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.
| [Introduction.] | PAGE |
| [§ 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.] | [xviii] |
| 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] |