{"collection":"myth-cosmogony","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/gutenberg_40559/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/gutenberg_40559","id":"gutenberg_40559","license":"Public Domain (US)","rights_basis":"gutenberg_metadata_copyright_false","source":"gutenberg","source_url":"https://www.gutenberg.org/ebooks/40559","summary":null,"tags":["Category: Humour","Category: Mythology, Legends & Folklore","Category: Plays/Films/Dramas","Indians of Central America -- Nicaragua -- Drama","Nahuatl-Spanish dialect -- Texts"],"text":"[Illustration: A MANGUE INDIAN RECITING A LOGA. SEE PAGE XXV.]\n\n\n\n\n BRINTON'S LIBRARY OF ABORIGINAL AMERICAN LITERATURE.\n NUMBER III.\n\n\n THE G\u00dcEG\u00dcENCE;\n A COMEDY BALLET\n IN THE\n NAHUATL-SPANISH DIALECT OF NICARAGUA.\n\n\n EDITED BY\n DANIEL G. BRINTON\n\n\n\n\n AMS PRESS NEW YORK\n\n\n COPYRIGHT,\n D. G. BRINTON.\n 1883.\n\n\n\n\n LIBRARY\n OF\n ABORIGINAL AMERICAN\n LITERATURE.\n\n No. III.\n\n EDITED BY\n D. G. BRINTON, M.D.\n\n PHILADELPHIA:\n 1883.\n\n\n\n\nPREFACE.\n\n\nThe play which is presented in this volume is the only specimen\nknown to me of the native American comedy. It is of comparatively\nrecent origin, and is composed in a mixed dialect, a jargon of low\nSpanish and corrupt Aztec (Nahuatl); but, both in its history and\nspirit, it bears so many marks of native composition, and is so\ncharacteristic of the sort of humor popular with the tribes from\nwhom it was obtained, that it fairly merits a place in this series\nof publications.\n\nThe text was obtained in Nicaragua, by the late Dr. Carl Hermann\nBerendt. But no translation of any part of it and no notes upon it\nwere found among his papers. The responsibility for the rendering\nrests, therefore, with myself. It has presented extreme difficulty,\nowing to the imperfect condition of the text, the deterioration of\nthe Nahuatl words and forms, the antiquated and provincial senses of\nthe Spanish words, and the obscure local references introduced. I\nwould rather speak of my work as a loose paraphrase, aimed to give\nthe general sense and humorous tone of the original, than as a\nfaithful translation.\n\nThe text has been printed precisely as in the manuscript, even\nobvious errors in spelling and punctuation having been preserved.\nSuggestions with reference to these are made in the notes.\n\nFor assistance in translating the Spanish text, I would acknowledge\nmy indebtedness to Professor Adolfo Pierra, of Philadelphia, and Dr.\nF. C. Valentine, of New York, both of whom have passed considerable\nperiods in Central America.\n\n_Philadelphia, November, 1883._\n\n\n\n\nCONTENTS.\n\n PAGE\n _Introduction._\n\n \u00a7 1. _The Nahuas and Mangues of Nicaragua._ v\n Location of the Nahuas of Nicaragua, v\n Derivation of the word _Nicaragua_, v\n Origin of the Nicaraguan Nahuas, vi\n Location of the Mangues, viii\n Why called _Chorotecas_, viii\n Relationship to the Chapanecs, ix\n Culture level of the Nahuas, x\n Of the Mangues, x\n Disappearance of their languages, xi\n Comparison of the Nahuatl of Nicaragua and of Mexico, xiii\n Comparison of the Mangue with the Chapanec, xiii\n Differences between Nicaraguan and pure Nahuatl, xiv\n Comparison of the Mangue or Chapanec, of Central\n America, with the Aymara, of Peru, xv\n Development of the Nahuatl-Spanish jargon, xvii\n Specimens of it, xvii\n\n \u00a7 2. _The Bailes or Dramatic Dances of Nicaragua._ xix\n Oviedo's description, xx\n Symbolism of the dance, xxii\n Benzoni's description, xxii\n Gage's remarks, xxii\n Historical character of the dances, xxiii\n Five classes of dances, xxiii\n Purpose and characters, xxiv\n The Logas, xxv\n Las Inditas, xxv\n The Chinegritos, xxvi\n The Negritos, xxvi\n Toro-Guaca and other dances, xxvi\n The drama of the Ollita, xxvii\n\n \u00a7 3. _Nicaraguan Musical Instruments and Music._ xxviii\n The Marimba, its form and origin, xxviii\n The Drum, xxx\n The Ollita or Musical Jar, xxxi\n The Pito or Whistle, xxxiii\n Specimens of Airs, xxxiv\n The long Flute, xxxv\n The Juco, xxxv\n The Quijongo or Carimba, xxxvi\n The Chilchil or Ayacachtli, xxxvi\n The Cacho, xxxvii\n Character of native music, xxxvii\n Air of the Malinche, xxxviii\n Choruses and Cofradias, xxxviii\n Melodies from the G\u00fceg\u00fcence, xl\n\n \u00a7 4. _History of the \"Baile del G\u00fceg\u00fcence.\"_ xli\n Whence the text was obtained, xli\n Time and manner of its rehearsal, xli\n Age of the play, xlii\n Reasons for considering it a native production xlii\n How different from the Spanish comedy, xliii\n Native plots of similar character, xliv\n Native comedians, xlv\n\n \u00a7 5. _The Dramatis Person\u00e6 of the G\u00fceg\u00fcence._ xlv\n The G\u00fceg\u00fcence, xlv\n Derivation of the name, xlv\n Character, xlv\n Malicious humor, xlvi\n Costume, xlvi\n Don Forcico and Don Ambrosio, xlvi\n Contrast of actions, xlvii\n The Governor Tastuanes, xlvii\n Derivation of the name, xlvii\n Minor characters, xlvii\n The lady Suchi Malinche, xlvii\n Derivation of the name, xlvii\n The mules, xlvii\n Their costume, xlviii\n\n \u00a7 6. _Epitome of the Story of the G\u00fceg\u00fcence._ xlviii\n\n THE G\u00dcEG\u00dcENCE; A COMEDY. 3\n\n _Notes to the G\u00fceg\u00fcence._ 75\n\n _Vocabulary._ 83\n\n _Index._ 93\n\n\n\n\nLIST OF ILLUSTRATIONS.\n\n PAGE\n\n FRONTISPIECE. A MANGUE INDIAN RECITING A LOGA.\n _From an original sketch by Dr. Berendt._\n\n MAP OF THE LOCATION OF THE NAHUAS OF NICARAGUA AND\n THEIR NEIGHBORS. xii\n\n ANCIENT DANCE IN NICARAGUA. xxii\n _From Oviedo's Historia._\n\n A MARIMBA PLAYER AND HIS INSTRUMENT. xxix\n _From Von Tempsky's Mitla._\n\n ANCIENT AZTEC MUSICIAN. xxx\n _From Duran's Historia._\n\n NICARAGUAN INDIANS PLAYING ON THE DRUM. xxxii\n _From an original sketch by Dr. Berendt._\n\n EARTHENWARE MUSICAL JAR FROM NICARAGUA. xxxiii\n _From a drawing by Dr. Berendt._\n\n EARTHENWARE WHISTLE FROM NICARAGUA. xxxiii\n _From a drawing by Dr. Berendt._\n\n NATIVE FLUTE MELODIES. xxxiv\n _From MS. of Dr. Berendt._\n\n WHISTLES FROM NICARAGUAN BURIAL MOUNDS. xxxv\n _From Report of Dr. J. F. Bransford._\n\n THE QUIJONGO OF NICARAGUA. xxxvi\n _Original Drawing from description._\n\n AZTEC MOURNER SINGING AND PLAYING. xxxvii\n _From Aztec Codex in the Aubin Collection._\n\n AIR OF MALINCHE. xxxviii\n _From Morelet's Voyage._\n\n MELODIES FROM G\u00dcEG\u00dcENCE. xl\n _Original furnished by Dr. E. Flint._\n\n EARTHENWARE CUP FROM NICARAGUA. lxxviii\n _From a sketch by Dr. Berendt._\n\n A NICARAGUAN PLOUGH. lxxx\n _From Squier's Nicaragua._\n\n A MACHETE. lxxxi\n _From an original sketch._\n\n\n\n\nINTRODUCTION.\n\n\n\u00a7 1. _The Nahuas and Mangues of Nicaragua._\n\nAmong the outlying colonies of that important people whose chief\nseat was in the Valley of Mexico, and who are variously known as\nAztecs, Mexicans or Nahuas, were several in Central America. \"One of\nthese,\" writes Mr. Squier, \"occupied the principal islands in the\nLake of Nicaragua, the narrow isthmus which intervenes between that\nlake and the Pacific, and probably a portion of the country to the\nsouthward, as far as the gulf of Nicoya. Their country was less than\na hundred miles long, by twenty-five broad; yet here they preserved\nthe same language and institutions, and practiced the same religious\nrites, with the people of the same stock who dwelt more than two\nthousand miles distant, on the plateau of Anahuac, from whom they\nwere separated by numerous powerful nations, speaking different\nlanguages, and having distinct organizations.\"[1]\n\nThis Nahuatl tribe gave the name to the Province, _Nicaragua_, this\nbeing, according to some early authorities, the personal appellation\nof their chief at the epoch of their discovery, in 1522, and,\naccording to others, their national name.[2] For no sufficient\nreasons, Mr. Squier applied to them the term _Niquirans_, and Dr.\nBerendt _Nicaraos_, but it seems better to retain, as distinctive\nfor them, the name _Nicaraguans_, or, more specifically, \"the Nahuas\nof Nicaragua.\" \"Nicaragua\" is undoubtedly a Nahuatl word, but, as\nthe letter _r_ is not found in that language, the precise original\nform is uncertain. Father Francisco Vasquez explained it as a\ncompound of the Nahuatl _nican_, \"here,\" and _anahuacos_, \"here\ndwell those from Anahuac;\"[3] or it may be from _nican_ and _nahua_\n(plural form of _nahuatl_), \"here dwell those speaking the Nahuatl\ntongue;\" or, as a personal name of a chief, it may be _ni\ncalaquiya_, \"I entered into, or took possession.\"\n\nHow it happened that this fragment of the Aztec nation had become\ndetached from the main body and resident so far from its central\nseat, has not been clearly explained. Mr. Squier and some others\nhave maintained the hypothesis that the migration of all the Aztec\ntribes was from south to north, and that their scattered members in\nCentral America were bands which had stopped on the road.[4] This\nopinion, however, is refuted by the evidence of language, and also\nby the unanimous traditions of the Aztecs themselves, both in\nNicaragua and in Mexico.\n\nThe Nicaraguans had a very positive recollection that their\nancestors came from Mexico, driven forth by scarcity of food, and\nthat they wandered along the Pacific shore to the locality in which\nthe Spaniards found them.[5] They remembered the names of their\nancient home, or, rather, of their ancient kindred, and gave them as\n_Ticomega_ and _Maguateca_, locating them toward the west (\"hacia\ndonde se pone el sol\"). It is easy to recognize in these words the\nAztec terminations signifying _gens_ or tribe, _mecatl_ and\n_tecatl_, which in the plural drop the _tl_. Nor can we be far wrong\nin identifying _magua_ with the Aztec _maque_, upper, above, and\n_tico_ with _tiachcauh_, elder brother, and in translating these\nnames, the one as \"the upper people,\" _i. e._, the dwellers on the\nlofty interior plateau, and \"our elder brothers,\" _i. e._, the\nsenior and ranking clans of their tribe, who remained in Anahuac.[6]\n\nBesides these traditions, the Nicaraguans showed their close\nrelationship to the Aztecs by a substantial identity of language,\nmythology, religious rites, calendars, manners and customs. We have,\nfortunately, an unusual mass of information about them, from an\nexamination of their leading men by the chaplain Francisco de\nBobadilla, in 1528, who took down their replies with as much\naccuracy as we could expect, and whose narrative has been preserved\nby the historian Oviedo. They also had retained a knowledge of the\nMexican hieroglyphics, and wrote, in books of paper and parchment,\ntheir laws and ritual, their calendars and the boundaries of their\nlands.[7]\n\nWhile this Aztec band thus acknowledged themselves to be intruders,\nsuch appears not to have been the case with their immediate\nneighbors to the northeast and southwest. These were of one blood\nand language, and called themselves _m\u00e1nkeme_, rulers, masters,\nwhich the Spaniards corrupted into _Mangues_.[8] The invading Aztecs\nappear to have split this ancient tribe into two fractions, the one\ndriven toward the south, about the Gulf of Nicoya, the other\nnorthward, on and near Lake Managua, and beyond it on Fonseca\nBay.[9] Probably in memory of this victory, the Nicaraguans applied\nto them the opprobrious name _Chololteca_, \"those driven out,\" from\nthe Nahuatl verb _choloa_, and the suffix _tecatl_, which was\ncorrupted by the Spanish to _Chorotecas_.[10]\n\nThe name does not by any means intimate that the Mangues came from\nCholula in Mexico, as some ancient, and some modern, writers have\nhastily supposed;[11] nor is it a proof that they spoke an Aztec\ndialect, as Ternaux Compans has asserted.[12] So far is this from\nbeing the case, the Mangue has no sort of affinity with the Nahuatl,\nand must stand wholly asunder from it in the classification of\nAmerican tongues. It has, indeed, a relative to the north, and a\nclose one, the Chapanec or Chiapenec,[13] spoken by the inhabitants\nof three small villages in Chiapas, the largest of which has given\nits name to the province. These Chapanecs, by their traditions,\nstill clearly remembered at the time of the Conquest, and preserved\nby the historian Remesal, migrated from Nicaragua to their more\nnorthern home. As they had no connection with the Aztecs, so, also,\nthey were wholly without affinities with the great Maya stock, which\nextended far and wide over Central America, although the contrary\nhas been recently stated.[14] In fact, among the five different\nlanguages which were spoken in the present province of Nicaragua at\nthe time of the discovery, not one belonged to any branch of the\nMaya group.[15]\n\nMy present theme does not extend to a discussion of these various\ntongues, nor take me further into the ethnology of their locality.\nIt has to do solely with these two nations, the Nicaraguans and the\nMangues. The culture-level of the former was nearly as high as that\nfound in the Valley of Mexico. They had a settled government,\nconstructed edifices of stone, sculptured idols, utensils and\nornaments out of the same material, were skilled in ceramics, deft\nin weaving cotton cloth and reed or grass mats, able in war, and\nthoughtful enough to puzzle their first European visitors with\nquestions as to the stars and the earth, the beginning and the end\nof things.[16] Careful archaeologists in our own day have searched\nthe territory they inhabited, and many museums contain specimens of\nwhat they accomplished in the direction of the arts, and testify to\na respectable degree of intellectual advancement.[17]\n\nWe know less about the Mangues. They are mentioned as differing in\nreligious rites from the Nicaraguans, and the impression is conveyed\nthat they were in a more primitive condition, but yet with fair\nclaims to be ranked among the cultivated nations of the new world.\nAmong them, in fact, Dr. Berendt located one of the \"centres of\nancient American civilization,\" and considered the definite solution\nof their affiliations as one of the problems of the first order in\nthe ethnology of America.[18] The Spanish historians relate that\nthey had hieroglyphic books, like the Mexicans; that they were\nrather light in color, careful in dress, setting much store by their\nlong hair, which they sedulously combed, and had an autocratic\nmilitary government. Their country was thickly peopled, especially\nthat portion of it between the lakes. The district of Managua was\nalmost like a continuous town, so closely were the native houses\nplaced together for nearly ten miles. In fact, it was called one\ncity by the earliest explorers, and Oviedo, who takes pains to\ncriticise these for their tendency to exaggeration, estimated the\npopulation of this limited district, at the time of the Conquest, at\nforty thousand souls.[19]\n\nAt present, scarcely any pure-blood remnants of either of these\nnations can be found, and both languages are practically extinct.\nWhen Mr. Squier visited Nicaragua, in 1850, he obtained, with great\ndifficulty, a short vocabulary of the Nahuatl dialect, spoken on the\nisland of Ometepec, in Lake Nicaragua; and, in 1874, Dr. Berendt,\nonly at the cost of repeated efforts, succeeded in securing from a\nfew survivors of advanced ages a moderately full collection of\nMangue words and sentences.[20]\n\n[Illustration: MAP OF THE LOCATION OF THE NAHUAS OF NICARAGUA AND\nTHEIR NEIGHBORS.]\n\nTo illustrate the practical identity of the Nahuatl of Nicaragua\nwith that of Anahuac, and the Mangue of Nicaragua with that of\nChiapas, I will insert two short lists of common words with their\nequivalents in those four dialects. The first is from Mr. Squier's\nworks above referred to, the second from the manuscripts of Dr.\nBerendt now in my possession.\n\n_Comparison of the Nahuatl of Nicaragua and of Mexico._\n\n ENGLISH. NAHUATL OF NICARAGUA. NAHUATL OF ANAHUAC.\n\n God, teot. teotl.\n Man, tlacat. tlacatl.\n Woman, ciuat. ciuatl.\n Head, tzonteco. totzontecon.\n Foot, hixt. ycxitl.\n Dog, izcuindi. itzcuintli.\n Deer, mazat. mazatl.\n Rabbit, toste. tochtli.\n Fire, tlet. tletl.\n Water, at. atl.\n House, calli. calli.\n Maize, centl. centli.\n Rain, quiavit quiahuitl.\n Flower, sochit. xochitl.\n Wind, hecat. ehecatl.\n Snake, coat. coatl.\n Eagle, oate. quauhtli.\n Flint, topecat. tecpatl.\n Mountain, tepec. tepec.\n One, ce. ce.\n Two, ome. ome.\n Three, ye. yei.\n Four, nau naui.\n Five, macuil. macuilli.\n\n\n_Comparison of the Mangue with the Chapanec._\n\n ENGLISH. MANGUE OF NICARAGUA. MANGUE OF CHIAPAS.\n\n Man (homo), ndijpu. dipaju.\n Man (vir), nyu'a. n[)o]jue, naha.\n Woman, najui. najui.\n Father, gooha. youa, poua.\n Mother, ngumu. goma.\n Head, gu t[chi]ima t[chi]ima.\n Eye, nahte. nate.\n Ear, nyujui. noj[)u]a.\n Foot, ngra. taku.\n Ruler (or chief), m\u00e1nkeme. d[chi]am\u00e1 _or_ mangheme.\n Dog, nyumb\u00ed. numb\u00ed.\n Mouse, nangi. nangi.\n Bird, nyuri. nuri.\n Snake, nule. nul\u00fa.\n Fire, nyayu. n[)i][)i]\u00fa.\n Water, nimbu. nimbu.\n House, nangu. nangu.\n Maize, nama. nama.\n Wind, nit[)i]\u00fa. tij\u00fa.\n Hill, diri, tiri. dili.\n One, tike. tike.\n Two, jami. jumiji.\n Three, hajmi. jamiji.\n Four, haeme. j[)u]amiji.\n Five, jagusmi. ja[)o]miji.\n\nIt needs but a cursory glance at these lists to see that, while\nthere is scarcely a dialectic difference between the two Nahuatl\ncolumns, and again between the two Mangue columns, there is\nabsolutely no point of contact between Mangue and Nahuatl.\n\nThe chief differences between Nicaraguan and pure Nahuatl were, that\nthe former changed the double consonant _tl_ into _t_, or dropped it\naltogether; that the _c_, _ch_ and _q_ were confounded; that, in the\nconjugation, they dropped the prefix _tla_, which in pure Nahuatl is\nemployed to indicate that the inanimate object of the verb is not\nexpressed; that certain terminal consonants, as _x_, were dropped;\nand apparently that the sounds of _s_ and _r_, not known to the\ntongue in its purity, were introduced.\n\nThe linguistic relations of the Mangue or Chapanec tongue have never\nbeen ascertained. I have compared it with the principal stocks in\nthe northern continent, as well as with the great Tupi-Guarani stem,\nwhich has extensive affiliations in Central America, but without\ndiscovering any analogies of value. It does appear, however, to have\na certain, though far from close, relationship to the Aymara tongue,\nspoken in the Peruvian Andes, and especially in the vicinity of Lake\nTiticaca, the celebrated site of a remarkable ancient civilization.\nThe following list of common words seems to indicate this. The\nAymara is taken from the dictionary of that tongue, by Father\nLudovico Bertonio, while the dialects of the Mangue are\ndiscriminated by N, for Nicaraguan, and C, for Chapanec.\n\n_Comparison of the Mangue, or Chapanec, of Central America, with the\nAymara, of Peru._\n\n ENGLISH. MANGUE OR CHAPANEC. AYMARA.\n\n Father, poua (C). pucara.\n Man, naha (C). chacha.\n Child, nasungi (N). i\u00f1asu.\n Ear, nyuhui (N). hinchu.\n Eye, nahte (N). nahui.\n Bone, nyui (N). cayu.\n Fire, niiu (C), nyayu (N). nina.\n Water, nimbu (C). vma.\n River, naju (C). mayu, jahu.\n Wind, tihu (C). thaa.\n Feathers, lari (C). lauralua (colored).\n Maize, nama (C). ccama.\n Earth, nekapu (C). \u00f1eke, clay, yapu, soil.\n Sky, naku paju (C). hanac (_or_ alakh) pacha.\n Blind, saapi (C). saapi.\n Dumb, napamu (C). amu.\n Great, y\u00e1ka (C). haccha.\n Bitter, \u00e1tsi (C). cata.\n Dead, tuhua (C). hihua.\n To eat, koita (N). kauita (to eat apples, etc).\n Food, nomota (C). mamata.\n To go, ota (C). aatha.\n Thou, \u00e7imo (C). huma.\n You (pl), \u00e7imecmo (C). humasa.\n\nThere are also various grammatical similarities between the two\ntongues. Both are highly synthetic; in both the division of nouns is\n\"vitalistic,\" that is, into animate and inanimate; the numeral\nsystem is in both the decimal; in both the possessive pronoun\nfollows the noun; both possess the inclusive and exclusive plural;\nand others could be mentioned.\n\nIt is known that the Aymara partakes largely of the elements of the\nQquichua, and by some is classified merely as a dialect of that\ntongue. Such similarities as appear to exist between Mangue and\nAymara are, however, less with the words and forms common to these\ntwo Peruvian idioms, but rather more with those wherein the Aymara\ndiffers from the Qquichua.\n\nWith the trenchant differences above indicated, between the Nahuatl\nand the Mangue, it is the more singular to observe how the Nahuatl\nobtained the preponderance. We may attribute this to the superior\nfighting power of the Aztec invaders; to the fact that many of the\nnative allies of the Spanish could speak that tongue and not the\nMangue; that the early missionaries came from Mexico; or, that the\nNahuatl was promptly reduced to writing, while the Mangue was not;\nor to all these causes combined.[21] Certain it is, that at an early\ndate a mixed dialect came into vogue, both in the Mangue districts\nof Nicaragua and elsewhere in Central America, composed of a\nbroken-down Nahuatl and a corrupt Spanish, which, at first, served\nas a means of communication between the conquerors and their\nsubjects, and later became, to some degree, the usual tongue of the\nlatter. The Aztecs of pure blood spoke contemptuously of this jargon\nas _in macehuallatolli_, the language of slaves, and Father Carochi,\nwriting little more than a century after the conquest, condemned\nit as a hodge-podge of Spanish and Aztec, unintelligible in either\ntongue.[22]\n\nThis jargon was carried into the various nations who came into\ncontact with the Spaniards and half-breeds, and hence we may find\nscattered words traceable to it in many of their tongues, and\nsometimes formulas of a religious, social or business character.[23]\nThis is strikingly exemplified among the Mangues, and the fact is\none of considerable interest in connection with the literary\nproduction which is the main topic of this volume. Even to a recent\nday, in remote haciendas of the Province of Masaya, among the\ndescendants of the Mangues, the traveler might hear the grace before\nmeals, and other short formulas of the Church, spoken in this mixed\npatois.\n\nThe following is a specimen:--\n\n _Jesu Criste no tecuase + tunanse Santa Maria + el Apostol\n Santa Clara nos bendiga esta comida que tienen parte y\n poder._ Amen.\n\nHere, _no tecuase_ is the Nahuatl _no tecuyotzin_, Our Lord, and\n_tunanse_ is for _tonantzin_, Our Lady, or Mother.\n\nAnother specimen is:--\n\n _Marias te cuasti + Marias ticuisti guanse Dios + y\n Espiritu Santo._\n\nThe correct reading of which should probably be--\n\n _Maria tocihuatzin, Maria toquitznitli, yhuan in Dios,\n yhuan in Espiritu Santo._\n\nThis Nahuatl-Spanish jargon became the _lingua franca_ of large\ndistricts of Central America and Mexico. It was the current tongue\nof the half-breeds, and to this day is the patois of the muleteers\nwho carry on the sparse commerce of the interior mountainous\nregions. Many of its Spanish elements are ungrammatical, and others\nare long since obsolete in the classical tongue. It is interlarded\nwith words and whole phrases borrowed from the Aztec, but with such\nmutilations that they are scarcely, or not at all, recognizable.\nWords from other native languages have crept in, which adds to the\ndifficulty of its lexicography. As for the construction, it became\nlooser and looser, until, in some phrases, all inflectional elements\ndisappear, and there is a naked juxtaposition of nominal and verbal\nroots, the relation of which must be guessed simply from their\nsequence.\n\nProbably in none of the Spanish provinces has the Castilian suffered\nmore from such admixture than in Nicaragua. The foreign words are\nthere so numerous that the country patois becomes nearly\nunintelligible to one acquainted only with the Spanish of the\nAcademy. Here is the verse of a song, for example, in that dialect,\nwhich will illustrate how far the amalgamation with the native\ntongues has gone. The words in italic are either Nahuatl or\nMangue:--\n\n \"_Casahuyano_, mi amor,\n Por vos est\u00e9 _payaneado_.\n No seas _tilinte_, mi bien.\"\n \"Se _selegue_, due\u00f1o amado.\"\n\n \"My love, between girlhood and womanhood,\n My heart is breaking for you.\n Do not be severe, my loved one.\"\n \"I am yet unripe, my beloved master.\"[24]\n\nAnother song, in which the lover expresses the strength of his\ndevotion with more force than elegance, has the following verse:--\n\n \"O fuera yo _car\u00e1ngano_,\n En tus _cojines_ me meter\u00eda\n Para servirte todo el dia.\n Te ama este z\u00e1ngano.\"\n\nWhich may be freely rendered--\n\n \"Were I a little louse, I'd go\n In your puffed and plaited hair;\n With you all your toil I'd share;\n This lazy fellow loves you so.