’ B R I NTO N S L I B R A R Y O F A BO I A L A M E I CA N L I A E R I G N R T E R T UR . U M B E I I I N R .

H I LA D E L HI P P A .

1 8 8

’ B R I N T O N S L I B R A R Y O F I I A E A BO R I G I NA L A M E R CA N L TE R T UR . E I I I N U M B R .

G U E G U E N GE

A CO MEDY BALLET

I N THE

N HU TL-SP NISHDIALEC NI A A A F OF CARAGUA .

ED I TE D BY

D AN EL BRINT N A M I G. M O . D , . , . .

D . . BR N ON G I T , H I L A D E L H I A P P .

1 8 8 ; COPYR I GHT ,

D G B I N O N . . . R T

1 883 . L I B R A R Y

R GNAL AMER

LTERAT RE U .

N I I I O . .

EDI TED BY

D G B R I N T M . . O N , JJ

PHILADELPHIA

1 883 .

PREFACE .

The play which is presented in this volume is the only specimen known to me of the n ative America n comedy . It f m a a r and m a mixed is o co p r tively recent o igin , is co posed in

a a a n of S a and r A Na di lect , j rgo low p nish cor upt ztec ( hu atl but bo and i b a ma ) , th in its history sp rit , it e rs so ny ma of a m i and a a i of rks n tive co posit on , is so ch r cterist c the sort of humor popul ar with the tribes from whom it was b ai a fa m a a e O f b o t ned , th t it irly erits pl ce in this s ries pu li c ations .

x was Ob a N a a a b a Dr. a The te t t ined in ic r gu , y the l te C rl But a a f an of and Hermann Berendt . no tr nsl tion o y part it n f r res n no notes upo it were ound among his pape s . The po

sibilit for i f m f. y the render ng rests , there ore, with ysel It has x m if l w n m f presented e tre e d ficu ty, o i g to the i per ect con of x a i of Na a dition the te t , the deterior t on the hu tl words and f m a a and i a of S a or s , the n tiqu ted prov nci l senses the p nish and b a f i words , the o scure loc l re erences ntroduced . I would a a of m as a a a ra aim r ther spe k y work loose p r ph se , ed to give a and m of a a the gener l sense hu orous tone the origin l , th n as a faithful translation . x has b as in ma The te t een printed precisely the nuscript , even obvious errors in spelling and punctuation h aving been pre served . Suggestions with reference to these are made in the

notes . For a a in ra a S a x u ssist nce t nsl ting the p nish te t, I wo ld a m b P f A f Pi a of cknowledge y inde tedness to ro essor dol o err ,

P a and D r. F a . . a of New Y b hil delphi , C V lentine , ork , oth of m a a s ab who h ve p ssed con ider le periods in Central America . N ovember 1 . , 883

CO NTENTS .

PA GE

'

Tire N ai mas a nd Ma n ues o M eara u a . 1 . g f g

Locati on of the Na uas of N cara ua . D er at on of the ord h i g , v iv i w

M ea ra u a v Or n of the N cara uan N a uas . Lo cat on g , igi i g h , vi i d a e a i of the Man ues i . ca e Cfior otee s . t ons g , vii Why ll , viii R l i h p

Na uas x . f e to the C a anecs ix . Cu ture e e of the O th h p , l l v l h , m n of D sa earance of t e r an ua es xi . Co ari so Man ues x . g , i pp h i l g g , p Mex co x om a ri n of he the Na u at o f N ca ra ua and of . C so t h l i g i , iii p D fferences et ween N c ra uan Man u e t the C a anec x . a g wi h h p , iii i b i g v Co m a riso n of th e Man u e or C a anec and ure Na uat xi . p h l , p g h p , ma f men of Centra Am er ca t the A ra o Peru xv . D e e o t l i , wi h y , , v l p m n f x of th e Na uatl S an s ar on x . S ec e s o it . h p i h j g , vii p i , vii

2 77m B at/es or D ra matze D a nces o M eara ua . . f g ’ ’ x m sm f dan O edo 3 descr t on x . S o o the c e xx . Benz oni s vi ip i , y b li , ii ’ mar s xx H r r of Ga e s re . sto ca c aracte descr t on xx . ip i , ii g k , ii i i l h f d h xx . F e c asses o ances xxi se and t e dances . Pur o , iii iv l , ii p di The Lo as xxv. Las I n tas xxv . The c aracters xx . h , iv g , , h x - T e Ne r tos x . oro u a d o r Chine ritos xx . G ac an t e g , vi g i , vi T h f he a x Th e drama o t O t x . dances xx . , vi lli , vii

' M eara ua n Musica l I nstru ments a nd Musi c xx 3 . g . viii d r i n xx h m a i form an o . T e D rum xx The Mar ts x . The i b , ig , viii , The P o or r Musi cal ar xxxi . t st e xx x c Ol ta o . S e li J , i Whi l , iii p i n F u x xx m ns fA rs xxx . The o te . Th e u xxx e o co . The i , iv l g l , v J , v The or i on o or Carim a xxxvi . C ch A ac h xxx i u ac tli . Q j g b , hil il y , v C ara cter o f nat e mus c xxx Air f The Cac o xx x . . o the h , vii h iv i , vii d C fr Ma i nc e xxxv . C oruses an o ad as xxx vi . Me od es l h , iii h i , ii l i

from the Gii e i ence xl . g i ,

‘ ‘ ’ ’ ’ ‘ I z zstor o the B azle ael Gzi e f enee . u 4 y f g .

