mi dinero, si estos
son mis lenguajes asonesepa negualigua seno libro de romance, lichúa
rezar escataci, iscala ñonguan iscumbatasi à campaneme Tastuanes?

_Alguacil._

Asaneganeme, Güegüence.

_Güegüence._

Si cana amigo Cap^n Alg^l M^{or} -- -- -- -- --

Matateco Dio mispiales, Sor. Gob^{or} Tastuanes.

_Gobernador._

Matateco Dio miscuales quilis Güegüence yatiguala neme?

_Güegüence._

Ya nemo niqui nistipampa quinimente moseguan. Alcaldes ordinarios de
la Santa hermandad, regidores y notarios (y) depositarios(.) Eguam
noche mo Cabildo Real del Sor. Gob^{or} Tastuanes.

_Gobernador._

Pues, Güegüence, quinquimagua licencia te calas qui provincia real?

_Güegüence._

Valgame Dios, Sor. Gob^{or} Tastuanes, pues que es menester
licencia?

_Gobernador._

Es menester licencia, Güegüence.

_Güegüence._

O valgame Dios, Sor. Gob^{or} Tastuanes! Cuando yo

29

notaries and archivists, [by day] and night, in the Royal Court of
Governor Tastuanes.

_Güe._ Friend Captain Chief Alguacil, I have given my money for
nothing, if these are to be my words; and shall I not bargain for a
book in Spanish, to read these prayers out of when I come before
Tastuanes?

_Alg._ Perhaps I may offer you one, Güegüence.

_Güe._ If anywhere, friend Captain Chief Alguacil--[_The Governor
enters abruptly._] I pray God to protect you, Governor Tastuanes.

_Gov._ I pray God to prosper you, Güegüence; are you well?

_Güe._ I am here, as is proper, [and I pray God to protect] those
who transact the business, the regular alcaldes of the Holy
Brotherhood, the registrars, notaries and archivists, [by day] and
night, in the Royal Court of Governor Tastuanes.

_Gov._ Well, Güegüence, who has given you a permit to enter this
royal province.

_Güe._ God bless me, Governor Tastuanes, what is it to need a
permit?

_Gov._ A permit is necessary.

_Güe._ O! God bless me, Governor Tastuanes; when I

30

anduve por esas tierras adentro, por la carrera de Mexico, por la
Veracruz, por la Vera Paz, por Antepeque, arriando mi recua, guia
muchachos, opa Don Forcico llega donde un mesonero tupile traiga una
docena de huevos, vamos comiendo y descargando y vuelto á cargar, y
me voy de paso, y no es menester licencia para ello, Sor. Gob^{or}
Tastuanes.

_Gobernador._

Pues aqui es menester licencia para ello, Güegüence.

_Güegüence._

Valgame Dios, Sor. Gob^{or} Tastuanes, viniendo yo por una calle
derecha me columbró una niña que estaba sentada en una ventana de
oro, y me dice: que galan el Güegüence, que bizarro el Güegüence,
aqui tienes bodega, Güegüence, entra, Güegüence, siéntato,
Güegüence, aqui hay dulce, Güegüence, aqui hay limon. Y como soy un
hombre tan gracejo, salté á la calle con un cabriolé, que con sus
adornos no se distinguia de lo que era, lleno de plata y oro hasta
el suelo, y así una niña me dió licencia, Sor. Gob^{or} Tastuanes.

_Gobernador._

Pues una niña no puede dar licencia, Güegüence.

_Güegüence._

O valgame Dios, Sor. Gob^{or} Tastuanes, no seremos guancos, no
seremos amigos, y seremos de sones sepanegaligua, no fardesia de
ropa; en primer lugar cajoneria de oro, cajoneria de plata, ropa de
Castilla, ropa de contrabando, güipil de pecho, güipil de pluma,
medias de seda, zapatos de oro, sombrero de castor, estriberas de

31

was traveling up country, on the road to Mexico, through Vera Cruz,
and Vera Paz, and Antepeque, driving my mules, leading my boys,
twice Don Forcico comes across a constable innkeeper who brings us a
dozen eggs; and we go on eating and unloading, and we load up again,
and I go right along, and there is no need of a permit for it,
Governor Tastuanes.

_Gov._ Well, here there is need of a permit for it, Güegüence.

_Güe._ God bless me, Governor Tastuanes, as I was coming up a
straight street, a girl who was sitting in a golden window descried
me, and says to me: "What a fine fellow is Güegüence; how gallant is
Güegüence; here's the shop for you, Güegüence; come in, Güegüence;
sit down, Güegüence; there's sweatmeats here, Güegüence; there's a
lemon here." And, as I am such a funny fellow, I jumped off, with my
riding cloak on, so full of ornaments that you could not tell what
it was, covered with gold and silver to the ground; and that's the
way a girl gave me a permit, Governor Tastuanes.

_Gov._ Well, a girl can't give a permit [here], Güegüence.

_Güe._ O! God bless me, Governor Tastuanes, we won't be fools; no,
we will be friends, and we will bargain about my packs of goods. In
the first place, chests of gold, chests of silver, cloth of Spain,
cloth from smugglers, vests, feather skirts, silk stockings, golden
shoes, beaver

32

lazo de oro y de plata, ya pachigüe muyule Sor. Gob^{or} Tastuanes.

_Gobernador._

Pachigüete no pachigüete, Güegüence, asamatimagas, (a sones) se
palparesia motel polluse D. Forcico y D. Ambrosio timaguas y verdad,
tin riquezas y hermosuras tumile mo Cabildo Real.

_Güegüence._

No chopa quimate mollule, Sor. Gob^{or} Tastuanes.

_Gobernador._

No chiquimate, Güegüence.

_Güegüence._

Pues si cana amigo Cap^n Alg^l M^{or}, simocagüe nistipampa, Sres.
principales, sones, mudanzas, velancicos, necana, y palparesia D.
Forcico timaguas y verdad, tin hermosura, tin bellezas tumiles mo
Cabildo Real.

_Gobernador._

No pilse Cap^n Alg^l M^{or} simocagüe campamento Sres. principales,
sones, mudanzas, velancicos, necana y palparesia D. Forcico timagas
y verdad, tin hermosura, tin belleza tumile mo Cabildo Real.

_Alguacil._

Mascamayagua Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Sres.
principales, sones, mudanzas, velancicos, necana y palparesia D.
Forcico timaguas y verdad.

     Aqui el Alguacil saca à D. Forcico p^a hablar con el
     Gob^{or}.

_D. Forcico._

Matateco Dio mispiales, Sor. Gob^{or} Tastuanes.

33

hats, stirrup straps of gold and silver lace, as may satisfy the
clever Governor Tastuanes.

_Gov._ No, I am not satisfied with what you say, Güegüence. Don
Forcico and Don Ambrosio must give a truthful account to our Royal
Court, whether you have riches and abundant treasures.

_Güe._ Do you not know it already, clever Governor Tastuanes?

_Gov._ I do not know it, Güegüence.

_Güe._ Then, if friend Captain Chief Alguacil will suspend, in my
presence, the music, dances, songs and ballets of the leading men,
Don Forcico will give a truthful account to the Royal Court about my
riches and abundant treasures.

_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of
the leading men the music, dances, songs and ballets, and Don
Forcico will give a truthful account to the Royal Court about their
riches and abundant treasures.

_Alg._ At your service, Governor Tastuanes. I pray God to protect
the leading men, and [they suspend] the music, dances, songs and
ballets, and Don Forcico will give a truthful account.

     (The Alguacil takes Don Forcico aside to talk with the
     Governor.)

_Don For._ I pray God to protect you, Governor Tastuanes.

34

_Gobernador._

Matateco Dio miscuales quilis Don Forcico ya tiguala neme.

_D. Forcico._

Ya nemo niqui nistipampa, quinimente motales, quinimentes moseguan,
Alcaldes ordinarios de la Sta. hermandad, regidores, notarios y
depositarios. Eguan noche mo Cabildo Real del Sor. Gob^{or}
Tastuanes.

_Gobernador._

Pues, Don Forcico asamatimaguas semo verdad a sones sepaguala
motalce Güegüence quichua contar güil hombre rico, tin riquezas, tin
hermosura, tin belleza, en primer lugar cajoneria de oro, cajoneria
de plata, doblones de oro, monedas de plata, hay me sagua Don
Forcico.

_D. Forcico._

O valgame Dios, Sor. Gob^{or} Tastuanes, es corto el dia y la noche
para contar las riquezas de mi padre; en primer lugar cajoneria de
oro, cajoneria de plata, ropa de Castilla, ropa de contrabando,
estriberas de lazo de oro y de plata, ya pachigüe muyule Sor.
Gob^{or} Tastuanes.

_Gobernador._

Pachigüete no pachigüete pues, Don Forcico, á sones se palparesia tu
hermanito Don Ambrosio timaguas y verdad tin riquezas y hermosuras
tumiles mo Cabildo real.

_D. Forcico._

Sor. Gob^{or} Tastuanes, sicana amigo Cap^n Alg^l M^{or}, mayague
campamento Sres. principales, sones, mudanzas, velancicos, necana y
palparesia mi hermanito Don Ambrosio timaguas y verdad.

35

_Gov._ I pray God to prosper you, Don Forcico; are you well?

_Don For._ I am here, as is proper, [and I pray God to protect]
those who carry the messages, those who transact the business, the
regular alcaldes of the Holy Brotherhood, the registrars, notaries
and archivists, [by day] and night, in the Royal Court of Governor
Tastuanes.

_Gov._ Well, Don Forcico, you are to tell me the truth about the
stories which Güegüence tells, saying that he is a rich man, and has
property, and handsome and beautiful things; in the first place,
chests of gold, chests of silver, doubloons of gold, coins of
silver; so tell me clearly, Don Forcico.

_Don For._ O! God bless me, Governor Tastuanes, the day and the
night are too short to tell you all the riches of my father. In the
first place, chests of gold, chests of silver, cloth of Spain, cloth
from smugglers, stirrup straps of lace of gold and silver, as may
satisfy the clever Governor Tastuanes.

_Gov._ No, not satisfied yet, Don Forcico; for next, your little
brother, Don Ambrosio, will give a truthful account to the Royal
Court about these riches and abundant treasures.

_Don For._ Governor Tastuanes, if friend Captain Chief Alguacil will
suspend in the quarters of the leading men the music, dances, songs
and ballets, my little brother, Don Ambrosio, will give a truthful
account.

36

_Gobernador._

No pilse Cap^n Alg^l M^{or}, simocagüe campamento Sres. principales,
sones, mudanzas, velancicos, necana, y palparesia su hermanito D.
Ambrosio timaguas y verdad tin riquezas, tin hermosuras.

_Alguacil._

Mascamayagua Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Sres.
principales, sones, mudanzas, velancicos, necana, y palparesia Don
Ambrosio timaguas y verdad.

     Aqui el Alg^l saca à D. Ambrosio p^a hablar con el
     Gob^{or}.

_D. Ambrosio._

Matateco Dio mispiales, Sor. Gobernador Tastuanes.

_Gobernador._

Matateco Dio miscuales, quilis Don Ambrosio, ya tiguala neme?