\"\n\nThe _car\u00e1ngano_ is the name of a species of louse, and the _cojines_\nare the little pads or cushions which women wear in their hair.\n\nIn this dialect several satirical and political songs have been\ncomposed, and, indeed, the licentiate Geronimo Perez, of Masaya, is\nstated to have printed in it a political pamphlet, which I regret\nnot to have been able to obtain.\n\nSuch is the jargon in which the _G\u00fceg\u00fcence_ is written, and although\nthis medley of tongues can claim no position of dignity in the\nhierarchy of languages, it has its own peculiar points of interest,\nas illustrating the laws of the degradation--which is but another\nterm for the evolution and progress--of human speech. To understand\nits origin and position as a literary effort, we must review the\ndevelopment of scenic representations in that part of the New World.\n\n\n\u00a7 2. _The Bailes, or Dramatic Dances of Nicaragua._\n\nThe historian, Fernandez de Oviedo, who was in Nicaragua in 1529,\ngives a long account of the dramatic representations, or rites,\naccompanied by songs, dances and masked actors, which he witnessed\namong the natives of both Nahuatl and Mangue lineage in that\nprovince. They took place at stated seasons, and at certain epochs\nin the year. The name which he gives as that by which they were\nlocally known is _mitote_, which is the Aztec _mitotl_, a dance. He\nhimself calls them _areytos_, a Haytian word from the Arawack\n_aririn_, to sing, and _bailes_, which is Spanish, from a classical\nroot, and means dances.\n\nOne which he saw at Tecoatega, at that time a Nahuatl village, was\ncelebrated at the close of the cacao harvest and in honor of the god\nof that plant. It offered a curious symbolism, which makes us keenly\nregret the absence of a full explanation by some learned native. In\nthe centre of the village square a straight pole was set up about\nforty feet in height. On its summit was placed the image of the god,\nbrilliantly colored, in a sitting position. Around the top of the\npole a stout grass rope was tightly wound, its two free ends passing\nover a wooden platform.\n\nWhen the ceremony began, about seventy men appeared, some dressed as\nwomen, some with masks and head-dresses of feathers, and all painted\nskillfully on the naked flesh to imitate handsome costumes. They\ndanced in pairs, and sang in chorus certain songs, to the sound of\nthe sacred drums. After about half an hour, two boys, who had been\nattached to the free ends of the rope, threw themselves from the\nplatform into the air, in such a manner that they turned round and\nround the pole, unwinding the rope, and thus gradually descended\ntoward the ground. One boy held in one hand a bow, in the other,\nsome arrows; his companion held in one hand a fan or plume of\nfeathers, in the other a mirror, such as the natives made of\npolished obsidian. As they descended, which, says the narrator,\nrequired about as long a time as one might repeat the Creed five or\nsix times, the dancers ceased their song, and only the players on\nthe instruments, some ten or a dozen in number, continued their\nnoise. But, just as the boys, by the increasing length of the\nunwound cord, touched the soil, all present set up a great shout,\nand the festival ceased.[25] The cut which I have inserted is taken\nfrom Oviedo's history, and represents the performance.\n\n[Illustration: ANCIENT DANCE IN NICARAGUA.]\n\nTo one familiar with Nahuatl symbolism, the meaning of this ceremony\nis, in a general way, obvious. The seated divinity on the summit of\nthe pole represents the god of fertility throned in the heavens. The\ntwo boys are the messengers he sends to earth; the arrows refer to\nthe lightnings which he hurls below; the feather fan typifies the\nbreezes and the birds; the mirror, the waters and rains. After the\nmortals have prayed in chants, for a certain season, the god sends\nhis messengers; men wait in suspense their arrival, whether it shall\nbe for good or for ill hap; and as they reach the earth, a shout of\njoy is raised, for the food has ripened and been gathered in, and\nthe harvest-home is ended.\n\nIn the same century the traveler Giralamo Benzoni, who visited\nNicaragua about 1540, was much impressed with the native dances. At\ncertain ones, as many as three or four thousand Indians assembled,\nsome dancing, others playing on drums, while others, who formed the\nchorus, carried on the singing. The dancers displayed great agility,\nand practiced a large variety of figures. They were ornamented with\nfeathers and plumes, and strings of shells were attached to their\narms and legs.[26]\n\nThe Mangues of Chiapas, or the Chapanecs, near relatives, as we have\nseen, of the Mangues of Nicaragua, were famous in the days of Thomas\nGage, the English priest, who traveled through Mexico and Nicaragua\nabout 1630,[27] for their dexterity in games and the elaborate\nscenery of their dramatic representations. \"As for acting of\nPlays,\" he says, \"this is a common part of their solemn Pastimes.\"\n\nThis passion for scenic performances was by no means peculiar to\nthese tribes. It extended throughout almost the whole of the Red\nRace, and there are many relics of it which have survived. The older\nauthors refer to it frequently, and the early missionaries, finding\nthat they could not extinguish it, sought to turn it to good account\nby substituting for the native plays, which were idolatrous or\nlicentious, moral and instructive pieces. They encouraged the more\nintelligent natives and half-breeds to prepare such, and they were\nacted in connection with church festivals.\n\nBut it would be an error to suppose that these attempts succeeded\ncompletely in abolishing the older forms, or quenched entirely the\ntribal historical character of these ceremonies. Even within our own\ngeneration the contrary of this has been recognized by close\nobservers. Thus the _cura_ of Jutiapa, a town in Guatemala, Don Jose\nAntonio Urrutia, wrote, in 1856: \"In most of the Indian towns the\ncustom is still general of preserving a knowledge of great events in\ntheir history by means of representations, called _bailes_ (dances),\nwhich are, in fact, dances in the public squares, on the days or\nevenings of great solemnities. It is most interesting for one who\nunderstands something of the language to participate in these\n_bailes_, as he can thereby obtain some knowledge of the most remote\ntraditions and events in the history of the Indians.\"[28]\n\nConfining our attention to the limits of Nicaragua, we find that the\ndifferent _bailes_ represented there within the memory of persons\nstill living may be arranged in five different classes:--\n\n 1. Simple dances.\n\n 2. Dances with songs.\n\n 3. Dances with prose recitation.\n\n 4. Scenic recitations with music, by a single actor. These are\n called _Logas_.\n\n 5. Complete dramas, with music, ballets, dialogue, and costumes.\n\nMost of these have a religious purpose. Thus, it is still a common\ncustom, in case of sickness or impending danger, to make a vow that,\nin case of escape, the person will dance before the image of some\nsaint on a certain day, at a certain place, usually at a\nfestival.[29] Such dances are sometimes accompanied with songs or\nchants of praise, or are performed in silence. The performer is\nusually masked or in costume.\n\nIt would be erroneous to suppose that there is much gaiety in their\ndances. At least, it is not apparent to foreign eyes. The music is\nmonotonous and almost lugubrious, the singing is all in the minor\nkey, and the motions are dull, mechanical and ungraceful. A European\ntraveler has, indeed, characterized these spectacles rather as an\nexhibition of profound melancholy, than outbursts of merriment, and\nhas instanced them as a proof of the psychical inferiority of the\nrace![30]\n\nSome of them, even to this day, as continued by the lower half-caste\npopulation, are accused of an indecency which may be a reminiscence\nof ancient Indian religious rites;[31] for we know that the native\nNicaraguans celebrated a festival strictly similar to that in\nancient Babylon, so condemned by the prophet, during which every\nwoman, of whatever class, had the right to yield her person to whom\nshe would, without incurring blame or exciting jealousy.\n\nThe _Logas_ seem to be peculiar to the Mangues. A small theatre is\nextemporized, music is provided, and the actor comes forward,\narrayed in some odd garb, and recites a sort of poem, with gestures\nand dancing movements. The text of one of these was obtained at\nNamotiv\u00e1 by Dr. Berendt, and is in my possession. It is entitled,\n_Loga del Ni\u00f1o Dios_, and contains about two hundred lines. The\nlanguage is a corrupt Spanish, with a number of Mangue words\ninterspersed. The exordium reads--\n\n \"Atienda, Se\u00f1ores,\n Pongan atencion\n Del Mangue tiyo Pegro\n La conversacion.\"\n\nThe theme is an address to the patron saints and the infant Jesus,\nbut the tone is that of a burlesque, rather than a serious\ncomposition. The costume of the orator, and his surroundings, the\nlittle theatre, the holy infant, etc., are represented in the\nfrontispiece to this work, from a sketch taken from life.[32]\n\nFrequently a number of persons join in the dance. Such is one, still\noccasionally seen, called _Las Inditas_, the Little Indian Girls.\nThe period of its celebration is on the day of St. Jerome. The\nwomen are masked, and wear a loose mantle, a skirt with lace edging,\na sash of rose color, and a hat with feathers. They carry bouquets\nand have a silk handkerchief fastened around the waist, the ends\nmeeting over the hips. The men are in grotesque costumes, with ugly\nmasks. They dance in couples, but without touching each other. The\nmusic is the marimba and the guitar. The songs usually turn on some\nmatter of local interest.\n\nAnother favorite dance is the _Baile de Chinegritos_, celebrated\nby the Mangues. This name is applied to the masqueraders who take\npart in it. They wear a cap of black straw, and the body is naked\nto the waist, and painted. Each carries a stick or the dried yard\nof a bull, and in turn lifts a companion from the ground and strikes\nhim with the whip. One, who keeps himself apart from the rest, is\ncalled the _rucia_, or _yeguita_, the mare. He is in a framework\nof cane adorned with women's skirts and colored handkerchiefs,\nsupposed to represent some animal. There is no fixed day for the\ndance, but it is usually carried out in fulfillment of a vow. A\nvariety of this _baile_, called _Chinegritos \u00e0 caballo_, is\nperformed by mounted actors, in brilliant costumes, with gaily\ncaparisoned horses. They are accompanied by music, and draw up in\nfront of a house, where they sing a song with a monotonous chorus,\n_le-le-le-le-le-le-le-li-u_.\n\nThe _Baile de Negritos_ is celebrated on the festivals of St. James\nand St. Anna. The participants are on horseback, themselves and\ntheir steeds adorned with bright-colored sashes and garlands of\nflowers. They all wear the _mosote_, or black straw hat, from which\nthis and the preceding dance derive their names.[33] The songs which\nthey sing are called _Ensaladas_, salads or medleys, and usually\ncontain personal allusions.\n\nThe _Baile de Toro-Guaca_, the Dance of the Graveyard Bull,[34] as\nit may be rendered, is presented on the festival of the Virgin, of\nSt. Jerome, and other days, in accordance with a vow. It requires\nfourteen dancers and seventeen masqueraders. The \"bull\" is\nrepresented by a framework of reeds, surmounted by a pair of horns\nand gaily decorated.\n\nOther such exhibitions are called the _Baile de diablitos_, _Baile\nde la Yeguita_, _Baile de San Roman_, _Baile de San Martin_, _Baile\ndel Toro y Venado_, _Baile del Mantudo_ (in which a desperado, with\nnumerous _chichiltes_, small bells, appears), besides some\nrepresentations of Bible scenes, as the combat between David and\nGoliath, etc.\n\nAlthough most of these are accompanied by songs, and some by\ndialogues, they do not seem to reach to the height of a plot, or to\nthe depicting of character or emotion. Beside them, however, and no\ndoubt to take the place of original compositions of a similar kind,\nwere complete dramatic creations.\n\nMany of these were religious or historical plays, arranged by the\nclergy, and offer little of interest. But some were of a secular\ncharacter, and appear to refer to historical events.\n\nOne was The _Ollita_ or _Ca\u00f1ahuate_. It was acted in the Mangue\ntongue at Masaya as late as 1822, but the text is, unfortunately,\nlost. The _Ollita_ is the name of the whistling jar, on which, and\non the drum, a lugubrious musical accompaniment was played. The name\n_Ca\u00f1ahuate_ is said to have been that of a dialect of the Mangue.\nThe plot turned on a proposed marriage between an old man, richly\ndressed in Spanish garb, and a native princess. The chorus and\nassistants carried bows, arrows and quivers, which would seem to\npoint to an early date as that of the supposed transaction.\n\n\n\u00a7 3. _Nicaraguan Musical Instruments and Music._\n\nThe musical instruments of the natives of Nicaragua, mentioned by\nOviedo, are drums, flutes of reeds, and _excoletes_, or trumpets.\nThis, however, by no means exhausted the list, and several others of\nsimilar powers have been retained to the present day, and have been\nreferred to by travelers as local curiosities. Thus, Mr. Squier\nwrites as follows, in describing a festival in Leon de Nicaragua:\n\"It is impossible to describe the strange instruments. One consisted\nof a large calabash, over which was stretched the skin of some\nanimal; this, when pressed in, recoiled with a dull, sullen noise,\nlike the suppressed bellow of a wild beast, and the wail of some of\nthe long reeds was like that of a man in the agonies of a violent\ndeath.\"[35]\n\nThe memoranda that I have obtained from various sources enable me to\nsupply this omission of the distinguished traveler, and to make out\nthe following list, which probably is not exhaustive.\n\nThe most elaborate is the _Marimba_. Some writers say that both the\nname and instrument are of African derivation, having been\nintroduced by the negroes. Others assert that the Indians have known\nthe marimba time out of mind, and undoubtedly invented it. Certain\nit is, that they develop singular skill in its management.\n\nA good description and illustration of it are given by von Tempsky,\nfrom whose work I extract them.[36]\n\n\"They [the Indians of Central America] are still very fond of\ndancing, and are very good musicians, performing on a peculiar\ninstrument, a native invention of antique date, the Marimba. A long,\nhorizontal stick supports a number of jicaras (or long, cylindrical\ncalabashes), arranged near one another, according to size, from two\nfeet in depth to four or three inches. Over the mouth of each of\nthem is drawn a thin piece of bladder, and over it, at the distance\nof a quarter of an inch, are flat pieces of a very hard wood,\narranged like the claviature of a piano. These oblong pieces of wood\nare supported on a frame of light wood, joined to the long stick\nthat supports the row of jicaras underneath. Two light legs sustain\nthe little piano, partly on the ground, and a hoop connects it with\nthe player, who sits within the hoop, pressing it on a bench.\n\n[Illustration: A MARIMBA PLAYER AND HIS INSTRUMENT.]\n\n\"Two long drumsticks, with balls of India rubber at their heads, are\nin the hands of the player, who strikes double notes at every touch\nof the wooden claviature, with the resounding jicaras underneath.\nThe sound of this instrument is charming, clear, limpid in its\ntones, like the intonation of a harp string of wire. The Indians\nproduce the justest and sweetest double notes, and blend a rattling\ntune together in very harmonious chords. Their talent for playing\nthis instrument by ear is astonishing; in a day, they will pick up\nthe most difficult air, and play it with a good deal of expression,\naccompanied with a chant of their own composition.\"\n\nInstead of calabashes, earthen jars of various sizes are\noccasionally used to suspend beneath the key pieces; or, what in\nsome districts is equally common, they are vertical tubes of cedar\nwood (_Cedrela odorata_). As described by the traveler Morelet,\nthese tubes are twenty-two in number, all of equal diameter, varying\nin length from ten to forty centimeters, and forming three complete\noctaves without semitones.[37] In many of the _bailes_ this is the\nfavorite means of music, and it is often associated with the guitar.\n\nThat it was not unknown to the ancient Aztecs seems shown from the\nfollowing drawing from an original Mexican painting in Duran's\n_Historia_, where the player does not appear to be striking a drum,\nbut the keys of the marimba, or an instrument of that nature.\n\n[Illustration: ANCIENT AZTEC MUSICIAN.]\n\nThe _Drum_ was, and remains, a favorite instrument in Central\nAmerica. It is usually formed of a hollow piece of wood, which is\nstruck with sticks. In Nicaragua, however, some of the natives use a\nshort piece of bamboo, over the ends of which a skin is stretched.\n\n[Illustration: NICARAGUAN INDIANS PLAYING ON THE DRUM.]\n\nThis is held in the left hand and struck with the tips of the\nfingers or the knuckles of the right hand, keeping time to the chant\nor song of the performer, while he throws himself into striking and\nextraordinary attitudes. The illustration on the preceding page,\nfrom a sketch by Dr. Berendt, shows their manner of performing on\nthis instrument.\n\nThese two varieties of drums were also known to the ancient\nMexicans. They called the one which was struck with the hand the\n_huehuetle_, \"ancient object,\" and that played by sticks,\n_teponaztli_.\n\nThe _Ollita_, or Little Jar, is an instrument still remembered in\nNicaragua, and the drama, in the Mangue dialect, to which I have\nreferred, bearing this name, proves that it was familiarly known at\nManagua early in this century. Its sound is described as grave and\nsuitable to serious emotions. The identical _ollita_ which was used\nin this drama was preserved long after the last performance of the\nplay (about 1822), in the chest of the _cofradia_ of San Jose, in\nManagua; but like so many other valuable relics, it disappeared in\nthe disturbances of the republic.\n\nFrom the name, and from what was told of its powers, it was\nevidently not merely a whistle, but a sort of earthenware flute.\nSuch were known in Peru, and precisely in Nicaragua, on the island\nof Ometepec, inhabited at the Conquest by the Nahuas, such a musical\njar was discovered of late years, and was examined and its musical\ncapacity described by Dr. Berendt in the following words:--\n\n\"Held with the two hands, the lower side turned upward, and the four\nholes managed with two fingers on each side, blowing in the mouth\npiece yields six different notes. Any two holes covered give the\ntonica, one only covered the secunda, all open the tertia, and by\nhard blowing a forced quarta; while all closed produces the dominant\n(quint) in the underlying octave. Three holes closed yield notes not\nin concordance with the others, varying between an imperfect sext\nand a diminished septima of the lower octave. But those mentioned\nas in accordance permit the playing of many varied tunes.\"\n\nThe shape of this jar is shown in the following cut, which was\nprepared for an interesting article on Indian Music by Mr. Edwin A.\nBarber, in the _American Naturalist_.\n\n[Illustration: EARTHENWARE MUSICAL JAR FROM NICARAGUA.]\n\nIt was capable of rendering various simple tunes. (See page xxxiv.)\n\n[Illustration: EARTHENWARE WHISTLE FROM NICARAGUA.]\n\nThe _Pito_, or Whistle, was a simpler instrument than the _Ollita_.\nIt, also, was frequently made of baked clay, and in odd shapes. The\none shown in the following cut was found on the Island del Zapatero,\nin Lake Nicaragua, which was also a possession of the Nahuas. Two\napertures lead into the cavity of the instrument. When they are\nclosed with the fingers, a higher note is produced than when they\nare open.\n\n[Illustration: NATIVE FLUTE MELODIES.]\n\nIn the investigations prosecuted in Nicaragua by Dr. J. F.\nBransford, he discovered many of these whistles in ancient burial\nmounds. Indeed, in the district of Nicoya, inhabited at the period\nof the Conquest by the Mangues, he states that \"every body appeared\nto have been interred with a small earthen vessel and a whistle.\"[38]\nThe latter are usually of odd shapes, representing some animal.\n\nThe following cuts are taken from his report:--\n\n[Illustration: WHISTLES FROM NICARAGUAN BURIAL MOUNDS.]\n\nThe long _Flute_, either of cane, or of earthenware, was found in\ncommon use by the early explorers in Central America, Mexico and\nFlorida. The Nahuas of Nicaragua do not seem to have made so much\nuse of it as their relatives in Mexico.\n\nThe _Juco_ is employed in the noisier dances, such as the _Baile de\nDiablitos_. It is a drinking gourd (_nambira_), or jar, over the\naperture of which is stretched a skin. This is crossed by a cord, to\nwhich is attached a small piece of wood, which serves as a clapper\nwhen the instrument is shaken.\n\nThe _Quijongo_ is a stringed instrument, made by fastening a wooden\nbow with a stretched cord over the mouth of a jar. A hollow reed,\nabout five feet long and an inch and a half thick, is bent by a wire\nattached to the ends. This wire is then tied to the reed at\none-third the distance from one end, and at the same point, on the\nconvex surface of the reed, a gourd, or thin earthen jar, is\nfastened, with its mouth downward. The notes are produced by\nstriking the two sections of wire with a light stick, and at the\nsame time the opening of the jar is more or less closed by the palm\nof the left hand, thus producing a limited number of notes, which\nare varied by changing the intervals.\n\n[Illustration: THE QUIJONGO OF NICARAGUA.]\n\nAmong the Nahuatl tribes of the Balsam coast, this is called the\n_Carimba_. It appears to have been an aboriginal invention, although\nsome writers have asserted that the Aztecs had no knowledge of any\nstringed instrument. Something like a harp, however, is represented\nin the following cut, from the Aztec funerary ritual, where a priest\nor hired mourner is shown, chanting the praise of the departed, and\naccompanying his words with music, on what appears to be a rude\nstringed instrument. (See page xxxvii.)\n\nThe _Chilchil_ is a small bell, a number of which are strung\ntogether and shaken. This is an ancient Aztec instrument, the term\nfor it in Nahuatl being _Ayacachtli_.\n\nThe _Cacho_ is a sort of trumpet, constructed of a horn. A blast\nupon it can be heard a long distance, and it has thus become a\nmeasure of length, a _legua de cacho_ being the distance at which\none can hear the horn when lustily blown. It is said to be rather\nlonger than a Spanish league.\n\n[Illustration: AZTEC MOURNER SINGING AND PLAYING.]\n\nAs to the value of the music which was obtained from these\ninstruments, it is difficult to arrive at an opinion from capable\njudges. Nearly all who have been in a position to study the subject\nhave lacked acquaintance with the scientific principles and\ndevelopmental history of music as an art.\n\nHence it has usually been stated, and accepted without inquiry, that\nthe aborigines of America were exceedingly deficient in musical\nability, and that their best efforts rarely went beyond creating\ndiscordant noise. Late investigations by competent critics have\ndisproved this opinion, and show that the melodies of the natives\nare in accordance with a recognized scale, though not that to which\nwe are accustomed. For a parallel we must go back to the ancient\nPhrygian and Lydian measures, where we shall find a development of\nthe art in a similar direction to that among the natives of this\ncontinent.[39] As is remarked by Mr. A. S. Gatschet, \"Although the\nIndian uses all the seven notes of our musical scales, he avoids\nmany of our melodial sequences; the majority of his tunes follow the\n_dur_ or _sharp_ scales, and the two-eighths or two-fourths\nmeasure.\"[40]\n\nIn Central America, the native race has a keen musical sense. Von\nTempsky found that they learned by ear, with great ease, the\ncompositions of Bellini; and in Vera Paz and among the Lacandons,\nMorelet heard upon the _Chirimoya_, an aboriginal wind instrument,\nan air which he characterizes as \"very remarkable\" and \"extremely\ntouching.\" What brings this air into relation to my present theme is\nthe singular fact that it was known as _la Malinche_, but Morelet\ncould not learn from what connection.[41] Quite possibly it was from\nthe character of that name in the play of _G\u00fceg\u00fcence_.\n\n[Illustration: MALINCHE.]