\Vhence the text was O ta ned xli . me and mann er of its re earsa b i , Ti h l ,

xli . A e of th e a x . easons for cons der n it a nat e g pl y, lii R i i g iv ro x How di fferent from th e x du on . li ct S an s comed . p i , lii p i h y , ii

Nat e ots of s m ar c aracter x . Na e comed ans xlv t . iv pl i il h , liv iv i ,

' ’ matz P ersonae . a o rz 5 The D r s f Me Gfi egzi e ee. Th e n xlv er at on of the n e Gii ii e ce . D ame xl v ara er xlv C ct . g , iv i , . h , l x a me . n r i nd M c ous umor x . Costu Do Fo c co a D on i i h , lvi , lvi f ac ons xlvi r Am ros o x . Con o The ernor Tastu trast t . Go b i , lvi i , v me anes x v . D eri ati on of the na xl M nor c aracters , l ii v , vii . i h , Th x x Ma i nc e . . e ad Suc i D er at on of the name lvii l y h l h , lvii iv i ,

x . The mu es x i . eir costum e x lvii l , lvi Th , lviii . lz t . o r x 6 Epitome f t e S o y of tire Gfi egii enee. lviii THE E GUE GUE NC ; A COMED Y . t t ’ ’ N o es to fie Gziegzim ce. LIST OF ILLUSTRATIONS;

PAGE FR N PI E E I A R E I A O I S . A MAN E N I N I N LO A T C GU D C T G G .

r i na l ket h b r r From a n o i s c D . B e endt g y . MAP O F THE LOCATI ON OF THE NAHUAS OF N I CARAGUA AND TH E I R N E I RS GHBO . ANCI E NT D ANCE I N ’ F r m O ied t r a o v o s ffis o i .

‘ A MAR I MBA PLAYE R AND HI S I NSTRUMENT ’ F rom Von Tem sb s Mitla p y . ANCI ENT AZTE C xxx ’ F rom D u ra n s [fistorid NI CARAGUAN I N D I ANS PLAYI NG ON THE D RUM xxxu

F rom a n ri i n al ketc/z b D r B eren dt. o g s y . EAR WAR E R A xxx TH EN MUSI CAL JAR FROM NI CA AGU . iii

r b r B erendt. F rom a d a wing y D . EARTH ENWAR E WH I ST LE FROM xxxiii

B ere dt. F rom a drawing by D r . n NATI V E FLUTE xxxiv

D er n dt o r . B e . F rom MS . f WH I STLES FROM N I CARAGUAN BUR I AL xxxv

F . B ra n ord . F rom R e ort o D r . p f f . sf THE QUI JONGO OF xxxvi Origin a l D ra wing f rom description ATZEC MOURNE R SI NGI N G AND

From Az tec Codex in tbe A u bin Collection AI R OF MALI NCH E ’ r et a F om Morel s Voy ge. MELODI ES FROM GU EGUENCE

rn i b r E . Flin t Origin a l f u shed y D . . EARTH ENWARE CUP FROM l xxviii

B erendt. From a sketch by D r . A NI CARAGUAN PLOUGH ’ r N i a ra u a F rom S qu ie s c g . A

From a n origi na l sketclz . N I NT RO D UCT I O .

I Tbe N a bnas a nd Man ues o Ni ca r a u a . . g f g

Among the outlyi ng colonies of that importan t people

c f a was a of M x and are whose hie se t in the V lley e ico , who

a as A M x c an Na a a v riously known ztecs , e i s or hu s , were sever l “ ” Mr n a Am a O ne of . S in Ce tr l eric . these , writes quier, “ a an in La of N a a a occupied the princip l isl ds the ke ic r gu , the n arrow isthmus which in terve nes between that lake and

Pa fi and bab a of the ci c , pro ly portion the country to the w s ar as far as f of N a . n as outhw d , the gul icoy Their cou try

a a u m b - five b a et less th n h ndred iles long, y twenty ro d ; y am an a and n and here they preserved the s e l gu ge institutio s , a am of am pr cticed the s e religious rites , with the people the s e m a an m a stock who dwelt ore th n two thous d iles dist nt , on a a of Ana a fr m m a a b the pl te u hu c , o who they were sep r ted y

m f a a ff a u a an nu erous power ul n tions , spe king di erent l ng ges, d ” 1 n n ha ving distinct orga izatio s .

i Na a b a am P n tVica Th s hu tl tri e g ve the n e to the rovi ce , ra ua b n a s m a a t g , this ei g , ccording to o e e rly u horities , the personal appellation of their chief at the epoch o f their dis ’ c over I 2 2 and a a a am y, in 5 , , ccording to others , their n tion l n e .