_D. Ambrosio._

Ya nemo niqui nistipampa quinimente motales, quinimente moseguan
Alcaldes ordinarios de la Sta. hermandad, regidores y notarios, y
depositarios. Eguan noche mo Cabildo Real del Sor. Gob^{or}
Tastuanes.

_Gobernador._

Pues Don Ambrosio asamatimaguas semo verdad á sones (se) paguala
motalce Güegüence quichua contar güil hombre rico. En primer lugar
cajoneria de oro, cajoneria de plata, ropa de Castilla, ropa de
contrabando, güipil de pecho, güipil de pluma, medias de seda,
zapatos de oro, sombrero de castor, estriberas de lazo de oro y de
plata, muchintes hermosuras quichua contar sesule Güegüence hoy
melagüe Don Ambrosio.

37

_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of
the leading men the music, dances, songs and ballets, and his little
brother, Don Ambrosio, will give a truthful account of the riches
and treasures.

_Alg._ At your service, Governor Tastuanes. I pray God to protect
the leading men, [and they suspend] the music, dances, songs and
ballets, and Don Ambrosio will give a truthful account.

     (The Alguacil takes Don Ambrosio aside to talk to the
     Governor.)

_Don Am._ I pray God to protect you, Governor Tastuanes.

_Gov._ I pray God to prosper you, Don Ambrosio; are you well?

_Don Am._ I am here, as is proper, [and I pray God to protect] those
who carry the messages, those who transact the business, the regular
alcaldes of the Holy Brotherhood, the registrars, notaries and
archivists, [by day] and by night, in the Royal Court of Governor
Tastuanes.

_Gov._ Well, Don Ambrosio, you are to tell me the truth about the
stories which Güegüence relates, saying that he is a rich man. In
the first place, [that he has] chests of gold, chests of silver,
cloth of Spain, cloth from smugglers, vests, skirts of feathers,
silk stockings, golden shoes, a beaver hat, stirrup straps of lace
of gold and silver, quantities of pretty things, as that
good-for-nothing Güegüence relates; so tell me clearly, Don
Ambrosio.

38

_D. Ambrosio._

Valgame Dios, Sor. Gob^{or} Tastuanes, vergüenza me da contar las
cosas de ese Güegüence embustero, pues solo está esperando que
cierre la noche para salir de casa en casa á hurtar lo que hay en
las cocinas para pasar el, y su hijo Don Forcico. Dice que tiene
cajoneria de oro, y es una petaca vieja totolatera, que tiene catre
de seda y es un petate viejo revolcado, dice que tiene medias de
seda y son unas botias viejas sin forro, que tiene zapatos de oro, y
son unas chancletas viejas sin suelas, que tiene un fusil de oro, y
es solo el palo, porque el cañon se lo quitaron.

_Güegüence._

Ve, que afrenta de muchacho, hablador, boca floja! revientale, hijo,
la cabeza, que como no es hijo mio me desacredita.

_D. Forcico._

Quitate de aquí, mala casta! No se espante Sor. Gob^{or} Tastuanes
en oir á este hablador, que cuando yo anduve con mi padre por la
carrera de Mexico y cuando venimos ya estaba mi madre en cinta de
otro, y por eso salió tan mala casta, Sor. Gob^{or} Tastuanes.

_Güegüence._

Sor. Gob^{or} Tastuanes ya pachigüe muyules teguane motel poyuce Don
Forcico contar tin hermosuras, tin bellezas, tumiles mo Cabildo
Real.

_Gobernador._

Pachigüete no pachigüete, Güegüence, asamaquimate mollule mo Cabildo
real.

39

_Don Am._ God bless me, Governor Tastuanes, I am ashamed to talk
about the affairs of this old humbug, Güegüence, for he is only
waiting until it is dark, to go from house to house, stealing
whatever is in the kitchens, to keep him and his son, Don Forcico,
alive. He says he has a chest of gold, and it is an old bird-basket;
that he has a silken cot, and it is a dirty old mat; he says he has
silk stockings, and they are old leggings, without lining; that he
has golden shoes, and they are worn out slippers, without soles;
that he has a golden gun, and it is only a wooden stock, because
they took the barrel away from him.

_Güe._ Heavens! what an impudent boy, a babbler, a lying tongue!
Break his head, my boy, for no son of mine would slander me in that
way.

_Don For._ Get out of here, you bad breed. Don't be shocked,
Governor, to hear this babbler; for when I went with my father on
the road to Mexico, when we came back my mother was big by another,
and that is why this one is such a bad breed, Governor Tastuanes.

_Güe._ Governor Tastuanes, now are you not satisfied completely
about us, by what Don Forcico told the Royal Court, that I have
quantities of pretty and beautiful things?

_Gov._ No, not satisfied; the Royal Court would like to know it.

40

_Güegüence._

No chiquimate mollule Sor. Gob^{or} Tastuanes: pues mayagüe amigo
Cap^n Alg^l M^{or}, campamento Srs. principales, sones, mudanzas,
velancicos, necana y palparesia mo tinderia turna güiso mo Cabildo
Real.

_Gobernador._

No pilse Cap^n Alg^l M^{or}, simocagüe campamento Sres. principales,
sones, mudanzas, velancicos, necana, y paltechua consolar sesule
Güegüence(.) Eguan mo tinderia y paltechua consolar mo cabildo real.

_Alguacil._

Mascamayagua, Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Sres.
principales, sones, mudanzas, velancicos, necana y palparesia
tinderia mo Cabildo Real.

     Da vuelta el Güegüence y los muchachos bailando con la
     tienda, y habla el

_Güegüence._

Matateco Dio mispiales, Sor. Gob^{or} Tastuanes, asanega neme mo
tinderia matamagüeso mo Cabildo Real. Alzen muchachos, miren cuanta
hermosura. En primer lugar cajoneria de oro, cajoneria de plata,
güipil de pecho, güipil de pluma, medias de seda, zapatos de oro,
sombrero de castor, estriberas de lazo de oro y de plata, muchintes
hermosuras, Sor. Gob^{or} Tastuanes, asaneganeme ese lucero de la
mañana que relumbra del otro lado del mar, asanecaneme esa
jeringuita de oro para ya remediar el Cabildo Real del Sor. Gob^{or}
Tastuanes.

_Gobernador._

Para tu cuerpo, Güegüence.

41

_Güe._ The clever Governor Tastuanes does not know it. Well, then,
let friend Captain Chief Alguacil suspend in the quarters of the
leading men the music, dances, songs, ballets and talk, and I will
open my tent to the Royal Court.

_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of
the leading men the music, dances, songs, ballets and such like, to
please this good-for-nothing Güegüence, and he will show his tent,
to please the Royal Court.

_Alg._ At your service, Governor Tastuanes. I pray God to protect
the leading men, [and they suspend] the music, dances, songs,
ballets and talk, [to show] the tent to the Royal Court.

     (Güegüence and the boys dance around the stage with the
     tent.)

_Güe._ I pray God to protect you, Governor Tastuanes. Let me offer
you my tent, to show to the Royal Court. Heft it, boys. See what
pretty things! In the first place, a chest of gold, a chest of
silver, vests, feather skirts, silk stockings, golden shoes, a
beaver hat, stirrup straps of lace of gold and silver, quantities of
pretty things, Governor Tastuanes. Let me offer you this star of the
morning, which shines from the other side of the sea; let me offer
you this syringe of gold, with which to medicate the Royal Court of
the Governor Tastuanes.

_Gov._ May it be for your own body, Güegüence.

42

_Güegüence._

Como este mi muchacho tiene tantos oficios, que hasta en las uñas
tiene encajados los oficios.

_Gobernador._

Seran de arena, Güegüence.

_Güegüence._

Pues mas ha sido escultor, fundidor, repicador, piloto de alturas de
aquellos que se elevan hasta las nubes, Sor. Gob^{or} Tastuanes.

_Gobernador._

Esos no son oficios de continuo, Güegüence.

_Güegüence._

Pues mas ha sido carpintero, hacedor de yugos aunque sean de papayo,
hacedor de arados, aunque sean de tecomajoche ya pachigüe muyule
Sor. Gob^{or} Tastuanes.

_Gobernador._

Ya pachigüete no pachigüete, pues Güegüence asanese palparesia mo
Don Forcico timaguas y verdad tin oficios.

_Güegüence._

Pues si cana amigo Cap^n Alg^l M^{or}. Mayague nistipampa Sres.
principales, sones, mudanzas, velancicos, necana y palparesia Don
Forcico timaguas y verdad tin oficios.

_Alguacil._

Mascamayagua, Güegüence. Matateco Dio mispiales Sres. principales,
sones, mudanzas, velancicos, necana y palparesia D. Forcico mo
Cabildo Real.

     Vuelve el Alguacil à sacar à D. Forcico.

43

_Güe._ It is wonderful how many trades this boy of mine has. He is
deep in trades to his fingers' ends.

_Gov._ They are of no account, Güegüence.

_Güe._ Why, he has been a sculptor, a metal founder, a bell-ringer,
and a pilot to the heights which rise above the clouds, Governor
Tastuanes.

_Gov._ These are not permanent employments, Güegüence.

_Güe._ Then he has been a carpenter, a maker of yokes, though of
papaya wood, a maker of plows, though of temple tree wood. This
should satisfy the clever Governor Tastuanes.

_Gov._ No, I am not yet satisfied. Let Güegüence tell his son, Don
Forcico, to give a truthful account of his trades.

_Güe._ Then, if friend Captain Chief Alguacil will, in my presence,
cause the leading men to suspend the music, dances, songs and
ballets, Don Forcico will give a truthful account of his trades.

_Alg._ At your service, Güegüence. I pray God will protect the
leading men, [and they suspend] the music, dances, songs and
ballets, for the talk of Don Forcico to the Royal Court.

     (The Alguacil brings Don Forcico forward.)

44

_D. Forcico._

Sor. Gob^{or} Tastuanes, hasta en las uñas tengo encajados los
oficios.

_Gobernador._

Seran de arena, Don Forcico.

_D. Forcico._

Pues mas he sido escultor, fundidor, repicador, piloto de alturas de
aquellas que se elevan hasta las nubes, Sor. Gob^{or} Tastuanes.

_Gobernador._

Pachigüete no pachigüete, pues Don Forcico asamaguimate mollule tin
mudanzas, tin sapatetas mo Cabildo Real.

_D. Forcico._

O valgame Dios, Sor. Gob^{or} Tastuanes, sicana amigo Cap^n Alg^l
M^{or}, campamento Sres. principales, sones, mudanzas, velancicos,
necana tin corridos y palechua consolar mo Cabildo Real.

_Gobernador._

No pilse Cap^n Alg^l M^{or} simocagüe campamento Sres. principales,
sones, mudanzas, velancicos, necana y palparesia lichua consolar
sesule Güegüence.

_Alguacil._

Mascamayagua Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Sres.
principales, sones, mudanzas, velancicos, necana y palparesia
consolar mo Cabildo Real sesule Güegüence.

     Primera bailada del Corrido, y habla el

45

_Don For._ Governor Tastuanes, I am deep in trades to my finger
ends.

_Gov._ They are of no account, Don Forcico.

_Don For._ Why, I have been a sculptor, a metal founder, a
bell-ringer, and a pilot to the heights which rise above the clouds,
Governor Tastuanes.

_Gov._ No, I am not satisfied, since Don Forcico should also know
some clever dances and caperings, [to amuse] the Royal Court.