\n\nIn the public _bailes_ in ancient times, as we are informed by both\nOviedo and Benzoni, the musicians were separated from the singers\nand other performers, forming an actual orchestra, and this is also\nintimated in the G\u00fceg\u00fcence. Having thus the position of a class by\nthemselves, it may fairly be presumed that they cultivated with\nassiduity their peculiar art.\n\nIn later days, the _cofradias_, the brotherhoods and sisterhoods\norganized in connection with the churches, made it part of their\nbusiness to learn singing and music, so as to take part in the\ncelebration of church festivals. It was through these _cofradias_\nthat the art of playing on the ancient instruments was preserved. By\nthe loss of influence of the church at the separation of the\ncolonies from the mother country, the _cofradias_ were mostly\ndissolved.[42]\n\nThe music which accompanies the ballets in the G\u00fceg\u00fcence has been\nwritten down, and is familiar to many in Nicaragua. I have obtained\na portion of it, through the obliging efforts of Dr. Earl Flint, of\nRivas, an earnest cultivator in the field of archaeological\nresearch. The score appears, however, on examination by competent\npersons, to be probably of Spanish origin, and it would not be worth\nwhile to give more than a specimen of it. (See p. xl.)\n\n[Illustration: MELODIES FROM GUEGUENCE.]\n\n\n\u00a7 4. _History of the_ \"_Baile del G\u00fceg\u00fcence._\"\n\nAmong the scenic representations which have been preserved by the\ndescendants of the Mangues, in the ancient province of Masaya, the\nonly one of length which has been committed to writing is the _Baile\ndel G\u00fceg\u00fcence, \u00f4 Macho-Raton_. Several copies of this exist in\nmanuscript, and from a comparison of two of them the late Dr. C. H.\nBerendt obtained, in 1874, the text which is printed in this volume.\nBut he did not obtain, nor did he attempt himself, any translation\nof any portion of it. He states, positively, that the Nahuatl parts\nare not understood by the natives themselves at the present day. Its\nantiquity and authorship are alike unknown. It is certain that it\nwas acted before the beginning of the present century, but with this\nsingle fact its external history ceases.\n\nWithin the memory of those now living, this _Baile_ has occasionally\nbeen acted in fulfillment of a religious vow pronounced in some\nemergency of life or affairs. The period selected for its\nperformance is, usually, at the festival of St. Jerome, September\n30th. The preparations for it are elaborate and expensive. In former\ntimes the rehearsals took place daily, sometimes for as much as six\nor eight months before the public performance. The actors provided\ntheir own costumes, which required a considerable outlay. There\nwere, however, always plenty of applicants, as it was not only\nconsidered an honor to take part, but also, the patron or patroness\nof the festival, who had pledged himself to give the drama, was\nexpected to furnish refreshments, in the way of food and drink, at\neach rehearsal. As the appetites were usually keen, and the\nlibations liberal, it was almost ruinous for one of moderate means\nto undertake it. For that reason, as Dr. Earl Flint writes me, it\nhas now been dropped, and will probably not again be brought out, at\nleast, in full.\n\nHow far beyond the close of the last century we should place the\ncomposition of the G\u00fceg\u00fcence is a difficult question. Dr. Berendt,\nbasing his opinion on what he could learn by local tradition, on the\narchaisms of the Spanish construction, and on other internal\nevidence, referred it in general terms to the first periods (_los\nprimeros siglos_) of the Spanish occupation. It is probable that we\nmay assign the early portion of the eighteenth century as the latest\ndate for its composition, and there is some evidence, which I shall\nrefer to in the notes to the text, that a more remote period is not\nimprobable. Of course, it does not contradict this that a few modern\nexpressions have crept into the text. Nothing else could be\nexpected.\n\nNo hint as to the author is anywhere found. There are, however,\nreasons which I consider weighty ones, to believe that it is the\nproduction either of a native Indian or a half-caste. Several of\nthem are of a negative character, and I will give these first.\n\nAll the dramas, so far as I know, which were introduced by the\nSpanish priests as substitutes for the native _bailes_, are either\nreligious or instructive in aim. As the Germans say, they are\nstrongly _tendenci\u00f6s_. Such are the _Baile de St. Martin_, which\ngives scenes from the life of the saint, and in which a wheel,\ncalled the _horquilla_, covered with feathers and flowers, is drawn\nalong; the _Baile de los Cinco Pares de Francia_, which sets forth\nthe conquest of the infidel Moors by the Christians, both of which\nplays have been popular in Nicaragua; among the Kekchis, of Coban,\nthe _Baile de Moros y Cristianos_, similar to the last mentioned;\nthe _Zaki-Koxol, \u00f4 Baile de Cortes_, in Kiche, a copy of which I\nhave, and the like. But in the _G\u00fceg\u00fcence_ there is absolutely no\nmoral purpose nor religious tone; so much, indeed, of the reverse,\nthat we cannot conceive of its introduction by a priest.\n\nOn the other hand, had it been composed by a secular Spanish writer,\nwe should hardly fail to find it, in a general way, modeled after\nthe stock Spanish comedy. It differs, however, in several striking\nand fundamental features, from the Spanish models, and these\ndifferences are precisely those which would flow from the native\nhabits of thought. I would note, first, that while females are\nintroduced, they are strictly _mut\u00e6 person\u00e6_, even the heroine not\nspeaking a word; that there are no monologues nor soliloquies; that\nthere is no separation into scenes, the action being continuous\nthroughout; that there is neither prologue, epilogue nor chorus; and\nespecially that the wearisome repetition of the same phrases, and by\none speaker of what a previous one has said--a marked characteristic\nof the native scenic orations[43]--are all traits which we can\nscarcely believe any Spaniard sufficiently cultivated to write at\nall, would exhibit.\n\nFurthermore, the \"business\" of the play is strictly within the range\nof the native thought and emotion. The admiration of the coarse\ncunning and impudent knavery of G\u00fceg\u00fcence is precisely what we see\nin the modern camp-fire tales of Michabo among the Algonkins, of\nTezcatlipoca among the Aztecs, and of a score of other heroes. It is\nof a piece with the delight which our own ancestors derived from the\ntrickeries of Reynard the Fox.\n\nThe devices for exciting laughter are scarcely more than three in\nnumber; one the assumed deafness of the G\u00fceg\u00fcence, the second,\na consequence of this, that he misunderstands, or pretends to,\nthe words of the other actors, thus giving rise to amusing\nquid-pro-quos, and third, the introduction of obscene references. Of\ncourse, I am aware that these are the stock resources of many\nEuropean low comedians; but I also consider it a fact of very\nconsiderable importance in deciding the probable authorship of the\nplay, that all of these, especially the first two, are prominently\nmentioned by old authors, as leading devices of the native Nahuatl\ncomedies. Thus, Benzoni and Coreal tell us that in the _bailes_ in\nNicaragua, which they witnessed, some of the actors pretended to be\ndeaf, and others to be blind, so as to excite laughter by their\nmistakes.[44] And Father Diego Duran tells us of a native Mexican\ncomedy, upon which this of G\u00fceg\u00fcence may, perhaps, have been\nfounded, full of songs and coarse jests,[45] in which the clown\npretends to understand at cross purposes what his master orders,\ntransforming his words into others like them. As to the general\nleaning to indecent gestures and jokes, it is frequently commented\non by the missionaries, and given as a reason for discountenancing\nthese exhibitions.\n\nThe absence of all reference to the emotions of love, and the naive\ncoarseness indicated in the passages about women, point rather to a\nnative than a European hand. They are in remarkable contrast to the\nSpanish school of comedy.[46] The neglect of common rules of Spanish\nconstruction seems to arise from the ignorance of one imperfectly\nacquainted with the language, rather than of deliberate purpose. It\nmust also be remembered that this piece was one acted altogether by\nthe native Indians, and not by the Spanish population.\n\nNor are we without examples of persons of native lineage preparing\ncomedies for their fellows. About 1625, Bartholome de Alva, a\ndescendant of the native kings of Tezcuco, wrote three comedies, in\nNahuatl, drawing his plots from Lope de Vega. It is quite as likely\nthat another Alva rose from the Nahuas of Nicaragua, and prepared\nfor their amusement the production I now present.\n\nFor these various reasons I class it among aboriginal productions.\n\n\n\u00a7 5. _The Dramatis Person\u00e6 of The G\u00fceg\u00fcence._\n\nThe central figure of the drama, and the personage from whom it\nderives its name, is _The G\u00fceg\u00fcence._ This is a Nahuatl word, from\nthe root _hue_, old; _huehue_ is \"old man;\" to this is added what\ngrammarians call the \"reverencial\" termination _tzin_, denoting\nreverence or affection, and we have, intercalating the euphonic _n_,\n_huehuentzin_, which, in the vocative, becomes _huehuentz\u00e9_. It\nmeans, therefore, \"the honored elder,\" or \"the dear old man,\" and\nmay be used, as it is in the play, either as a proper name or as a\ncommon noun. In his description of the Nahuas of Nicaragua, Oviedo\ngives the word _huehue_, and tells us that it was applied to certain\nold men of influential position, who were elected by the natives as\nrulers of the villages, and that they in turn selected the\nwar-chief, whose duty it was to look to the defence of the\ncommunity. The name was, therefore, one familiar to the Nicaraguans,\nthough the character would seem to be drawn as a burlesque or\nsatire.\n\nHe is, in fact, anything but a respectable person. His indifference\nto truth, his cynical impudence, his licentious jokes about and\nbefore his sons, and the unscrupulous tricks of which he boasts, are\ncalculated to detract from the element of the comic in his\nportraiture, for those who have been accustomed to the higher\nproductions of humor. But it would be an error to allow this\nsentiment to affect much our estimate of the influence of the play.\nAs Lessing very well observes, the true value of comedy is to train\nus to see the ridiculous and the absurd, wherever it is, in\nflagitious as well as in merely inconsiderate actions, as thus the\nobserver is prompted to morality as well as forethought.[47]\n\nAs I have said, his character is a marked type of the peculiar form\nof humor which the native mind preferred, and of the class of\nactions in which it especially found amusement, to wit, in that\njocularity which is assumed to deceive and get the better of one's\nneighbor. This is strikingly shown by the number of words in the\nNicaraguan patois which express such actions. Thus, _chamarrear_ is\nto take advantage of some one by a joke; _trisca_ is a conversation\nin which some one is made ridiculous; _f\u00e9fere_ is an idle tale with\nwhich a hearer is cajoled; _dar un caritazo_ is to deceive a person\nby a trick, etc. This is the humor in the G\u00fceg\u00fcence. The old man\nnearly always has a selfish aim to gain by his jokes and his\nstories; they are intended to further his own interests, and, at the\nclose of the play, he, on the whole, comes out victorious by these\nquestionable measures.\n\nAs the drama was formerly represented, the G\u00fceg\u00fcence wore the most\nmagnificent apparel of any of the actors. Chains of gold, strings of\nsilver coins, and ornaments of steel draped his person. Indeed, all\nthe participants vied with each other in extravagant costumes. Their\ngarments were fantastically adorned with feathers and flowers, and\nset off with sashes and handkerchiefs of brilliant colors.\n\nThe two sons of G\u00fceg\u00fcence, _Don Forcico_ and _Don Ambrosio_, are\ndrawn in as strong contrast as possible. The former follows the\npaternal example faithfully, and sustains his parent in all his\ntricks and lies; the latter as invariably opposes and exposes the\nold man's dishonesty. The bitter words which pass between them,\nhowever, must not be taken in dead earnest; they, too, are only half\nserious, and do not lead to any separation of interests.\n\nThe _Governor Tastuanes_ appears on the scene in Spanish costume,\nwith a staff and sabre. His name, however, seems to be from the\nNahuatl, probably a corruption of _tlatoani_, chief, lord.[48] He is\nlittle more than a lay figure, designed to draw forth the ruses of\nG\u00fceg\u00fcence.\n\nThe _Alguacil_, the _Secretary_ and _Registrar_ appear in what is\nsupposed to be full official dress, with their staffs of office.\n\nThe _mut\u00e6 person\u00e6_ of the drama are the women and the _machos_, or\nmules. Of the former, only one is named, the lady _Suchi-Malinche_,\ndaughter of the Governor. She enters clothed in a sort of tunic,\nfastened to her person with gay silken sashes; chains of gold and\ncostly jewels adorn her garments, and a wreath of flowers crowns her\nhair. The latter may be a reference to her name. _Suchi_ is a\ncorruption of the Nahuatl _xochitl_, flower; _Malinche_, it may be\nremembered, was the name of the famous Indian girl who served Cortes\nas interpreter in his first campaign in Mexico, and became his\nmistress. Some have supposed that it was a corruption of the Spanish\nChristian name _Marina_, but, as Se\u00f1or Icazbalceta has conclusively\nshown, it is the name of one of the days of the Aztec month,\n_malinalli_, with the termination _tzin_, signifying affection. It\nwas the custom in Mexico and Central America, and still is in many\nparts, for the natives to name their children after the day on\nwhich they were born, led thereto by certain ancient astrological\nnotions.[49] In Nicaragua, _malinche_ is also the name of a tree, a\nspecies of _Poinciana_, which bears a handsome red flower.\n\nThe _Machos_, or mules, are twelve or more in number. They give the\nsecond title to the piece,_ El Macho raton_, an appropriate\ntranslation of which I am at a loss to give. Literally it means \"The\nMale Mouse.\" As used at present, it signifies a masker, or\nmasquerading dress. An acquaintance, who has lived in Nicaragua,\ntells me that he has heard the children call out: \"See, there goes\nthe _Macho-raton_,\" which would prove to be an Indian in a fantastic\ncostume. In the play, they wear heads of skins, imitating those of\nmules, surmounted with horns of goats, and a _petaca_, or wicker\nbasket frame draped with sashes, etc. In their hands they carry\nbells.\n\nAmong the ancient Nahuas, and probably to this day, there were\nvarious curious superstitions relating to mice. If they gnawed a\nhole in the dress of a wife, her husband took it as a sign that she\nhad been unfaithful to him; and she entertained the same suspicion\nwere his garments attacked. When food was attacked by mice, it\nindicated that the people of the house would be falsely accused of\nsomething.[50]\n\n\n\u00a7 6. _Epitome of the Story of The G\u00fceg\u00fcence._\n\n[Sidenote: p. 6.]\n\nThe Governor and the Alguacil meet and enter into conversation. The\nGovernor directs that the songs and dances which are for the\ndiversion of the Royal Council should cease, and bewails its\npoverty.\n\n[Sidenote: p. 8.]\n\n[Sidenote: p. 10.]\n\nHe also directs that no one shall be allowed to enter his province\n(or presence?) without a permit from the patrol. The Alguacil\ncomplains that their poverty is so great that they have no fit\nclothing, and lays the blame on G\u00fceg\u00fcence. The Governor refers to\nG\u00fceg\u00fcence in severe terms, and orders that he be brought before him,\nby any means.\n\nG\u00fceg\u00fcence, who with his two sons is within earshot, hears the\nGovernor's orders, and pretends to think that it refers to a calf or\na colt.\n\n[Sidenote: p. 12.]\n\n[Sidenote: p. 14.]\n\n[Sidenote: p. 16.]\n\n[Sidenote: p. 18.]\n\n[Sidenote: pp. 20-22.]\n\n[Sidenote: p. 24.]\n\n[Sidenote: p. 26.]\n\n[Sidenote: p. 28.]\n\nThe Alguacil announces himself as a servant of the Governor.\nG\u00fceg\u00fcence professes to understand that it is a female servant who\ndesires to see him. The Alguacil corrects him in this, and informs\nhim that he is to fly to the Governor. G\u00fceg\u00fcence takes the word in\nits literal sense, and chaffs about an old man flying. The Alguacil\nsuggests to him that he had better learn how to salute the Governor\nproperly on entering his presence, and offers to teach him the\ncustomary salutation for a consideration. This proposal G\u00fceg\u00fcence\naccepts, but chooses to misunderstand the considerations suggested\nby the Alguacil, and replies in a series of quid-pro-quos and gibes.\nAt last, he produces some money, which, however, he will not pay\nover until the Alguacil gives the promised instruction. The Alguacil\nrecites the formal salutations, which G\u00fceg\u00fcence pretends to\nmisunderstand, and repeats, instead, some phrases of similar sound,\nwhich are discourteous to the Governor. For this the Alguacil\nthreatens to whip him, and on G\u00fceg\u00fcence continuing in his taunts,\ngives him two blows, and recommences his lesson.\n\n[Sidenote: p. 30.]\n\n[Sidenote: p. 32.]\n\nAt this juncture the Governor appears, answers G\u00fceg\u00fcence's salute,\nand asks him why he has entered the province without a permit. At\nfirst G\u00fceg\u00fcence answers by relating how he had traveled without a\npermit in other provinces. Finding this does not meet the case, he\nseeks to turn the inquiry by a dubious story how a girl once gave\nhim a permit for something besides traveling. The Governor, not\nchoosing to be put off with this, G\u00fceg\u00fcence proposes they shall be\nfriends, and that the Governor shall have some of the immense riches\nand beautiful clothing which G\u00fceg\u00fcence possesses. The Governor\nexpresses some doubt as to this wealth, and proposes to examine,\napart, G\u00fceg\u00fcence's oldest son, Don Forcico.\n\n[Sidenote: p. 34.]\n\nHe does so; and Don Forcico corroborates, in the most emphatic\nterms, the statements of his father: \"the day and the night are too\nshort to name all his possessions.\"\n\n[Sidenote: p. 36.]\n\n[Sidenote: p. 38.]\n\nThe Governor remains, however, uncertain about the truth, and\nrequests a similar private talk with G\u00fceg\u00fcence's younger son, Don\nAmbrosio. The latter tells a very different story, asserting that\nall his father's boasts were lies, and that he is, in fact, a poor,\nold, thieving ragamuffin. G\u00fceg\u00fcence, who overhears him, rails at him\nas a disgrace to the family; and Don Forcico assures the Governor,\nin very clear terms, that Don Ambrosio has none of G\u00fceg\u00fcence's blood\nin his veins.\n\n[Sidenote: p. 40.]\n\n[Sidenote: p. 42.]\n\nTo settle the question, G\u00fceg\u00fcence proposes to show the Governor the\ncontents of his tent-shop, and has the two boys bring it forward and\nraise the sides. He then offers the Governor several impossible\nthings, as a star, which is seen through the tent, and an old\nsyringe, which he suggests might be profitably applied to the Royal\nCouncil. As the Governor replies roughly, Ge\u00fcg\u00fcence at once changes\nthe subject to a laudation of the remarkable skill of Don Forcico in\nmany vocations. The Governor is interested and proposes to inquire\nof Don Forcico himself as to the truth of this. The latter repeats\nthe boasts, and on the Governor inquiring as to whether he knows\nsome diverting dances, with his father and his brother, he dances a\nballet.\n\n[Sidenote: p. 46.]\n\n[Sidenote: p. 48.]\n\nThe Governor wishes to see another ballet, which the three perform,\nalso; and this is followed by two others, in which the Governor and\nAlguacil also take part.\n\n[Sidenote: p. 50.]\n\n[Sidenote: p. 52.]\n\n[Sidenote: p. 54.]\n\n[Sidenote: p. 56.]\n\n[Sidenote: p. 58.]\n\n[Sidenote: p. 60.]\n\n[Sidenote: p. 62.]\n\nFollowing these the Governor asks for the masquerade of the\n_macho-raton_, or the mules. They are led in by Don Forcico, and\nmarch around the stage. G\u00fceg\u00fcence avails himself of this auspicious\nmoment to ask for the hand of the Lady Suche-Malinche, the\nGovernor's daughter. The Governor sends the Alguacil for the Chief\nSecretary, who returns with Suche-Malinche and other young women.\nThe Secretary describes what an elegant costume is expected of the\nson-in-law of the Governor, and the latter suggests that G\u00fceg\u00fcence\nhas cast his eyes too high. The old man explains that it was not for\nhimself, but for Don Forcico, that the request was made, and\npretends to feel quite badly about the marriage. He, nevertheless,\nbrings up the young women, one by one, who are rejected by Don\nForcico, with very uncomplimentary remarks, until Suche-Malinche\ncomes forward, who pleases him, and with whom he is married. The\nGovernor then suggests that G\u00fceg\u00fcence treat the Council with some\nSpanish wine. This the old man does not find it convenient to\nunderstand, and when he can no longer escape, and is at a loss where\nto obtain the liquor, is relieved by Don Forcico, who has secured\nit in a questionable manner.\n\n[Sidenote: p. 64.]\n\n[Sidenote: p. 66.]\n\n[Sidenote: p. 68.]\n\nThe mules, that is, the masqueraders who represent them, are then\nbrought up, and as G\u00fceg\u00fcence examines first one and then another,\nthey give him opportunity for a series of extremely broad jokes and\nvulgar allusions.\n\nFinally, the loads are placed on the mules, the boys mount them and\nmove off, while G\u00fceg\u00fcence, having offered his wine to the Governor,\nthe Secretary, the Registrar and the Alguacil, who each in turn tell\nhim to be off, leaves the stage shouting to his sons that they will\nall have a rouse that will cost them nothing.\n\n\nFOOTNOTES:\n\n[1] E. G. Squier, _The States of Central America_, p. 317 (London,\n1858).\n\n[2] The conquest of Nicaragua is described by Oviedo, _Historia\nGeneral de las Indias_, Lib. XXIX, cap. XXI, and Herrera, _Decadas\nde Indias_, Dec. III, Lib. IV, and see Dec. IV, Lib. VIII, cap. X.\n\n[3] \"_Nicaragua_ es lo mismo que _Nica anahuac_, aqui estan los\nMexicanos \u00f2 Anahuacos.\" Fray Francisco Vasquez, _Cronica de la\nProvincia de Guatemala_, Parte II, Lib. V, cap. I (Guatemala, 1716).\nThe form _Nicarao_, adopted by Dr. Berendt, is certainly corrupt, as\nthe termination of a proper name in _ao_ is not found in correct\nNahuatl. Squier's term _Niquirans_ was adopted by him from a\nmisreading of Oviedo, and has no authority whatever; so, also, his\nattempted discrimination between Chorotegans and Cholotecans, as\nboth these are forms of the same word.\n\n[4] \"The hypothesis of a migration from Nicaragua and Cuscatlan to\nAnahuac is altogether more consonant with probabilities, and with\ntraditions, than that which derives the Mexicans from the\nnorth.\"--E. G. Squier. _Notes on Central America_, p. 349. It is\ndifficult to understand how Mr. Squier could make this statement in\nthe face of the words of Herrera and so many other writers.\n\n[5] \"La Gente de esta tierra decia, que havia descendido de la\nMexicana; su Trage, i Lengua, era casi, como el de Mexico.\"--Herrera,\nDecada III, Lib. V, Cap. XII. \"Dic\u00e8n, que huvo en los tiempos\nantiguos, en Nueva Espa\u00f1a una gran Seca, por lo q\u00faal se fueron por\naquella Mar Austral \u00e0 poblar \u00e0 Nicaragua.\"--Id. Dec. III, Lib. IV,\ncap. VII. Torquemada, specifically quoting the traditions obtained\nfrom the oldest natives, states that the Nicaraguans came from\nAnahuac at no remote epoch.--_Monarquia Indiana_, Lib. III, cap. XL.\nSee, also, Gomara, _Hist. de las Indias_, cap. 206.\n\n[6] Prof. Buschmann, who obtained these names in a garbled form from\nTernaux-Compans' translation of Oviedo, gave them up as insoluble,\nwhile recognizing their value as indicating the wanderings of the\nNicaraguans. \"Ungl\u00fccklicherweise,\" he says, \"sind jene zwei Namen\nvon so ung\u00fcnstigem Gehalte, das ich nichts aus ihnen hervorlocken\nkann.\"--_Ueber die Aztekischen Ortsnamen_, p. 768 (Berlin, 1852).\n\n[7] The careless statement of the historian Herrera, that it was\nonly the Chorotegans who had such books, can be corrected from his\nown volumes, and also from the explicit words of Oviedo and Gomara.\nCompare Herrera, Dec. III, Lib. IV, cap. VII, with Oviedo, _Hist. de\nlas Indias_, Lib. XLII, cap. I, and Gomara, _Hist. de las Indias_,\ncap. 202.