F r n r r o o sufii c ient as M . S a m m e ons , quier pplied to the the ter

' ira an D r B n c r M n ns d . 1Vi a a os but m b o , ere dt , it see s etter to

' a n as i for m am M ca ra ua ns m ret i , distinct ve the , the n e g , or, ore “ ” “ ” c a Na a of N a a a . N c a a a specifi lly, the hu s ic r gu i r gu is

E G u er The r . . S States o Cen t al America 1 Lo n don q i , f , p . 3 7 ( ,

2 The con uest of Ni cara ua is descr ed O edo [fistori a Gen er a l q g ib by vi , de l ndias Lib I XXI and Herr las . ca . era D ecadas de I ndie s , XX X , p , , , I I I Lib V D ec . . I and see I V Lib D ec . . I I I ca . X. , , , V , p B V I I N OD C I ON V TR U T .

b a Na a but as r f undou tedly hu tl word , , the letter is not ound in a an a a f m a Fa th t l gu ge , the precise origin l or is uncert in . ther Francisco Vasquez e xplained it as a compound of the Nahuatl

nica n and a na/zzca cos f m Ana , here , , here dwell those ro huac ; or it may be from nican and nabna ( plural form of nabnatl a Na a n ) , here dwell those spe king the hu tl to gue ;

as a na am of a f ma be ni cala ai a or , perso l n e chie , it y q y , ” n r I e te ed into , or took possession . How it h appened that this fragment of the Aztec n ation had become detached from the main body and resident so far m n f a a has b a x a . . ro its centr l se t , not een cle rl y e pl i ed Mr Squier and some others h ave maintained the hypothesis that

m a of all A was f m the igr tion the ztec tribes ro south to north , and that their scattered members in Central America were 2 an ha b d a . ds which stopped on the ro d This opinion , how f b n of a a and a b ever , is re uted y the evide ce l ngu ge , lso y nan m a n of A m b the u i ous tr ditio s the ztecs the selves , oth in N a a a and M x ic r gu in e ico . The Nicaraguans had a very positive recollection that their a am f m M x f b a of f ncestors c e ro e ico , driven orth y sc rcity ood , and that they wandered along the Pacific shore to the locality

1 “ ' M ca ra bn a es lo m smo ue [Vica a na bna c a u estan los Mex canos O i q , q i i ” Anahu acos. Fra Franc sco V as u ez Cron ica de la P rovin cia de Gu ate y i q , ma la Parte I I Lib ca I G uatema a The form N ica ra o , , . V, p. ( l , , d h erm nat on f a r ado te D r. Berendt is certa n corru t as t e t o o er p by , i ly p , i i p p ’ name in no is no foun i rr a uat S u er s term [Vi u ira ns was t d n co ect N h l . q i o

ado ted him from a m sread n of O edo and has no aut or t at p by i i g vi , h i y wh

e er so a so his attem ted d scr m nat on et een Chorote ans and v ; , l , p i i i i b w g h me ord C olotecans as ot t ese are forms of the sa . , b h h w

2 “ The hypothesi s of a migration from Ni caragua and Cuscatl an to An a uac is a to et er more consonant t ro a t es and t trad h l g h wi h p b bili i , wi h i ” an m h n - t ons t t at c der e h Mex cans fro t e ort . E s t e . G. S u er i , h h whi h iv i h q i .

N otes on Centra l Ame ca t is difli cult to u nderstand h w ri . . I o Mr , p 349 . Squi er cou ld make thi s statement in the face of the words of Herrera and so man ot er r ters y h w i . - E V I I THE NAHUAS AND MAN GU S .

1 m mb in whi c h the Spaniards found them . They re e ered the am of a m a O f an n es their ncient ho e , or , r ther , their cient and a m as Ticome a and Ma u a teca a kindred , g ve the g g , loc ting them toward the west hac ia donde se pone el It is e asy to recogniz e in these words the Aztec terminations signi f in ens b mecatl and teca tl in ra y g g or tri e , , which the plu l drop t Nor c an be far n f ma na the l. we wro g in identi ying g with

A ma ne ab and tico tia cbca u/c the ztec g , upper , ove , with , elder “ b and in an a am as rother , tr sl ting these n es , the one the ” ft a a i . e. upper people , , the dwellers on the lo y interior pl te u , “ ” and our b i e. n and an n a elder rothers , . , the se ior r ki g cl ns ” f r n o b ma A a a . thei tri e , who re i ed in n hu c

B a n Nicara uans c esides these tr ditio s , the g showed their lose

a n A b a b a a Of a a rel tio ship to the ztecs y su st nti l identity l ngu ge , m a a ma and m ythology, religious rites , c lend rs , nners custo s .

a f na an a ma of nf ma ab We h ve , ortu tely, unusu l ss i or tion out m f m an xam a of a n men b the , ro e in tion their le di g y the a a F anc isc o B ba a 1 28 ch pl in g de o dill , in 5 , who took down as m a a as x and their replies with uch ccur cy we could e pect , a a has b a whose n rr tive been preserved y the histori n Oviedo . They also had retain ed a knowledge of the Mexican hiero