_Don For._ O! God bless me, Governor Tastuanes, if friend Captain
Chief Alguacil [will suspend] in the quarters of the leading men the
music, dances, songs and ballets, they shall have some running
dances and such things, to amuse the Royal Court.

_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of
the leading men the music, dances, songs, ballets and talk, in order
that this good-for-nothing Güegüence may amuse [the Royal Court].

_Alg._ At your service, Governor Tastuanes. I pray God to protect
the leading men, [and they suspend] the music, dances, songs,
ballets and talk, in order that the good-for-nothing Güegüence may
amuse the Royal Court.

     (First ballet with the running dance.)

46

_Güegüence._

Sor. Gob^{or} Tastuanes, ya pachigüe mollule tigüita tin mudanzas,
tin sapatetas, lichua consolar mo Cabildo Real.

_Gobernador._

Pachigüete no pachiguete, Güegüence, asamaquimate muyule, asanese
palparesia motel poyuse Don Forcico y Don Ambrosio à consolar el
Cabildo Real.

_Güegüence._

No chopa quimate muyule, Sor. Gob^{or} Tastuanes.

_Gobernador._

No chopa quimate Güegüence.

_Güegüence._

Mayague amigo Cap^n Alg^l M^{or}, campamento Sres. principales,
sones, corridos, necana y paltechua consolar Don Forcico eguan D.
Ambrosio mo Cabildo Real.

_Gobernador._

No pilse Cap^n Alg^l M^{or}, simocagüe campamento Sres. principales,
sones, corridos, necana y paltechua consolar Don Forcico eguan Don
Ambrosio mo Cabildo Real.

     Segunda bailada del Güegüence, y los dos muchachos.

_Güegüence._

Sor Gob^{or} Tastuanes, ya pachigüe mollule tigüita tin mudanzas,
tin sapatetas lichua consolar mo Cabildo Real.

_Gobernador._

Pachigüete no pachigüete, Güegüence.

_Güegüence._

Sor. Gob^{or} Tastuanes asamaquimate mollule tin mudanzas, tin
sapatetas sones San Martin, à lichua consolar Don Forcico eguan Don
Ambrosio mo Cabildo Real.

47

_Güe._ Governor Tastuanes, now you are satisfied that they have
dances and caperings to amuse the Royal Court.

_Gov._ No, I am not satisfied. I would know thoroughly what Don
Forcico and Don Ambrosio can do to amuse the Royal Court.

_Güe._ Do you not know it, Governor Tastuanes?

_Gov._ I do not know it, Güegüence.

_Güe._ Let friend Captain Alguacil Major [suspend] in the quarters
of the leading men the music, dances, songs and such like, that Don
Forcico and Don Ambrosio may amuse the Royal Court.

_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of
the leading men the music, dances, songs and such like, that Don
Forcico and Don Ambrosio may amuse the Royal Court.

     (Second ballet of Güegüence and the two boys.)

_Güe._ Governor Tastuanes, now you are certainly satisfied that they
have dances, have caperings, to amuse the Royal Court.

_Gov._ No, I am not satisfied, Güegüence.

_Güe._ Governor Tastuanes may certainly know that Don Forcico and
Don Ambrosio have dances and caperings, to the tune of St. Martin,
to amuse the Royal Court.

48

_Gobernador._

No chopa quimate mollule Güegüence. No pilse Cap^n Alg^l M^{or}
simocagüe campamento Sres. principales, sones San Martin a lichua
consolar mo Cabildo Real sesule Güegüence.

     Aqui se toca S. Martin y dan vuelta todos bailando.

_Gobernador._

A Güegüence ya pachigüe muyule tigüita tin sapatetas lichuas
consolar mo Cabildo Real.

_Güegüence._

Pachigüete no pachigüe, Sor. Gob^{or} Tastuanes asamaquimate muyule
sones Portorico no amigo Cap^n Alg^l M^{or} à lichua consolar Don
Forcico, y Don Ambrosio mo Cabildo Real.

_Gobernador._

No pilse Cap^n Alg^l M^{or}, simocagüe campamento Sres. principales,
sones Portorico lichua consolar sesule Güegüence.

     Aqui se toca un ton antiguo y dan vuelta todos bailando.

_Gobernador._

A Güegüence ya pachigüe muyule tigüita tin sapatetas lichua consolar
mo Cabildo Real.

_Güegüence._

Pachigüete no pachigüe, Sor. Gob^{or} Tastuanes, que unos van para
atras, y otros para delante.

_Gobernador._

Eso no lo sé, Güegüence. Pues, Güegüence, asamaquimate muyule, tin
mudanzas, tin sapatetas semula macho-raton à lichua consolar mo
Cabildo Real.

49

_Gov._ I do not certainly know it. My son, Captain Chief Alguacil,
suspend in the quarters of the leading men [the music, etc.], that
this good-for-nothing Güegüence may amuse the Royal Court with the
tune of St. Martin.

     (The tune of St. Martin is played, and they all dance
     around.)

_Gov._ Now, Güegüence, I am satisfied that they have caperings to
amuse the Royal Court.

_Güe._ But I am not satisfied; and, Governor Tastuanes, my friend,
Captain Chief Alguacil, might like to know how Don Forcico and Don
Ambrosio can amuse the Royal Court, to the tune of Porto Rico.

_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of
the leading men [the music, etc.], that this good-for-nothing
Güegüence may console [us] with the tune of Porto Rico.

     (An ancient tune is played, and they all dance around.)

_Gov._ Now, Güegüence, I am satisfied that they have caperings to
amuse the Royal Court.

_Güe._ But I am not satisfied, Governor Tastuanes, as some go from
behind and others from in front.

_Gov._ I know nothing about that, Güegüence. Now, Güegüence, whether
they have dances, caperings, like the _macho-raton_, to amuse the
Royal Court?

50

_Güegüence._

Sor. Gob^{or} Tastuanes, ya bueno amigo Cap^n Alg^l M^{or},
campamento Sres. principales, sones, mudanzas, necana, à lichua
consolar semula macho-raton mo Cabildo Real. A, muchachos! que es de
los machos?

_D. Forcico._

Ahí estan, tatita.

     Aqui se toca la Valona para los machos, y habla el

_Güegüence._

Sor. Gob^{or} Tastuanes ya pachigüe mollule, tin mudanzas, tin
sapatetas, tin remates, tin corcobios semula macho-raton.

_Gobernador._

Pachigüete no pachigüe, Güegüence.

_Güegüence._

Pues Sor. Gob^{or} Tastuanes, no haremos un trato y contrato, que el
sin tuno, sin tunal de eguan mo Doña Suche-Malinche?

_Gobernador._

No chopa quimate muyule, Güegüence.

_Güegüence._

No chiquimate, Sor. Gob^{or} Tastuanes.

_Gobernador._

No pilse Cap^n Alg^l M^{or} simocagüe campamento el Señor Escribano
Real, chigüigua no provincia real lichua obedecer eguan mo Doña
Suche-Malinche.

     Va el Alguacil à hablar con el Escribano Real.

_Alguacil._

Matateco Dio mispiales, Sr. Escribano Real.

51

_Güe._ Governor Tastuanes, and good friend Captain Chief Alguacil,
[suspend] in the quarters of the leading men the music, dances and
songs, in order that we may amuse the Royal Court with the
_macho-raton_. Ho, boys! how about the mules?

_Don For._ Here they are, little papa.

     (The Valona is played for the mules.)

_Güe._ Governor Tastuanes, you are certainly satisfied that they
have dances, caperings, finishing touches and curvetings, like the
_macho-raton_.

_Gov._ No, I am not satisfied, Güegüence.

_Güe._ Well, then, Governor Tastuanes, shall we not make a trade and
a treaty between him, without a folly or a fig-tree, and the lady
Suche-Malinche?

_Gov._ Do you not know of it already, Güegüence?

_Güe._ I do not know it, Governor Tastuanes.

_Gov._ My son, Captain Chief Alguacil, suspend [the labor] in the
quarters of the Royal Secretary, and let him obey our order to enter
my royal presence, with the lady Suche-Malinche.

     (The Alguacil goes to speak with the Royal Secretary.)

_Alg._ I pray God to protect you Mr. Secretary.

52

_Escribano._

Matateco Dio miscuales, quilis Cap^n Alg^l M^{or}, ya tiguala neme?

_Alguacil._

Ya nemo niqui nistipampa Sor. Escribano Real, negua ligua y
Provincia Real, del Sor. Gob^{or} Tastuanes, lichua obedecer eguan
mo Doña Suche-Malinche.

_Escribano._

Pues, no pilse Cap^n Alg^l M^{or} simocagüe campamento Sres.
principales, sones, rujeros, y paltechua obedecer eguan mo Doña
Suche-Malinche.

_Alguacil._

Mascamayagua, Sor. Escribano Real.

     Aqui se toca el Rujero, dan vuelta bailando los dos y habla
     el

_Escribano._

Matateco Dio mispiales, Sor. Gob^{or} Tastuanes.

_Gobernador._

Matateco Dio miscuales quilis Sor. Escribano Real, ya tiguala neme?

_Escribano._

Ya nemo niqui nistipampa lichua obedecer, eguan mo Doña
Suche-Malinche.

_Gobernador._

Pues, Sor. Escribano Real, asanegaguala sesule Güegüence güil hombre
rico, eguan mo Doña Suche-Malinche.

_Escribano._

Sor. Gob^{or} Tastuanes, asanegualigua vestir saya de la China,
güipil de pecho, güipil de pluma, medias de seda,

53

_Sec._ I pray God to prosper you, Captain Chief Alguacil; are you
well?

_Alg._ I am, as is proper, Mr. Secretary. You will enter the royal
presence of Governor Tastuanes, to obey his orders, and also the
lady Suche-Malinche.

_Sec._ Well, then, my son, Captain Chief Alguacil, suspend in the
quarters of the leading men the music, the shoutings, and such like,
that I may obey, with the lady Suche-Malinche.

_Alg._ At your service, Mr. Secretary.

     (The Rujero is played, and the two dance around.)

_Sec._ I pray God to protect you, Governor Tastuanes.

_Gov._ I pray God to prosper you, Mr. Secretary; are you well?

_Sec._ I am, as is proper, [and come] to obey your orders, with the
lady Suche-Malinche.

_Gov._ Well, Mr. Secretary, there is a bargain between this
good-for-nothing Güegüence, who is a rich man, and the lady
Suche-Malinche.

_Sec._ Governor Tastuanes, let the bargain be for clothing, a
petticoat from China, vest, feather skirt, silk stockings,

54

zapatos de oro, sombrero de castor, para monistilco al Sor. Gob^{or}
Tastuanes.

     Se vuelve el Escribano à su lugar, bailando con el
     Alguacil.

_Gobernador._

Ha, Güegüence, asiguala lichua escojer mosamonte.

_Güegüence._

¿Desmonte?

_Gobernador._

Mosamonte, Güegüence.

_Güegüence._

Yo no he hecho trato ni contrato con el Sor. Gob^{or} Tastuanes,
solo que sea mi muchacho.

_Gobernador._

Eso no lo sé, Güegüence.

_Güegüence._

Ha, muchachos, que trato y contrato tienes con el Sor. Gob^{or}
Tastuanes.