\n\n[8] The word _m\u00e1nkeme_ is a derivative from _[chi]im\u00e1_, the head,\nwhence the Chapanec _d[chi]\u00e4m\u00e4_, the ruler or head man, and\n_mand[chi]\u00e4m\u00e4_, master, chief, in which word _ma_ is a possessive\nprefix, and _n_ a particle, sometimes relative, sometimes euphonic,\nof exceedingly frequent use in this tongue. It may be compared to\nthe Nahuatl _in_.\n\n[9] This latter, or a portion of them, inhabiting a hilly country\nsouth of Masaya, were called _Dirians_, from the Mangue word\n_diri_=, a hill, a name which has improperly been extended to the\nwhole tribe.\n\n[10] The \"compulsive\" form of the verb _choloa_, to run away, is\n_chololtia_, to cause to run away, to drive out. No doubt the name\nof Cholula (Cholollan) in Mexico is of the same derivation, but it\narose from a different, though similar, historical event.\n\n[11] Torquemada appears to have been the first to make this guess;\nand it has recently been advocated by Dr. Valentini, _The Olmecas\nand the Tultecas_, p. 20 (Worcester, 1883), and was also sanctioned\nby Dr. Berendt.\n\n[12] In a note to his translation of Oviedo's _Nicaragua_.\n\n[13] The proper spelling is \"Chapanec.\" It is not an Aztec word, but\nfrom the Mangue tongue, in which _Chapa_ means the ara, or red\nmacaw, their sacred bird. The name was derived from that of the\nlofty peak on which their principal town in Chiapas was\nsituated--_chapa niiu_, the ara of fire.\n\n[14] In Mr. Bancroft's _Native Races of the Pacific States_, Vol. V,\np. 659.\n\n[15] The contrary of this has been very positively stated by Dr.\nValentini (_ubi supra_). The only evidence he brings forward is the\nword _calachuni_, for chieftain, applied by Gil Gonzalez to one of\nthe rulers in Nicaragua. This is, no doubt, the Maya _halach uinic_,\nholy man, but Gonzalez wrote in 1522, and this word was adopted by\nthe Spaniards in 1518, during Grijalva's expedition to Yucatan, as\nthe accounts show, and was promiscuously applied, just as _cacique_,\n_canoe_, etc., from the Haytian dialect. A careful analysis of all\nthe native words in Oviedo's account of Nicaragua does not show a\nsingle Maya affinity.\n\n[16] The chief asked Gonzalez if, at the end of the world, the earth\nwould be overturned, or would the sky fall? How large are the stars,\nwhy they move, and what keeps them in their courses? When, and how\ndo the sun and moon change their brightness? Why is the night dark\nand the winter cold, since light and warmth are so much better?\n(Herrera, Decad. III, Lib. IV, cap. V.)\n\n[17] The leading authorities on the antiquities of Nicaragua are E.\nG. Squier, _Nicaragua, Its People, Scenery and Monuments_, together\nwith his numerous other works pertaining to Central America; and the\nreports of Dr. Earl Flint and Dr. J. F. Bransford, to the\nSmithsonian Institution. Dr. Habel and Dr. Berendt also made\nnumerous investigations, but their reports have not appeared in\nadequate detail.\n\n[18] See his essay, _Remarks on the Centres of Ancient American\nCivilization in Central America, and their Geographical\nDistribution, in the Bulletin of the American Geog. Soc. No. 2,\n1876._\n\n[19] _Historia General de las Indias_, Lib. XLII, cap. V.\n\n[20] The older writers have left scant information about these\nidioms. Oviedo preserved thirty or forty Nahuatl words, most of\nwhich have been analyzed by Buschman; and Benzoni, in a brief\npassage, notes the identity of the Nicaraguan and Mexican. \"Chiamano\nli Signori Tutruane, il pane tascal, and le galline totoli, and\noccomaia tanto vuol dire como aspetta un poco e al infirmita\nmococoua and al ballare mitote.\" _La Historia del Mondo Nuovo_, p.\n103. It is said that a _Doctrina_ was printed in the Mangue; but the\nonly work on that tongue I know of is the _Apuntamientos de la\nLengua Mangue_, by Don Juan Eligio de la Rocha (MS. Masaya, 1842) a\nfragment of which is in my possession.\n\nDr. S. Habel, who visited Nicaragua in 1865, in spite of the\ngreatest efforts, was unable to find a single person speaking\nNahuatl; they told him it was all forgotten.--_Arch\u00e6ological and\nEthnological Investigations in Central and South America_, p. 24\n(Washington, 1878).\n\n[21] The superior position of the Nahuatl among the Nicaraguan\nlanguages was noted by Benzoni, in his visit to that country, as\nearly as about 1550. He observes: \"Parlano in Nicaragua quatro\nlenguaggi, pero la meglio \u00e8 la Messicana, laquale si stende piu di\nmille e cinquecento miglia di paese and \u00e8 la piu facile da\nimparare.\"--_Istoria del Nuovo Mondo_, p. 103 (Venetia, 1565).\n\n[22] \"Una mezcla de Castellano y Mexicano, que ni en uno ni en otro\nidioma se entiende.\"--_Compendio del Arte de la Lengua Mexicana_,\npp. 93, 202.\n\n[23] Speaking of the natives of Nicaragua and Honduras, Father\nFrancisco Vasquez says: \"Muchos de aquellos Indios por la\ncomunicacion que tienen con gente ladina de las estancias vecinas\nalcanzan mucho de la lengua Castellana.\"--_Historia de la Provincia\nde Guatemala._ Parte II, Lib. V, Trat. I, Cap. 1 (Guatemala, 1716).\n\n[24] This verse is from a song by Dr. Gollena, a highly appreciated\npoet of Guatemala, who has written, but I believe never published,\nsome poems in the Nicaraguan dialect.\n\n[25] Oviedo, _Historia General de las Indias_, Lib. XLII, cap. XI.\nPrecisely this baile, or one altogether like it, is described by\nDiego Duran as common in Mexico in his day (about 1580). He writes:\n\"Tambien usaban bailar al rededor de un volador alto vistiendose\ncomo p\u00e1jaros y otras veces como monas volaban de lo alto de el\ndejandose venir por unas cuerdas que en la punta de este palo estan\narolladas, desli\u00e1ndose poco \u00e0 poco por un bastidor que tiene\narriba,\" etc.--_Historia de las Indias de Nueva Espa\u00f1a._ Tomo II, p.\n232 (Mexico, 1880).\n\n[26] _Historia del Nuovo Mondo_, fol. 103 (Venetia, 1565). Benzoni\ngives a wood cut exhibiting the dances, but it is not instructive.\nAnother traveler, Fran\u00e7ois Coreal, claimed to have visited Nicaragua\nabout 1680, and also describes the native dances, but in words so\nsimilar to Benzoni that it is an evident plagiarism.--_Relation des\nVoyages de Fran\u00e7ois Coreal aux Indes Occidentales_, Tome I, p. 88\n(Amsterdam, 1722).\n\n[27] Thomas Gage, _A New Survey of the West Indies_, p. 234 (4th Ed.\nLondon, 1699).\n\n[28] Letter to the London _Ath\u00e6neum_, 1856, p. 1537. Oviedo also\nstates that the songs sung at certain _bailes_ were of an historical\ncharacter, intended to recall the important incidents in personal\nand tribal history, \"que les quedan en lugar de historia \u00e9 memoria\nde las cosas pasadas.\"--_Historia General de las Indias_, Lib. XLII,\ncap. XI.\n\n[29] \"Hay santos \u00e0 quienes se hace el voto, en caso de enfermedad \u00fa\nde desgracia de ir \u00e1 _bailar_ ante su imagen, en tal pueblo, el dia\nde su fiesta, cuando le sacan procesionalmente.\"--Pablo Levy, _Notas\nGeograficas y Econ\u00f3micas sobre la Republica de Nicaragua_, p. 281\n(Paris, 1873).\n\n[30] \"Welligt blijkt de geesteloosheid dezer menschen nit niets zoo\nzeer als uit hunne dansen, een vermaak, hetwelk trouwens vrij\nzeldzaam onder hen is. Bij het eentoonige geluid van een paar\nfluiten, en het kloppen op een hol blok hout, draaijen mannen en\nvrouwen afzonderlijk, langzaam en bedaard, in alle rigtingen herom,\nen schijnen veeleer diepe treurigheid dan vreugde aan den dag te\nleggen.\"--J. Haefkens, _Centraal Amerika_, p. 407 (Dordrecht, 1832).\n\n[31] Such dances are the \"bailes usados en el populacho, y que estan\nmuy lejos de brillar por su desencia,\" referred to by Don Pablo\nLevy, _Notas_, etc., _sobre Nicaragua_, p. 294.\n\n[32] The word _Loga_ is, I have no doubt, a corruption of the\nSpanish _loa_. The _loas_ in Spain were at first rhymed prologues to\nthe plays, but later took a more dramatic form and \"differed little\nfrom the farces that followed them.\" See George Ticknor, _History of\nSpanish Literature_, vol. ii, pp. 527-529 (5th edition).\n\n[33] \"_Mosote._ Un casco \u00f4 gorra de cabuya te\u00f1ida negra, con cola \u00e0\ntrensa, usada en el baile de los _Chinegritos_.\"--Berendt, MSS.\n\n[34] \"_Guaca._ Montecillo de sepultura de los inhabitantes antiguos.\nCueva; madriguera de animales. Hoyo subteraneo para madurar \u00f4\nguardar frutas y verduras.\"--Berendt, MSS.\n\n[35] _Nicaragua, Its People, Scenery and Monuments_, Vol. I, p. 340.\n\n[36] _Narrative of Incidents on a Journey in Mexico, Guatemala and\nSan Salvador_, pp. 384-6 (London, 1858). The Smithsonian Institution\ncontains a good specimen of the Marimba.\n\n[37] Arthur Morelet, _Voyage dans l'Amerique Centrale_, Tome II, pp.\n42, 43 (Paris, 1857).\n\n[38] _Arch\u00e6ological Researches in Nicaragua_, p. 75 (Washington,\n1881).\n\n[39] The most satisfactory discussion of native music is that by\nTheodore Baker, _Ueber die Musik der Nord Amerikanischen Wilden_\n(Leipzig, 1882). Mr. Edwin A. Barber has also contributed some\nvaluable articles on the subject.\n\n[40] _The American Naturalist_, February, 1883.\n\n[41] _Voyage dans l'Amerique Centrale_, Tom. II, p. 44.\n\n[42] So little is understood about the system of the _cofradias_,\nand the point is one of so much importance in the study of the\norganization of Spanish ecclesiasticism in America, that it is worth\nwhile to explain it. They are created by the priest of a parish, in\nsuch number as he sees fit, and each bears the name of a saint or\nreligious occurrence. Each should have, of male members, a major\ndomo, a steward (_prioste_), and four or more appointees\n(_diputados_). They attend the priest, serve in the church, aid in\nthe offices of religion, have a monthly mass, act as choristers,\netc., at fixed periods. Of female members there should be the\npatroness (_patrona_ or _capitana_), and the _alguazila mayor_, each\nof whom should have two special attendants, and there should be\nother members. Their duties are to sweep the church, deck it with\nflowers when necessary, and aid the male members in their duty. Each\n_cofradia_ should have its strong box and financial resources,\nindependently, and the major domo is expected to keep a book\naccounting for the funds. I have in my possession such a volume, in\nthe Chapanec language, the _Libro de Cuentas de la Cofradia del\nRosario_, 1796.\n\nFrom ten to fifty cofradias were formerly attached to one church,\nbut the modern curas complain that they can no longer be kept up.\n\"Es verdad,\" exclaims the worthy presbyter Navarro, \"que los Sres.\nCuras, mis antecessores, y yo, hemos procurado organizarlas de\nnuevo, pero es moralmente impossible.\"--_Memoria de la Parroquia de\nVilla Nueva_, p. 18. (Guatemala, 1868).\n\n[43] See, for example, the _Rabinal-Achi, ou le Drame-Ballet du\nTun_, in Kiche, published by the Abb\u00e9 Brasseur de Bourbourg, and the\ntranslation of the song of the Uluas of Nicaragua given by Pablo\nLevy.--_Notas sobre la Republica de Nicaragua_, p. 307 (Paris,\n1873).\n\n[44] \"Il y en a qui font les sourds, d'autres les aveugles.\nIls rient, ils crient, et font en un mot toute sorte de\nsingeries.\"--_Voyages de Fran\u00e7ois Coreal aux Indes Occidentales\ndepuis 1666 jusqu'en 1697._ Tom. I, p. 88 (Amsterdam, 1722).\nBorrowed, probably, from Benzoni, who says the same.\n\n[45] \"Habia un baile y canto de truhanes en el cual introducian un\nbobo que fingia entender al reves lo que su amo le mandaba,\ntrastocandole las palabras.\"--P. F. Diego Duran, _Historia de las\nIndias de la Nueva Espa\u00f1a_, Tomo II, p. 231 (Mexico, 1880).\n\n[46] As Mr. George Ticknor very pointedly says, in speaking of the\nSpanish drama:--\"Above all, it was necessary that it should be\nSpanish; and therefore, though its subject be Greek or Roman,\nOriental or mythological, the characters represented were always\nCastilian, and Castilian after the fashion of the seventeenth\ncentury,--governed by Castilian notions of gallantry, and the\nCastilian point of honor.\"--_History of Spanish Literature_, vol II,\np. 539 (5th edition).\n\n[47] Speaking of the comedy, he says:--\"Ihr wahrer allgemeiner\nNutzen liegt in dem Lachen selbst, in der Uebung unserer\nF\u00e4higkeit das L\u00e4cherliche zu bemerken; es unter allen Bem\u00e4ntelungen\nder Leidenschaft und der Mode, es in allen Vermischungen\nmit noch schlimmern oder mit guten Eigenschaften, sogar in den\nRunzeln des feierlichen Ernstes, leicht und geschwind zu\nbemerken.\"--_Hamburgische Dramaturgie_, 29 St\u00fcck.\n\n[48] _Tlatoani_ means, literally, \"the speaker,\" from _tlatoa_, to\nspeak, to ask, but it is translated by the Spanish lexicographers\n\"gran se\u00f1or.\" The chiefs were probably so called, from their right\nof speech in the assemblies. Benzoni gives something like this as\nthe title of the Nicaraguan chiefs. \"Chiamano li Signori Tutruane,\"\nwhich I suspect is a misprint for _Tattruani_.--_Istoria del Mondo\nNuovo_, p. 103 (Venetia, 1565).\n\n[49] Icazbalceta's discussion of the name may be found in his notes\nto the _Di\u00e1logos de Francisco Cervantes Salazar_, p. 181 (Mexico,\n1875). Malinalli is the twelfth day of the Mexican month. According\nto Duran, the word means underbrush (_matorral_), and the prognostic\nwas, that those born on that day should have an annual attack of\nsickness, like this underbrush, which dries up, or loses its leaves\nyearly.--_Historia de la Nueva Espa\u00f1a_, Tomo II, p. 261 (Mexico,\n1880).\n\n[50] See the rare work of Fray Joan Baptista (often spelled\nBautista). _Advertencias para los Confessores de los Naturales_,\nvols. 107, 108 (Mexico, en el Convento de Sanctiago Tlatilulco, a\u00f1o\n1600).\n\n\n\n\nTHE G\u00dcEG\u00dcENCE.\n\nA COMEDY BALLET\nIN THE\nNAHUATL-SPANISH DIALECT OF NICARAGUA.\n\n\n\n\nBAILE DEL G\u00dcEG\u00dcENCE\n\n\u00f3\n\nMACHO-RATON.\n\n\nPERSONAS.\n\nEL GOBERNADOR TASTUANES.\nEL ALGUACIL MAYOR.\nEL G\u00dcEG\u00dcENCE.\nDON FORCICO.\nDON AMBROSIO.\nDO\u00d1A SUCHI-MALINCHE.\nEL ESCRIBANO REAL.\nEL REGIDOR DE CANA.\n\n\n\n\nTHE\nBALLET OF THE G\u00dcEG\u00dcENCE;\n\nOR,\n\nTHE MACHO-RATON.\n\n\nDRAMATIS PERSON\u00c6.\n\nTHE GOVERNOR TASTUANES.\nTHE CHIEF ALGUACIL.\nTHE G\u00dcEG\u00dcENCE.\nDON FORCICO, HIS ELDER SON.\nDON AMBROSIO, HIS YOUNGER SON.\nTHE LADY SUCHI-MALINCHE.\nTHE ROYAL SECRETARY.\nTHE REGISTRAR.\n\n6\n\n\n\n\nBAILE DEL G\u00dcEG\u00dcENCE.\n\n\n Se da principio bailando, y habla el\n\n_Alguacil._\n\nMatateco Dio mispiales, Se\u00f1or Gobernador Tastuanes.\n\n_Gobernador._\n\nMatateco Dio miscuales quilis no pilse Capitan Alguacil Mayor ya\ntiguala neme?\n\n_Alguacil._\n\nMascamayagua Sor. Gob^r Tastuanes.\n\n Dan vuelta bailando y habla el\n\n_Alguacil._\n\nMatateco Dio mispiales, Se\u00f1or Gobernador Tastuanes.\n\n_Gobernador._\n\nMatateco Dio miscuales quilis no pilce Capitan Alguacil Mayor: no\npilces simocague campamento Se\u00f1ores principales, sones, mudanzas,\nvelancicos necana y paltechua linar mo Cabildo Real. En primer lugar\ntecetales seno mesa de oro, seno carpeta de bordado, seno tintero de\noro, seno pluma de oro, seno salvadera de oro, y no mas hemo papel\nblanco y paltechua sentar mo Cabildo Real.\n\n Dan vuelta bailando y habla el\n\n_Alguacil._\n\nMatateco Dio mispiales, Se\u00f1or Gobernador Tastuanes.\n\n_Gobernador._\n\nMatateco Dio miscuales quilis no pilces Capitan Alguacil Mayor.\n\n7\n\n\n\n\nTHE COMEDY-BALLET OF G\u00dcEG\u00dcENCE.\n\n\n (The Alguacil and Governor enter, dancing.)\n\n_Alg._ I pray God to protect you, Governor Tastuanes.\n\n_Gov._ I pray God to prosper you, my son, Captain Chief Alguacil;\nare you well?\n\n_Alg._ At your service, Governor Tastuanes.\n\n (They dance around the stage.)\n\n_Alg._ I pray God to protect you, Governor Tastuanes.\n\n_Gov._ I pray God to prosper you, my son, Captain Chief Alguacil: my\nson, suspend in the quarters of the leading men the music, dances,\nsongs, ballets, and such pleasant matters of amusement to the Royal\nCourt. It is a great shame that we have no golden table, no\nembroidered table-cloth, no golden inkstand, no pen of gold, no\ngolden sand-box, not even white paper, and such like suitable\nthings, for a session of the Royal Court.\n\n (They dance around the stage.)\n\n_Alg._ I pray God to protect you, Governor Tastuanes.\n\n_Gov._ I pray God to prosper you, my son, Captain Chief Alguacil.\n\n8\n\n_Alguacil._\n\nYa lichua linar mo Cabildo Real. En primer lugar tecetales seno mesa\nde oro, seno carpeta de bordado, seno tintero de oro, seno pluma de\noro, seno salvadera de oro, no mas hemo papel blanco y paltechua\nsentar mo Cabildo Real.\n\n_Gobernador._\n\nNo pilces Cap^n Alg^l M^{or} simocag\u00fce campamento Sres. principales\nsones, mudanzas, velancicos necana y paltechua seno la ronda\nquinquimagua licencia galagua no provincia real.\n\n_Alguacil._\n\nMascamayagua Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Srs.\nprincipales sones, mudanzas, velancicos necana y paltechua seno la\nronda del Se\u00f1or Gobernador Tastuanes.\n\n Aqui se toca la ronda, dan vuelta bailando y habla el\n\n_Alguacil._\n\nSor. Gob^{or} Tastuanes, ya nemo niqui nistipampa, ya nemo niqui\nsamo la ronda, son rastros y pedazos de cinchones rompidos de\ncorage, sombrero de Castor rompido de corage, no mas hemo mantera de\nrevoso, no mas hemo capotin colorado \u00e1 sones panegua sesule\nG\u00fceg\u00fcence, Sor. Gob^{or} Tastuanes.\n\n_Gobernador._\n\nNo pilces Cap^n Alg^l M^{or} asamatimaguas consentidor, afrentador,\nticino mo Cabildo Real.\n\n_Alguacil._\n\nAcaso no me de consentidor ticino mo Cabildo Real.\n\n9\n\n_Alg._ Something to amuse the Royal Court. It is a great shame that\nwe have no golden table, no embroidered table-cloth, no golden\ninkstand, no pen of gold, no golden sand-box, not even white paper,\nand such like suitable things, for a session of the Royal Court.\n\n_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of\nthe leading men the music, dances, songs, ballets, and such matters,\nunless the patrol gives a permit to enter my royal province [for\nthat purpose].\n\n_Alg._ Yours to command, Governor Tastuanes. I pray God to protect\nyou. The leading men [shall give no] music, dances, songs, ballets,\nand such things, without [the permission of] the patrol of Governor\nTastuanes.\n\n (The patrol is sounded and they dance.)\n\n_Alg._ Governor Tastuanes, I am here, as is proper, but the patrol\nis not; their girdles are in rags and tatters, and their hats\nsmashed in from their frays, and we have not a single saddle cloth\nor red cloak better, perhaps, than that good-for-nothing G\u00fceg\u00fcence,\nGovernor Tastuanes.\n\n_Gov._ My son, Captain Chief Alguacil, you must bring that pimp,\nthat impudent fellow, that charlatan, before the Royal Court.\n\n_Alg._ Perhaps that pimp and charlatan won't come with me to the\nRoyal Court.\n\n10\n\n_Gobernador._\n\nNo pilces Cap^n Alg^l M^{or} simocag\u00fce campamento Sres. principales\nsones, mudanzas, velancicos necana y paltech\u00faa sesule G\u00fceg\u00fcence, \u00f3\nde la cola, \u00f3 de las piernas, \u00f3 de las narices, \u00f3 de onde Dios te\nayudare, Cap^n Alg^l M^{or}.\n\n_Alguacil._\n\nMascamayagua, Sor. Gob^{or} Tastuanes, sones, mudanzas, velancicos\nnecana.\n\n_G\u00fceg\u00fcence._\n\n\u00a1Ha muchachos, g\u00fcil ternero, (\u00f3) g\u00fcil potro para quichuas rebiatar\nde la cola, \u00f3 de las piernas, \u00f3 de las narices?\n\n_D. Ambrosio._\n\nAsi lo mereces, G\u00fceg\u00fcence embustero.\n\n_G\u00fceg\u00fcence._\n\n\u00bfMe hablas, Don Forcico?\n\n_D. Forcico._\n\nNo, tatita, seran los oidos que le chillan.\n\n_G\u00fceg\u00fcence._\n\n\u00bfMe hablas, Don Ambrosio?\n\n_D. Ambrosio._\n\n\u00bfQuien te ha de hablar, G\u00fceg\u00fcence embustero?\n\n_G\u00fceg\u00fcence._\n\nComo no, mala casta, saca fiestas sin vigilias en los dias de\ntrabajos. Ora quien v\u00e1, quien quiere saber de mi nombre?\n\n_Alguacil._\n\nUn criado del Sor. Gob^{or} Tastuanes.\n\n11\n\n_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of\nthe leading men the music, dances, songs, ballets, and such things,\n[and bring] that good-for-nothing G\u00fceg\u00fcence, either by the tail, or\nthe legs, or the nose, or by whatever God will help you [to bring\nhim], Captain Chief Alguacil.\n\n_Alg._ At your service, Governor Tastuanes, the music, dances,\nsongs, ballets [will be suspended].\n\n_G\u00fceg\u00fcence._ Ho, boys! is it a calf or is it a colt that is to be\ntied behind by the tail, or the legs, or the nose?\n\n_Don Ambrosio._ That's what you deserve, G\u00fceg\u00fcence, you old humbug.\n\n_G\u00fce._ Do you speak to me, Don Forcico?\n\n_Don Forcico._ No, little papa, perhaps it's your ears that are\nbuzzing.\n\n_G\u00fce._ Do you speak to me, Don Ambrosio?\n\n_Don Am._ Who would speak to you, G\u00fceg\u00fcence, you old humbug?\n\n_G\u00fce._ Why not, you bad breed, you lazy loafer on working days? Who\nis it now who wants to know my name?\n\n_Alg._ A servant of the Governor Tastuanes.\n\n12\n\n_G\u00fceg\u00fcence._\n\nComo que criada, g\u00fcil chocolatera, \u00f3 g\u00fcil lavandera, \u00f3 componedera\nde la ropa del Sor. Gob^{or} Tastuanes?\n\n_Alguacil._\n\nChocolatera \u00f3 lavandera no; criado del Sor. Gob^{or} Tastuanes.\n\n_G\u00fceg\u00fcence._\n\nPues que criada, g\u00fcil cocinera \u00f3 g\u00fcil componedora del plato del Sor.\nGob^{or} Tastuanes?\n\n_Alguacil._\n\nAsuyungua me negua, no me cele componedora del plato, Capitan\nAlguacil Mayor del Sor. Gob^{or} Tastuanes.\n\n_G\u00fceg\u00fcence._\n\nHa! Cap^n Alg^l M^{or} del Sor. Gob^{or} Tastuanes: O amigo Cap^n\nAlg^l M^{or} del Sor. Gob^{or} Tastuanes, asa campamento insigna\nvara?\n\n_Alguacil._\n\nAsa neganeme, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nAsetato, amigo Cap^n Alg^l M^{or}.\n\n_Alguacil._\n\nAsetato, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nAmigo Cap^n Alg^l M^{or}, y que dice el Sor. Gobernador Tastuanes?\n\n_Alguacil._\n\nQue vayas corriendo y volando, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nCorriendo y volando? Como quiere que corra y vuela un pobre viejo,\nlleno de dolores y continuas calamidades?\n\n13\n\n_G\u00fce._ What sort of a servant-girl is it, the chocolate maker, the\nwashwoman, or the clothes patcher of the Governor Tastuanes?\n\n_Alg._ Neither waiter-girl nor washwoman; a servant of the Governor\nTastuanes.\n\n_G\u00fce._ Then which servant-girl, cook or grub-fixer of the Governor\nTastuanes?\n\n_Alg._ Let me disclose myself; I have nothing to do with the\ngrub-fixer; I am the Captain Chief Alguacil of the Governor\nTastuanes.\n\n_G\u00fce._ Ha! Captain Chief Alguacil of the Governor Tastuanes! O\nfriend Captain Chief Alguacil of the Governor Tastuanes, your\nofficial staff is perhaps at your quarters?\n\n_Alg._ Perhaps I may offer you one, G\u00fceg\u00fcence.\n\n_G\u00fce._ Take a seat, friend Captain Chief Alguacil.\n\n_Alg._ Take a seat, G\u00fceg\u00fcence.\n\n_G\u00fce._ Friend Captain Chief Alguacil, and what has Governor\nTastuanes to say?\n\n_Alg._ That you go to him a-running and a-flying, G\u00fceg\u00fcence.\n\n_G\u00fce._ A-running and a-flying? How does he expect a poor old man,\nfull of pains and aches, to run and\n\n14\n\nAmigo Cap^n Alg^l M^{or} y un silguero que est\u00e1 en la portada del\nSor. Gob^{or} Tastuanes, que es lo que hace?\n\n_Alguacil._\n\nCantando y alegrando \u00e1 los Se\u00f1ores grandes.\n\n_G\u00fceg\u00fcence._\n\nEse es mi consuelo y mi divertimiento. Amigo Cap^n Alg^l M^{or} con\nque corriendo y volando?\n\n_Alguacil._\n\nCorriendo y volando, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\n\u00a1Ha, muchachos! me hablan?\n\n_D. Ambrosio._\n\nQuien te ha de hablar, G\u00fceg\u00fcence embustero?\n\n_G\u00fceg\u00fcence._\n\n\u00bfMe hablas, Don Forcico?\n\n_D. Forcico._\n\nNo, tatita, seran los oidos que le chillan.\n\n_G\u00fceg\u00fcence._\n\nEse ser\u00e1, muchachos. Pues ten cuenta con la bodega, que voi \u00e1 ver si\npuedo volar.\n\n_Alguacil._\n\nHa, G\u00fceg\u00fcence, con que modo y con que cortecilla te calas, qui\nprovincia real del Sor. Gob^{or} Tastuanes?\n\n_G\u00fceg\u00fcence._\n\nPues, y como, amigo Cap^n Alg^l M^{or}?\n\n_Alguacil._\n\nPrimero ha de ser un velancico, y paltech\u00faa consolar el Cabildo Real\ndel Sor. Gob^{or} Tastuanes.\n\n15\n\nfly? Friend Captain Chief Alguacil, and a linnet that reaches the\ndoor of Governor Tastuanes, what does it do there?\n\n_Alg._ It sings and amuses the grandees there.\n\n_G\u00fce._ That is my consolation and delight. Friend Captain Chief\nAlguacil, how about this running and flying?\n\n_Alg._ A-running and a-flying, G\u00fceg\u00fcence.\n\n_G\u00fce._ Ho, boys! do you speak to me?\n\n_Don. Am._ Who wants to speak to you, G\u00fceg\u00fcence, old humbug?\n\n_G\u00fce._ Do you speak to me, Don Forcico?\n\n_Don For._ No, little papa, perhaps it's your ears that are buzzing.\n\n_G\u00fce._ That may be, boys. Well, then, look after the shop, and I\nwill go and see if I can fly.\n\n_Alg._ Ho, G\u00fceg\u00fcence! in what style, and with what etiquette, are\nyou going to enter the royal presence of the Governor Tastuanes?