1 La Gente de esta t erra dec a u e a i a desc end do de la Mex cana i i , q h v i i ; ” su ra e Len u a era cas como el de Mex co — Herrera D ecada I I I T g , i g , i , i . , ,

XI I D cen ue huvo en los s an n Nue a Ca . . t em t uos e Lib . o V , p i , q i p ig , v

' Es arra u na ran Seca or lo ua se fueron o r a ue a Mar Austra a p g , p q l p q ll l ”— N cara ua . I d . D ec I I I Lib V ca V r u mada o ar a . . I . I I . o e p bl i g , , p T q , s ec ca uot n the trad t ons O ta ned fro m the O dest nat es states p ifi lly q i g i i b i l iv ,

a e Nicara u ans came fr m An a ua o r —Mon a r u ia th t th g o h c at n emote epoch . o

d na Lib I I a I n ia . I c . XL . ee a so mara H t e I ndia s S Go is . d la s , , p , l , , ,

6 . ca . 20 ‘ p

3 Prof. usc mann who o ta ned t ese names in a ar ed form fr B h , b i h g bl om ’ ' Ternau x- Com ans translauon of O edo a e t em u as nso u e e p vi , g v h p i l bl , whil

reco n z n t e r a ue as nd c at n the ander n s of the N icara uan g i i g h i v l i i i g w i g g s. ” “ Un liicklicherweise he sa s s nd ene z e Namen von so u n iin~ g , y , i j w i g ” sti em Ge a te das ich n c ts a u s nen er or oc en ann eber die g h l , i h ih h v l k k . U

b cben Ortsna A z te is men . 68 er n , p 7 (B li , V 111 I N OD C I ON TR U T .

l hics and b of a and a m g yp , wrote , in ooks p per p rch ent , their a and ritual their a a and b a of l ws , c lend rs the ound ries their 1 a l nds . While this Az tec band thus acknowledged themselves to be n a a a b n c a i truders , such ppe rs not to h ve ee the se with mm their i ediate neighbors to the northeast and southwest .

of b and a a and a m These were one lood l ngu ge , c lled the selves mdnbeme ma S a a , rulers , sters , which the p ni rds corrupted into ’ n a A a a a Ma gu es. The inv ding ztecs ppe r to h ve split this

a b f a n . a ncient tri e into two r ctio s , the one driven tow rd the

ab f of N c a n a south , out the Gul i oy , the other orthw rd , on 3 and a La Ma a a and b F a Ba . ne r ke n gu , eyond it on onsec y

P bab m m Of N c a a an a ro ly in e ory this victory, the i r gu s pplied “ ” m b am Cl wlolteca to the the oppro rious n e , those driven out , f m Na a b clzoloa and ff x tecatl was ro the hu tl ver , the su i , which 4 b an r corrupted y the Sp ish to C/zo otecas. The name does not by an y means intimate th at the Man am fr m a x as m a and m gues c e o Cholul in Me ico , so e ncient , so e

1 The care ess statement of the stor an Herrera t at it was on the l hi i , h ly Chorote ans who had suc oo s can be corrected from his own o um es g h b k , v l , from he ex r m ara Com are and also t pli cit wo ds of Ovi edo and Go , p

ra D ec . I I I Lib I V a d t de la n dias V I I t e o His . s I Herre . c . O , , , p , wi h vi , ,

LI I ca . I and Gomara i s n ia ca 202. Lib . f i t. de las [ d s X , p , , , p .

3 The ord man beme is a der at e from imb the ead ence the w iv iv l , h , wh

' ‘ ' a anec d ama the ru er or ead man and ma n d ama master c ef in Ch p z , l h , z , , hi , c ord ma is a ossess e re x a nd n a art c e somet mes re at e whi h w p iv p fi , p i l , i l iv , m u on c of x n r i n u ma omet es e e ceed f e u ent use n t s to e. I t s i ph i , i gly q hi g y

m ared o the Na uat n be c o p t h l i .

s atter or a ort on of t em n a t n a countr sout of Thi l , p i h , i h bi i g hilly y h Masa a ere ca ed D iria ns from the Man u e ord diri a a name y , w ll , g w , hill , c has m ro er een extended to the o e tr e whi h i p p ly b wh l ib .

“ ” 4 The com u s e form o f the er cboloa to run a a is c/z ololtia to p l iv v b , w y , ,

ause to run a a to dr e out. No dou t the name of Cholu1a Cho c w y, iv b (

' lollan in Mex co is of the same der at on but it arose from a difierent ) i iv i , ,

u s m ar stor ca e ent. tho gh i il , hi i l v

I N OD C I N X TR U T O .

