Chapter III: Introduction: § 1. The Nahuas and Mangues of Nicaragua (2)

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

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

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

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

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

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

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

[Sidenote: p. 6.]

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

[Sidenote: p. 8.]

[Sidenote: p. 10.]

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

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

[Sidenote: p. 12.]

[Sidenote: p. 14.]

[Sidenote: p. 16.]

[Sidenote: p. 18.]

[Sidenote: pp. 20-22.]

[Sidenote: p. 24.]

[Sidenote: p. 26.]

[Sidenote: p. 28.]

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

[Sidenote: p. 30.]

[Sidenote: p. 32.]

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

[Sidenote: p. 34.]

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

[Sidenote: p. 36.]

[Sidenote: p. 38.]

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

[Sidenote: p. 40.]

[Sidenote: p. 42.]

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

[Sidenote: p. 46.]

[Sidenote: p. 48.]

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

[Sidenote: p. 50.]

[Sidenote: p. 52.]

[Sidenote: p. 54.]

[Sidenote: p. 56.]

[Sidenote: p. 58.]

[Sidenote: p. 60.]

[Sidenote: p. 62.]

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

[Sidenote: p. 64.]

[Sidenote: p. 66.]

[Sidenote: p. 68.]

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

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

FOOTNOTES:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[40] _The American Naturalist_, February, 1883.

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

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

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

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

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

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

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

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

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

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

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

THE GÜEGÜENCE.

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

BAILE DEL GÜEGÜENCE

ó

MACHO-RATON.

PERSONAS.

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

THE BALLET OF THE GÜEGÜENCE;

OR,

THE MACHO-RATON.

DRAMATIS PERSONÆ.

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

6

BAILE DEL GÜEGÜENCE.

Se da principio bailando, y habla el

_Alguacil._

Matateco Dio mispiales, Señor Gobernador Tastuanes.

_Gobernador._

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

_Alguacil._

Mascamayagua Sor. Gob^r Tastuanes.

Dan vuelta bailando y habla el

_Alguacil._

Matateco Dio mispiales, Señor Gobernador Tastuanes.

_Gobernador._

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

Dan vuelta bailando y habla el

_Alguacil._

Matateco Dio mispiales, Señor Gobernador Tastuanes.

_Gobernador._

Matateco Dio miscuales quilis no pilces Capitan Alguacil Mayor.

7

THE COMEDY-BALLET OF GÜEGÜENCE.

(The Alguacil and Governor enter, dancing.)

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

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

_Alg._ At your service, Governor Tastuanes.

(They dance around the stage.)

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

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

(They dance around the stage.)

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

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

8

_Alguacil._

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

_Gobernador._

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

_Alguacil._

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

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

_Alguacil._

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

_Gobernador._

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

_Alguacil._

Acaso no me de consentidor ticino mo Cabildo Real.

9

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

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

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

(The patrol is sounded and they dance.)

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

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

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

10

_Gobernador._

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

_Alguacil._

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

_Güegüence._

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

_D. Ambrosio._

Asi lo mereces, Güegüence embustero.

_Güegüence._

¿Me hablas, Don Forcico?

_D. Forcico._

No, tatita, seran los oidos que le chillan.

_Güegüence._

¿Me hablas, Don Ambrosio?

_D. Ambrosio._

¿Quien te ha de hablar, Güegüence embustero?

_Güegüence._

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

_Alguacil._

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

11

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

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

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

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

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

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

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

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

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

_Alg._ A servant of the Governor Tastuanes.

12

_Güegüence._

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

_Alguacil._

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

_Güegüence._

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

_Alguacil._

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

_Güegüence._

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

_Alguacil._

Asa neganeme, Güegüence.

_Güegüence._

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

_Alguacil._

Asetato, Güegüence.

_Güegüence._

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

_Alguacil._

Que vayas corriendo y volando, Güegüence.

_Güegüence._

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

13

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

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

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

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

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

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

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

_Alg._ Take a seat, Güegüence.

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

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

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

14

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

_Alguacil._

Cantando y alegrando á los Señores grandes.

_Güegüence._

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

_Alguacil._

Corriendo y volando, Güegüence.

_Güegüence._

¡Ha, muchachos! me hablan?

_D. Ambrosio._

Quien te ha de hablar, Güegüence embustero?

_Güegüence._

¿Me hablas, Don Forcico?

_D. Forcico._

No, tatita, seran los oidos que le chillan.

_Güegüence._

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

_Alguacil._

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

_Güegüence._

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

_Alguacil._

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

15

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

_Alg._ It sings and amuses the grandees there.

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

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

_Güe._ Ho, boys! do you speak to me?

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

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

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

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

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

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

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

16

_Güegüence._

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

_Alguacil._

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

Dan vuelta los dos bailando y habla el.

_Alguacil._

Ha, Güegüence, ya estamos en el paraje.

_Güegüence._

Ya estamos con coraje.

_Alguacil._

En el paraje.

_Güegüence._

En el obraje.

_Alguacil._

En el paraje.

_Güegüence._

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

_Alguacil._

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

_Güegüence._

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

17

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

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

(They dance around the stage.)

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

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

_Alg._ At the place.