\n\n_G\u00fce._ Well, now, how should I, friend Captain Chief Alguacil?\n\n_Alg._ First, there should be a song, and such like, to amuse the\nRoyal Court of the Governor Tastuanes.\n\n16\n\n_G\u00fceg\u00fcence._\n\nVelancico, amigo Cap^n Alg^l M^{or}, pues simocag\u00fce campamento Sres\nprincipales sones, mudanzas, velancicos necana y paltechua consolar\nmo Cabildo Real del Sor. Gob^{or} Tastuanes.\n\n_Alguacil._\n\nMascamayagua G\u00fceg\u00fcence. Matateco Dio mispiales Sres. principales\nsones, mudanzas, velancicos necana y paltechua sesule G\u00fceg\u00fcence.\n\n Dan vuelta los dos bailando y habla el.\n\n_Alguacil._\n\nHa, G\u00fceg\u00fcence, ya estamos en el paraje.\n\n_G\u00fceg\u00fcence._\n\nYa estamos con coraje.\n\n_Alguacil._\n\nEn el paraje.\n\n_G\u00fceg\u00fcence._\n\nEn el obraje.\n\n_Alguacil._\n\nEn el paraje.\n\n_G\u00fceg\u00fcence._\n\nEn el paraje. Pues, amigo Cap^n Alg^l M^{or}, no me ense\u00f1ar\u00e1 con que\nmodo y con que cortecilla he de entrar y salir ante la presencia\nreal del Sor. Gob^{or} Tastuanes?\n\n_Alguacil._\n\nSi, te ense\u00f1ar\u00e9, pero no de balde; primero ha de ser mi salario.\n\n_G\u00fceg\u00fcence._\n\nPescados salados? Ha, muchachos! Ah\u00ed estan las redes de pescados\nsalados?\n\n17\n\n_G\u00fce._ A song, friend Captain Chief Alguacil; then suspend in the\nquarters of the leading men the music, dances, songs, ballets, and\nsuch things, to amuse the Royal Court of the Governor Tastuanes.\n\n_Alg._ At your service, G\u00fceg\u00fcence. I pray God to protect the leading\nmen [and they will suspend] the music, dances, songs, ballets, and\nsuch like, for this good-for-nothing G\u00fceg\u00fcence.\n\n (They dance around the stage.)\n\n_Alg._ Ha, G\u00fceg\u00fcence! here we are at the place.\n\n_G\u00fce._ Here we are, with heart of grace.\n\n_Alg._ At the place.\n\n_G\u00fce._ To work apace.\n\n_Alg._ At the place.\n\n_G\u00fce._ At the place. Now, friend Captain Chief Alguacil, won't you\nteach me with what style, and with what etiquette, I ought to go in\nand come out of the royal presence of the Governor Tastuanes?\n\n_Alg._ Yes, I'll teach you; but not for nothing. First, I want my\nsalary.\n\n_G\u00fce._ Salted fish? Ho, boys! are the nets of salted fish here?\n\n18\n\n_D. Forcico._\n\nAhi estan, tatita.\n\n_D. Ambrosio._\n\nQue redes de pescados salados has de tener, G\u00fceg\u00fcence, embustero?\n\n_G\u00fceg\u00fcence._\n\nComo no! mala casta, ojos de sapo muerto! Amigo Cap^n Alg^l M^{or},\nya estamos desaviados de los pescados salados.\n\n_Alguacil._\n\nAcaso no me cele de pescados salados, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nPues, y como, amigo Cap^n Alg^l M^{or}?\n\n_Alguacil._\n\nReales de plata, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nHa! redes de platos. A! muchachos, ah\u00ed estan las redes de platos?\n\n_D. Forcico._\n\nAhi estan, tatita.\n\n_G\u00fceg\u00fcence._\n\nPues, amigo Cap^n Alg^l M^{or}, ya estamos aviados de platos. Y como\nde que platos quiere? de la china, \u00f3 de barro?\n\n_Alguacil._\n\nAyugama, no me cele de platos, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nPues, y como, amigo Cap^n Alg^l M^{or}?\n\n_Alguacil._\n\nPesos duros, G\u00fceg\u00fcence.\n\n19\n\n_Don For._ Here they are, little papa.\n\n_Don Amb._ What nets of salted fish do you pretend to have,\nG\u00fceg\u00fcence, you old humbug?\n\n_G\u00fce._ Why not, you bad breed, you evil-eyed brat? Friend Captain\nChief Alguacil, we are just now out of salted fish.\n\n_Alg._ Perhaps I don't care for salted fish, G\u00fceg\u00fcence.\n\n_G\u00fce._ Well, what then, Captain Chief Alguacil?\n\n_Alg._ Pieces of eight, G\u00fceg\u00fcence.\n\n_G\u00fce._ Ha! dishes and plates. Ho, boys! have we some dishes and\nplates?\n\n_Don For._ Here they are, little papa.\n\n_G\u00fce._ Well, then, Captain Chief Alguacil, we are supplied with\nplates. What kind of plates do you want, china plates or earthen\nplates?\n\n_Alg._ Neither one nor the other. I don't care for plates,\nG\u00fceg\u00fcence.\n\n_G\u00fce._ Well, what then, Captain Chief Alguacil?\n\n_Alg._ Hard pieces, G\u00fceg\u00fcence.\n\n20\n\n_G\u00fceg\u00fcence._\n\nHa! Quesos duros de aquellos grandotes. A, muchachos, ahi estan los\nquesos duros que trajimos de sobornal?\n\n_D. Forcico._\n\nNo, tatita; se los comi\u00f3 mi hermanito, Don Ambrosio.\n\n_D. Ambrosio._\n\nQue quesos duros has de tener, G\u00fceg\u00fcence, embustero?\n\n_G\u00fceg\u00fcence._\n\nComo no, mala casta, despues que te los has comido. Amigo Cap^n\nAlg^l M^{or}, ya estamos desaviados de los quesos duros, porque ahi\ntraigo un muchacho tan ganzo, que no me deja nada.\n\n_Alguacil._\n\nAcaso no me cele de quesos duros, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nPues, y como, amigo Cap^n Alg^l M^{or}?\n\n_Alguacil._\n\nDoblones de oro y de plata, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nHa! dobles. A! muchachos, sabes doblar?\n\n_D. Forcico._\n\nSi, tatita.\n\n_G\u00fceg\u00fcence._\n\nPues dobla, muchachos, Dios persogue \u00e1 mi amigo Cap^n Alg^l M^{or},\nque ahora endenantes estuvimos tratando y contratando con el, y ya\nse lo llev\u00f3 una bola de fuego \u00e1 mi amigo.\n\n_Alguacil._\n\nPara tu cuerpo, G\u00fceg\u00fcence. Acaso no me cele de dobles.\n\n21\n\n_G\u00fce._ Ha! hard cheeses; those big ones. Ho, boys! have we those\nhard cheeses which we brought along as extras?\n\n_Don For._ No, little papa, my little brother, Don Ambrosio, ate\nthem up.\n\n_Don Am._ What hard cheeses do you pretend to have, G\u00fceg\u00fcence, you\nold humbug?\n\n_G\u00fce._ Why not, you bad breed, since you ate them up? Friend Captain\nChief Alguacil, we are just now out of hard cheeses, because I have\na boy here who is such a hog that he leaves me nothing.\n\n_Alg._ Perhaps I don't care for hard cheeses, G\u00fceg\u00fcence.\n\n_G\u00fce._ Well, what then, Captain Chief Alguacil?\n\n_Alg._ I want toll of gold and silver, G\u00fceg\u00fcence.\n\n_G\u00fce._ Ha! toll. Ho, boys! do you know how to toll?\n\n_Don For._ Yes, little papa.\n\n_G\u00fce._ Well, then, toll away, boys, for God has got after my friend\nthe Captain Chief Alguacil, with whom we were talking and bargaining\na moment ago, and has carried off my friend in a ball of fire.\n\n_Alg._ May it burn your body, G\u00fceg\u00fcence. Perhaps I don't care for\ntolling.\n\n22\n\n_G\u00fceg\u00fcence._\n\nPues, y como, amigo Cap^n Alg^l M^{or}?\n\n_Alguacil._\n\nDoblones de oro y de plata, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nDoblones de oro y de plata! Pues hableme recio, que como soi viejo y\nsordo, no oigo lo que me dicen; y por esas tierras adentro no se\nentiende de redes de platos, ni de pescados salados, ni de quesos\nduros, ni de dobles, sino onzas de oro y moneda de plata. Y, vamos,\n\u00bfcuanto quiere?\n\n_Alguacil._\n\nTodo lo que hubiere en la bodega, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\n\u00bfTodo, todo?--\u00bfNo me dejas nada?\n\n_Alguacil._\n\nNada, nada, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nNi batuchito?\n\n_Alguacil._\n\nNi batuchito, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nYa lo ven, muchachos, lo que hemos trabajado para otro hambriento.\n\n_D. Forcico._\n\nAs\u00ed es, tatita.\n\n_D. Ambrosio._\n\nAs\u00ed lo mereces, G\u00fceg\u00fcence, embustero.\n\n_G\u00fceg\u00fcence._\n\nArra ya, mala casta, comeras tus u\u00f1as.\n\n23\n\n_G\u00fce._ Well, what then, friend Captain Chief Alguacil?\n\n_Alg._ Doubloons of gold and silver.\n\n_G\u00fce._ Doubloons of gold and silver! Then speak loud, for I am old\nand deaf; and in these inland places people know nothing of nets of\nplates, and of salted fish, nor about hard cheeses, nor about tolls,\nbut only about ounces of gold and coins of silver. Well, let us come\nto it, how much do you want?\n\n_Alg._ Everything in the shop, G\u00fceg\u00fcence.\n\n_G\u00fce._ Everything? Everything? You won't leave me anything?\n\n_Alg._ Nothing, nothing, G\u00fceg\u00fcence.\n\n_G\u00fce._ Not so much as an empty box?\n\n_Alg._ Not even an empty box, G\u00fceg\u00fcence.\n\n_G\u00fce._ Now, boys, you see how we have worked to feed another hungry\nfellow.\n\n_Don For._ So it is, little papa.\n\n_Don Am._ So you deserve, G\u00fceg\u00fcence, you old humbug.\n\n_G\u00fce._ Get out, you bad breed, you shall eat your finger nails.\n\n24\n\n_D. Ambrosio._\n\nLas comeremos, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nPues, ponga las manos: y las dos manos pone el hambriento, y que\nbuenas u\u00f1as se tiene mi amigo Cap^n Alg^l M^{or}, parecen de\nperico-ligero! a! una bomba caliente para estas u\u00f1as!\n\n_Alguacil._\n\nPara tu cuerpo, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nPues, tome! Uno, dos, tres, cuatro. Ha! mi plata, muchachos! Cuatro\ncientos y tantos pesos le he dado \u00e1 mi amigo Cap^n Alg^l\nM^{or}--Vd., amigo Cap^n Alg^l M^{or}, no sabe cual es real, ni cual\nes medio.\n\n_Alguacil._\n\nComo no? Si, entiendo de todo, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nLa mitad de este medio hacen dos cuartillos; un cuartillo dos\noctavos, un octavo dos cuartos, un cuarto dos maravedis, cada\nmaravedi dos blancos.\n\n_Alguacil._\n\nPues, \u00e9chelos todos.\n\n_G\u00fceg\u00fcence._\n\nPues, ens\u00e9\u00f1eme.\n\n_Alguacil._\n\nPues, azetagago.\n\n_G\u00fceg\u00fcence._\n\nPues, maneta congon.\n\n_Alguacil._\n\nMatateco Dio mispiales, Sor. Gob^{or} Tastuanes.\n\n25\n\n_Don Am._ Let us eat them, G\u00fceg\u00fcence.\n\n_G\u00fce._ Then put out your hands, and let this hungry fellow put out\nboth his hands; and my! what fine nails has my friend, the Captain\nChief Alguacil! They are like those of a scratching monkey! Ho,\nthere! a hot shot for these nails!\n\n_Alg._ May it burn your body, G\u00fceg\u00fcence.\n\n_G\u00fce._ Well, here then [_shows four coins_]. One, two, three, four.\nHa! my money, boys! Four hundred and some odd dollars I have given\nto my friend, the Captain Chief Alguacil. But you, friend Captain\nChief Alguacil, you don't know a real from a half a one.\n\n_Alg._ Why not? I understand all about them, G\u00fceg\u00fcence.\n\n_G\u00fce._ The half of this half real makes two cuartillos; a cuartillo\nis two octavos; an octavo is two quartos; a quarto is two maravedis;\nand each maravedi is two blancos.\n\n_Alg._ Well, then, down with them all.\n\n_G\u00fce._ Well then, teach me.\n\n_Alg._ Well, then, pay attention.\n\n_G\u00fce._ Well, then, show me.\n\n_Alg._ I pray God to protect you, Governor Tastuanes.\n\n26\n\n_G\u00fceg\u00fcence._\n\nMatateco Dio cuascuane cuascuane Tastuanes.\n\n_Alguacil._\n\nMatateco Dio mispiales, Sor. Gob^{or} Tastuanes.\n\n_G\u00fceg\u00fcence._\n\nMatateco Dio paneg\u00fce paleg\u00fce Tastuanes.\n\n_Alguacil._\n\nHace porfiado, G\u00fceg\u00fcence; Vd. ha menester una docena de cueros.\n\n_G\u00fceg\u00fcence._\n\nDocena de cueros? Ha, muchachos, nos faltan reatas \u00f3 cobijones. Aqui\nel amigo Cap^n Alg^l M^{or} nos ofrece una docena de cueros.\n\n_D. Forcico._\n\nSi, tatita.\n\n_G\u00fceg\u00fcence._\n\nAmigo Cap^n Alg^l M^{or}, y como de que cueros, \u00bfde crudia \u00f3 de\ngamusa?\n\n_Alguacil._\n\nMas azetagago, G\u00fceg\u00fcence.\n\nLe da dos rejazos.\n\n_G\u00fceg\u00fcence._\n\nArra ya, con que bueno, despues de pagado me has azotado; esos no\nson cueros, esos son azotes.\n\n_D. Ambrosio._\n\nAs\u00ed lo mereces, G\u00fceg\u00fcence, embustero.\n\n_Alguacil._\n\nMatateco Dio mispiales Sor. Gob^{or} Tastuanes, quinimente motales,\nquinimente moseguan, Alcaldes ordinarios de la Sta. hermandad,\nregidores y notarios y depositarios.\n\n27\n\n_G\u00fce._ I pray God will make you sing, Tastuanes.\n\n_Alg._ I pray God to protect you, Governor Tastuanes.\n\n_G\u00fce._ I pray God to overcome Tastuanes.\n\n_Alg._ You are stubborn, G\u00fceg\u00fcence, you need a dozen hidings.\n\n_G\u00fce._ Ho, boys! do we need some lines or covers? Our friend here,\nthe Captain Chief Alguacil, offers us a dozen hides.\n\n_Don For._ Yes, little papa.\n\n_G\u00fce._ How about those hides, friend Captain Chief Alguacil, are\nthey green or dressed?\n\n_Alg._ Find out more about them, G\u00fceg\u00fcence.\n\n (Gives him two blows.)\n\n_G\u00fce._ Get out! what right have you to beat me when I have paid?\nThese are not hides, they are blows.\n\n_Don Am._ So you deserve, G\u00fceg\u00fcence, you old humbug.\n\n_Alg._ I pray God to protect the Governor Tastuanes, those who carry\nhis messages and transact his business, the regular alcaldes of the\nHoly Brotherhood, the registrars,\n\n28\n\nEguan noche mo Cabildo Real del Sor Gob^{or} Tastuanes.\n\n_G\u00fceg\u00fcence._\n\nAmigo Cap^n Alg^l M^{or}, si de balde le he dado mi dinero, si estos\nson mis lenguajes asonesepa negualigua seno libro de romance, lich\u00faa\nrezar escataci, iscala \u00f1onguan iscumbatasi \u00e0 campaneme Tastuanes?\n\n_Alguacil._\n\nAsaneganeme, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nSi cana amigo Cap^n Alg^l M^{or} -- -- -- -- --\n\nMatateco Dio mispiales, Sor. Gob^{or} Tastuanes.\n\n_Gobernador._\n\nMatateco Dio miscuales quilis G\u00fceg\u00fcence yatiguala neme?\n\n_G\u00fceg\u00fcence._\n\nYa nemo niqui nistipampa quinimente moseguan. Alcaldes ordinarios de\nla Santa hermandad, regidores y notarios (y) depositarios(.) Eguam\nnoche mo Cabildo Real del Sor. Gob^{or} Tastuanes.\n\n_Gobernador._\n\nPues, G\u00fceg\u00fcence, quinquimagua licencia te calas qui provincia real?\n\n_G\u00fceg\u00fcence._\n\nValgame Dios, Sor. Gob^{or} Tastuanes, pues que es menester\nlicencia?\n\n_Gobernador._\n\nEs menester licencia, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nO valgame Dios, Sor. Gob^{or} Tastuanes! Cuando yo\n\n29\n\nnotaries and archivists, [by day] and night, in the Royal Court of\nGovernor Tastuanes.\n\n_G\u00fce._ Friend Captain Chief Alguacil, I have given my money for\nnothing, if these are to be my words; and shall I not bargain for a\nbook in Spanish, to read these prayers out of when I come before\nTastuanes?\n\n_Alg._ Perhaps I may offer you one, G\u00fceg\u00fcence.\n\n_G\u00fce._ If anywhere, friend Captain Chief Alguacil--[_The Governor\nenters abruptly._] I pray God to protect you, Governor Tastuanes.\n\n_Gov._ I pray God to prosper you, G\u00fceg\u00fcence; are you well?\n\n_G\u00fce._ I am here, as is proper, [and I pray God to protect] those\nwho transact the business, the regular alcaldes of the Holy\nBrotherhood, the registrars, notaries and archivists, [by day] and\nnight, in the Royal Court of Governor Tastuanes.\n\n_Gov._ Well, G\u00fceg\u00fcence, who has given you a permit to enter this\nroyal province.\n\n_G\u00fce._ God bless me, Governor Tastuanes, what is it to need a\npermit?\n\n_Gov._ A permit is necessary.\n\n_G\u00fce._ O! God bless me, Governor Tastuanes; when I\n\n30\n\nanduve por esas tierras adentro, por la carrera de Mexico, por la\nVeracruz, por la Vera Paz, por Antepeque, arriando mi recua, guia\nmuchachos, opa Don Forcico llega donde un mesonero tupile traiga una\ndocena de huevos, vamos comiendo y descargando y vuelto \u00e1 cargar, y\nme voy de paso, y no es menester licencia para ello, Sor. Gob^{or}\nTastuanes.\n\n_Gobernador._\n\nPues aqui es menester licencia para ello, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nValgame Dios, Sor. Gob^{or} Tastuanes, viniendo yo por una calle\nderecha me columbr\u00f3 una ni\u00f1a que estaba sentada en una ventana de\noro, y me dice: que galan el G\u00fceg\u00fcence, que bizarro el G\u00fceg\u00fcence,\naqui tienes bodega, G\u00fceg\u00fcence, entra, G\u00fceg\u00fcence, si\u00e9ntato,\nG\u00fceg\u00fcence, aqui hay dulce, G\u00fceg\u00fcence, aqui hay limon. Y como soy un\nhombre tan gracejo, salt\u00e9 \u00e1 la calle con un cabriol\u00e9, que con sus\nadornos no se distinguia de lo que era, lleno de plata y oro hasta\nel suelo, y as\u00ed una ni\u00f1a me di\u00f3 licencia, Sor. Gob^{or} Tastuanes.\n\n_Gobernador._\n\nPues una ni\u00f1a no puede dar licencia, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nO valgame Dios, Sor. Gob^{or} Tastuanes, no seremos guancos, no\nseremos amigos, y seremos de sones sepanegaligua, no fardesia de\nropa; en primer lugar cajoneria de oro, cajoneria de plata, ropa de\nCastilla, ropa de contrabando, g\u00fcipil de pecho, g\u00fcipil de pluma,\nmedias de seda, zapatos de oro, sombrero de castor, estriberas de\n\n31\n\nwas traveling up country, on the road to Mexico, through Vera Cruz,\nand Vera Paz, and Antepeque, driving my mules, leading my boys,\ntwice Don Forcico comes across a constable innkeeper who brings us a\ndozen eggs; and we go on eating and unloading, and we load up again,\nand I go right along, and there is no need of a permit for it,\nGovernor Tastuanes.\n\n_Gov._ Well, here there is need of a permit for it, G\u00fceg\u00fcence.\n\n_G\u00fce._ God bless me, Governor Tastuanes, as I was coming up a\nstraight street, a girl who was sitting in a golden window descried\nme, and says to me: \"What a fine fellow is G\u00fceg\u00fcence; how gallant is\nG\u00fceg\u00fcence; here's the shop for you, G\u00fceg\u00fcence; come in, G\u00fceg\u00fcence;\nsit down, G\u00fceg\u00fcence; there's sweatmeats here, G\u00fceg\u00fcence; there's a\nlemon here.\" And, as I am such a funny fellow, I jumped off, with my\nriding cloak on, so full of ornaments that you could not tell what\nit was, covered with gold and silver to the ground; and that's the\nway a girl gave me a permit, Governor Tastuanes.\n\n_Gov._ Well, a girl can't give a permit [here], G\u00fceg\u00fcence.\n\n_G\u00fce._ O! God bless me, Governor Tastuanes, we won't be fools; no,\nwe will be friends, and we will bargain about my packs of goods. In\nthe first place, chests of gold, chests of silver, cloth of Spain,\ncloth from smugglers, vests, feather skirts, silk stockings, golden\nshoes, beaver\n\n32\n\nlazo de oro y de plata, ya pachig\u00fce muyule Sor. Gob^{or} Tastuanes.\n\n_Gobernador._\n\nPachig\u00fcete no pachig\u00fcete, G\u00fceg\u00fcence, asamatimagas, (a sones) se\npalparesia motel polluse D. Forcico y D. Ambrosio timaguas y verdad,\ntin riquezas y hermosuras tumile mo Cabildo Real.\n\n_G\u00fceg\u00fcence._\n\nNo chopa quimate mollule, Sor. Gob^{or} Tastuanes.\n\n_Gobernador._\n\nNo chiquimate, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nPues si cana amigo Cap^n Alg^l M^{or}, simocag\u00fce nistipampa, Sres.\nprincipales, sones, mudanzas, velancicos, necana, y palparesia D.\nForcico timaguas y verdad, tin hermosura, tin bellezas tumiles mo\nCabildo Real.\n\n_Gobernador._\n\nNo pilse Cap^n Alg^l M^{or} simocag\u00fce campamento Sres. principales,\nsones, mudanzas, velancicos, necana y palparesia D. Forcico timagas\ny verdad, tin hermosura, tin belleza tumile mo Cabildo Real.\n\n_Alguacil._\n\nMascamayagua Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Sres.\nprincipales, sones, mudanzas, velancicos, necana y palparesia D.\nForcico timaguas y verdad.\n\n Aqui el Alguacil saca \u00e0 D. Forcico p^a hablar con el\n Gob^{or}.\n\n_D. Forcico._\n\nMatateco Dio mispiales, Sor. Gob^{or} Tastuanes.\n\n33\n\nhats, stirrup straps of gold and silver lace, as may satisfy the\nclever Governor Tastuanes.\n\n_Gov._ No, I am not satisfied with what you say, G\u00fceg\u00fcence. Don\nForcico and Don Ambrosio must give a truthful account to our Royal\nCourt, whether you have riches and abundant treasures.\n\n_G\u00fce._ Do you not know it already, clever Governor Tastuanes?\n\n_Gov._ I do not know it, G\u00fceg\u00fcence.\n\n_G\u00fce._ Then, if friend Captain Chief Alguacil will suspend, in my\npresence, the music, dances, songs and ballets of the leading men,\nDon Forcico will give a truthful account to the Royal Court about my\nriches and abundant treasures.\n\n_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of\nthe leading men the music, dances, songs and ballets, and Don\nForcico will give a truthful account to the Royal Court about their\nriches and abundant treasures.\n\n_Alg._ At your service, Governor Tastuanes. I pray God to protect\nthe leading men, and [they suspend] the music, dances, songs and\nballets, and Don Forcico will give a truthful account.\n\n (The Alguacil takes Don Forcico aside to talk with the\n Governor.)\n\n_Don For._ I pray God to protect you, Governor Tastuanes.\n\n34\n\n_Gobernador._\n\nMatateco Dio miscuales quilis Don Forcico ya tiguala neme.\n\n_D. Forcico._\n\nYa nemo niqui nistipampa, quinimente motales, quinimentes moseguan,\nAlcaldes ordinarios de la Sta. hermandad, regidores, notarios y\ndepositarios. Eguan noche mo Cabildo Real del Sor. Gob^{or}\nTastuanes.\n\n_Gobernador._\n\nPues, Don Forcico asamatimaguas semo verdad a sones sepaguala\nmotalce G\u00fceg\u00fcence quichua contar g\u00fcil hombre rico, tin riquezas, tin\nhermosura, tin belleza, en primer lugar cajoneria de oro, cajoneria\nde plata, doblones de oro, monedas de plata, hay me sagua Don\nForcico.\n\n_D. Forcico._\n\nO valgame Dios, Sor. Gob^{or} Tastuanes, es corto el dia y la noche\npara contar las riquezas de mi padre; en primer lugar cajoneria de\noro, cajoneria de plata, ropa de Castilla, ropa de contrabando,\nestriberas de lazo de oro y de plata, ya pachig\u00fce muyule Sor.\nGob^{or} Tastuanes.\n\n_Gobernador._\n\nPachig\u00fcete no pachig\u00fcete pues, Don Forcico, \u00e1 sones se palparesia tu\nhermanito Don Ambrosio timaguas y verdad tin riquezas y hermosuras\ntumiles mo Cabildo real.\n\n_D. Forcico._\n\nSor. Gob^{or} Tastuanes, sicana amigo Cap^n Alg^l M^{or}, mayague\ncampamento Sres. principales, sones, mudanzas, velancicos, necana y\npalparesia mi hermanito Don Ambrosio timaguas y verdad.\n\n35\n\n_Gov._ I pray God to prosper you, Don Forcico; are you well?\n\n_Don For._ I am here, as is proper, [and I pray God to protect]\nthose who carry the messages, those who transact the business, the\nregular alcaldes of the Holy Brotherhood, the registrars, notaries\nand archivists, [by day] and night, in the Royal Court of Governor\nTastuanes.\n\n_Gov._ Well, Don Forcico, you are to tell me the truth about the\nstories which G\u00fceg\u00fcence tells, saying that he is a rich man, and has\nproperty, and handsome and beautiful things; in the first place,\nchests of gold, chests of silver, doubloons of gold, coins of\nsilver; so tell me clearly, Don Forcico.\n\n_Don For._ O! God bless me, Governor Tastuanes, the day and the\nnight are too short to tell you all the riches of my father. In the\nfirst place, chests of gold, chests of silver, cloth of Spain, cloth\nfrom smugglers, stirrup straps of lace of gold and silver, as may\nsatisfy the clever Governor Tastuanes.\n\n_Gov._ No, not satisfied yet, Don Forcico; for next, your little\nbrother, Don Ambrosio, will give a truthful account to the Royal\nCourt about these riches and abundant treasures.\n\n_Don For._ Governor Tastuanes, if friend Captain Chief Alguacil will\nsuspend in the quarters of the leading men the music, dances, songs\nand ballets, my little brother, Don Ambrosio, will give a truthful\naccount.\n\n36\n\n_Gobernador._\n\nNo pilse Cap^n Alg^l M^{or}, simocag\u00fce campamento Sres. principales,\nsones, mudanzas, velancicos, necana, y palparesia su hermanito D.\nAmbrosio timaguas y verdad tin riquezas, tin hermosuras.\n\n_Alguacil._\n\nMascamayagua Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Sres.\nprincipales, sones, mudanzas, velancicos, necana, y palparesia Don\nAmbrosio timaguas y verdad.\n\n Aqui el Alg^l saca \u00e0 D. Ambrosio p^a hablar con el\n Gob^{or}.\n\n_D. Ambrosio._\n\nMatateco Dio mispiales, Sor. Gobernador Tastuanes.\n\n_Gobernador._\n\nMatateco Dio miscuales, quilis Don Ambrosio, ya tiguala neme?\n\n_D. Ambrosio._\n\nYa nemo niqui nistipampa quinimente motales, quinimente moseguan\nAlcaldes ordinarios de la Sta. hermandad, regidores y notarios, y\ndepositarios. Eguan noche mo Cabildo Real del Sor. Gob^{or}\nTastuanes.\n\n_Gobernador._\n\nPues Don Ambrosio asamatimaguas semo verdad \u00e1 sones (se) paguala\nmotalce G\u00fceg\u00fcence quichua contar g\u00fcil hombre rico. En primer lugar\ncajoneria de oro, cajoneria de plata, ropa de Castilla, ropa de\ncontrabando, g\u00fcipil de pecho, g\u00fcipil de pluma, medias de seda,\nzapatos de oro, sombrero de castor, estriberas de lazo de oro y de\nplata, muchintes hermosuras quichua contar sesule G\u00fceg\u00fcence hoy\nmelag\u00fce Don Ambrosio.\n\n37\n\n_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of\nthe leading men the music, dances, songs and ballets, and his little\nbrother, Don Ambrosio, will give a truthful account of the riches\nand treasures.\n\n_Alg._ At your service, Governor Tastuanes. I pray God to protect\nthe leading men, [and they suspend] the music, dances, songs and\nballets, and Don Ambrosio will give a truthful account.\n\n (The Alguacil takes Don Ambrosio aside to talk to the\n Governor.)\n\n_Don Am._ I pray God to protect you, Governor Tastuanes.\n\n_Gov._ I pray God to prosper you, Don Ambrosio; are you well?