My present theme does not extend to a discussion Of these a a me f n of v rious tongues , nor t ke urther into the eth ology a has a their loc lity . It to do solely with these two n tions , the

N a a an - ic r gu s and the Mangues . The culture level of the former was nearly as high as that found in the Valley of M x m . had a e ico They settled govern ent , constructed edifices of and am O f stone , sculptured idols , utensils orn ents out the am ma a am f a s e teri l , were skilled in cer ics , de t in we ving cotton and a ma ab war and f cloth reed or gr ss ts , le in , thought ul enough to pu z zle their first E uropean visitors with questions as a and a b n in and of to the st rs the e rth , the egin g the end 1 things . Careful arch aeologists in our own day have searched n ab and ma m m a n the territory they i h ited , ny useu s cont i speci m n of a a m of a e s wh t they cco plished in the direction the rts , and f a ab of a a a c m 2 testi y to respect le degree intellectu l dv n e ent .

w a M are m as We kno less bout the angues . They entioned ff n f m N a a an and di eri g in religious rites ro the ic r gu s , the impression is conveyed that they were in a more primitive but et fa a m be a am n condition , y with ir cl i s to r nked o g the a n a n Am m in fa of . cultiv ted tio s the new world ong the , ct , “ B n f a n Am c a Dr. ere dt located one of the c entres o ncie t eri n a n and of civiliz tio , considered the definite solution their

’ c areful analysis of all the native words in Ovi edo s account of Ni caragua does no o Pfini t sh w a singl e Maya a ty . 1 The c ef as ed Gonz a ez if at the en d of the or d the eart ou d hi k l , w l , h w l be overturned or ou d the sk fa ? How ar e are the stars t e , w l y ll l g , why h y mo e and at ee s t em in t e r cou rses ? en and how do the v , wh k p h h i Wh , sun and moon change th eir brightness ? Why is the night dark and the w nter co d s nce t and armt are so muc etter ? Herrera i l , i ligh w h h b ( , d i D eca . I I I L b I V ca , . , p. V . )

2 t e f cara ua are E G. The l eadi ng authoriti es on the antiqui i s o Ni g .

' S u er M ca ra u a [ts P eo le S cener a n d Mon u ments to et er t his q i , g , p , y , g h wi h numerous other works pertai ni ng to Central Ameri ca ; and the reports of

nsf rd to the Sm t son an I nst tut on . D r E ar F nt and D r. . F . Bra o . l li J , i h i i i Ha e and er nd so m ade n umerous n est at ons but t e r r D r. B e t a D . b l l i v ig i , h i a reports h ave not appeared in adequ ate det il . D MAN G ES X1 THE NAHUAS AN U . affiliations as one of the problems of the first order in the 1 S a a a a ethnology of America . The p nish histori ns rel te th t ha h b like the M x c a a they d hieroglyp ic ooks , e i ns ; th t they

a a f m were r ther light in color , c re ul in dress , setting uch store b a u mb and had an y their long h ir , which they sed lously co ed , a m was utocratic military govern ent . Their country thickly

a a of b a . peopled , especi lly th t portion it etween the l kes The n w a m a n district O f Ma agua as l ost like continuous tow , so closely were the native houses placed together for ne arly ten m I n fa was a b a x e iles . ct , it c lled one city y the e rliest e plor rs , and O a e a for viedo , who t k s p ins to criticise these their xa a ma a of tendency to e gger tion , esti ted the popul tion this m at m of at f li ited district , the ti e the Conquest , orty ’ thousand souls .

At a an - b m a of of prese nt , sc rcely y pure lood re n nts either a can be f n and b a a are ac a these n tions ou d , oth l ngu ges pr tic lly

x n . S N a a a 1 8 0 e ti ct When Mr . quier visited ic r gu , in 5 , he b a i a ffi a ab a of o t ned , with gre t di culty, short voc ul ry the Na a a i a Of Om La hu tl di lect , spoken on the sl nd etepec , in ke N a a a an 1 Dr B n at o f d 8 . ic r gu ; , in 74, ere dt , only the cost

a ff r n f m a few v repe ted e orts , succeeded in secu i g ro sur ivors of advanced ages a moderately full collection of Mangue ’ words and sentences .

1 See his essa R ema r ks on tbc Centres o An cien t America n Civil iz a y , f tion in Centr a l A merica a nd t/zei r Geo r a hica l D istribu tion in e , g p , th h B u lletin o t e America n o . c N o Ge S o . . . f g 2 , 1 8 76

3 t e I Hi s ori c: G nera l de l I ndi Lib . LI as as ca . , X , p V .

3 The o der r ters a e eft scant nformat o n a o ut t ese d oms l w i h v l i i b h i i .

O edo reser ed t rt or fort Na uat ords most o f c a e een vi p v hi y y h l w , whi h h v b ana z ed usc man and Benz on in a r ef assa e notes the dent t ly by B h ; i , b i p g , i i y “ of the N cara uan and Mexi can . C amano S nor Tutru ane il i g hi li ig i , ane tasca and le a l ne toto and occomaia tan to u o dire como p l , g l i li , v l ” as etta un o co e al infirmita moc oc oua and al a ar m L a p p b ll e itote. ffis t a del Mon do N a I t is d r ori m/o . 1 0 . sai t at a D octri n a w nt d , p 3 h as p i e in the Mangue ; but the only work on that tongue I kn ow O f is the Ap u n I N OD C I ON TR U T .