_D. Forcico._

De casarme, tatita.

_Güegüence._

De casarte! ¿y tan chiquito te atreves à casarte, muchacho?

_D. Forcico._

Si, tatita.

_Güegüence._

Y con quien me dejas, muchacho?

_D. Forcico._

Con mi hermanito, Don Ambrosio.

_Güegüence._

Que caso me hará ese jipato!

55

shoes of gold, a beaver hat, for a son-in-law of Governor Tastuanes.

     (The Secretary returns to his place, dancing with the
     Alguacil.)

_Gov._ Ha, Güegüence! it angers me that you choose so
presumptuously.

_Güe._ Trumpery?

_Gov._ Presumptuously, Güegüence.

_Güe._ I have not made any trade or treaty with the Governor
Tastuanes; it must be my boy.

_Gov._ I don't know about that, Güegüence.

_Güe._ Ho, boys! what trade or treaty have you with the Governor
Tastuanes?

_Don For._ For me to get married, little papa.

_Güe._ For you to get married! What, boy! a little chap like you
dares to get married?

_Don For._ Yes, little papa.

_Güe._ And with whom are you going to leave me boy?

_Don For._ With my little brother, Don Ambrosio.

_Güe._ What care will that imp take of me?

56

_D. Ambrosio._

Y yo tambien me quiero casar.

_Güegüence._

Para eso seres bueno. Don Forcico asiguale lichúa escojer mosamonte.
Ve, que bizarra dama aqui, muchacho.

_D. Forcico._

No está de mi gusto, tatita.

_Güegüence._

Porque, muchacho?

_D. Forcico._

Porque está muy pachaca, tatita.

_Güegüence._

Pues, que es iguana ó garrobo para que esté pachaca? Quien la echó á
perder, muchacho?

_D. Forcico._

Mi hermanito, Don Ambrosio.

_Güegüence._

Para eso será bueno este soplado, ojos de sapo muerto, por eso está
tan apupujado. Ve, que bizarra maneca, muchacho.

_D. Forcico._

Si está aventada, tatita.

_Güegüence._

Quien la aventó, muchacho?

_D. Forcico._

Mi hermanito, Don Ambrosio.

_Güegüence._

Como aventastes esta dama, Don Ambrosio?

57

_Don Am._ And I too want to get married.

_Güe._ You're good enough for that. Don Forcico makes a bargain to
choose presumptuously. See what a gay lady is here, my boy?

_Don For._ She is not to my taste, little papa.

_Güe._ Why not, my boy?

_Don For._ Because she is too much stuffed, little papa.

_Güe._ Is she, then, an iguana or a garrobo, that she is stuffed?
Who has spoiled her, my boy?

_Don For._ My little brother, Don Ambrosio.

_Güe._ For that the bloated fellow is good enough, the evil-eyed
brat; that is the reason he is so played out. See, here's a gay
cake-baker my boy.

_Don For._ She _is_ puffed up, little papa.

_Güe._ Who puffed her up, boy?

_Don For._ My little brother, Don Ambrosio.

_Güe._ How did you puff up this lady, Don Ambrosio?

58

_D. Ambrosio._

De dormir con vos, Güegüence.

_Güegüence._

Callate, mala casta. Ve que bizarra dama, esta otra, muchacho.

_D. Forcico._

Esta, sí, está de mi gusto, tatita.

_Güegüence._

Sabes escojer, no muchacho, pero no sabes escojer un buen machete
para hacer un buen desmonte.

_D. Forcico._

Tambien, tatita.

_Güegüence._

Sor. Gob^{or} Tastuanes, mosegua trato y contrato.

_Gobernador._

No mocegua, Güegüence.

_Güegüence._

No mocegua, Sor. Gob^{or} Tastuanes; lo que siento es mi muchacho
que se me pierde.

_Gobernador._

Eso no lo sé, Güegüence.

     Aqui se casan, y habla el.

_Gobernador._

No pilse Cap^n Alg^l M^{or} chigüigua mo Provincia Real, campamento
sesule Güegüence lichua obedecer con una yunta de botijas de vino de
Castilla para en chocolá y paltechua brindar mo Cabildo Real.

_Regidor._

Simocagüe, Sor. Alg^l M^{or}.--Mayagüe, amigo sesule Güegüence. En
nombre mo Cabildo Real te damos los

59

_Don Am._ It came from sleeping with you, Güegüence.

_Güe._ Shut up, you bad breed. See, my boy, what a gay lady this
other one is.

_Don For._ This one? Yes, she suits me, little papa.

_Güe._ You know how to choose, my boy; but you don't know how to
choose a good axe to make a good clearing.

_Don For._ That also, little papa.

_Güe._ Governor Tastuanes, let us make a trade and a treaty.

_Gov._ I will make it, Güegüence.

_Güe._ I will make it, Governor Tastuanes. What I feel is the loss
of my boy.

_Gov._ I don't know about that, Güegüence.

     (The marriage takes place.)

_Gov._ My son, Captain Chief Alguacil, let it be known in the
quarters of my Royal Province that this good-for-nothing Güegüence
is going to treat the Royal Court to a yoke of jars of Spanish wine.

_Reg._ Suspend [business], Mr. Chief Alguacil, and attend, friend
good-for-nothing Güegüence. In the name of the Royal Court, we give
the congratulations, and also

60

parabienes de eguan mo Doña Suche-Malinche, de inmenso que goce con
Don Forcico, tu hijo, Güegüence.

_Alguacil._

Ha, Güegüence, asanegualigua y Provincia Real del Sor. Gob^{or}
Tastuanes y paltechua obedecer con una yunta de botijas de vino de
Castilla en chocolá y paltechua brindar mo Cabildo Real del Sor.
Gob^{or} Tastuanes.

_Güegüence._

Ha, muchachos, ya lo ven, aviados estamos. Bueno es, ser casado,
pero ahora se nos ofrece un gran trabajo. Ya viene el provincial y
no tenemos provision. Amigo Cap^n Alg^l M^{or}, á onde dejó al
provincial, en Managua ó en Nindiri?

_Alguacil._

Acaso no me cele de provincial, Güegüence; una yunta de botijas de
vino.

_Güegüence._

Ya lo ven, muchachos, una yunta de bueyes, y ha de ser con carreta.

_Alguacil._

Acaso no me cele de bueyes ò de carreta, Güegüence. Una yunta de
botijas de vino de Castilla para en chocolá brindar su Cabildo Real
Sor. Gob^{or} Tastuanes.

_Güegüence._

Ya lo ves, muchacho, en que empeño me metes, con ser casado. Ya ves
la providencia que pide el Sor. Gob^{or} Tastuanes, una yunta de
botijas de vino de Castilla para en chocolá del Sor. Gob^{or}
Tastuanes; te atreves á buscarla ó á sacarla, muchacho?

61

to the lady Suche Malinche, that she may enjoy herself hugely with
Don Forcico, your son, Güegüence.

_Alg._ Ha, Güegüence! it is known in the Royal Province of the
Governor Tastuanes that you are to obey him, and treat the Royal
Court of the Governor Tastuanes to a yoke of jars of Spanish wine.

_Güe._ Ho, boys! you see we are already provided for. It is a fine
thing to be married, but now we have a big job on hand. The
Provincial is coming, and we have not prepared for him. Friend
Captain Chief Alguacil, where did you leave the Provincial, in
Managua or in Nindiri?

_Alg._ Perhaps I don't care about the Provincial; a yoke of
wine-jars.

_Güe._ Now you see, boys, a yoke of oxen, and, no doubt, the cart as
well.

_Alg._ Perhaps I don't care about carts or oxen, Güegüence; a yoke
of jars of Spanish wine for a lunch, to treat the Royal Court of
Governor Tastuanes.

_Güe._ Now, boy, you see in what a bother you put me by getting
married. Now you see the contribution which the Governor asks, a
yoke of jars of Spanish wine for the Governor's lunch. Are you equal
to hunting for it, or to getting it, boy?

62

_D. Forcico._

No tengo de onde, tatita.

_Güegüence._

Para escojer mosamonte si eres bueno. Te atreves a buscar una yunta
de botijas de vino de Castilla, Don Ambrosio?

_D. Ambrosio._

No tengo de onde, Güegüence.

_Güegüence._

Que cosa buena has de hacer, mala casta! Con que, ¿no te atreves,
muchacho?

_D. Forcico._

No, tatita.

_Güegüence._

Pues á ganar ò á perder voy à buscar la yunta de botijas de vino.

_D. Forcico._

No vaya, tatita, ya me avié de la yunta de botijas de vino.

_Güegüence._

A onde te aviastes, muchacho?

_D. Forcico._

En casa de un amigo.

_Güegüence._

Quien te enseño hacer amigo?

_D. Forcico._

Usted, tatita.

_Güegüence._

Calla, muchacho, que dirá la gente que yo te enseño á hacer amigo?

63

_Don For._ I don't know whence, little papa.

_Güe._ You are bold enough to choose [a wife] presumptuously. Are
you bold enough to hunt up a yoke of jars of Spanish wine, Don
Ambrosio?

_Don Am._ I don't know where, Güegüence.

_Güe._ What are you good for, you bad breed? Well, don't _you_ dare
to, boy?

_Don For._ No, little papa.

_Güe._ Well, then, be it to win or lose, I shall go in search of the
wine myself.

_Don For._ Don't go, little papa, I have already provided the wine.

_Güe._ Where did you get it, boy?

_Don For._ In the house of a friend.

_Güe._ Who taught you to make a friend?

_Don For._ You, little papa.

_Güe._ Shut up, boy. What will the folks say [if they hear] that I
taught you to make a friend?

64

_D. Ambrosio._

Y pues no es verdad que enseñas á malas mañas á tu hijo?

_Güegüence._

Arra ya, mala casta! malas mañas como las tienes vos. Amigo Cap^n
Alg^l M^{or}, ya estamos aviados de la yunta de botijas de vino, no
habrá un macho de la cofradia ò de la comunidad?

_Alguacil._

Vean, que fama de hombre de bien!

_Güegüence._

Soy hombre de bien. Traigo mis machos, pero estan algo raspados
desde su cruz hasta su rabo a lichuas diligencia, amigo Cap^n Alg^l
M^{or}. Ha, muchachos, que es de los machos?

_D. Forcico._

Ahi, estan, tatita.

     Aqui dan una vuelta bailando y cojen los machos.

_D. Forcico._

Ya estan cojidos los machos, tatita.

_Güegüence._

Encojidos? Será de frio.

_D. Forcico._

Los machos ya estan cojidos.

_Güegüence._

Cojudos? Pues no eran capones.

_D. Forcico._

Cojidos los machos, tatita.

65

_Don Am._ And is it not true that you teach your son evil ways?

_Güe._ Get out, you bad breed; you are the one with evil ways.
Friend Captain Chief Alguacil, we have now provided the wine. Have
you not a mule of the brotherhood, or of the village?

_Alg._ See, what a reputation for an honest man!

_Güe._ I am an honest man. I have my own mules, but they are a
little raw, from withers to crupper, in consequence of my energy,
Captain Chief Alguacil. Ha, boys! what about the mules?

_Don For._ Here they are, little papa.

     (They dance around the stage and lead in a number of masks,
     dressed as mules.)

_Don For._ The mules are now driven up, little papa.