\n\n_Don Am._ I am here, as is proper, [and I pray God to protect] those\nwho carry the messages, those who transact the business, the regular\nalcaldes of the Holy Brotherhood, the registrars, notaries and\narchivists, [by day] and by night, in the Royal Court of Governor\nTastuanes.\n\n_Gov._ Well, Don Ambrosio, you are to tell me the truth about the\nstories which G\u00fceg\u00fcence relates, saying that he is a rich man. In\nthe first place, [that he has] chests of gold, chests of silver,\ncloth of Spain, cloth from smugglers, vests, skirts of feathers,\nsilk stockings, golden shoes, a beaver hat, stirrup straps of lace\nof gold and silver, quantities of pretty things, as that\ngood-for-nothing G\u00fceg\u00fcence relates; so tell me clearly, Don\nAmbrosio.\n\n38\n\n_D. Ambrosio._\n\nValgame Dios, Sor. Gob^{or} Tastuanes, verg\u00fcenza me da contar las\ncosas de ese G\u00fceg\u00fcence embustero, pues solo est\u00e1 esperando que\ncierre la noche para salir de casa en casa \u00e1 hurtar lo que hay en\nlas cocinas para pasar el, y su hijo Don Forcico. Dice que tiene\ncajoneria de oro, y es una petaca vieja totolatera, que tiene catre\nde seda y es un petate viejo revolcado, dice que tiene medias de\nseda y son unas botias viejas sin forro, que tiene zapatos de oro, y\nson unas chancletas viejas sin suelas, que tiene un fusil de oro, y\nes solo el palo, porque el ca\u00f1on se lo quitaron.\n\n_G\u00fceg\u00fcence._\n\nVe, que afrenta de muchacho, hablador, boca floja! revientale, hijo,\nla cabeza, que como no es hijo mio me desacredita.\n\n_D. Forcico._\n\nQuitate de aqu\u00ed, mala casta! No se espante Sor. Gob^{or} Tastuanes\nen oir \u00e1 este hablador, que cuando yo anduve con mi padre por la\ncarrera de Mexico y cuando venimos ya estaba mi madre en cinta de\notro, y por eso sali\u00f3 tan mala casta, Sor. Gob^{or} Tastuanes.\n\n_G\u00fceg\u00fcence._\n\nSor. Gob^{or} Tastuanes ya pachig\u00fce muyules teguane motel poyuce Don\nForcico contar tin hermosuras, tin bellezas, tumiles mo Cabildo\nReal.\n\n_Gobernador._\n\nPachig\u00fcete no pachig\u00fcete, G\u00fceg\u00fcence, asamaquimate mollule mo Cabildo\nreal.\n\n39\n\n_Don Am._ God bless me, Governor Tastuanes, I am ashamed to talk\nabout the affairs of this old humbug, G\u00fceg\u00fcence, for he is only\nwaiting until it is dark, to go from house to house, stealing\nwhatever is in the kitchens, to keep him and his son, Don Forcico,\nalive. He says he has a chest of gold, and it is an old bird-basket;\nthat he has a silken cot, and it is a dirty old mat; he says he has\nsilk stockings, and they are old leggings, without lining; that he\nhas golden shoes, and they are worn out slippers, without soles;\nthat he has a golden gun, and it is only a wooden stock, because\nthey took the barrel away from him.\n\n_G\u00fce._ Heavens! what an impudent boy, a babbler, a lying tongue!\nBreak his head, my boy, for no son of mine would slander me in that\nway.\n\n_Don For._ Get out of here, you bad breed. Don't be shocked,\nGovernor, to hear this babbler; for when I went with my father on\nthe road to Mexico, when we came back my mother was big by another,\nand that is why this one is such a bad breed, Governor Tastuanes.\n\n_G\u00fce._ Governor Tastuanes, now are you not satisfied completely\nabout us, by what Don Forcico told the Royal Court, that I have\nquantities of pretty and beautiful things?\n\n_Gov._ No, not satisfied; the Royal Court would like to know it.\n\n40\n\n_G\u00fceg\u00fcence._\n\nNo chiquimate mollule Sor. Gob^{or} Tastuanes: pues mayag\u00fce amigo\nCap^n Alg^l M^{or}, campamento Srs. principales, sones, mudanzas,\nvelancicos, necana y palparesia mo tinderia turna g\u00fciso mo Cabildo\nReal.\n\n_Gobernador._\n\nNo pilse Cap^n Alg^l M^{or}, simocag\u00fce campamento Sres. principales,\nsones, mudanzas, velancicos, necana, y paltechua consolar sesule\nG\u00fceg\u00fcence(.) Eguan mo tinderia y paltechua consolar mo cabildo real.\n\n_Alguacil._\n\nMascamayagua, Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Sres.\nprincipales, sones, mudanzas, velancicos, necana y palparesia\ntinderia mo Cabildo Real.\n\n Da vuelta el G\u00fceg\u00fcence y los muchachos bailando con la\n tienda, y habla el\n\n_G\u00fceg\u00fcence._\n\nMatateco Dio mispiales, Sor. Gob^{or} Tastuanes, asanega neme mo\ntinderia matamag\u00fceso mo Cabildo Real. Alzen muchachos, miren cuanta\nhermosura. En primer lugar cajoneria de oro, cajoneria de plata,\ng\u00fcipil de pecho, g\u00fcipil de pluma, medias de seda, zapatos de oro,\nsombrero de castor, estriberas de lazo de oro y de plata, muchintes\nhermosuras, Sor. Gob^{or} Tastuanes, asaneganeme ese lucero de la\nma\u00f1ana que relumbra del otro lado del mar, asanecaneme esa\njeringuita de oro para ya remediar el Cabildo Real del Sor. Gob^{or}\nTastuanes.\n\n_Gobernador._\n\nPara tu cuerpo, G\u00fceg\u00fcence.\n\n41\n\n_G\u00fce._ The clever Governor Tastuanes does not know it. Well, then,\nlet friend Captain Chief Alguacil suspend in the quarters of the\nleading men the music, dances, songs, ballets and talk, and I will\nopen my tent to the Royal Court.\n\n_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of\nthe leading men the music, dances, songs, ballets and such like, to\nplease this good-for-nothing G\u00fceg\u00fcence, and he will show his tent,\nto please the Royal Court.\n\n_Alg._ At your service, Governor Tastuanes. I pray God to protect\nthe leading men, [and they suspend] the music, dances, songs,\nballets and talk, [to show] the tent to the Royal Court.\n\n (G\u00fceg\u00fcence and the boys dance around the stage with the\n tent.)\n\n_G\u00fce._ I pray God to protect you, Governor Tastuanes. Let me offer\nyou my tent, to show to the Royal Court. Heft it, boys. See what\npretty things! In the first place, a chest of gold, a chest of\nsilver, vests, feather skirts, silk stockings, golden shoes, a\nbeaver hat, stirrup straps of lace of gold and silver, quantities of\npretty things, Governor Tastuanes. Let me offer you this star of the\nmorning, which shines from the other side of the sea; let me offer\nyou this syringe of gold, with which to medicate the Royal Court of\nthe Governor Tastuanes.\n\n_Gov._ May it be for your own body, G\u00fceg\u00fcence.\n\n42\n\n_G\u00fceg\u00fcence._\n\nComo este mi muchacho tiene tantos oficios, que hasta en las u\u00f1as\ntiene encajados los oficios.\n\n_Gobernador._\n\nSeran de arena, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nPues mas ha sido escultor, fundidor, repicador, piloto de alturas de\naquellos que se elevan hasta las nubes, Sor. Gob^{or} Tastuanes.\n\n_Gobernador._\n\nEsos no son oficios de continuo, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nPues mas ha sido carpintero, hacedor de yugos aunque sean de papayo,\nhacedor de arados, aunque sean de tecomajoche ya pachig\u00fce muyule\nSor. Gob^{or} Tastuanes.\n\n_Gobernador._\n\nYa pachig\u00fcete no pachig\u00fcete, pues G\u00fceg\u00fcence asanese palparesia mo\nDon Forcico timaguas y verdad tin oficios.\n\n_G\u00fceg\u00fcence._\n\nPues si cana amigo Cap^n Alg^l M^{or}. Mayague nistipampa Sres.\nprincipales, sones, mudanzas, velancicos, necana y palparesia Don\nForcico timaguas y verdad tin oficios.\n\n_Alguacil._\n\nMascamayagua, G\u00fceg\u00fcence. Matateco Dio mispiales Sres. principales,\nsones, mudanzas, velancicos, necana y palparesia D. Forcico mo\nCabildo Real.\n\n Vuelve el Alguacil \u00e0 sacar \u00e0 D. Forcico.\n\n43\n\n_G\u00fce._ It is wonderful how many trades this boy of mine has. He is\ndeep in trades to his fingers' ends.\n\n_Gov._ They are of no account, G\u00fceg\u00fcence.\n\n_G\u00fce._ Why, he has been a sculptor, a metal founder, a bell-ringer,\nand a pilot to the heights which rise above the clouds, Governor\nTastuanes.\n\n_Gov._ These are not permanent employments, G\u00fceg\u00fcence.\n\n_G\u00fce._ Then he has been a carpenter, a maker of yokes, though of\npapaya wood, a maker of plows, though of temple tree wood. This\nshould satisfy the clever Governor Tastuanes.\n\n_Gov._ No, I am not yet satisfied. Let G\u00fceg\u00fcence tell his son, Don\nForcico, to give a truthful account of his trades.\n\n_G\u00fce._ Then, if friend Captain Chief Alguacil will, in my presence,\ncause the leading men to suspend the music, dances, songs and\nballets, Don Forcico will give a truthful account of his trades.\n\n_Alg._ At your service, G\u00fceg\u00fcence. I pray God will protect the\nleading men, [and they suspend] the music, dances, songs and\nballets, for the talk of Don Forcico to the Royal Court.\n\n (The Alguacil brings Don Forcico forward.)\n\n44\n\n_D. Forcico._\n\nSor. Gob^{or} Tastuanes, hasta en las u\u00f1as tengo encajados los\noficios.\n\n_Gobernador._\n\nSeran de arena, Don Forcico.\n\n_D. Forcico._\n\nPues mas he sido escultor, fundidor, repicador, piloto de alturas de\naquellas que se elevan hasta las nubes, Sor. Gob^{or} Tastuanes.\n\n_Gobernador._\n\nPachig\u00fcete no pachig\u00fcete, pues Don Forcico asamaguimate mollule tin\nmudanzas, tin sapatetas mo Cabildo Real.\n\n_D. Forcico._\n\nO valgame Dios, Sor. Gob^{or} Tastuanes, sicana amigo Cap^n Alg^l\nM^{or}, campamento Sres. principales, sones, mudanzas, velancicos,\nnecana tin corridos y palechua consolar mo Cabildo Real.\n\n_Gobernador._\n\nNo pilse Cap^n Alg^l M^{or} simocag\u00fce campamento Sres. principales,\nsones, mudanzas, velancicos, necana y palparesia lichua consolar\nsesule G\u00fceg\u00fcence.\n\n_Alguacil._\n\nMascamayagua Sor. Gob^{or} Tastuanes. Matateco Dio mispiales Sres.\nprincipales, sones, mudanzas, velancicos, necana y palparesia\nconsolar mo Cabildo Real sesule G\u00fceg\u00fcence.\n\n Primera bailada del Corrido, y habla el\n\n45\n\n_Don For._ Governor Tastuanes, I am deep in trades to my finger\nends.\n\n_Gov._ They are of no account, Don Forcico.\n\n_Don For._ Why, I have been a sculptor, a metal founder, a\nbell-ringer, and a pilot to the heights which rise above the clouds,\nGovernor Tastuanes.\n\n_Gov._ No, I am not satisfied, since Don Forcico should also know\nsome clever dances and caperings, [to amuse] the Royal Court.\n\n_Don For._ O! God bless me, Governor Tastuanes, if friend Captain\nChief Alguacil [will suspend] in the quarters of the leading men the\nmusic, dances, songs and ballets, they shall have some running\ndances and such things, to amuse the Royal Court.\n\n_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of\nthe leading men the music, dances, songs, ballets and talk, in order\nthat this good-for-nothing G\u00fceg\u00fcence may amuse [the Royal Court].\n\n_Alg._ At your service, Governor Tastuanes. I pray God to protect\nthe leading men, [and they suspend] the music, dances, songs,\nballets and talk, in order that the good-for-nothing G\u00fceg\u00fcence may\namuse the Royal Court.\n\n (First ballet with the running dance.)\n\n46\n\n_G\u00fceg\u00fcence._\n\nSor. Gob^{or} Tastuanes, ya pachig\u00fce mollule tig\u00fcita tin mudanzas,\ntin sapatetas, lichua consolar mo Cabildo Real.\n\n_Gobernador._\n\nPachig\u00fcete no pachiguete, G\u00fceg\u00fcence, asamaquimate muyule, asanese\npalparesia motel poyuse Don Forcico y Don Ambrosio \u00e0 consolar el\nCabildo Real.\n\n_G\u00fceg\u00fcence._\n\nNo chopa quimate muyule, Sor. Gob^{or} Tastuanes.\n\n_Gobernador._\n\nNo chopa quimate G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nMayague amigo Cap^n Alg^l M^{or}, campamento Sres. principales,\nsones, corridos, necana y paltechua consolar Don Forcico eguan D.\nAmbrosio mo Cabildo Real.\n\n_Gobernador._\n\nNo pilse Cap^n Alg^l M^{or}, simocag\u00fce campamento Sres. principales,\nsones, corridos, necana y paltechua consolar Don Forcico eguan Don\nAmbrosio mo Cabildo Real.\n\n Segunda bailada del G\u00fceg\u00fcence, y los dos muchachos.\n\n_G\u00fceg\u00fcence._\n\nSor Gob^{or} Tastuanes, ya pachig\u00fce mollule tig\u00fcita tin mudanzas,\ntin sapatetas lichua consolar mo Cabildo Real.\n\n_Gobernador._\n\nPachig\u00fcete no pachig\u00fcete, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nSor. Gob^{or} Tastuanes asamaquimate mollule tin mudanzas, tin\nsapatetas sones San Martin, \u00e0 lichua consolar Don Forcico eguan Don\nAmbrosio mo Cabildo Real.\n\n47\n\n_G\u00fce._ Governor Tastuanes, now you are satisfied that they have\ndances and caperings to amuse the Royal Court.\n\n_Gov._ No, I am not satisfied. I would know thoroughly what Don\nForcico and Don Ambrosio can do to amuse the Royal Court.\n\n_G\u00fce._ Do you not know it, Governor Tastuanes?\n\n_Gov._ I do not know it, G\u00fceg\u00fcence.\n\n_G\u00fce._ Let friend Captain Alguacil Major [suspend] in the quarters\nof the leading men the music, dances, songs and such like, that Don\nForcico and Don Ambrosio may amuse the Royal Court.\n\n_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of\nthe leading men the music, dances, songs and such like, that Don\nForcico and Don Ambrosio may amuse the Royal Court.\n\n (Second ballet of G\u00fceg\u00fcence and the two boys.)\n\n_G\u00fce._ Governor Tastuanes, now you are certainly satisfied that they\nhave dances, have caperings, to amuse the Royal Court.\n\n_Gov._ No, I am not satisfied, G\u00fceg\u00fcence.\n\n_G\u00fce._ Governor Tastuanes may certainly know that Don Forcico and\nDon Ambrosio have dances and caperings, to the tune of St. Martin,\nto amuse the Royal Court.\n\n48\n\n_Gobernador._\n\nNo chopa quimate mollule G\u00fceg\u00fcence. No pilse Cap^n Alg^l M^{or}\nsimocag\u00fce campamento Sres. principales, sones San Martin a lichua\nconsolar mo Cabildo Real sesule G\u00fceg\u00fcence.\n\n Aqui se toca S. Martin y dan vuelta todos bailando.\n\n_Gobernador._\n\nA G\u00fceg\u00fcence ya pachig\u00fce muyule tig\u00fcita tin sapatetas lichuas\nconsolar mo Cabildo Real.\n\n_G\u00fceg\u00fcence._\n\nPachig\u00fcete no pachig\u00fce, Sor. Gob^{or} Tastuanes asamaquimate muyule\nsones Portorico no amigo Cap^n Alg^l M^{or} \u00e0 lichua consolar Don\nForcico, y Don Ambrosio mo Cabildo Real.\n\n_Gobernador._\n\nNo pilse Cap^n Alg^l M^{or}, simocag\u00fce campamento Sres. principales,\nsones Portorico lichua consolar sesule G\u00fceg\u00fcence.\n\n Aqui se toca un ton antiguo y dan vuelta todos bailando.\n\n_Gobernador._\n\nA G\u00fceg\u00fcence ya pachig\u00fce muyule tig\u00fcita tin sapatetas lichua consolar\nmo Cabildo Real.\n\n_G\u00fceg\u00fcence._\n\nPachig\u00fcete no pachig\u00fce, Sor. Gob^{or} Tastuanes, que unos van para\natras, y otros para delante.\n\n_Gobernador._\n\nEso no lo s\u00e9, G\u00fceg\u00fcence. Pues, G\u00fceg\u00fcence, asamaquimate muyule, tin\nmudanzas, tin sapatetas semula macho-raton \u00e0 lichua consolar mo\nCabildo Real.\n\n49\n\n_Gov._ I do not certainly know it. My son, Captain Chief Alguacil,\nsuspend in the quarters of the leading men [the music, etc.], that\nthis good-for-nothing G\u00fceg\u00fcence may amuse the Royal Court with the\ntune of St. Martin.\n\n (The tune of St. Martin is played, and they all dance\n around.)\n\n_Gov._ Now, G\u00fceg\u00fcence, I am satisfied that they have caperings to\namuse the Royal Court.\n\n_G\u00fce._ But I am not satisfied; and, Governor Tastuanes, my friend,\nCaptain Chief Alguacil, might like to know how Don Forcico and Don\nAmbrosio can amuse the Royal Court, to the tune of Porto Rico.\n\n_Gov._ My son, Captain Chief Alguacil, suspend in the quarters of\nthe leading men [the music, etc.], that this good-for-nothing\nG\u00fceg\u00fcence may console [us] with the tune of Porto Rico.\n\n (An ancient tune is played, and they all dance around.)\n\n_Gov._ Now, G\u00fceg\u00fcence, I am satisfied that they have caperings to\namuse the Royal Court.\n\n_G\u00fce._ But I am not satisfied, Governor Tastuanes, as some go from\nbehind and others from in front.\n\n_Gov._ I know nothing about that, G\u00fceg\u00fcence. Now, G\u00fceg\u00fcence, whether\nthey have dances, caperings, like the _macho-raton_, to amuse the\nRoyal Court?\n\n50\n\n_G\u00fceg\u00fcence._\n\nSor. Gob^{or} Tastuanes, ya bueno amigo Cap^n Alg^l M^{or},\ncampamento Sres. principales, sones, mudanzas, necana, \u00e0 lichua\nconsolar semula macho-raton mo Cabildo Real. A, muchachos! que es de\nlos machos?\n\n_D. Forcico._\n\nAh\u00ed estan, tatita.\n\n Aqui se toca la Valona para los machos, y habla el\n\n_G\u00fceg\u00fcence._\n\nSor. Gob^{or} Tastuanes ya pachig\u00fce mollule, tin mudanzas, tin\nsapatetas, tin remates, tin corcobios semula macho-raton.\n\n_Gobernador._\n\nPachig\u00fcete no pachig\u00fce, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nPues Sor. Gob^{or} Tastuanes, no haremos un trato y contrato, que el\nsin tuno, sin tunal de eguan mo Do\u00f1a Suche-Malinche?\n\n_Gobernador._\n\nNo chopa quimate muyule, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nNo chiquimate, Sor. Gob^{or} Tastuanes.\n\n_Gobernador._\n\nNo pilse Cap^n Alg^l M^{or} simocag\u00fce campamento el Se\u00f1or Escribano\nReal, chig\u00fcigua no provincia real lichua obedecer eguan mo Do\u00f1a\nSuche-Malinche.\n\n Va el Alguacil \u00e0 hablar con el Escribano Real.\n\n_Alguacil._\n\nMatateco Dio mispiales, Sr. Escribano Real.\n\n51\n\n_G\u00fce._ Governor Tastuanes, and good friend Captain Chief Alguacil,\n[suspend] in the quarters of the leading men the music, dances and\nsongs, in order that we may amuse the Royal Court with the\n_macho-raton_. Ho, boys! how about the mules?\n\n_Don For._ Here they are, little papa.\n\n (The Valona is played for the mules.)\n\n_G\u00fce._ Governor Tastuanes, you are certainly satisfied that they\nhave dances, caperings, finishing touches and curvetings, like the\n_macho-raton_.\n\n_Gov._ No, I am not satisfied, G\u00fceg\u00fcence.\n\n_G\u00fce._ Well, then, Governor Tastuanes, shall we not make a trade and\na treaty between him, without a folly or a fig-tree, and the lady\nSuche-Malinche?\n\n_Gov._ Do you not know of it already, G\u00fceg\u00fcence?\n\n_G\u00fce._ I do not know it, Governor Tastuanes.\n\n_Gov._ My son, Captain Chief Alguacil, suspend [the labor] in the\nquarters of the Royal Secretary, and let him obey our order to enter\nmy royal presence, with the lady Suche-Malinche.\n\n (The Alguacil goes to speak with the Royal Secretary.)\n\n_Alg._ I pray God to protect you Mr. Secretary.\n\n52\n\n_Escribano._\n\nMatateco Dio miscuales, quilis Cap^n Alg^l M^{or}, ya tiguala neme?\n\n_Alguacil._\n\nYa nemo niqui nistipampa Sor. Escribano Real, negua ligua y\nProvincia Real, del Sor. Gob^{or} Tastuanes, lichua obedecer eguan\nmo Do\u00f1a Suche-Malinche.\n\n_Escribano._\n\nPues, no pilse Cap^n Alg^l M^{or} simocag\u00fce campamento Sres.\nprincipales, sones, rujeros, y paltechua obedecer eguan mo Do\u00f1a\nSuche-Malinche.\n\n_Alguacil._\n\nMascamayagua, Sor. Escribano Real.\n\n Aqui se toca el Rujero, dan vuelta bailando los dos y habla\n el\n\n_Escribano._\n\nMatateco Dio mispiales, Sor. Gob^{or} Tastuanes.\n\n_Gobernador._\n\nMatateco Dio miscuales quilis Sor. Escribano Real, ya tiguala neme?\n\n_Escribano._\n\nYa nemo niqui nistipampa lichua obedecer, eguan mo Do\u00f1a\nSuche-Malinche.\n\n_Gobernador._\n\nPues, Sor. Escribano Real, asanegaguala sesule G\u00fceg\u00fcence g\u00fcil hombre\nrico, eguan mo Do\u00f1a Suche-Malinche.\n\n_Escribano._\n\nSor. Gob^{or} Tastuanes, asanegualigua vestir saya de la China,\ng\u00fcipil de pecho, g\u00fcipil de pluma, medias de seda,\n\n53\n\n_Sec._ I pray God to prosper you, Captain Chief Alguacil; are you\nwell?\n\n_Alg._ I am, as is proper, Mr. Secretary. You will enter the royal\npresence of Governor Tastuanes, to obey his orders, and also the\nlady Suche-Malinche.\n\n_Sec._ Well, then, my son, Captain Chief Alguacil, suspend in the\nquarters of the leading men the music, the shoutings, and such like,\nthat I may obey, with the lady Suche-Malinche.\n\n_Alg._ At your service, Mr. Secretary.\n\n (The Rujero is played, and the two dance around.)\n\n_Sec._ I pray God to protect you, Governor Tastuanes.\n\n_Gov._ I pray God to prosper you, Mr. Secretary; are you well?\n\n_Sec._ I am, as is proper, [and come] to obey your orders, with the\nlady Suche-Malinche.\n\n_Gov._ Well, Mr. Secretary, there is a bargain between this\ngood-for-nothing G\u00fceg\u00fcence, who is a rich man, and the lady\nSuche-Malinche.\n\n_Sec._ Governor Tastuanes, let the bargain be for clothing, a\npetticoat from China, vest, feather skirt, silk stockings,\n\n54\n\nzapatos de oro, sombrero de castor, para monistilco al Sor. Gob^{or}\nTastuanes.\n\n Se vuelve el Escribano \u00e0 su lugar, bailando con el\n Alguacil.\n\n_Gobernador._\n\nHa, G\u00fceg\u00fcence, asiguala lichua escojer mosamonte.\n\n_G\u00fceg\u00fcence._\n\n\u00bfDesmonte?\n\n_Gobernador._\n\nMosamonte, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nYo no he hecho trato ni contrato con el Sor. Gob^{or} Tastuanes,\nsolo que sea mi muchacho.\n\n_Gobernador._\n\nEso no lo s\u00e9, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nHa, muchachos, que trato y contrato tienes con el Sor. Gob^{or}\nTastuanes.\n\n_D. Forcico._\n\nDe casarme, tatita.\n\n_G\u00fceg\u00fcence._\n\nDe casarte! \u00bfy tan chiquito te atreves \u00e0 casarte, muchacho?\n\n_D. Forcico._\n\nSi, tatita.\n\n_G\u00fceg\u00fcence._\n\nY con quien me dejas, muchacho?\n\n_D. Forcico._\n\nCon mi hermanito, Don Ambrosio.\n\n_G\u00fceg\u00fcence._\n\nQue caso me har\u00e1 ese jipato!\n\n55\n\nshoes of gold, a beaver hat, for a son-in-law of Governor Tastuanes.\n\n (The Secretary returns to his place, dancing with the\n Alguacil.)\n\n_Gov._ Ha, G\u00fceg\u00fcence! it angers me that you choose so\npresumptuously.\n\n_G\u00fce._ Trumpery?\n\n_Gov._ Presumptuously, G\u00fceg\u00fcence.\n\n_G\u00fce._ I have not made any trade or treaty with the Governor\nTastuanes; it must be my boy.\n\n_Gov._ I don't know about that, G\u00fceg\u00fcence.\n\n_G\u00fce._ Ho, boys! what trade or treaty have you with the Governor\nTastuanes?\n\n_Don For._ For me to get married, little papa.\n\n_G\u00fce._ For you to get married! What, boy! a little chap like you\ndares to get married?\n\n_Don For._ Yes, little papa.\n\n_G\u00fce._ And with whom are you going to leave me boy?\n\n_Don For._ With my little brother, Don Ambrosio.\n\n_G\u00fce._ What care will that imp take of me?\n\n56\n\n_D. Ambrosio._\n\nY yo tambien me quiero casar.\n\n_G\u00fceg\u00fcence._\n\nPara eso seres bueno. Don Forcico asiguale lich\u00faa escojer mosamonte.\nVe, que bizarra dama aqui, muchacho.\n\n_D. Forcico._\n\nNo est\u00e1 de mi gusto, tatita.\n\n_G\u00fceg\u00fcence._\n\nPorque, muchacho?\n\n_D. Forcico._\n\nPorque est\u00e1 muy pachaca, tatita.\n\n_G\u00fceg\u00fcence._\n\nPues, que es iguana \u00f3 garrobo para que est\u00e9 pachaca? Quien la ech\u00f3 \u00e1\nperder, muchacho?\n\n_D. Forcico._\n\nMi hermanito, Don Ambrosio.\n\n_G\u00fceg\u00fcence._\n\nPara eso ser\u00e1 bueno este soplado, ojos de sapo muerto, por eso est\u00e1\ntan apupujado. Ve, que bizarra maneca, muchacho.\n\n_D. Forcico._\n\nSi est\u00e1 aventada, tatita.\n\n_G\u00fceg\u00fcence._\n\nQuien la avent\u00f3, muchacho?\n\n_D. Forcico._\n\nMi hermanito, Don Ambrosio.\n\n_G\u00fceg\u00fcence._\n\nComo aventastes esta dama, Don Ambrosio?\n\n57\n\n_Don Am._ And I too want to get married.\n\n_G\u00fce._ You're good enough for that. Don Forcico makes a bargain to\nchoose presumptuously. See what a gay lady is here, my boy?\n\n_Don For._ She is not to my taste, little papa.\n\n_G\u00fce._ Why not, my boy?\n\n_Don For._ Because she is too much stuffed, little papa.\n\n_G\u00fce._ Is she, then, an iguana or a garrobo, that she is stuffed?\nWho has spoiled her, my boy?\n\n_Don For._ My little brother, Don Ambrosio.\n\n_G\u00fce._ For that the bloated fellow is good enough, the evil-eyed\nbrat; that is the reason he is so played out. See, here's a gay\ncake-baker my boy.\n\n_Don For._ She _is_ puffed up, little papa.\n\n_G\u00fce._ Who puffed her up, boy?\n\n_Don For._ My little brother, Don Ambrosio.\n\n_G\u00fce._ How did you puff up this lady, Don Ambrosio?\n\n58\n\n_D. Ambrosio._\n\nDe dormir con vos, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nCallate, mala casta. Ve que bizarra dama, esta otra, muchacho.\n\n_D. Forcico._\n\nEsta, s\u00ed, est\u00e1 de mi gusto, tatita.\n\n_G\u00fceg\u00fcence._\n\nSabes escojer, no muchacho, pero no sabes escojer un buen machete\npara hacer un buen desmonte.\n\n_D. Forcico._\n\nTambien, tatita.\n\n_G\u00fceg\u00fcence._\n\nSor. Gob^{or} Tastuanes, mosegua trato y contrato.\n\n_Gobernador._\n\nNo mocegua, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nNo mocegua, Sor. Gob^{or} Tastuanes; lo que siento es mi muchacho\nque se me pierde.\n\n_Gobernador._\n\nEso no lo s\u00e9, G\u00fceg\u00fcence.\n\n Aqui se casan, y habla el.\n\n_Gobernador._\n\nNo pilse Cap^n Alg^l M^{or} chig\u00fcigua mo Provincia Real, campamento\nsesule G\u00fceg\u00fcence lichua obedecer con una yunta de botijas de vino de\nCastilla para en chocol\u00e1 y paltechua brindar mo Cabildo Real.