MAP O F T O AT O OF T A A O F ARA A AND T R B R HE L C I N HE N HU S NIC GU HEI NEIGH O S .

ta mientos de la L en u a Ma D on uan E o de l n u e a oc a M . g g , by J ligi R h ( S Masa a 1 8 2 a fra m n f c is in m ossess on e t o . y , 4 ) g whi h y p i

r. Ha e d r i D S . who s te N ca a ua n 1 86 in s te of the reatest b l , vi i i g 5, pi g efforts was una e to find a s n e erson s ea n Na uat t e to d him , bl i gl p p ki g h l ; h y l it was all for o en -A rcba’ olo ca l a nd t/z n o o a g tt . gi E l gi c l I nvestigations in

Centra l a nd S ont/z A ri a 2 me c . as n ton , p 4 (W hi g , N AS AND MANG ES Xl l l THE AHU U .

To illustrate the practical iden tity of the Nahuatl of Nica a a a of A a a and Ma of N a a u a r gu with th t n hu c , the ngue ic r g a of a a w of mm with th t Chi p s , I ill insert two short lists co on words with their equival ents in those four dial ects . The first ’ is f m M abo f f m r. S ro quier s works ve re erred to , the second ro

B m . the manuscripts of Dr. erendt now in y possession

Nica ra u a a nd o Mexic o g f .

NAH U ATI . E O P NGLE E . A A A N HU C .

teod . d afl ac . j ad ( u .

totz o ntecon . xi yc tl . itz c uintli . m a z a t l . h toc tli. fl d e .

ad . ca lli . cendi

u iah u itl q . x c t o hi l . h c ad e e .

c oad . q u auhdL afl teCp . t c epe .

c e . OHKL yet n a u i m illi ac u .

o the Ma n u e wit/z t/ze /za a nec f g C p . MAX GUB MA NGUB E o r NGLISH . O F N A ARA . IC GU CHIA PAS .

n d u . di a u fip p j . n u ZL mo ne n a a y j , h . n a n i n a u . h . j ha oo . oua oua . g y , p n uunr om a g g . x D I N iv I NTRO UCT O .

E NGLISH .

ma H a t i . e d , z

E e n at . y , e E ar n fi a , d

Foot ta u . , k u er or c f d am aor man heme R l ( hie ), x g m D o n u . g , bi Mouse n an L , g

B rd n ur . i , i '

S na n u ti . ke , l ’

F r ninr. i e ,

W ater n m u . , i b

Hou s n an u . e , g ma Ma z n a . i e , W n i d , H ill ,

O ne, Two r Th ee , Four F e iv ,

ut a a a a It needs b cursory gl nce t these lists to see th t , while there is scarcely a dialectic difference between the two

Na a m and a a b Man mn hu tl colu ns , g in etween the two gue colu s , there is absolutely no point of contact between Mangue and a N huatl . The chief differences between Nicaragu an and pure Nahuatl a f m a b n na tl t were , th t the or er ch nged the dou le co so nt into , a a c cb and or dropped it ltogether ; th t the , g were con f a in a x ounded ; th t , the conjug tion , they dropped the prefi tla Na a m a a , which in pure hu tl is e ployed to indic te th t the inanimate object of the verb is not expressed ; th at certain m a a as x and a a a ter in l conson nts , , were dropped pp rently th t of s and r the sounds , not known to the tongue in its purity,

were introduced . The linguistic rel ations of the Mangue or Ch apanec tongue

a b a r a n a m a h ve never een sce t i ed . I h ve co p red it with the a c as as princip l sto ks in the northern continent , well with the

a - a a m has x affi a gre t Tupi Gu r ni ste , which e tensive li tions in MAN S XV THE NAHUAS AND GUE .

ra Am i a but an a a of Cent l er c , without discovering y n logies far a . a a a a a v lue It does ppe r , however , to h ve cert in , though f m a A ma a n ro close , rel tionship to the y r to gue , spoken in the P ia A and al of La ac a eruv n ndes , especi ly in the vicinity ke Titic , the celebrated site of a remarkable ancient civilization . The a following list of common words seems to indic te this . The A ma a a f m a of a n b y r is t ken ro the diction ry th t to gue , y Fa L i B al of Ma ther udov co ertonio , while the di ects the ngue are m a b N for N a a u a and for Cha discri in ted y , ic r g n , C , a p nec .

