Which may be freely rendered—
"Were I a little louse, I'd go
In your puffed and plaited hair;
With you all your toil I'd share;
This lazy fellow loves you so."
The carángano is the name of a species of louse, and the cojines are the little pads or cushions which women wear in their hair.
In this dialect several satirical and political songs have been composed, and, indeed, the licentiate Geronimo Perez, of Masaya, is stated to have printed in it a political pamphlet, which I regret not to have been able to obtain.
Such is the jargon in which the Güegüence is written, and although this medley of tongues can claim no position of dignity in the hierarchy of languages, it has its own peculiar points of interest, as illustrating the laws of the degradation—which is but another term for the evolution and progress—of human speech. To understand its origin and position as a literary effort, we must review the development of scenic representations in that part of the New World.
§ 2. The Bailes, or Dramatic Dances of Nicaragua.
The historian, Fernandez de Oviedo, who was in Nicaragua in 1529, gives a long account of the dramatic representations, or rites, accompanied by songs, dances and masked actors, which he witnessed among the natives of both Nahuatl and Mangue lineage in that province. They took place at stated seasons, and at certain epochs in the year. The name which he gives as that by which they were locally known is mitote, which is the Aztec mitotl, a dance. He himself calls them areytos, a Haytian word from the Arawack aririn, to sing, and bailes, which is Spanish, from a classical root, and means dances.
One which he saw at Tecoatega, at that time a Nahuatl village, was celebrated at the close of the cacao harvest and in honor of the god of that plant. It offered a curious symbolism, which makes us keenly regret the absence of a full explanation by some learned native. In the centre of the village square a straight pole was set up about forty feet in height. On its summit was placed the image of the god, brilliantly colored, in a sitting position. Around the top of the pole a stout grass rope was tightly wound, its two free ends passing over a wooden platform.
When the ceremony began, about seventy men appeared, some dressed as women, some with masks and head-dresses of feathers, and all painted skillfully on the naked flesh to imitate handsome costumes. They danced in pairs, and sang in chorus certain songs, to the sound of the sacred drums. After about half an hour, two boys, who had been attached to the free ends of the rope, threw themselves from the platform into the air, in such a manner that they turned round and round the pole, unwinding the rope, and thus gradually descended toward the ground. One boy held in one hand a bow, in the other, some arrows; his companion held in one hand a fan or plume of feathers, in the other a mirror, such as the natives made of polished obsidian. As they descended, which, says the narrator, required about as long a time as one might repeat the Creed five or six times, the dancers ceased their song, and only the players on the instruments, some ten or a dozen in number, continued their noise. But, just as the boys, by the increasing length of the unwound cord, touched the soil, all present set up a great shout, and the festival ceased.[25] The cut which I have inserted is taken from Oviedo's history, and represents the performance.