\n\n_Regidor._\n\nSimocag\u00fce, Sor. Alg^l M^{or}.--Mayag\u00fce, amigo sesule G\u00fceg\u00fcence. En\nnombre mo Cabildo Real te damos los\n\n59\n\n_Don Am._ It came from sleeping with you, G\u00fceg\u00fcence.\n\n_G\u00fce._ Shut up, you bad breed. See, my boy, what a gay lady this\nother one is.\n\n_Don For._ This one? Yes, she suits me, little papa.\n\n_G\u00fce._ You know how to choose, my boy; but you don't know how to\nchoose a good axe to make a good clearing.\n\n_Don For._ That also, little papa.\n\n_G\u00fce._ Governor Tastuanes, let us make a trade and a treaty.\n\n_Gov._ I will make it, G\u00fceg\u00fcence.\n\n_G\u00fce._ I will make it, Governor Tastuanes. What I feel is the loss\nof my boy.\n\n_Gov._ I don't know about that, G\u00fceg\u00fcence.\n\n (The marriage takes place.)\n\n_Gov._ My son, Captain Chief Alguacil, let it be known in the\nquarters of my Royal Province that this good-for-nothing G\u00fceg\u00fcence\nis going to treat the Royal Court to a yoke of jars of Spanish wine.\n\n_Reg._ Suspend [business], Mr. Chief Alguacil, and attend, friend\ngood-for-nothing G\u00fceg\u00fcence. In the name of the Royal Court, we give\nthe congratulations, and also\n\n60\n\nparabienes de eguan mo Do\u00f1a Suche-Malinche, de inmenso que goce con\nDon Forcico, tu hijo, G\u00fceg\u00fcence.\n\n_Alguacil._\n\nHa, G\u00fceg\u00fcence, asanegualigua y Provincia Real del Sor. Gob^{or}\nTastuanes y paltechua obedecer con una yunta de botijas de vino de\nCastilla en chocol\u00e1 y paltechua brindar mo Cabildo Real del Sor.\nGob^{or} Tastuanes.\n\n_G\u00fceg\u00fcence._\n\nHa, muchachos, ya lo ven, aviados estamos. Bueno es, ser casado,\npero ahora se nos ofrece un gran trabajo. Ya viene el provincial y\nno tenemos provision. Amigo Cap^n Alg^l M^{or}, \u00e1 onde dej\u00f3 al\nprovincial, en Managua \u00f3 en Nindiri?\n\n_Alguacil._\n\nAcaso no me cele de provincial, G\u00fceg\u00fcence; una yunta de botijas de\nvino.\n\n_G\u00fceg\u00fcence._\n\nYa lo ven, muchachos, una yunta de bueyes, y ha de ser con carreta.\n\n_Alguacil._\n\nAcaso no me cele de bueyes \u00f2 de carreta, G\u00fceg\u00fcence. Una yunta de\nbotijas de vino de Castilla para en chocol\u00e1 brindar su Cabildo Real\nSor. Gob^{or} Tastuanes.\n\n_G\u00fceg\u00fcence._\n\nYa lo ves, muchacho, en que empe\u00f1o me metes, con ser casado. Ya ves\nla providencia que pide el Sor. Gob^{or} Tastuanes, una yunta de\nbotijas de vino de Castilla para en chocol\u00e1 del Sor. Gob^{or}\nTastuanes; te atreves \u00e1 buscarla \u00f3 \u00e1 sacarla, muchacho?\n\n61\n\nto the lady Suche Malinche, that she may enjoy herself hugely with\nDon Forcico, your son, G\u00fceg\u00fcence.\n\n_Alg._ Ha, G\u00fceg\u00fcence! it is known in the Royal Province of the\nGovernor Tastuanes that you are to obey him, and treat the Royal\nCourt of the Governor Tastuanes to a yoke of jars of Spanish wine.\n\n_G\u00fce._ Ho, boys! you see we are already provided for. It is a fine\nthing to be married, but now we have a big job on hand. The\nProvincial is coming, and we have not prepared for him. Friend\nCaptain Chief Alguacil, where did you leave the Provincial, in\nManagua or in Nindiri?\n\n_Alg._ Perhaps I don't care about the Provincial; a yoke of\nwine-jars.\n\n_G\u00fce._ Now you see, boys, a yoke of oxen, and, no doubt, the cart as\nwell.\n\n_Alg._ Perhaps I don't care about carts or oxen, G\u00fceg\u00fcence; a yoke\nof jars of Spanish wine for a lunch, to treat the Royal Court of\nGovernor Tastuanes.\n\n_G\u00fce._ Now, boy, you see in what a bother you put me by getting\nmarried. Now you see the contribution which the Governor asks, a\nyoke of jars of Spanish wine for the Governor's lunch. Are you equal\nto hunting for it, or to getting it, boy?\n\n62\n\n_D. Forcico._\n\nNo tengo de onde, tatita.\n\n_G\u00fceg\u00fcence._\n\nPara escojer mosamonte si eres bueno. Te atreves a buscar una yunta\nde botijas de vino de Castilla, Don Ambrosio?\n\n_D. Ambrosio._\n\nNo tengo de onde, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nQue cosa buena has de hacer, mala casta! Con que, \u00bfno te atreves,\nmuchacho?\n\n_D. Forcico._\n\nNo, tatita.\n\n_G\u00fceg\u00fcence._\n\nPues \u00e1 ganar \u00f2 \u00e1 perder voy \u00e0 buscar la yunta de botijas de vino.\n\n_D. Forcico._\n\nNo vaya, tatita, ya me avi\u00e9 de la yunta de botijas de vino.\n\n_G\u00fceg\u00fcence._\n\nA onde te aviastes, muchacho?\n\n_D. Forcico._\n\nEn casa de un amigo.\n\n_G\u00fceg\u00fcence._\n\nQuien te ense\u00f1o hacer amigo?\n\n_D. Forcico._\n\nUsted, tatita.\n\n_G\u00fceg\u00fcence._\n\nCalla, muchacho, que dir\u00e1 la gente que yo te ense\u00f1o \u00e1 hacer amigo?\n\n63\n\n_Don For._ I don't know whence, little papa.\n\n_G\u00fce._ You are bold enough to choose [a wife] presumptuously. Are\nyou bold enough to hunt up a yoke of jars of Spanish wine, Don\nAmbrosio?\n\n_Don Am._ I don't know where, G\u00fceg\u00fcence.\n\n_G\u00fce._ What are you good for, you bad breed? Well, don't _you_ dare\nto, boy?\n\n_Don For._ No, little papa.\n\n_G\u00fce._ Well, then, be it to win or lose, I shall go in search of the\nwine myself.\n\n_Don For._ Don't go, little papa, I have already provided the wine.\n\n_G\u00fce._ Where did you get it, boy?\n\n_Don For._ In the house of a friend.\n\n_G\u00fce._ Who taught you to make a friend?\n\n_Don For._ You, little papa.\n\n_G\u00fce._ Shut up, boy. What will the folks say [if they hear] that I\ntaught you to make a friend?\n\n64\n\n_D. Ambrosio._\n\nY pues no es verdad que ense\u00f1as \u00e1 malas ma\u00f1as \u00e1 tu hijo?\n\n_G\u00fceg\u00fcence._\n\nArra ya, mala casta! malas ma\u00f1as como las tienes vos. Amigo Cap^n\nAlg^l M^{or}, ya estamos aviados de la yunta de botijas de vino, no\nhabr\u00e1 un macho de la cofradia \u00f2 de la comunidad?\n\n_Alguacil._\n\nVean, que fama de hombre de bien!\n\n_G\u00fceg\u00fcence._\n\nSoy hombre de bien. Traigo mis machos, pero estan algo raspados\ndesde su cruz hasta su rabo a lichuas diligencia, amigo Cap^n Alg^l\nM^{or}. Ha, muchachos, que es de los machos?\n\n_D. Forcico._\n\nAhi, estan, tatita.\n\n Aqui dan una vuelta bailando y cojen los machos.\n\n_D. Forcico._\n\nYa estan cojidos los machos, tatita.\n\n_G\u00fceg\u00fcence._\n\nEncojidos? Ser\u00e1 de frio.\n\n_D. Forcico._\n\nLos machos ya estan cojidos.\n\n_G\u00fceg\u00fcence._\n\nCojudos? Pues no eran capones.\n\n_D. Forcico._\n\nCojidos los machos, tatita.\n\n65\n\n_Don Am._ And is it not true that you teach your son evil ways?\n\n_G\u00fce._ Get out, you bad breed; you are the one with evil ways.\nFriend Captain Chief Alguacil, we have now provided the wine. Have\nyou not a mule of the brotherhood, or of the village?\n\n_Alg._ See, what a reputation for an honest man!\n\n_G\u00fce._ I am an honest man. I have my own mules, but they are a\nlittle raw, from withers to crupper, in consequence of my energy,\nCaptain Chief Alguacil. Ha, boys! what about the mules?\n\n_Don For._ Here they are, little papa.\n\n (They dance around the stage and lead in a number of masks,\n dressed as mules.)\n\n_Don For._ The mules are now driven up, little papa.\n\n_G\u00fce._ Shriveled up? That must be from cold.\n\n_Don For._ I say the mules are driven up.\n\n_G\u00fce._ Livin' studs? Then they were not altered.\n\n_Don For._ The mules are driven up.\n\n66\n\n_G\u00fceg\u00fcence._\n\nCojidos los machos? Pues hableme recio! A onde estan los machos?\n\n_D. Forcico._\n\nAqu\u00ed estan, tatita.\n\n_G\u00fceg\u00fcence._\n\nQue macho es este puntero, muchacho?\n\n_D. Forcico._\n\nEl macho viejo, tatita.\n\n_G\u00fceg\u00fcence._\n\nY este otro macho?\n\n_D. Forcico._\n\nEl macho guajaque\u00f1o.\n\n_G\u00fceg\u00fcence._\n\nY este otro macho?\n\n_D. Forcico._\n\nEl macho mohino.\n\n_G\u00fceg\u00fcence._\n\nY este otro macho?\n\n_D. Forcico._\n\nEl macho moto.\n\n_G\u00fceg\u00fcence._\n\n\u00bfYa aparejaron, muchachos?\n\n_D. Forcico._\n\nNo, tatita, aparejeselos Vd.\n\n_G\u00fceg\u00fcence._\n\nTodo lo ha de hacer el viejo.\n\n_D. Forcico._\n\nS\u00ed, es mejor, tatita.\n\n67\n\n_G\u00fce._ Driven up, are they? Speak out loud to me. Where are the\nmules?\n\n_Don For._ Here they are, little papa.\n\n_G\u00fce._ Which mule is this thin one, boy?\n\n_Don For._ The old mule, little papa.\n\n_G\u00fce._ And this other mule?\n\n_Don For._ That is the dried-up one.\n\n_G\u00fce._ And this other?\n\n_Don For._ That is the quarrelsome mule.\n\n_G\u00fce._ And this other one?\n\n_Don For._ The rowdy mule.\n\n_G\u00fce._ Are they harnessed, boys?\n\n_Don For._ No, little papa; harness them yourself.\n\n_G\u00fce._ The old man has to do everything.\n\n_Don For._ Yes, it's better, little papa.\n\n68\n\n_G\u00fceg\u00fcence._\n\nYa est\u00e1 sana la cinchera de este macho, muchacho?\n\n_D. Forcico._\n\nYa est\u00e1, tatita.\n\n_G\u00fceg\u00fcence._\n\nY este otro macho \u00bfya esta sana la ri\u00f1onada?\n\n_D. Forcico._\n\nYa est\u00e1, tatita.\n\n_G\u00fceg\u00fcence._\n\nQue sana ha de estar, muchacho, si asi tanta estaca tiene por\ndelante? A onde se estac\u00f3 este macho, muchacho?\n\n_D. Forcico._\n\nEn el potrero, tatita.\n\n_G\u00fceg\u00fcence._\n\nEso merece por ralirse del potrero \u00e1 otro potrero. Y la vaticola de\neste macho, ya est\u00e1 sana, muchacho?\n\n_D. Forcico._\n\nYa est\u00e1, tatita.\n\n_G\u00fceg\u00fcence._\n\nQue sana ha de estar, muchacho, si le ha bajado la flucion por de\nbajo de las piernas y la tiene muy hinchada? Revi\u00e9ntalo, muchacho.\n\n_D. Forcico._\n\nRevi\u00e9ntelo Vd, tatita.\n\n_G\u00fceg\u00fcence._\n\nAhi se reventar\u00e1 solo, muchacho, que falta?\n\n_D. Forcico._\n\nAlzar el fardo, tatita.\n\n69\n\n_G\u00fce._ Is the girth-gall of this mule well yet, boy?\n\n_Don For._ It is, little papa.\n\n_G\u00fce._ And this other mule, is its backband-gall well yet?\n\n_Don For._ It is, little papa.\n\n_G\u00fce._ How can it be well if it has such a stick in front of it?\nWhere did this mule run such a stick in itself, boy?\n\n_Don For._ In the colt yard, little papa.\n\n_G\u00fce._ That is what it deserved for running from one pasture to\nanother. And the crupper-gall of this other mule, is it now well,\nboy?\n\n_Don For._ It is, little papa.\n\n_G\u00fce._ How can it be well, boy, if the inflammation has passed down\nbeneath the legs, and there's a great swelling there? Burst it open,\nboy.\n\n_Don For._ Burst it open yourself, little papa.\n\n_G\u00fce._ It will burst of itself, boy. What's wanting now?\n\n_Don For._ Heave up the pack, little papa.\n\n70\n\n_G\u00fceg\u00fcence._\n\n\u00bfCalentar el jarro?\n\n_D. Forcico._\n\nAlzar el fardo.\n\n_G\u00fceg\u00fcence._\n\nHa! el fardo! A onde est\u00e1 el fardo?\n\n_D. Forcico._\n\nAqui est\u00e1 tatita.\n\n_G\u00fceg\u00fcence._\n\nA mi tiempo, cuando fui muchacho, el tiempo del hilo azul, cuando me\nvei en aquellos campos de los Diriomos alzando aquellos fardos de\nguayabas,--no muchachos?\n\n_Alguacil._\n\nDate priesa, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nMe llevas preso? Porque, amigo Cap^n Alg^l M^{or}?\n\n_Alguacil._\n\nQue te des priesa!\n\n_G\u00fceg\u00fcence._\n\nDejeme acordar de mi tiempo, que con eso me consuelo. Ha! muchachos,\npara onde vamos, para atras \u00f2 para delante?\n\n_D. Forcico._\n\nPara delante, tatita.\n\n_G\u00fceg\u00fcence._\n\nPues, \u00e1 la guia, muchachos.\n\n Aqui se montan los muchachos en los machos.\n\n_G\u00fceg\u00fcence._\n\nMuchachos, \u00bfno habr\u00e1 un peinador para brindar el Cabildo Real del\nSor Gob^{or} Tastuane?\n\n71\n\n_G\u00fce._ Heat up the flask?\n\n_Don For._ Heave up the pack.\n\n_G\u00fce._ O! the pack. Where is the pack?\n\n_Don For._ Here it is, little papa.\n\n_G\u00fce._ In my time, when I was a boy, in the time of the blue thread,\nwhen I was in those plains of the Diriomos, lifting those packs of\nguayabas--isn't it so, boys?\n\n_Alg._ Hurry up, G\u00fceg\u00fcence.\n\n_G\u00fce._ You take me up? What for, friend Captain Chief Alguacil?\n\n_Alg._ I mean hurry up.\n\n_G\u00fce._ Let me recall old times, that I may console myself with that.\nSay, boys, do we go in front or behind?\n\n_Don For._ In front, little papa.\n\n_G\u00fce._ Then go ahead, boys.\n\n (The boys mount the mules.)\n\n_G\u00fce._ Boys, isn't there a cheeky fellow to toast the Royal Court of\nthe Governor Tastuanes?\n\n72\n\n_D. Forcico._\n\nSi, hay, tatita.\n\n_G\u00fceg\u00fcence._\n\nSe\u00f1or Gob^{or} Tastuanes, asaneganeme Castilla en chocola de vino.\n\n_Gobernador._\n\nSiguale, G\u00fceg\u00fcence.\n\n_Gobernador._\n\nSor. Escribano Real, asaneganeme Castilla en chocola de vino.\n\n_Escribano._\n\nSiguale, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nSor. Regidor Real, asaneganeme Castilla en chocola de vino.\n\n_Regidor._\n\nSiguale, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nAmigo Cap^n Alg^l M^{or} asaneganeme Castilla en chocola de vino.\n\n_Alguacil._\n\nSiguale, G\u00fceg\u00fcence.\n\n_G\u00fceg\u00fcence._\n\nPues nosotros, \u00e1 la gorra, muchachos!\n\n\nFIN.\n\n73\n\n_Don For._ Yes, there is, little papa.\n\n_G\u00fce._ Governor Tastuanes, let me offer you some Spanish wine, as a\ntreat.\n\n_Gov._ Follow him, G\u00fceg\u00fcence.\n\n_G\u00fce._ Mr. Secretary, let me offer you some Spanish wine, as a\ntreat.\n\n_Sec._ Follow him, G\u00fceg\u00fcence.\n\n_G\u00fce._ Mr. Registrar, let me offer you some Spanish wine, as a\ntreat.\n\n_Reg._ Follow him, G\u00fceg\u00fcence.\n\n_G\u00fce._ Friend Captain Chief Alguacil, let me offer you some Spanish\nwine, as a treat.\n\n_Alg._ Follow him, G\u00fceg\u00fcence.\n\n_G\u00fce._ Then, for us, boys; we'll get it for nothing, and drink it\nourselves.\n\n\nEND.\n\n\n\n\nNOTES.\n\n\n_Page 4._ The Dramatis Person\u00e6. These have been discussed in the\nIntroduction, page xlv. I may add that the \"Regidor de Cana\" may be\nfor \"Regidor Decano.\" Otherwise I do not see a meaning to it. The\nterm \"Alguacil\" might be translated \"constable,\" or \"bailiff.\"\n\n_Page 6._ The salutations exchanged between the Alguacil and\nGovernor are repeated frequently between the characters. In the\nfirst, the words would seem to be the Nahuatl _matataca_, to beg, to\npray, and _miecpialia_, to watch over, to protect; in the reply, for\nthe latter is substituted _miequilia_, to prosper, followed by\n_qualli_, good, or well. The terminal _s_, in _mispiales_,\n_miscuales_, is probably a remnant of the Spanish _os_, you. _No\npilse_ is the vocative _nopiltze_, my dear son, compounded of the\ninseparable possessive pronoun of the first person, _no_, and\n_tepiltzin_, an affectionate or reverential form, from the root\n_pilli_. The expression need not be taken as literally meaning\nrelationship, as the Nahuas used the formula _nopiltzintzin\u00ea_ in\naddressing all persons of position. \"_Ma moyolicaizin_,\n_Nopiltzintzine_, seas bien venido, \u00f3 ilustre Se\u00f1or.\" Carochi,\n_Gram. Mex._, p. 20.\n\n_Ya tiguala neme_, I take to be _y\u00ea tiqualli tinemi_, in which _y\u00ea_\nis a particle of contraposition, and both the adjective-adverb\n_qualli_, and the verb _nemi_, to live, to be, are preceded by the\nsecond personal pronoun _ti_. The compound _mascamayagua_ appears to\nbe from _maxca_, yours, literally, your thing (_mo_, your, _axca_,\nthing), and the optative particle _mayecuele_, equivalent to the\nSpanish _ojal\u00e1_; hence the meaning is \"yours to command,\" or \"at\nyour service.\"\n\nIn his next words the Governor uses a phrase which is repeated by\nvarious speakers with a \"damnable iteration\" throughout the comedy.\n_Simocague_ would, in pure Nahuatl, be _ximocauoltia_, the\nimperative second person singular, of the compulsive form of\n_mocaua_, to cease, to stop, or to suspend something. The noun\n_mocacaua_ is the word for the pauses or intervals in music. The\nreason for the frequent repetition of the request, I suppose to be\nthat in the ancient exhibitions of the drama numerous assistants\njoined in dancing, singing and playing on musical instruments; and\nwhen a specified ballet was to be performed, or an important\nconversation to be repeated, they were courteously addressed, and\nrequested to be silent for a time. Dr. Valentine tells me that in\nGuatemala the term _gente principal_ is commonly used to designate\nthe most prominent inhabitants of a pueblo.\n\n_Necana y paltechua_, Nahuatl words, united by the Spanish\nconjunction. The former is Nah. _nequaniliztli_, dancing motions;\nthe latter, elsewhere written _palechua_ and _paleguisa_, is a\ncorruption of _paleuqui_, suitable, or appropriate things. _Hemo_, a\nform of Sp. _hemos_, is an antiquated expression for _tenemos_.\n\nThe word _mo_ in the expression _mo Cabildo Real_ may be the Spanish\n_mio_, my; or the Nah. _mo_, thy, thine. The _Cabildo_ was\noriginally the chapter of a religious house, and later a council,\nbut at present it is applied in Central America to the municipal\ncourts, and the house in which they sit.\n\n_Page 8._ In the second reply of the Alguacil on this page there are\nevidently several words omitted which I have supplied in brackets in\nthe translation. The same has occurred elsewhere, and it was to be\nexpected, as nearly all the Nahuatl expressions have become\nunintelligible to the native population of the present generation.\nAs most of these formulas are repeated several times, we can\napproximate to what the full expression should be.\n\n_Ya nemo niqui nistipampa_, is a frequent reply in the play to a\nformal salutation of a superior. I have translated it as some\ncorruption of the Nahuatl words, _y\u00ea nemonequi nixtlipampa_,\nliterally, \"my presence is proper,\" _i. e._, \"I am present before\nyou, as is my duty.\" The Alguacil, as having charge of the patrol,\nhastens to speak of its wretched uniform. The adjective _sesule_,\nconstantly applied to G\u00fceg\u00fcence, evidently in a depreciatory manner,\nis probably from the Nah. _t\u00e7ulli_, worthless.\n\n_Page 10._ While the Governor and Alguacil are conversing, G\u00fceg\u00fcence\nand his sons enter, and overhear the last directions of the\nGovernor. All three understand whom he means, but it is the cue of\nG\u00fceg\u00fcence to assume a different signification. To the brusque\nrejoinder of Don Ambrosio he pretends to be deaf, and this feigned\ndifficulty of hearing is depended on as one of the main elements of\nthe comic throughout.\n\nThe epithet _mala casta_, of bad blood, as applied by G\u00fceg\u00fcence to\nhis own (putative) son, becomes intelligible later in the play,\nwhere it is stated that he was begotten during his legal father's\nabsence in Mexico.\n\n_Embustero_, which I have rendered \"humbug,\" is more exactly a\nboasting, bragging charlatan. Dr. Valentine suggests \"blower,\" in\nthe slang sense of that word.\n\n_Page 12._ _Asuyungua._ The numerous words which begin in _asu_,\n_asa_, and _ase_, seem to be compounds with the Nah _a\u00e7o_,\n\"perhaps,\" used in introducing a positive statement mildly, or in\npresenting a question in the form of an assertion, as _a\u00e7o amo\ntimo\u00e7ahua_, \"perhaps you have not fasted,\" meaning \"you surely have\nnot.\" (Carochi.) It is usually combined with other particles, and\nthe analysis of such compounds in the altered form presented in the\ntext becomes exceedingly uncertain.\n\nAfter the announcement of his person and official position by the\nAlguacil, G\u00fceg\u00fcence repeats his titles in a tone of affected\nadmiration, and inquires after his staff of office, which was not\nvisible. This staff was all-important to the dignity of an alcalde\nor alguacil. In Nahuatl this official is called _topil\u00ea_, he who\ncarries the staff, from _topilli_, staff.\n\n_Page 14._ G\u00fceg\u00fcence, who has no desire to appear before the\nGovernor, makes an excuse that he will learn how to fly, and is\nabout leaving, when he is called back by the Alguacil. The words _te\ncalas_, _qui provincia real_, should probably read, _ticalaquia\npresencia real_, the first from _calaquia_, to enter, as on page 8.\n\n_Page 16._ Having agreed to take a lesson in etiquette, G\u00fceg\u00fcence\npretends quite to misunderstand the Alguacil, when he claims pay for\nhis instructions.\n\n_Redes_, \"nets\" of salted fish. The reference is to the method\nadopted by the Indians of Central America in carrying burdens. This\nis in a net which is suspended between the shoulders by means of a\nstrap which passes across the forehead. Such a net is called in\nNicaragua _matate_, and in pure Nahuatl, _matlauacalli_; the strap\nor band by which it is supported is the _mecapal_, Nah. _mecapalli_.\nWhen the material to be transported is a fluid, a jar of earthenware\nis suspended in the same manner. A small earthenware cup, found in\nNicaragua exhibits this, and also some ingenuity of arrangement. It\nrepresents a woman, with one of these jars on her back, seated. (See\np. 78.)\n\n_Page 18._ _Ojos de sapo muerto_, lit. \"eyes of a dead toad.\" Such\neyes were considered to exercise an evil influence, and to bring bad\nluck.\n\n_Page 20._ _Doblar._ This Spanish word means to toll a bell, as at a\ndeath. G\u00fceg\u00fcence chooses to understand the Alguacil's demand for\n_doubloons_ to be a request to _doblar_, and hastens to announce to\nhis sons that the Alguacil has suddenly died.\n\n[Illustration: CUP FROM NICARAGUA.]\n\n_Page 24._ The coins which G\u00fceg\u00fcence names are those of the old\nSpanish currency. A cuarto was a brass piece, equal to a half-penny\nEnglish, or one American cent (Delpino, _Spanish and English\nDictionary_, 1763.) It was worth four maravedis, and eight cuartos\nequaled a _real de vellon_.\n\nThe phrase _maneta congon_ is of uncertain signification. I have\ntranslated the first word as the imperative form of _nextia_, to\nshow, to disclose; _congon_ may perhaps be a corruption of\n_conetontli_, boy.\n\nThe Alguacil now begins his instruction, and repeats, for the\nbenefit of G\u00fceg\u00fcence, the proper salutation which should be used in\naddressing the Governor. The old man pretends to misunderstand them,\nand makes use of other words, similar in sound, but of an insulting\nsignification. I have not succeeded in showing, in the English text,\nthis play upon words.\n\n_Page 28._ _Asonesepa negualigua_, etc. This passage has proved\nunintelligible to me, and the rendering is little more than a guess.\nThe phrase is the same as at the foot of p. 30.\n\nIn the midst of the conversation the Governor suddenly appears, and\nG\u00fceg\u00fcence turns to him with the customary and proper salutation,\nthus showing that his desire for instruction from the Alguacil was a\nsham.\n\nOn the phrase _te calas qui provincia real_, see the Notes to page\n14.\n\n_Page 30._ _Mesonero_, a person who owns or has charge of a _meson_,\na house in which the poorer classes of travelers sleep, providing\ntheir own food, and that of their beasts (Dr. Valentine). For\n_tupile_ see Vocabulary.\n\n_Antepeque_ or Tecoantepeque, the seaport of Guaxaca. Thomas Gage,\nwho visited it in 1625, wrote of it: \"This Port of Tecoantepeque is\nthe chief for fishing in all that country; we met here in the ways,\nsometimes with fifty, sometimes with a hundred mules together, laden\nwith nothing but salt fish for Guaxaca, the City of Angels, and\nMexico.\"--_A new Survey of the West Indies_, p. 195. (London, 1699.)\n\n_Dulces_ are sweetmeats of various kinds, eaten usually between\nmeals. Squier remarks: \"The Spanish taste for 'dulces' long ago\npassed into a proverb, but it rather surpasses itself in Nicaragua.\nThe venders of 'dulces', generally bright Indian girls, gaily\ndressed, and bearing a tray, covered with the purest white napkins,\nand temptingly spread upon their heads, pass daily from house to\nhouse; and it is sometimes difficult, and always ungallant, to\nrefuse purchasing something from their stock.\"--_Nicaragua_, Vol. I,\np. 275.\n\nThe punctuation toward the foot of the page should probably be,\n\"_no seremos guancos; no; seremos amigos_,\" etc. The _guipil de\npecho_ is the short upper jacket worn by the women. A _guipil de\npluma_ is a skirt woven of feathers. In ancient times, these\ngarments, skillfully constructed of the beautiful plumes of tropical\nbirds, were esteemed as the most valued articles in the treasures of\nkings, and the most magnificent of royal costumes. The art of\nfeather-weaving continued for some generations after the Conquest.\nIndeed, as late as 1840 one family in Mechoacan preserved it. The\nreference to it in the text, however, is a sign of antiquity, as it\nhas long since disappeared in Central America. See an interesting\nmonograph on the subject by the eminent French antiquary, Ferdinand\nDenis.--_Arte Plumaria; Les Plumes, leur Valeur et leur Emploi dans\nles Arts au Mexique, au Perou, etc._ Paris, 1875.\n\n_Page 32._ Much of this page is rendered with doubtful accuracy, as\nthe text is very obscure.\n\n_Page 34._ _Hay me sagua_, the same as _hoy melague_, p. 36; hoy,\nSpanish, now, to-day, _melaua_, Nah., to speak out, or openly.