Chapter I: Preface

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

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

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

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

_Philadelphia, November, 1883._

CONTENTS.

PAGE
_Introduction._

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

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

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

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

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

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

THE GÜEGÜENCE; A COMEDY. 3

_Notes to the Güegüence._ 75

_Vocabulary._ 83

_Index._ 93

LIST OF ILLUSTRATIONS.

PAGE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A MACHETE. lxxxi
_From an original sketch._