_Güe._ Shriveled up? That must be from cold.

_Don For._ I say the mules are driven up.

_Güe._ Livin' studs? Then they were not altered.

_Don For._ The mules are driven up.

66

_Güegüence._

Cojidos los machos? Pues hableme recio! A onde estan los machos?

_D. Forcico._

Aquí estan, tatita.

_Güegüence._

Que macho es este puntero, muchacho?

_D. Forcico._

El macho viejo, tatita.

_Güegüence._

Y este otro macho?

_D. Forcico._

El macho guajaqueño.

_Güegüence._

Y este otro macho?

_D. Forcico._

El macho mohino.

_Güegüence._

Y este otro macho?

_D. Forcico._

El macho moto.

_Güegüence._

¿Ya aparejaron, muchachos?

_D. Forcico._

No, tatita, aparejeselos Vd.

_Güegüence._

Todo lo ha de hacer el viejo.

_D. Forcico._

Sí, es mejor, tatita.

67

_Güe._ Driven up, are they? Speak out loud to me. Where are the
mules?

_Don For._ Here they are, little papa.

_Güe._ Which mule is this thin one, boy?

_Don For._ The old mule, little papa.

_Güe._ And this other mule?

_Don For._ That is the dried-up one.

_Güe._ And this other?

_Don For._ That is the quarrelsome mule.

_Güe._ And this other one?

_Don For._ The rowdy mule.

_Güe._ Are they harnessed, boys?

_Don For._ No, little papa; harness them yourself.

_Güe._ The old man has to do everything.

_Don For._ Yes, it's better, little papa.

68

_Güegüence._

Ya está sana la cinchera de este macho, muchacho?

_D. Forcico._

Ya está, tatita.

_Güegüence._

Y este otro macho ¿ya esta sana la riñonada?

_D. Forcico._

Ya está, tatita.

_Güegüence._

Que sana ha de estar, muchacho, si asi tanta estaca tiene por
delante? A onde se estacó este macho, muchacho?

_D. Forcico._

En el potrero, tatita.

_Güegüence._

Eso merece por ralirse del potrero á otro potrero. Y la vaticola de
este macho, ya está sana, muchacho?

_D. Forcico._

Ya está, tatita.

_Güegüence._

Que sana ha de estar, muchacho, si le ha bajado la flucion por de
bajo de las piernas y la tiene muy hinchada? Reviéntalo, muchacho.

_D. Forcico._

Reviéntelo Vd, tatita.

_Güegüence._

Ahi se reventará solo, muchacho, que falta?

_D. Forcico._

Alzar el fardo, tatita.

69

_Güe._ Is the girth-gall of this mule well yet, boy?

_Don For._ It is, little papa.

_Güe._ And this other mule, is its backband-gall well yet?

_Don For._ It is, little papa.

_Güe._ How can it be well if it has such a stick in front of it?
Where did this mule run such a stick in itself, boy?

_Don For._ In the colt yard, little papa.

_Güe._ That is what it deserved for running from one pasture to
another. And the crupper-gall of this other mule, is it now well,
boy?

_Don For._ It is, little papa.

_Güe._ How can it be well, boy, if the inflammation has passed down
beneath the legs, and there's a great swelling there? Burst it open,
boy.

_Don For._ Burst it open yourself, little papa.

_Güe._ It will burst of itself, boy. What's wanting now?

_Don For._ Heave up the pack, little papa.

70

_Güegüence._

¿Calentar el jarro?

_D. Forcico._

Alzar el fardo.

_Güegüence._

Ha! el fardo! A onde está el fardo?

_D. Forcico._

Aqui está tatita.

_Güegüence._

A mi tiempo, cuando fui muchacho, el tiempo del hilo azul, cuando me
vei en aquellos campos de los Diriomos alzando aquellos fardos de
guayabas,--no muchachos?

_Alguacil._

Date priesa, Güegüence.

_Güegüence._

Me llevas preso? Porque, amigo Cap^n Alg^l M^{or}?

_Alguacil._

Que te des priesa!

_Güegüence._

Dejeme acordar de mi tiempo, que con eso me consuelo. Ha! muchachos,
para onde vamos, para atras ò para delante?

_D. Forcico._

Para delante, tatita.

_Güegüence._

Pues, á la guia, muchachos.

     Aqui se montan los muchachos en los machos.

_Güegüence._

Muchachos, ¿no habrá un peinador para brindar el Cabildo Real del
Sor Gob^{or} Tastuane?

71

_Güe._ Heat up the flask?

_Don For._ Heave up the pack.

_Güe._ O! the pack. Where is the pack?

_Don For._ Here it is, little papa.

_Güe._ In my time, when I was a boy, in the time of the blue thread,
when I was in those plains of the Diriomos, lifting those packs of
guayabas--isn't it so, boys?

_Alg._ Hurry up, Güegüence.

_Güe._ You take me up? What for, friend Captain Chief Alguacil?

_Alg._ I mean hurry up.

_Güe._ Let me recall old times, that I may console myself with that.
Say, boys, do we go in front or behind?

_Don For._ In front, little papa.

_Güe._ Then go ahead, boys.

     (The boys mount the mules.)

_Güe._ Boys, isn't there a cheeky fellow to toast the Royal Court of
the Governor Tastuanes?

72

_D. Forcico._

Si, hay, tatita.

_Güegüence._

Señor Gob^{or} Tastuanes, asaneganeme Castilla en chocola de vino.

_Gobernador._

Siguale, Güegüence.

_Gobernador._

Sor. Escribano Real, asaneganeme Castilla en chocola de vino.

_Escribano._

Siguale, Güegüence.

_Güegüence._

Sor. Regidor Real, asaneganeme Castilla en chocola de vino.

_Regidor._

Siguale, Güegüence.

_Güegüence._

Amigo Cap^n Alg^l M^{or} asaneganeme Castilla en chocola de vino.

_Alguacil._

Siguale, Güegüence.

_Güegüence._

Pues nosotros, á la gorra, muchachos!


FIN.

73

_Don For._ Yes, there is, little papa.

_Güe._ Governor Tastuanes, let me offer you some Spanish wine, as a
treat.

_Gov._ Follow him, Güegüence.

_Güe._ Mr. Secretary, let me offer you some Spanish wine, as a
treat.

_Sec._ Follow him, Güegüence.

_Güe._ Mr. Registrar, let me offer you some Spanish wine, as a
treat.

_Reg._ Follow him, Güegüence.

_Güe._ Friend Captain Chief Alguacil, let me offer you some Spanish
wine, as a treat.

_Alg._ Follow him, Güegüence.

_Güe._ Then, for us, boys; we'll get it for nothing, and drink it
ourselves.


END.




NOTES.


_Page 4._ The Dramatis Personæ. These have been discussed in the
Introduction, page xlv. I may add that the "Regidor de Cana" may be
for "Regidor Decano." Otherwise I do not see a meaning to it. The
term "Alguacil" might be translated "constable," or "bailiff."

_Page 6._ The salutations exchanged between the Alguacil and
Governor are repeated frequently between the characters. In the
first, the words would seem to be the Nahuatl _matataca_, to beg, to
pray, and _miecpialia_, to watch over, to protect; in the reply, for
the latter is substituted _miequilia_, to prosper, followed by
_qualli_, good, or well. The terminal _s_, in _mispiales_,
_miscuales_, is probably a remnant of the Spanish _os_, you. _No
pilse_ is the vocative _nopiltze_, my dear son, compounded of the
inseparable possessive pronoun of the first person, _no_, and
_tepiltzin_, an affectionate or reverential form, from the root
_pilli_. The expression need not be taken as literally meaning
relationship, as the Nahuas used the formula _nopiltzintzinê_ in
addressing all persons of position. "_Ma moyolicaizin_,
_Nopiltzintzine_, seas bien venido, ó ilustre Señor." Carochi,
_Gram. Mex._, p. 20.

_Ya tiguala neme_, I take to be _yê tiqualli tinemi_, in which _yê_
is a particle of contraposition, and both the adjective-adverb
_qualli_, and the verb _nemi_, to live, to be, are preceded by the
second personal pronoun _ti_. The compound _mascamayagua_ appears to
be from _maxca_, yours, literally, your thing (_mo_, your, _axca_,
thing), and the optative particle _mayecuele_, equivalent to the
Spanish _ojalá_; hence the meaning is "yours to command," or "at
your service."

In his next words the Governor uses a phrase which is repeated by
various speakers with a "damnable iteration" throughout the comedy.
_Simocague_ would, in pure Nahuatl, be _ximocauoltia_, the
imperative second person singular, of the compulsive form of
_mocaua_, to cease, to stop, or to suspend something. The noun
_mocacaua_ is the word for the pauses or intervals in music. The
reason for the frequent repetition of the request, I suppose to be
that in the ancient exhibitions of the drama numerous assistants
joined in dancing, singing and playing on musical instruments; and
when a specified ballet was to be performed, or an important
conversation to be repeated, they were courteously addressed, and
requested to be silent for a time. Dr. Valentine tells me that in
Guatemala the term _gente principal_ is commonly used to designate
the most prominent inhabitants of a pueblo.

_Necana y paltechua_, Nahuatl words, united by the Spanish
conjunction. The former is Nah. _nequaniliztli_, dancing motions;
the latter, elsewhere written _palechua_ and _paleguisa_, is a
corruption of _paleuqui_, suitable, or appropriate things. _Hemo_, a
form of Sp. _hemos_, is an antiquated expression for _tenemos_.

The word _mo_ in the expression _mo Cabildo Real_ may be the Spanish
_mio_, my; or the Nah. _mo_, thy, thine. The _Cabildo_ was
originally the chapter of a religious house, and later a council,
but at present it is applied in Central America to the municipal
courts, and the house in which they sit.

_Page 8._ In the second reply of the Alguacil on this page there are
evidently several words omitted which I have supplied in brackets in
the translation. The same has occurred elsewhere, and it was to be
expected, as nearly all the Nahuatl expressions have become
unintelligible to the native population of the present generation.
As most of these formulas are repeated several times, we can
approximate to what the full expression should be.

_Ya nemo niqui nistipampa_, is a frequent reply in the play to a
formal salutation of a superior. I have translated it as some
corruption of the Nahuatl words, _yê nemonequi nixtlipampa_,
literally, "my presence is proper," _i. e._, "I am present before
you, as is my duty." The Alguacil, as having charge of the patrol,
hastens to speak of its wretched uniform. The adjective _sesule_,
constantly applied to Güegüence, evidently in a depreciatory manner,
is probably from the Nah. _tçulli_, worthless.

_Page 10._ While the Governor and Alguacil are conversing, Güegüence
and his sons enter, and overhear the last directions of the
Governor. All three understand whom he means, but it is the cue of
Güegüence to assume a different signification. To the brusque
rejoinder of Don Ambrosio he pretends to be deaf, and this feigned
difficulty of hearing is depended on as one of the main elements of
the comic throughout.

The epithet _mala casta_, of bad blood, as applied by Güegüence to
his own (putative) son, becomes intelligible later in the play,
where it is stated that he was begotten during his legal father's
absence in Mexico.

_Embustero_, which I have rendered "humbug," is more exactly a
boasting, bragging charlatan. Dr. Valentine suggests "blower," in
the slang sense of that word.