Com arison o tlze Man ue or C/m a nec o p f g , p , f

Ex Arma n c u s a . Ma s t n A c o o CH PANE C. Fat r ua u c o C . a a . he , p ) p r Man na a C . c ac a. , h l ) h h C il a i n sun i N nasu . h d , g ( ) Ear n h i N hin h u u . c u , y ( ) . E h e n a te n a ui . y , h Bon N a n u c u . e, y i ( ). y F re niiu C n a u N n na i , ( ), y y ( ). i . W at m v er n u C rna . , i b ( ). er n a u C ma ah . . u Riv j ( ) y , j u ' W nd tihu C t aa i ( ). h . Fe at rs ar C . la ural ua co r . he , l i ( ( lo ed) Ma z ma e na C . c c am i , ) ) a . E art n ek a u C n e a a u o h , p ( ). ek , cl y , y p , s il . Sk na u a u C . han ac or a a a a. y , k j ( ) ( l kh) p ch Bl n saa i saa i i d p p . D um n a am u C am u b , ( ) . ' Gr at C h a . ac c ha . e , y ( ) B tter ats C . c ata i , i ( . D ad tu u a C e , h ) ).

eat o ta N an ta to eat a etc . To , k i ( k i ( pples , ) Food nom ota m am a C . a. , 8) t To o ota g (C). ou mo C Th , gi ( ) You l im ec m o C . (p ), c ( )

There are al so various gramma tical simil arities between the two tongues . Both are highly synthetic ;in both the division ” of al t a i a ma an i a ima nouns is vit is ic , th t is , nto ni te d n n te ; x vi I N OD C I ON TR U T . the numeral system is in both the decimal ; in both the possessive pronoun follows the noun ; both possess the in c lusive and e xclusive plural ; and others could be men i n t o ed .

It is known th at the Aymara partakes largely of the m of uic hua and b m a m ele ents the Qq , y so e is cl ssified erely as a a m a as a a di lect of that tongue . Such si il rities ppe r to x b Ma and A ma a are e ist etween ngue y r , however , less with and f m mm P a m the words or s co on to these two eruvi n idio s , but rather more with those wherein the Aymara differs from

uic hua the Qq . n an ff ab a b With the tre ch t di erences ove indic ted , etween

Na a and Man ue m n a Ob the hu tl the g , it is the ore si gul r to serve

Na a n a ma how the hu tl obtained the prepo der nce . We y attribute this to the superior fighting power of the Aztec invaders ; to the fact that many of the native allies of the Spanish Could speak th at tongue and not the Mangu e th at a m a am f m M x a Na a the e rly ission ries c e ro e ico ;or , th t the hu tl was m n Man ue was pro ptly reduced to writi g , while the g not ; 1 l a a an a l a m n . a t or to these c uses co bi ed Cert in it is , th t

a a a m x a am b e rly d te i ed di lect c e into vogue , oth in the Mangue districts of Nicaragu a and elsewhere in Central

Am a m of a b n- n Na a and a eric , co posed roke dow hu tl corrupt

S an at as a m a of mm a p ish , which , first , served e ns co unic tion b and b and a b am etween the conquerors their su jects , l ter ec e , m A a Of a . to so e degree , the usu l tongue the l tter The ztecs of pure blood spoke contemptuously of this j argon as in ma cebna lla tolli a a of a and Fa at , the l ngu ge sl ves , ther C ochi , m a a af n writing little ore th n century ter the co quest , con

1 The superi or position of the Nahuatl among the Ni caraguan langu ages was noted Benz on in his v s t to t at cou ntr as ear as a out 1 0 by i , i i h y , ly b 55 ,

He O ser es : Par ano in N cara u a uatro len u a i ero la me o ela b v l i g q g gg , p gli Mess cana la uale si stende iu di m e e c n uecento m a di aese i , q p ill i q igli p ”— ’ a l iu fa r r I storia a el N u o Mondo . 1 0 nd e a c e da m a a e. vo p il i p , p 3 V enet a ( i ,

V I I I I N OD C I N X TR U T O .

This Nahuatl - Spanish j argon became the lingu a f ranca of a of a Am n M x was l rge districts Centr l erica a d e ico . It the

of a f- b and da a current tongue the h l reeds , to this y is the p tois of the muleteers who carry on the sparse commerce of the

m a n Ma f S an m interior ount i ous regions . ny o its p ish ele ents are amma a and are Ob ungr tic l , others long since solete in the a a a and cl ssic l tongue . It is interl rded with words whole

a b f m A c but c m a phr ses orrowed ro the zte , with su h util tions

a are a at all n ab . th t they sc rcely, or not , recog iz le Words f m a a a a a ro other n tive l ngu ges h ve crept in , which dds to the

ffi of x a As for n be di culty its le icogr phy . the co struction , it am and m a all nf a c e looser looser , until , in so e phr ses , i lection l

m a a and a a x a of ele ents dis ppe r , there is n ked ju t position m na and ba a of m be no i l ver l roots , the rel tion which ust m f m guessed si ply ro their sequence . Probably in none of the Spanish provinces has the Castilian

m f m m N c a a a suffered ore ro such ad ixture than in i r gu . The foreign words are there so numerous th at the country patois becomes nearly unintelligible to one acquainted on ly with a of A a m Of a the Sp nish the c de y . Here is the verse song,

for xam a a a far e ple , in th t di lect , which will illustr te how the

ma ama n a n has n a lg tio with the n tive to gues go e . The words in italic are either Nahuatl or Mangue

Casa bn ano mi am or y , ,

r vo t a a nea Po s es é p y do.