_Güe._ To work apace.

_Alg._ At the place.

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

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

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

18

_D. Forcico._

Ahi estan, tatita.

_D. Ambrosio._

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

_Güegüence._

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

_Alguacil._

Acaso no me cele de pescados salados, Güegüence.

_Güegüence._

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

_Alguacil._

Reales de plata, Güegüence.

_Güegüence._

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

_D. Forcico._

Ahi estan, tatita.

_Güegüence._

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

_Alguacil._

Ayugama, no me cele de platos, Güegüence.

_Güegüence._

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

_Alguacil._

Pesos duros, Güegüence.

19

_Don For._ Here they are, little papa.

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

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

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

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

_Alg._ Pieces of eight, Güegüence.

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

_Don For._ Here they are, little papa.

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

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

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

_Alg._ Hard pieces, Güegüence.

20

_Güegüence._

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

_D. Forcico._

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

_D. Ambrosio._

Que quesos duros has de tener, Güegüence, embustero?

_Güegüence._

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

_Alguacil._

Acaso no me cele de quesos duros, Güegüence.

_Güegüence._

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

_Alguacil._

Doblones de oro y de plata, Güegüence.

_Güegüence._

Ha! dobles. A! muchachos, sabes doblar?

_D. Forcico._

Si, tatita.

_Güegüence._

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

_Alguacil._

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

21

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

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

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

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

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

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

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

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

_Don For._ Yes, little papa.

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

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

22

_Güegüence._

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

_Alguacil._

Doblones de oro y de plata, Güegüence.

_Güegüence._

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

_Alguacil._

Todo lo que hubiere en la bodega, Güegüence.

_Güegüence._

¿Todo, todo?--¿No me dejas nada?

_Alguacil._

Nada, nada, Güegüence.

_Güegüence._

Ni batuchito?

_Alguacil._

Ni batuchito, Güegüence.

_Güegüence._

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

_D. Forcico._

Así es, tatita.

_D. Ambrosio._

Así lo mereces, Güegüence, embustero.

_Güegüence._

Arra ya, mala casta, comeras tus uñas.

23

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

_Alg._ Doubloons of gold and silver.

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

_Alg._ Everything in the shop, Güegüence.

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

_Alg._ Nothing, nothing, Güegüence.

_Güe._ Not so much as an empty box?

_Alg._ Not even an empty box, Güegüence.

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

_Don For._ So it is, little papa.

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

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

24

_D. Ambrosio._

Las comeremos, Güegüence.

_Güegüence._

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

_Alguacil._

Para tu cuerpo, Güegüence.

_Güegüence._

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

_Alguacil._

Como no? Si, entiendo de todo, Güegüence.

_Güegüence._

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

_Alguacil._

Pues, échelos todos.

_Güegüence._

Pues, enséñeme.

_Alguacil._

Pues, azetagago.

_Güegüence._

Pues, maneta congon.

_Alguacil._

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

25

_Don Am._ Let us eat them, Güegüence.

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

_Alg._ May it burn your body, Güegüence.

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

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

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

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

_Güe._ Well then, teach me.

_Alg._ Well, then, pay attention.

_Güe._ Well, then, show me.

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

26

_Güegüence._

Matateco Dio cuascuane cuascuane Tastuanes.

_Alguacil._

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

_Güegüence._

Matateco Dio panegüe palegüe Tastuanes.

_Alguacil._

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

_Güegüence._

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

_D. Forcico._

Si, tatita.

_Güegüence._

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

_Alguacil._

Mas azetagago, Güegüence.

Le da dos rejazos.

_Güegüence._

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

_D. Ambrosio._

Así lo mereces, Güegüence, embustero.

_Alguacil._

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

27

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

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

_Güe._ I pray God to overcome Tastuanes.

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

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

_Don For._ Yes, little papa.

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

_Alg._ Find out more about them, Güegüence.

(Gives him two blows.)

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

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

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

28

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

_Güegüence._

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

_Alguacil._

Asaneganeme, Güegüence.

_Güegüence._

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

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

_Gobernador._

Matateco Dio miscuales quilis Güegüence yatiguala neme?

_Güegüence._

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

_Gobernador._

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

_Güegüence._

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

_Gobernador._

Es menester licencia, Güegüence.

_Güegüence._

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

29

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

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

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

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

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

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

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

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

_Gov._ A permit is necessary.

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

30

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

_Gobernador._

Pues aqui es menester licencia para ello, Güegüence.

_Güegüence._

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

_Gobernador._

Pues una niña no puede dar licencia, Güegüence.

_Güegüence._

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

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

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

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

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

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

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

_Gobernador._

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

_Güegüence._

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

_Gobernador._

No chiquimate, Güegüence.

_Güegüence._

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

_Gobernador._

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

_Alguacil._

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

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

_D. Forcico._

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

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

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

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

_Gov._ I do not know it, Güegüence.

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

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

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

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

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

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_Gobernador._

Matateco Dio miscuales quilis Don Forcico ya tiguala neme.

_D. Forcico._

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

_Gobernador._

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

_D. Forcico._

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

_Gobernador._

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

_D. Forcico._

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

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

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