_Page 12._ _Asuyungua._ The numerous words which begin in _asu_,
_asa_, and _ase_, seem to be compounds with the Nah _aço_,
"perhaps," used in introducing a positive statement mildly, or in
presenting a question in the form of an assertion, as _aço amo
timoçahua_, "perhaps you have not fasted," meaning "you surely have
not." (Carochi.) It is usually combined with other particles, and
the analysis of such compounds in the altered form presented in the
text becomes exceedingly uncertain.

After the announcement of his person and official position by the
Alguacil, Güegüence repeats his titles in a tone of affected
admiration, and inquires after his staff of office, which was not
visible. This staff was all-important to the dignity of an alcalde
or alguacil. In Nahuatl this official is called _topilê_, he who
carries the staff, from _topilli_, staff.

_Page 14._ Güegüence, who has no desire to appear before the
Governor, makes an excuse that he will learn how to fly, and is
about leaving, when he is called back by the Alguacil. The words _te
calas_, _qui provincia real_, should probably read, _ticalaquia
presencia real_, the first from _calaquia_, to enter, as on page 8.

_Page 16._ Having agreed to take a lesson in etiquette, Güegüence
pretends quite to misunderstand the Alguacil, when he claims pay for
his instructions.

_Redes_, "nets" of salted fish. The reference is to the method
adopted by the Indians of Central America in carrying burdens. This
is in a net which is suspended between the shoulders by means of a
strap which passes across the forehead. Such a net is called in
Nicaragua _matate_, and in pure Nahuatl, _matlauacalli_; the strap
or band by which it is supported is the _mecapal_, Nah. _mecapalli_.
When the material to be transported is a fluid, a jar of earthenware
is suspended in the same manner. A small earthenware cup, found in
Nicaragua exhibits this, and also some ingenuity of arrangement. It
represents a woman, with one of these jars on her back, seated. (See
p. 78.)

_Page 18._ _Ojos de sapo muerto_, lit. "eyes of a dead toad." Such
eyes were considered to exercise an evil influence, and to bring bad
luck.

_Page 20._ _Doblar._ This Spanish word means to toll a bell, as at a
death. Güegüence chooses to understand the Alguacil's demand for
_doubloons_ to be a request to _doblar_, and hastens to announce to
his sons that the Alguacil has suddenly died.

[Illustration: CUP FROM NICARAGUA.]

_Page 24._ The coins which Güegüence names are those of the old
Spanish currency. A cuarto was a brass piece, equal to a half-penny
English, or one American cent (Delpino, _Spanish and English
Dictionary_, 1763.) It was worth four maravedis, and eight cuartos
equaled a _real de vellon_.

The phrase _maneta congon_ is of uncertain signification. I have
translated the first word as the imperative form of _nextia_, to
show, to disclose; _congon_ may perhaps be a corruption of
_conetontli_, boy.

The Alguacil now begins his instruction, and repeats, for the
benefit of Güegüence, the proper salutation which should be used in
addressing the Governor. The old man pretends to misunderstand them,
and makes use of other words, similar in sound, but of an insulting
signification. I have not succeeded in showing, in the English text,
this play upon words.

_Page 28._ _Asonesepa negualigua_, etc. This passage has proved
unintelligible to me, and the rendering is little more than a guess.
The phrase is the same as at the foot of p. 30.

In the midst of the conversation the Governor suddenly appears, and
Güegüence turns to him with the customary and proper salutation,
thus showing that his desire for instruction from the Alguacil was a
sham.

On the phrase _te calas qui provincia real_, see the Notes to page
14.

_Page 30._ _Mesonero_, a person who owns or has charge of a _meson_,
a house in which the poorer classes of travelers sleep, providing
their own food, and that of their beasts (Dr. Valentine). For
_tupile_ see Vocabulary.

_Antepeque_ or Tecoantepeque, the seaport of Guaxaca. Thomas Gage,
who visited it in 1625, wrote of it: "This Port of Tecoantepeque is
the chief for fishing in all that country; we met here in the ways,
sometimes with fifty, sometimes with a hundred mules together, laden
with nothing but salt fish for Guaxaca, the City of Angels, and
Mexico."--_A new Survey of the West Indies_, p. 195. (London, 1699.)

_Dulces_ are sweetmeats of various kinds, eaten usually between
meals. Squier remarks: "The Spanish taste for 'dulces' long ago
passed into a proverb, but it rather surpasses itself in Nicaragua.
The venders of 'dulces', generally bright Indian girls, gaily
dressed, and bearing a tray, covered with the purest white napkins,
and temptingly spread upon their heads, pass daily from house to
house; and it is sometimes difficult, and always ungallant, to
refuse purchasing something from their stock."--_Nicaragua_, Vol. I,
p. 275.

The punctuation toward the foot of the page should probably be,
"_no seremos guancos; no; seremos amigos_," etc. The _guipil de
pecho_ is the short upper jacket worn by the women. A _guipil de
pluma_ is a skirt woven of feathers. In ancient times, these
garments, skillfully constructed of the beautiful plumes of tropical
birds, were esteemed as the most valued articles in the treasures of
kings, and the most magnificent of royal costumes. The art of
feather-weaving continued for some generations after the Conquest.
Indeed, as late as 1840 one family in Mechoacan preserved it. The
reference to it in the text, however, is a sign of antiquity, as it
has long since disappeared in Central America. See an interesting
monograph on the subject by the eminent French antiquary, Ferdinand
Denis.--_Arte Plumaria; Les Plumes, leur Valeur et leur Emploi dans
les Arts au Mexique, au Perou, etc._ Paris, 1875.

_Page 32._ Much of this page is rendered with doubtful accuracy, as
the text is very obscure.

_Page 34._ _Hay me sagua_, the same as _hoy melague_, p. 36; hoy,
Spanish, now, to-day, _melaua_, Nah., to speak out, or openly.

_Page 40._ The reference to the star would seem to be that when the
tent is opened a star is visible through it, which Güegüence offers
to the Governor.

_Para tu cuerpo_, "an extremely filthy expression." (Dr. Valentine.)

_Page 42._ _Seran de arena._ "They may be of sand," _i. e._, they
are of no value or importance.

_Yugos de papayo_, yokes of papaw wood, a soft wood, worthless for
the purpose, as is also the wood of the tecomajoche, the _Plumeria_,
for plows. The intimation is that Don Forcico was smart enough to
cheat his customers.

The Nicaraguan plow is a wooden instrument of the most primitive
construction. The following cut from Mr. Squier's work represents
one.

[Illustration: A NICARAGUAN PLOW.]

_Page 48._ The tunes mentioned, the St. Martin, the Valona, the
Porto rico and others, are still preserved in Nicaragua.

_Page 50._ _Sin tuno, sin tunal._ An obscure phrase which none of my
advisers can explain. _Tuna_ is the prickly pear, _tunal_, the plant
that bears it, various species of _Opuntia_. _Tuna_, in the
university slang, means beggarly, reckless; "estudiantes de la
tuna," mendicant or vagabond students. (See Don J. Arias Giron,
_Costumbres Salamanquinas_.)

_Page 54._ When the Governor uses the Nahuatl word _mocemati_,
presumptuously, Güegüence feigns to understand him to say
_desmonte_, which means, in Nicaraguan Spanish, a clearing, and also
the worthless waste products thrown out of a mine.

_Page 56._ Güegüence leads in several girls, and presents them to
Don Forcico, which gives the pair an opportunity for some coarse
jokes. _Pachaca_, stuffed up, here meant in the sense of being with
child. _Iguana ô garroba_, the latter the male of the iguana, a
thick tree lizard of the tropics. _Aventada_, puffed up, taken in
the same sense as _pachaca_.

_Page 58._ The _machete_, which I have translated "axe," is a long,
heavy knife or cutlass, in extensive use in Spanish America, for
domestic and agricultural purposes. It is shown in the following
cut.

[Illustration: THE MACHETE.]

_Una yunta de botijas de vino_, a yoke or brace of wine jars,
probably so called from having been carried by a neck yoke, one
suspended on each side.

_Page 60._ The Alguacil speaks to Güegüence of toasting, _brindar_,
the Court, and Güegüence feigns to hear him speak of the
_provincial_ or ecclesiastical officer in charge of the province. It
is an example of assonance which is lost in the translation. Managua
and Nindiri are towns in the Mangue district of Nicaragua. See the
map on page xii.

The next affected misunderstanding of the old man is to take _una
yunta de botijas_, a yoke of bottles, for _una yunta de bueyes_, a
yoke of oxen.

_Page 62._ _Hacer amigo_, to make a friend. This is the phrase which
is used by courtezans with reference to securing a male patron to
pay their expenses, and for that reason Güegüence affects to be
shocked by the employment of it by Don Forcico.

_Page 64._ The words of the Alguacil, "What a reputation, etc.," are
with reference to the charge of Don Ambrosio, that Güegüence had
taught his son evil ways.

The introduction of the mules, _i. e._, the actors dressed as mules,
as described on page xlviii, is the occasion of several extremely
obscene puns and allusions.

_Page 68._ _Potrero_, colt-yard, or pasture-lot, a play on the
similarity of the word to _puteria_, a brothel. The estaca referred
to is, of course, an obscene allusion, as is also the _fluccion por
debajo de las piernas_, _i. e._, the scrotum.

_Page 70._ _El tiempo del hilo azul._ This idiom has foiled all whom
I have consulted. Dr. Valentine thinks it refers to the season of
the year when the verdure reappears after the drouth. F. Diego Duran
states that the village conjurors were accustomed to suspend charms
to the necks of boys by blue and green threads. (_Historia de las
Indias de la Nueva España._ Tom. II, p. 275.) Thus understood, the
time of the blue thread would be equivalent to boyhood.

_Campos de los Diriomos._ The Mangue word _Diriomo_ means the hill
of abundance, or of great fertility. The locality so named is shown
on the map, page xii.

_Guayaba._ This is the fruit of the guayabo tree, the _Psidium
pyriferum_. It is red in color, and about the size of a small apple.

_Page 72._ _A la gorra_, literally "for the cap," an idiom meaning
that one receives something merely for taking off the cap; a
gratuity. Dr. Valentine, however, writes me: "I understand _nosotros
á la gorra_ to mean 'then we shall have to do without.'"




VOCABULARY

OF

_Nahuatl and Provincial, Unusual or Antiquated Spanish Words_.


A

  Apupujado, Sp. Worn out, played out.

  Arra! "Get up! Get along!" A cry of the muleteers to their
      animals.

  Asa--. The various words beginning thus are compounds
      commencing with the Nah. _aço_, which expresses a doubt,
      or implies a question, == perhaps, maybe. Olmos says:
      "Quiere decir _por ventura_, respondiendo ô
      dudando."--_Gram. Nahuatl_, p. 179.

  Asama--. This prefix to various words is the Nah. _açoma_,
      which is a strengthened form of _aço_.--Carochi, _Gram.
      Mex._, p. 181. The syllable _ma_ is also the sign of the
      imperative.

  Asamaquimate, Nah. A compound of _açamo_, as above, and
      _mati_, to know. The _qui_ is the objective pronoun of
      the third singular, him, her, it, that; but its
      employment in this connection is incorrect.