\n\n_Page 40._ The reference to the star would seem to be that when the\ntent is opened a star is visible through it, which G\u00fceg\u00fcence offers\nto the Governor.\n\n_Para tu cuerpo_, \"an extremely filthy expression.\" (Dr. Valentine.)\n\n_Page 42._ _Seran de arena._ \"They may be of sand,\" _i. e._, they\nare of no value or importance.\n\n_Yugos de papayo_, yokes of papaw wood, a soft wood, worthless for\nthe purpose, as is also the wood of the tecomajoche, the _Plumeria_,\nfor plows. The intimation is that Don Forcico was smart enough to\ncheat his customers.\n\nThe Nicaraguan plow is a wooden instrument of the most primitive\nconstruction. The following cut from Mr. Squier's work represents\none.\n\n[Illustration: A NICARAGUAN PLOW.]\n\n_Page 48._ The tunes mentioned, the St. Martin, the Valona, the\nPorto rico and others, are still preserved in Nicaragua.\n\n_Page 50._ _Sin tuno, sin tunal._ An obscure phrase which none of my\nadvisers can explain. _Tuna_ is the prickly pear, _tunal_, the plant\nthat bears it, various species of _Opuntia_. _Tuna_, in the\nuniversity slang, means beggarly, reckless; \"estudiantes de la\ntuna,\" mendicant or vagabond students. (See Don J. Arias Giron,\n_Costumbres Salamanquinas_.)\n\n_Page 54._ When the Governor uses the Nahuatl word _mocemati_,\npresumptuously, G\u00fceg\u00fcence feigns to understand him to say\n_desmonte_, which means, in Nicaraguan Spanish, a clearing, and also\nthe worthless waste products thrown out of a mine.\n\n_Page 56._ G\u00fceg\u00fcence leads in several girls, and presents them to\nDon Forcico, which gives the pair an opportunity for some coarse\njokes. _Pachaca_, stuffed up, here meant in the sense of being with\nchild. _Iguana \u00f4 garroba_, the latter the male of the iguana, a\nthick tree lizard of the tropics. _Aventada_, puffed up, taken in\nthe same sense as _pachaca_.\n\n_Page 58._ The _machete_, which I have translated \"axe,\" is a long,\nheavy knife or cutlass, in extensive use in Spanish America, for\ndomestic and agricultural purposes. It is shown in the following\ncut.\n\n[Illustration: THE MACHETE.]\n\n_Una yunta de botijas de vino_, a yoke or brace of wine jars,\nprobably so called from having been carried by a neck yoke, one\nsuspended on each side.\n\n_Page 60._ The Alguacil speaks to G\u00fceg\u00fcence of toasting, _brindar_,\nthe Court, and G\u00fceg\u00fcence feigns to hear him speak of the\n_provincial_ or ecclesiastical officer in charge of the province. It\nis an example of assonance which is lost in the translation. Managua\nand Nindiri are towns in the Mangue district of Nicaragua. See the\nmap on page xii.\n\nThe next affected misunderstanding of the old man is to take _una\nyunta de botijas_, a yoke of bottles, for _una yunta de bueyes_, a\nyoke of oxen.\n\n_Page 62._ _Hacer amigo_, to make a friend. This is the phrase which\nis used by courtezans with reference to securing a male patron to\npay their expenses, and for that reason G\u00fceg\u00fcence affects to be\nshocked by the employment of it by Don Forcico.\n\n_Page 64._ The words of the Alguacil, \"What a reputation, etc.,\" are\nwith reference to the charge of Don Ambrosio, that G\u00fceg\u00fcence had\ntaught his son evil ways.\n\nThe introduction of the mules, _i. e._, the actors dressed as mules,\nas described on page xlviii, is the occasion of several extremely\nobscene puns and allusions.\n\n_Page 68._ _Potrero_, colt-yard, or pasture-lot, a play on the\nsimilarity of the word to _puteria_, a brothel. The estaca referred\nto is, of course, an obscene allusion, as is also the _fluccion por\ndebajo de las piernas_, _i. e._, the scrotum.\n\n_Page 70._ _El tiempo del hilo azul._ This idiom has foiled all whom\nI have consulted. Dr. Valentine thinks it refers to the season of\nthe year when the verdure reappears after the drouth. F. Diego Duran\nstates that the village conjurors were accustomed to suspend charms\nto the necks of boys by blue and green threads. (_Historia de las\nIndias de la Nueva Espa\u00f1a._ Tom. II, p. 275.) Thus understood, the\ntime of the blue thread would be equivalent to boyhood.\n\n_Campos de los Diriomos._ The Mangue word _Diriomo_ means the hill\nof abundance, or of great fertility. The locality so named is shown\non the map, page xii.\n\n_Guayaba._ This is the fruit of the guayabo tree, the _Psidium\npyriferum_. It is red in color, and about the size of a small apple.\n\n_Page 72._ _A la gorra_, literally \"for the cap,\" an idiom meaning\nthat one receives something merely for taking off the cap; a\ngratuity. Dr. Valentine, however, writes me: \"I understand _nosotros\n\u00e1 la gorra_ to mean 'then we shall have to do without.'\"\n\n\n\n\nVOCABULARY\n\nOF\n\n_Nahuatl and Provincial, Unusual or Antiquated Spanish Words_.\n\n\nA\n\n Apupujado, Sp. Worn out, played out.\n\n Arra! \"Get up! Get along!\" A cry of the muleteers to their\n animals.\n\n Asa--. The various words beginning thus are compounds\n commencing with the Nah. _a\u00e7o_, which expresses a doubt,\n or implies a question, == perhaps, maybe. Olmos says:\n \"Quiere decir _por ventura_, respondiendo \u00f4\n dudando.\"--_Gram. Nahuatl_, p. 179.\n\n Asama--. This prefix to various words is the Nah. _a\u00e7oma_,\n which is a strengthened form of _a\u00e7o_.--Carochi, _Gram.\n Mex._, p. 181. The syllable _ma_ is also the sign of the\n imperative.\n\n Asamaquimate, Nah. A compound of _a\u00e7amo_, as above, and\n _mati_, to know. The _qui_ is the objective pronoun of\n the third singular, him, her, it, that; but its\n employment in this connection is incorrect.\n\n Asamatimaguas, _or_ --timagas, Nah. Probably from _a\u00e7oma_\n (see above), and either _temachtico_, to come to teach,\n or tell; or _temaca_, to give something to a person.\n\n Asanecaneme, _see_ Asaneganeme.\n\n Asanegaguala, _see_ Asanegualigua.\n\n Asaneganeme, Nah. Probably _a\u00e7o ni ca nemactia_, the last\n word meaning to give or offer something to another,\n \"perhaps I may offer something,\" == \"May I offer you\n some?\"\n\n Asanegualigua, Nah. Probably _a\u00e7o_ and _necuilhuia_, to\n deal, bargain, treat for.\n\n Asanese, Nah. p. 42. A compound of _a\u00e7o_ and some unknown\n word. Probably == _asones_, q.v.\n\n Asetato, Sp. ant. and prov. for _sientate_, sit down.\n\n Asiguala, Nah. From _a\u00e7o_ and perhaps _qualani_, to grow\n angry (?).\n\n Asones, Nah. From _a\u00e7o_, and probably _nechca_ or _nepa_,\n adverbs of place and time, \"these,\" \"then,\" \"once,\"\n \"formerly.\" Sometimes it is written _\u00e0 sones_, and\n _asonesepa_.\n\n Asuyungua, Nah. Compound of _a\u00e7o_ and _noyuhqui_, thus, in\n this manner (? Cf. Carochi, _Gram. Mex._ p. 190).\n\n Ayugama, Nah. == _ayoccampa_, nowhere, not at all, never.\n\n Azetagago, Nah. Apparently a corrupt form from _acicacaqui_,\n to understand.\n\n\nB\n\n Batuchito, Sp. prov. A small box, in which money, etc., is\n kept.\n\n\nC\n\n Cabildo, Sp. A chapter; a council. In Central America, the\n municipal court. See p. 76.\n\n Cabriol\u00e9, Sp. A kind of riding coat; \"a narrow riding coat\n without sleeves.\" (Delpino, _Span. Dict._)\n\n Campaneme, ?. p. 28. Probably for _campamento_.\n\n Cana, Nah. A particle, expressing doubt, \"any time,\"\n \"anywhere.\" _Cuix cana otimoyolcuiti_, Have you\n confessed anywhere? It cannot begin a sentence, but must\n always follow some other word (Carochi, _Gram. Mex._, p.\n 158).\n\n Cele, Sp. prov. A form of _zelar_, to be zealous for, to be\n anxious for; _no me cele_, I do not very strongly\n desire; used ironically.\n\n Chiguigua, Nah. Perhaps _ti calaquia_, you will enter in.\n\n Chiquimate, Nah. From _mati_, to know, _qui_, objective.\n\n Chopaquimate, Nah. _Quimati_, see above. _Chopa_ and _chi_\n seem to be personal forms.\n\n Chocola, Nah. _Chocolatl_, a drink made from cacao. It has\n been doubted whether there was a Nahuatl word in this\n form. Don Jesus Sanchez denies it in his _Glosario de\n Voces Castellanas derivadas del Idioma Nahuatl_, sub\n voce (Mexico, 1883). But its pure Nahuatl origin seems\n to be established by another writer (_An. del Museo\n Nacional de Mexico_, Tom. iii, p. 86). From the text,\n its meaning was in a wider sense a refection in general,\n just as the English word \"tea\" means a meal.\n\n Cinchera, Sp. The portion of the body of a horse or mule\n where the saddle girth is fastened.\n\n Cobijones, Sp. Large leather coverings to protect goods,\n etc.\n\n Cojudo, Sp. Not castrated. Applied to the entire horse, etc.\n\n Columbrar, Sp. To descry, to discern at a distance. \"Lo que\n veo y columbro, respondi\u00f3 Sancho,\" etc.--Don Quixote,\n Pt. I, cap. xxi.\n\n Congon, Nah. p. 24. Perhaps _conetontli_, a boy, or young\n person.\n\n Consentidor, Sp. A conniver, procurer, pimp.\n\n Corcobios, Sp. Curvetings, gambolings. Applied to the steps\n in certain dances.\n\n Corridos, Sp. Running steps, or motions, in certain dances.\n\n Cuascuane, Nah. From _cuicani_, to sing, chant.\n\n\nD\n\n Desmonte, Sp. A clearing; the refuse from a clearing, or\n from a mine. See note, page 80.\n\n\nE\n\n Eguan, Nah. A form of _ihuan_, and, as well as.\n\n Escataci, p. 28 (?).\n\n\nG\n\n Galagua, Nah., _calaquia_, to enter, to come into.\n\n Ganzo, Sp. prov. a goose; a fool; also a glutton.\n\n Garrobo. A large species of tree lizard; the male of the\n iguana (Berendt, _Lengua Castellana de Nicaragua_, MSS).\n\n Guajaque\u00f1o, Nah. From _quauhuaqui_, to appear thin and dry,\n like a stick.\n\n Guancos, Sp. prov. for _guanacos_, foolish, silly persons.\n\n G\u00fcil, Sp. prov. Probably for _que es el_, or _quel_, who is\n the, or which?\n\n Guipil, Nah. A form of _gueipil_, or _huipilli_. The short\n skirt, without sleeves, used by the Indian women. \"Camisa\n de algodon sin mangas.\"--Jesus Sanchez, _Glosario de Voces\n Castellanas derivadas del N\u00e1huatl_, s.v.\n\n Guiso, _see_ Tomaguiso.\n\n\nL\n\n Lichua, Nah. Probably an abbreviated form from _tla\n achiua_, to do, or make something; _lichua obedecer_,\n to make to obey.\n\n Linar, Sp. prov. To please, amuse, == _consolar_, for which\n it is used in some districts. (Berendt.)\n\n\nM\n\n Machete, Sp. prov. A heavy knife, or sort of cutlass (a\n Biscayan word). See page 81.\n\n Macho, Sp. A male of any animal, especially of a mule; used\n generally for mule in the G\u00fceg\u00fcence.\n\n Macho-raton, Sp. Literally, \"the male mouse,\" but in\n Nicaragua applied to a fantastic costume, and hence to\n the play, or _baile_, in which it is worn. See page\n xlvii. It may also mean a mouse-colored jack.\n\n Maneca, Nah. From _mana_, to make maize cakes, or tortillas;\n _manacan_, one who likes to make such (cf. Carochi,\n _Gram. Mex._, p. 136).\n\n Maneta, Nah. Probably the imperative form of _nextia_ (_m\u00e2\n xi nextia_), to show, to disclose or inform.\n\n Mascamayagua. Nah. A compound of _maxca_ (== _mo, axca_)\n thine, it is thine (literally, thy thing), and\n _mayacuele_, the optative particle, or else _ma ayc\n caui_, thine always. It is evidently equivalent to\n \"yours to command,\" \"at your service,\" etc.\n\n Matamagueso, _see_ Tumaguiso.\n\n Matateco, Nah. Slightly altered form of _matataca_, to beg,\n to pray, possibly by the addition of the Spanish\n personal pronoun, I, \"yo.\"\n\n Mayagua, _or_ Mayague, Nah. Apparently the sign of the\n optative, _mayacuele_, and expressive of a wish;\n _yecuel_, in Nah., also conveys the idea of promptness\n and earliness (Carochi, _Gram. Mex._, p. 175).\n\n Melague, _or_ Melagua, Nah. A form of _melaua_, to say\n clearly, to speak openly. The termination _que_, in\n Nah., marks the plural of certain nouns and tenses.\n\n Miscuales, Nah. From _miequilia_, to prosper, augment,\n increase.\n\n Mispiales, Nah. From _miecpialia_, to watch over, guard,\n protect. In both the above words, the prefix is _miec_,\n much, used as an intensive particle.\n\n Mo, Nah. Second person, sing., of the inseparable possessive\n pronoun, _no_, my, _mo_, thy, _y_, his, _to_, our,\n _amo_, your, _yn_, their. _Mo_ is also the reflexive\n pronoun of the third person singular, and appears to be\n occasionally used in the G\u00fceg\u00fcence as the possessive of\n the third person, probably from analogy with the Spanish\n _su_.\n\n Mocegua, _or_ Mosegua, Nah. Apparently from _mocenchiua_, to\n unite in doing something. The _n_ is euphonic, the\n composition being _ce_, one, and _achiua_, to do.\n\n Mohino, Sp. Applied to a mule proceeding from a stud and a\n jenny; also, peevish, cross.\n\n Mollule, _or_ Muyule, Nah. Apparently from _molotl_, smart,\n clever, crafty; itself a derivative from _yollo_, able,\n ingenious, talented.\n\n Monistilco, Nah. Apparently from _monetli_, son-in-law, with\n the postposition _co_, for, by, etc.\n\n Mosamonte, Nah. _mocemati_, presumptuously, too boldly.\n\n Motales, _or_ Motalce, Nah. Derivatives, apparently, from\n _motlaloa_, to run, to carry messages, with the\n signification messengers.\n\n Motel, Nah. p. 38. An interrogative negative particle,\n properly _monel_.\n\n Moto, Sp. prov. Noisy, rowdyish; a noisy, blustering person.\n \"El muchacho mal criado que motea.\" (Berendt, _La Lengua\n Castellana de Nicaragua_, MSS.)\n\n Muchintes, The Sp. _mucho_, much, with the Nah. augmentative\n termination _tzin_, == very much, very extensive. Or\n else, the pure Nah. _muchintin_, all, plural of\n _muchi_.--Olmos, _Gram. Nahuatl_, p. 48.\n\n Mudanzas, Sp. prov. The motions in a dance.\n\n Muyule, _see_ Mollule.\n\n\nN\n\n Necana, Nah. From _nequanaliztli_, dancing motions, as are\n used in _bailes_.\n\n Neganeme, _see_ Asaniganeme.\n\n Negua, Nah. If a separate word, this is probably from\n _neci_, to disclose oneself, to show oneself; it is,\n however, a doubtful expression.\n\n Negualigua, Nah. From _necuilhuia_, to bargain, to deal for.\n\n Neme, Nah. From _nemi_, to live, to be (Sp. _estar_), to\n dwell.\n\n Nemo, _see_ Niqui.\n\n Niqui, Nah. Found in the construction _nemo niqui_, which\n should probably read _ni monequi_, it is proper for me,\n becoming or necessary. Sp. _me conviene_.\n\n Nistipampa, Nah. The postposition _pampa_, _ixtli_, the\n face, and the first possessive pronoun _no_. The\n compound means \"I, present,\" or \"in my presence.\"\n Carochi, _Gram. Mex._, p. 45.\n\n No, Nah. First person, singular, of the inseparable\n possessive pronoun. See _mo_. It is also used for the\n Spanish negative, _no_, not, throughout the play.\n\n \u00d1onguan, page 28. An unknown word which, from its initial\n nasal, has the appearance of being from the Mangue\n tongue, in which this sound is very common.\n\n\nO\n\n Opa, Nah., _oppa_, twice.\n\n\nP\n\n Pachaca, Nah. A derivative from _pachiui_, to stuff with\n food, to satisfy the appetite, etc. The verbal nouns\n ending in _ca_ or _can_ usually signify place where,\n but this is to be considered a verbal adjective, from\n the pluperfect _pachiuhca_.\n\n Pachigue, _or_ Pachiguete, Nah. From _pachiuitia_, to\n satisfy a person. The frequent expression, _pachigue no\n pachiguete_, should probably be punctuated _pachigue_?\n _No pachigutee_, == Satisfied? No, you do not satisfy\n me.\n\n Paguala, p. 36, Nah. A truncated word. Compare _a sones\n sepaguala_, p. 34, and _a sonesepa negualigua_, p. 28.\n\n Palegue, _see_ Panegue.\n\n Palparesia, Nah. From _papal_, or _papallotl_, talk,\n conversation. Sp. _parleria_. No doubt an onomatopoietic\n word, like the English babble, Hebrew, Babel, which it\n resembles, both in pronunciation and meaning.\n\n Paltechua, Nah. From _paleuhqui_, favorable, advantageous or\n appropriate things. See page 76.\n\n Paneguia, _or_ Panegue, _or_ Palegue, Nah. From _panauia_,\n to get the better of another, to overcome, conquer. The\n termination, _gue_, or _guia_, in this and other verbal\n forms, is one of past time in the Nahuatl. See Carochi,\n _Gram. Mex._, p. 54.\n\n Peinador, p. 70. Perhaps the Spanish word so spelled, which\n means a hairdresser, and hence an effeminate person. But\n it may be a Spanish form from the Nah. _pinauhtia_, to\n put another to the blush, or out of countenance, the\n compulsive form of _pinaua_, to be ashamed.\n\n Perico ligero, Sp. prov. In Nicaragua, the night-monkey,\n _Cercoleptes caudivolvulus_, which has sharp claws. It\n is elsewhere applied to a species of parrot, and to the\n bee bear, _Myrmecophaga_, (Berendt, _Lengua Castellana\n de Nicaragua_, MSS).\n\n Petaca, Nah. From _petlacalli_, a box, trunk or chest;\n especially a square basket, with a lid; \"cajon\n quadrangular con tapa, hecho de palma\" (Berendt, _id_).\n\n Petate, Nah., _petlatli_, the native rug or mat, woven of\n palm leaves or rushes.\n\n Pilse, Nah., _piltzin_, son, vocative, _piltze_. See page\n 75.\n\n Polluse, _or_ Poyuse, Nah. Apparently a form of poa, to\n tell, relate, give an account, preterit, _pouh_,\n _pouhca_.\n\n\nQ\n\n Qui, Sp., who; also at times for Sp. _aqui_, here.\n\n Quichuas, Nah. Probably a derivative from _achiua_, to do or\n make. Compare _Lichua_.\n\n Quilis, Nah., _qualli_, good, well.\n\n Quinimente, Nah., _quin_, he, those, _aquin_, who. It would\n seem to be a demonstrative form, but its analysis is\n obscure.\n\n Quinquimagua, Nah. A compound of _macua_, to give, to\n concede, with the pronouns _quin_ or _aquin_.\n\n\nR\n\n Rebiatar, Sp. prov. To tie behind, as the muleteers tie one\n mule in the line to the mule in front of it.\n\n Recua, Sp. prov. A team, or line, of mules.\n\n Remates, Sp. prov. The finishing steps, or closing figures\n of a dance.\n\n Ri\u00f1onada. The hinder portion of a horse or mule, over which\n passes one of the harness straps.\n\n Rujeros, Sp. prov. for _rugidos_, bellowings or shoutings.\n The name of a tune.\n\n\nS\n\n Sagua, p. 34. A mutilated word; see _Melague_.\n\n Sapatetas, Sp. prov. for _zapatetas_, from _zapato_, a shoe.\n Shoe-slappings, the name of the figures in a rough,\n noisy dance.\n\n Samo, Nah., p. 8. Probably some compound of _amo_, no, not.\n\n Semula, Sp. prov. for _similar_, like, similar to.\n\n Seno, Sp. prov. for _sin_, without.\n\n Sepaguala, Nah. See _Paguala_.\n\n Sepanegaligua, Nah. A compound of _calaquia_, to enter, with\n some prefix, as _cepan_, together, or _ixpan_, in the\n presence of some one.\n\n Sesule, Nah. A compound of _t\u00e7ulli_, good for nothing,\n worthless, perhaps with _ce_, one, or _te_, some one. It\n is an adjective, applied in a depreciatory manner to the\n G\u00fceg\u00fcence.\n\n Sicana, Nah. See _Cana_.\n\n Silguerio, Sp. prov. for _xilguero_, a linnet, or thrush.\n\n Simocague, Nah. Imperative form of _mocaua_, to pause,\n suspend, cease. See page 75.\n\n Sobornal, Sp. The excess or addition to a load.\n\n Sones, Sp. Tunes, music.\n\n\nT\n\n Tatita, Sp. Little papa. A diminutive of endearment. It\n could also be derived from the Nah. _tatli_, father.\n\n Tecetales, _or_ Tesetales, Nah. From _tetzauia_, to be a\n shame, to be scandalous.\n\n Tecomajoche, Nah., _tecomatl_, vase, _xochitl_, flower; a\n tree bearing small white flowers, a species of\n _Plumiera_, allied to the East Indian \"temple tree.\"\n\n Teguane, Nah. Form of _tehuantin_, pronoun, first person\n plural, we, us.\n\n Ticino, Nah., _ticitl_, a native doctor, a charlatan; one\n who casts lots for divination; a personal form, from\n _ticiti_, might be _ticitoni_.\n\n Tiguala, Nah. A compound of _ti_, thou, and _qualli_, good\n or well. See note, page 75.\n\n Tiguita, Nah. A word of uncertain meaning, pages 46, 48, in\n the phrase _mollule tiguita_. It may be a first person\n plural, from _quixtia_, _tic quixtia_, we do our duty,\n we do our best.\n\n Timaguas, Nah. Either from _temaca_, to give something to\n another; or from _temachti_, a teacher, an instructor.\n\n Tin, Sp. A form for _tener_, to have. It stands in different\n passages for _tiene_, _tenemos_, and _tienen_, and is a\n good illustration of the wearing away of forms in this\n mixed dialect.\n\n Tinderia, Sp. for _tenderia_, a shop, booth or tent, in\n which wares are displayed for sale.\n\n Totolatera, Nah. From _tototl_, a bird or fowl; _petaca\n totolatera_, a basket for carrying fowls.\n\n Tumaguiso, Nah. A compound of _tuma_, to untie, open, and\n _qui\u00e7a_, a verbal termination, which signifies a\n performance of the action of the verb to which it is\n added.--Olmos, _Gram. Nah._, p. 157.\n\n Tumiles, Nah. An adjective from the same root as\n _tomanaliztli_, fatness, corpulence, and signifies\n abounding, abundant.\n\n Tunal, Sp. prov., from a Haytian (Arawack) word. It means a\n plantation of the native American cactus figs, or\n prickly pears. See page 80.\n\n Tupile, Nah. An officer of justice, an alcalde or alguacil.\n From _topil\u00ea_, he who carries a staff; _topilli_, staff,\n this being the badge of the office.\n\n\nV\n\n Vaticola, Sp. prov. The posterior of an animal; the crupper\n region. Possibly from _veta di cola_, vein of the tail.\n\n Velancicos, Sp. prov. for _villancicos_, rustic songs sung\n at the doors of the brotherhoods (_cofradias_) at\n certain festivals (Berendt, _Leng. Castel. de\n Nicaragua_, MSS).\n\n\nY\n\n Ya. Interjection. You there! Yes, there!\n\n\n\n\nINDEX.\n\n\n Alva, B. de, xlv.\n\n Anahuac, v, vi, vii.\n\n Antepeque, 79\n\n Arawack language, xx.\n\n Ayacachtli, the, xxxvi.\n\n Aymaras, xv.\n\n Aztecs, v, xvi.\n migrations of, vi.\n\n\n Baker, Theodore, xxxviii.\n\n Bancroft, H. H., ix.\n\n Baptista, J., xlviii.\n\n Balsam Coast, the, xxxvi.\n\n Barber, E. A., xxxiii, xxxviii.\n\n Benzoni, G., xi, xvi, xxii, xliv.\n\n Berendt, C. H., v, vi, xi, xxv, xxxi, xli.\n\n Bertonio, L., xv.\n\n Bobadilla, F. de, vii.\n\n Brantford, Dr. J. F., x, xxxv.\n\n Brasseur de Bourbourg, xliii.\n\n Buschmann, vii, xi.\n\n\n Cacho, the, xxxvii.\n\n Canahuate, dance, xxvi.\n\n Carimba, the, xxxvi.\n\n Carochi, H., xvi, 75, 77.\n\n Chapanecs, H., viii, ix, xxii, xxxix.\n\n Chiapanec, see Chapanecs.\n\n Chiapas, ix.\n\n Chilchil, the, xxxvi.\n\n Chinegritos, Los, xxvi.\n\n Chirimoya, the, xxxviii.\n\n Cholotecans, vi, n, viii.\n\n Cholula, derivation, viii.\n\n Chorotegans, _see_ Cholotecans.\n\n Cofradias, the, xxxix.\n\n Coreal, F., xxii, xliv.\n\n Cuscatlan, vi.\n\n\n Delpino, F., 78.\n\n Denis, F., 79.\n\n Dirians, viii.\n\n Drums, xxx.\n\n Duran, D., xxi, xxx, xliv, xlviii, 82.\n\n\n Feather weaving, 79.\n\n Flint, Dr. Earl, x, xxxix, xli.\n\n Flutes, xxxv.\n\n Fonseca Bay, viii.\n\n\n Gage, Thomas, xxii, 79.\n\n Gatschet, A. S., xxxviii.\n\n Giron, J. A., 80.\n\n Gollena, Dr., xviii.\n\n Gomara, vii.\n\n G\u00fceg\u00fcence,\n Play described, xli.\n Derivation, xlv.\n Story of, xlviii.\n\n\n Haefkens, J., xxiv.\n\n Honduras, xvii.\n\n\n Icazbalceta, J. G., xlviii.\n\n\n Juco, the, xxxv.\n\n\n Kekchis, xlii.\n\n Kiches, xliii.\n\n\n Lacandons, xxxviii.\n\n Las Inditas, xxx.\n\n Lessing, G. C., xlvi.\n\n Levy, Pablo, xxiv, xxx, xliii.\n\n Logas, xxv.\n\n\n Machete, the, 81.\n\n Macho-Raton, the, xlviii.\n\n Maguateca, vii.\n\n Malinche, air of, xxxviii.\n\n Managua, Lake, viii.\n Province, xi, xxxi.\n\n Mangue language, xi, xiii.\n\n Mangues, v, viii, xxii.\n\n Marimba, the, xxviii.\n\n Masaya, viii, xvii.\n\n Mayas, ix.\n\n Mice, superstitions about, xlviii.\n\n Morelet, A., xxx, xxxviii.\n\n\n Nahuas, v.\n\n Nahuatl language, v, vi, xiii.\n\n Nahuatl Spanish jargon, xxi.\n\n Namotiva, xxx.\n\n Navarro, J. M., xxxix.\n\n Negritos, dance, xxvi.\n\n Nets, for burdens, 77.\n\n Nicaragua, v.\n Derivation of, vi.\n Lake of, v, xi.\n\n Nicaraguans, vi.\n\n Nicaraos, vi.\n\n Nicoya, Gulf of, v, viii, xxxv.\n\n Niquirans, v, vi.\n\n\n Ollita, Dance of, xxvi.\n\n Ollita, instrument, xxxi.\n\n Ometepec, Island, xi, xxxi.\n\n Oviedo, F. de, v, viii, xi, xix, xxi.\n\n\n Perez, Geronimo, xix.\n\n Peru, xv, xxxi.\n\n Pito, the, xxxiii.\n\n Plow, Nicaraguan, 80.\n\n\n Qquichua Language, xvi.\n\n Quijongo, the, xxxvi.\n\n\n Remesal, P. F., ix.\n\n Rocha, J. E. de la, xii.\n\n\n Salazar, F. C., xlviii.\n\n Squier, E. G., v, vi, x, 79.\n\n Suchi-Malinche, Derivation of, xlvii.\n\n\n Tastuanes, derivation of, xlvii.\n\n Tecoatega, xx.\n\n Tecoantepeque, 79.\n\n Tempsky, Von, xxviii, xxxviii.\n\n Ternaux-Compans, vii, ix.\n\n Ticknor, George, xxv, xliv.\n\n Ticomega, vii.\n\n Titicaca, Lake, xv.\n\n Toro-Guaca, dance of, xxvi.\n\n Torquemada, vii, ix.\n\n\n Uluas, xliii.\n\n Urrutia, J. A., xxiii.\n\n\n Vasquez, F., vi, xxii.\n\n Valentine, F. H., 76, 82.\n\n Valentine, P. J. J., ix.\n\n Vera Paz, Province, xxxviii.\n\n\n Whistles, xxxiii, xxxv.\n\n\n Zapatero, Island, xxxiii.\n\n\nTranscriber's Note:\n\nOriginal spelling has been preserved, as have any inconsistencies.\n\nMinor punctuation errors have been repaired.\n\nIn this etext a superscript character is represented by ^. Two\nsuperscripted letters are surrounded by { }.","title":"The G\u00fceg\u00fcence; A Comedy Ballet in the Nahuatl-Spanish Dialect of Nicaragua","tradition":"myth-cosmogony","translated_text":null,"word_count":30460}