  Asamatimaguas, _or_ --timagas, Nah. Probably from _açoma_
      (see above), and either _temachtico_, to come to teach,
      or tell; or _temaca_, to give something to a person.

  Asanecaneme, _see_ Asaneganeme.

  Asanegaguala, _see_ Asanegualigua.

  Asaneganeme, Nah. Probably _aço ni ca nemactia_, the last
      word meaning to give or offer something to another,
      "perhaps I may offer something," == "May I offer you
      some?"

  Asanegualigua, Nah. Probably _aço_ and _necuilhuia_, to
      deal, bargain, treat for.

  Asanese, Nah. p. 42. A compound of _aço_ and some unknown
      word. Probably == _asones_, q.v.

  Asetato, Sp. ant. and prov. for _sientate_, sit down.

  Asiguala, Nah. From _aço_ and perhaps _qualani_, to grow
      angry (?).

  Asones, Nah. From _aço_, and probably _nechca_ or _nepa_,
      adverbs of place and time, "these," "then," "once,"
      "formerly." Sometimes it is written _à sones_, and
      _asonesepa_.

  Asuyungua, Nah. Compound of _aço_ and _noyuhqui_, thus, in
      this manner (? Cf. Carochi, _Gram. Mex._ p. 190).

  Ayugama, Nah. == _ayoccampa_, nowhere, not at all, never.

  Azetagago, Nah. Apparently a corrupt form from _acicacaqui_,
      to understand.


B

  Batuchito, Sp. prov. A small box, in which money, etc., is
      kept.


C

  Cabildo, Sp. A chapter; a council. In Central America, the
      municipal court. See p. 76.

  Cabriolé, Sp. A kind of riding coat; "a narrow riding coat
      without sleeves." (Delpino, _Span. Dict._)

  Campaneme, ?. p. 28. Probably for _campamento_.

  Cana, Nah. A particle, expressing doubt, "any time,"
      "anywhere." _Cuix cana otimoyolcuiti_, Have you
      confessed anywhere? It cannot begin a sentence, but must
      always follow some other word (Carochi, _Gram. Mex._, p.
      158).

  Cele, Sp. prov. A form of _zelar_, to be zealous for, to be
      anxious for; _no me cele_, I do not very strongly
      desire; used ironically.

  Chiguigua, Nah. Perhaps _ti calaquia_, you will enter in.

  Chiquimate, Nah. From _mati_, to know, _qui_, objective.

  Chopaquimate, Nah. _Quimati_, see above. _Chopa_ and _chi_
      seem to be personal forms.

  Chocola, Nah. _Chocolatl_, a drink made from cacao. It has
      been doubted whether there was a Nahuatl word in this
      form. Don Jesus Sanchez denies it in his _Glosario de
      Voces Castellanas derivadas del Idioma Nahuatl_, sub
      voce (Mexico, 1883). But its pure Nahuatl origin seems
      to be established by another writer (_An. del Museo
      Nacional de Mexico_, Tom. iii, p. 86). From the text,
      its meaning was in a wider sense a refection in general,
      just as the English word "tea" means a meal.

  Cinchera, Sp. The portion of the body of a horse or mule
      where the saddle girth is fastened.

  Cobijones, Sp. Large leather coverings to protect goods,
      etc.

  Cojudo, Sp. Not castrated. Applied to the entire horse, etc.

  Columbrar, Sp. To descry, to discern at a distance. "Lo que
      veo y columbro, respondió Sancho," etc.--Don Quixote,
      Pt. I, cap. xxi.

  Congon, Nah. p. 24. Perhaps _conetontli_, a boy, or young
      person.

  Consentidor, Sp. A conniver, procurer, pimp.

  Corcobios, Sp. Curvetings, gambolings. Applied to the steps
      in certain dances.

  Corridos, Sp. Running steps, or motions, in certain dances.

  Cuascuane, Nah. From _cuicani_, to sing, chant.


D

  Desmonte, Sp. A clearing; the refuse from a clearing, or
      from a mine. See note, page 80.


E

  Eguan, Nah. A form of _ihuan_, and, as well as.

  Escataci, p. 28 (?).


G

  Galagua, Nah., _calaquia_, to enter, to come into.

  Ganzo, Sp. prov. a goose; a fool; also a glutton.

  Garrobo. A large species of tree lizard; the male of the
      iguana (Berendt, _Lengua Castellana de Nicaragua_, MSS).

  Guajaqueño, Nah. From _quauhuaqui_, to appear thin and dry,
      like a stick.

  Guancos, Sp. prov. for _guanacos_, foolish, silly persons.

  Güil, Sp. prov. Probably for _que es el_, or _quel_, who is
      the, or which?

  Guipil, Nah. A form of _gueipil_, or _huipilli_. The short
      skirt, without sleeves, used by the Indian women. "Camisa
      de algodon sin mangas."--Jesus Sanchez, _Glosario de Voces
      Castellanas derivadas del Náhuatl_, s.v.

  Guiso, _see_ Tomaguiso.


L

  Lichua, Nah. Probably an abbreviated form from _tla
      achiua_, to do, or make something; _lichua obedecer_,
      to make to obey.

  Linar, Sp. prov. To please, amuse, == _consolar_, for which
      it is used in some districts. (Berendt.)


M

  Machete, Sp. prov. A heavy knife, or sort of cutlass (a
      Biscayan word). See page 81.

  Macho, Sp. A male of any animal, especially of a mule; used
      generally for mule in the Güegüence.

  Macho-raton, Sp. Literally, "the male mouse," but in
      Nicaragua applied to a fantastic costume, and hence to
      the play, or _baile_, in which it is worn. See page
      xlvii. It may also mean a mouse-colored jack.

  Maneca, Nah. From _mana_, to make maize cakes, or tortillas;
      _manacan_, one who likes to make such (cf. Carochi,
      _Gram. Mex._, p. 136).

  Maneta, Nah. Probably the imperative form of _nextia_ (_mâ
      xi nextia_), to show, to disclose or inform.

  Mascamayagua. Nah. A compound of _maxca_ (== _mo, axca_)
      thine, it is thine (literally, thy thing), and
      _mayacuele_, the optative particle, or else _ma ayc
      caui_, thine always. It is evidently equivalent to
      "yours to command," "at your service," etc.

  Matamagueso, _see_ Tumaguiso.

  Matateco, Nah. Slightly altered form of _matataca_, to beg,
      to pray, possibly by the addition of the Spanish
      personal pronoun, I, "yo."

  Mayagua, _or_ Mayague, Nah. Apparently the sign of the
      optative, _mayacuele_, and expressive of a wish;
      _yecuel_, in Nah., also conveys the idea of promptness
      and earliness (Carochi, _Gram. Mex._, p. 175).

  Melague, _or_ Melagua, Nah. A form of _melaua_, to say
      clearly, to speak openly. The termination _que_, in
      Nah., marks the plural of certain nouns and tenses.

  Miscuales, Nah. From _miequilia_, to prosper, augment,
      increase.

  Mispiales, Nah. From _miecpialia_, to watch over, guard,
      protect. In both the above words, the prefix is _miec_,
      much, used as an intensive particle.

  Mo, Nah. Second person, sing., of the inseparable possessive
      pronoun, _no_, my, _mo_, thy, _y_, his, _to_, our,
      _amo_, your, _yn_, their. _Mo_ is also the reflexive
      pronoun of the third person singular, and appears to be
      occasionally used in the Güegüence as the possessive of
      the third person, probably from analogy with the Spanish
      _su_.

  Mocegua, _or_ Mosegua, Nah. Apparently from _mocenchiua_, to
      unite in doing something. The _n_ is euphonic, the
      composition being _ce_, one, and _achiua_, to do.

  Mohino, Sp. Applied to a mule proceeding from a stud and a
      jenny; also, peevish, cross.

  Mollule, _or_ Muyule, Nah. Apparently from _molotl_, smart,
      clever, crafty; itself a derivative from _yollo_, able,
      ingenious, talented.

  Monistilco, Nah. Apparently from _monetli_, son-in-law, with
      the postposition _co_, for, by, etc.

  Mosamonte, Nah. _mocemati_, presumptuously, too boldly.

  Motales, _or_ Motalce, Nah. Derivatives, apparently, from
      _motlaloa_, to run, to carry messages, with the
      signification messengers.

  Motel, Nah. p. 38. An interrogative negative particle,
      properly _monel_.

  Moto, Sp. prov. Noisy, rowdyish; a noisy, blustering person.
      "El muchacho mal criado que motea." (Berendt, _La Lengua
      Castellana de Nicaragua_, MSS.)

  Muchintes, The Sp. _mucho_, much, with the Nah. augmentative
      termination _tzin_, == very much, very extensive. Or
      else, the pure Nah. _muchintin_, all, plural of
      _muchi_.--Olmos, _Gram. Nahuatl_, p. 48.

  Mudanzas, Sp. prov. The motions in a dance.

  Muyule, _see_ Mollule.


N

  Necana, Nah. From _nequanaliztli_, dancing motions, as are
      used in _bailes_.

  Neganeme, _see_ Asaniganeme.

  Negua, Nah. If a separate word, this is probably from
      _neci_, to disclose oneself, to show oneself; it is,
      however, a doubtful expression.

  Negualigua, Nah. From _necuilhuia_, to bargain, to deal for.

  Neme, Nah. From _nemi_, to live, to be (Sp. _estar_), to
      dwell.

  Nemo, _see_ Niqui.

  Niqui, Nah. Found in the construction _nemo niqui_, which
      should probably read _ni monequi_, it is proper for me,
      becoming or necessary. Sp. _me conviene_.

  Nistipampa, Nah. The postposition _pampa_, _ixtli_, the
      face, and the first possessive pronoun _no_. The
      compound means "I, present," or "in my presence."
      Carochi, _Gram. Mex._, p. 45.

  No, Nah. First person, singular, of the inseparable
      possessive pronoun. See _mo_. It is also used for the
      Spanish negative, _no_, not, throughout the play.

  Ñonguan, page 28. An unknown word which, from its initial
      nasal, has the appearance of being from the Mangue
      tongue, in which this sound is very common.


O

  Opa, Nah., _oppa_, twice.


P

  Pachaca, Nah. A derivative from _pachiui_, to stuff with
      food, to satisfy the appetite, etc. The verbal nouns
      ending in _ca_ or _can_ usually signify place where,
      but this is to be considered a verbal adjective, from
      the pluperfect _pachiuhca_.

  Pachigue, _or_ Pachiguete, Nah. From _pachiuitia_, to
      satisfy a person. The frequent expression, _pachigue no
      pachiguete_, should probably be punctuated _pachigue_?
      _No pachigutee_, == Satisfied? No, you do not satisfy
      me.

  Paguala, p. 36, Nah. A truncated word. Compare _a sones
      sepaguala_, p. 34, and _a sonesepa negualigua_, p. 28.

  Palegue, _see_ Panegue.

  Palparesia, Nah. From _papal_, or _papallotl_, talk,
      conversation. Sp. _parleria_. No doubt an onomatopoietic
      word, like the English babble, Hebrew, Babel, which it
      resembles, both in pronunciation and meaning.

  Paltechua, Nah. From _paleuhqui_, favorable, advantageous or
      appropriate things. See page 76.

  Paneguia, _or_ Panegue, _or_ Palegue, Nah. From _panauia_,
      to get the better of another, to overcome, conquer. The
      termination, _gue_, or _guia_, in this and other verbal
      forms, is one of past time in the Nahuatl. See Carochi,
      _Gram. Mex._, p. 54.

  Peinador, p. 70. Perhaps the Spanish word so spelled, which
      means a hairdresser, and hence an effeminate person. But
      it may be a Spanish form from the Nah. _pinauhtia_, to
      put another to the blush, or out of countenance, the
      compulsive form of _pinaua_, to be ashamed.

  Perico ligero, Sp. prov. In Nicaragua, the night-monkey,
      _Cercoleptes caudivolvulus_, which has sharp claws. It
      is elsewhere applied to a species of parrot, and to the
      bee bear, _Myrmecophaga_, (Berendt, _Lengua Castellana
      de Nicaragua_, MSS).

  Petaca, Nah. From _petlacalli_, a box, trunk or chest;
      especially a square basket, with a lid; "cajon
      quadrangular con tapa, hecho de palma" (Berendt, _id_).

  Petate, Nah., _petlatli_, the native rug or mat, woven of
      palm leaves or rushes.

  Pilse, Nah., _piltzin_, son, vocative, _piltze_. See page
      75.

  Polluse, _or_ Poyuse, Nah. Apparently a form of poa, to
      tell, relate, give an account, preterit, _pouh_,
      _pouhca_.


Q

  Qui, Sp., who; also at times for Sp. _aqui_, here.

  Quichuas, Nah. Probably a derivative from _achiua_, to do or
      make. Compare _Lichua_.

  Quilis, Nah., _qualli_, good, well.

  Quinimente, Nah., _quin_, he, those, _aquin_, who. It would
      seem to be a demonstrative form, but its analysis is
      obscure.

  Quinquimagua, Nah. A compound of _macua_, to give, to
      concede, with the pronouns _quin_ or _aquin_.


R

  Rebiatar, Sp. prov. To tie behind, as the muleteers tie one
      mule in the line to the mule in front of it.

  Recua, Sp. prov. A team, or line, of mules.

  Remates, Sp. prov. The finishing steps, or closing figures
      of a dance.

  Riñonada. The hinder portion of a horse or mule, over which
      passes one of the harness straps.

  Rujeros, Sp. prov. for _rugidos_, bellowings or shoutings.
      The name of a tune.


S

  Sagua, p. 34. A mutilated word; see _Melague_.

  Sapatetas, Sp. prov. for _zapatetas_, from _zapato_, a shoe.
      Shoe-slappings, the name of the figures in a rough,
      noisy dance.

  Samo, Nah., p. 8. Probably some compound of _amo_, no, not.

  Semula, Sp. prov. for _similar_, like, similar to.

  Seno, Sp. prov. for _sin_, without.

  Sepaguala, Nah. See _Paguala_.

  Sepanegaligua, Nah. A compound of _calaquia_, to enter, with
      some prefix, as _cepan_, together, or _ixpan_, in the
      presence of some one.

  Sesule, Nah. A compound of _tçulli_, good for nothing,
      worthless, perhaps with _ce_, one, or _te_, some one. It
      is an adjective, applied in a depreciatory manner to the
      Güegüence.

  Sicana, Nah. See _Cana_.

  Silguerio, Sp. prov. for _xilguero_, a linnet, or thrush.

  Simocague, Nah. Imperative form of _mocaua_, to pause,
      suspend, cease. See page 75.

  Sobornal, Sp. The excess or addition to a load.

  Sones, Sp. Tunes, music.


T

  Tatita, Sp. Little papa. A diminutive of endearment. It
      could also be derived from the Nah. _tatli_, father.

  Tecetales, _or_ Tesetales, Nah. From _tetzauia_, to be a
      shame, to be scandalous.

  Tecomajoche, Nah., _tecomatl_, vase, _xochitl_, flower; a
      tree bearing small white flowers, a species of
      _Plumiera_, allied to the East Indian "temple tree."

  Teguane, Nah. Form of _tehuantin_, pronoun, first person
      plural, we, us.

  Ticino, Nah., _ticitl_, a native doctor, a charlatan; one
      who casts lots for divination; a personal form, from
      _ticiti_, might be _ticitoni_.

  Tiguala, Nah. A compound of _ti_, thou, and _qualli_, good
      or well. See note, page 75.

  Tiguita, Nah. A word of uncertain meaning, pages 46, 48, in
      the phrase _mollule tiguita_. It may be a first person
      plural, from _quixtia_, _tic quixtia_, we do our duty,
      we do our best.

  Timaguas, Nah. Either from _temaca_, to give something to
      another; or from _temachti_, a teacher, an instructor.

  Tin, Sp. A form for _tener_, to have. It stands in different
      passages for _tiene_, _tenemos_, and _tienen_, and is a
      good illustration of the wearing away of forms in this
      mixed dialect.

  Tinderia, Sp. for _tenderia_, a shop, booth or tent, in
      which wares are displayed for sale.

  Totolatera, Nah. From _tototl_, a bird or fowl; _petaca
      totolatera_, a basket for carrying fowls.

  Tumaguiso, Nah. A compound of _tuma_, to untie, open, and
      _quiça_, a verbal termination, which signifies a
      performance of the action of the verb to which it is
      added.--Olmos, _Gram. Nah._, p. 157.

  Tumiles, Nah. An adjective from the same root as
      _tomanaliztli_, fatness, corpulence, and signifies
      abounding, abundant.

  Tunal, Sp. prov., from a Haytian (Arawack) word. It means a
      plantation of the native American cactus figs, or
      prickly pears. See page 80.

  Tupile, Nah. An officer of justice, an alcalde or alguacil.
      From _topilê_, he who carries a staff; _topilli_, staff,
      this being the badge of the office.


V

  Vaticola, Sp. prov. The posterior of an animal; the crupper
      region. Possibly from _veta di cola_, vein of the tail.

  Velancicos, Sp. prov. for _villancicos_, rustic songs sung
      at the doors of the brotherhoods (_cofradias_) at
      certain festivals (Berendt, _Leng. Castel. de
      Nicaragua_, MSS).


Y

  Ya. Interjection. You there! Yes, there!




INDEX.


  Alva, B. de, xlv.

  Anahuac, v, vi, vii.

  Antepeque, 79

  Arawack language, xx.

  Ayacachtli, the, xxxvi.

  Aymaras, xv.

  Aztecs, v, xvi.
    migrations of, vi.


  Baker, Theodore, xxxviii.

  Bancroft, H. H., ix.

  Baptista, J., xlviii.

  Balsam Coast, the, xxxvi.

  Barber, E. A., xxxiii, xxxviii.

  Benzoni, G., xi, xvi, xxii, xliv.

  Berendt, C. H., v, vi, xi, xxv, xxxi, xli.

  Bertonio, L., xv.

  Bobadilla, F. de, vii.

  Brantford, Dr. J. F., x, xxxv.

  Brasseur de Bourbourg, xliii.

  Buschmann, vii, xi.


  Cacho, the, xxxvii.

  Canahuate, dance, xxvi.

  Carimba, the, xxxvi.

  Carochi, H., xvi, 75, 77.

  Chapanecs, H., viii, ix, xxii, xxxix.

  Chiapanec, see Chapanecs.

  Chiapas, ix.

  Chilchil, the, xxxvi.

  Chinegritos, Los, xxvi.

  Chirimoya, the, xxxviii.

  Cholotecans, vi, n, viii.

  Cholula, derivation, viii.

  Chorotegans, _see_ Cholotecans.

  Cofradias, the, xxxix.

  Coreal, F., xxii, xliv.

  Cuscatlan, vi.


  Delpino, F., 78.

  Denis, F., 79.

  Dirians, viii.

  Drums, xxx.

  Duran, D., xxi, xxx, xliv, xlviii, 82.


  Feather weaving, 79.

  Flint, Dr. Earl, x, xxxix, xli.

  Flutes, xxxv.

  Fonseca Bay, viii.


  Gage, Thomas, xxii, 79.

  Gatschet, A. S., xxxviii.

  Giron, J. A., 80.

  Gollena, Dr., xviii.

  Gomara, vii.

  Güegüence,
    Play described, xli.
    Derivation, xlv.
    Story of, xlviii.


  Haefkens, J., xxiv.

  Honduras, xvii.


  Icazbalceta, J. G., xlviii.


  Juco, the, xxxv.


  Kekchis, xlii.

  Kiches, xliii.


  Lacandons, xxxviii.

  Las Inditas, xxx.

  Lessing, G. C., xlvi.

  Levy, Pablo, xxiv, xxx, xliii.

  Logas, xxv.


  Machete, the, 81.

  Macho-Raton, the, xlviii.

  Maguateca, vii.

  Malinche, air of, xxxviii.

  Managua, Lake, viii.
    Province, xi, xxxi.

  Mangue language, xi, xiii.

  Mangues, v, viii, xxii.

  Marimba, the, xxviii.

  Masaya, viii, xvii.

  Mayas, ix.

  Mice, superstitions about, xlviii.

  Morelet, A., xxx, xxxviii.


  Nahuas, v.

  Nahuatl language, v, vi, xiii.

  Nahuatl Spanish jargon, xxi.

  Namotiva, xxx.

  Navarro, J. M., xxxix.

  Negritos, dance, xxvi.

  Nets, for burdens, 77.

  Nicaragua, v.
    Derivation of, vi.
    Lake of, v, xi.

  Nicaraguans, vi.

  Nicaraos, vi.

  Nicoya, Gulf of, v, viii, xxxv.

  Niquirans, v, vi.


  Ollita, Dance of, xxvi.

  Ollita, instrument, xxxi.

  Ometepec, Island, xi, xxxi.

  Oviedo, F. de, v, viii, xi, xix, xxi.


  Perez, Geronimo, xix.

  Peru, xv, xxxi.

  Pito, the, xxxiii.

  Plow, Nicaraguan, 80.


  Qquichua Language, xvi.

  Quijongo, the, xxxvi.


  Remesal, P. F., ix.

  Rocha, J. E. de la, xii.


  Salazar, F. C., xlviii.

  Squier, E. G., v, vi, x, 79.

  Suchi-Malinche, Derivation of, xlvii.


  Tastuanes, derivation of, xlvii.

  Tecoatega, xx.

  Tecoantepeque, 79.

  Tempsky, Von, xxviii, xxxviii.

  Ternaux-Compans, vii, ix.

  Ticknor, George, xxv, xliv.

  Ticomega, vii.

  Titicaca, Lake, xv.

  Toro-Guaca, dance of, xxvi.

  Torquemada, vii, ix.


  Uluas, xliii.

  Urrutia, J. A., xxiii.


  Vasquez, F., vi, xxii.

  Valentine, F. H., 76, 82.

  Valentine, P. J. J., ix.

  Vera Paz, Province, xxxviii.


  Whistles, xxxiii, xxxv.


  Zapatero, Island, xxxiii.


Transcriber's Note:

Original spelling has been preserved, as have any inconsistencies.

Minor punctuation errors have been repaired.

In this etext a superscript character is represented by ^. Two
superscripted letters are surrounded by {  }.





End of the Project Gutenberg EBook of The Güegüence; A Comedy Ballet in the
Nahuatl-Spanish Dialect of Nicaragua, by Daniel G. Brinton

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