No sea tilinte mi n s , bie . S e sele u e du efi o am a o g , d .

M o t n r oo a nd oman o y l ve , be wee gi lh d w ho d, art is r a n for o My h e b e ki g y u . D o not er m o e one be sev e , y l v d . I a m et u nr e m o d m aster y ip , y bel ve .

1 s erse is from a son Dr. Gollena a a rec ated oet Thi v g by , highly pp i p

of Guatem a a who has r tten but I e e e ne er u s ed some oems l , w i , b li v v p bli h , p a u a d a ec in the Nicar g n i l t. A N ES XI X D RAMATI C D C .

A x of nother song, in which the lover e presses the strength f a a has f his devotion with more orce th n eleg nce , the ollowing verse

fu ra o ca rbn a no O e y g , ' E n tu s coj znes m e meteri a a Para servirte todo el di . z an an o Te am a este g .

Which may be freely rendered

' W re a ttl e ou I d o e I li l se , g ' I n your pufl ed and plaited h a ir ; ’ “l i th you all y our toil I d sh are

This laz y fellow loves you so .

caran ano am of a of a d The g is the n e species louse , n the coj ines are the little pads or cushions which women wear in

r a thei h ir . In this dialect several sa tirica l and politica l songs have b m and a m P een co posed , , indeed , the licenti te Geroni o erez , of a a a a a n in a a am M s y , is st ted to h ve pri ted it politic l p phlet ,

which I regret not to have been able to Obta in .

S a i Gfie zi ence w and uch is the j rgon in wh ch the g is ritten , although this medley of tongues can claim no position of n a of a a has l a dig ity in the hier rchy l ngu ges , it its own pecu i r n of i as a aw of a a poi ts nterest , illustr ting the l s the degr d tion — which is but another term for the evolution and progress o f ma a an as a hu n speech . To underst nd its origin d position ar ff m m of liter y e ort , we ust review the develop ent scenic a n a a f N w represent tio s in th t p rt o the e World .

o B a iles or D ra matic a es o icar a u 2 . n D nc N a , f g .

a F a O i was in N a a a The histori n , ern ndez de v edo , who ic r gu in 1 2 a a ama n a 5 9 , gives long ccount of the dr tic represe t tions ,

a m an b s n a and mas ac or rites , cco p ied y o gs , d nces ked tors , whi c h he witnessed among the natives of both Nahuatl and a a in a a at a M ngue line ge th t province . They took pl ce st ted I N D I N TRO UCT O .

a and at a a am se sons , cert in epochs in the ye r . The n e which as a b a n mitote he gives th t y which they were loc lly know is , A mi m f a m c totl a a . which is the zte , d nce He hi sel c lls the a re tos a Ha tian fr m Arawack a ririn n y , y word o the , to si g,

and bailes S a f m a a a and m an , which is p nish , ro cl ssic l root , e s an d ces . O ne saw at Tec oate a at a m a Na a which he g , th t ti e hu tl a was b a at of a a a and vill ge , cele r ted the close the c c o h rvest of f a a ff a in honor the god o th t pl nt . It o ered curious

mb m c ma n r ab n Of a sy olis , whi h kes us kee ly reg et the se ce f x ana n b m a a of ull e pl tio y so e le rned n tive . In the centre the vill age square a straight pole was set up about forty feet

On mm was a ma of od in height . its su it pl ced the i g e the g , A n t f b a a . o o rilli ntly colored , in sitting position rou d the p a a was n f the pole stout gr ss rope tightly wou d , its two ree

ends passing over a wooden pl atform . n m b a ab n men a a Whe the cere ony eg n , out seve ty ppe red ,

m as m n m ma and a ~ of so e dressed wo e , so e with sks he d dresses f a and all a n f na f m a e thers , p i ted skill ully on the ked lesh to i it te

m r a c m . a a and a h ndso e ostu es They d nced in p i s , s ng in

a n n r Af of a m . chorus cert i so gs , to the sound the s cred d u s ter ab a f an b had b a a out h l hour , two oys , who een tt ched to the f of m f m a f m ree ends the rope , threw the selves ro the pl t or

air in c a man a an into the , su h ner th t they turned round d and a a round the pole , unwinding the rope , thus gr du lly n O ne bo a descen ded toward the grou d . y held in one h nd a bow in m a m an one , the other , so e rrows ; his co p ion held in

a a fan m of f a a m h nd or plu e e thers , in the other irror , such m n A as a a of b a . s n the n tives de polished o sidi they desce ded ,

a na a ab as a m as which , s ys the rr tor , required out long ti e m a six m a one ight repe t the Creed five or ti es, the d ncers

a and a m ce sed their song, only the pl yers on the instru ents , m n m a z b . But so e ten or do en in nu er , co tinued their noise ,

as b b a of n just the oys, y the incre sing length the unwou d all u a a and cord , touched the soil , present set p gre t shout , D AMA I DAN CES xxi R T C .

l a a the festival ceased . The cut which I h ve inserted is t ken ’ ma f m O i and f . ro viedo s h story, represents the per or nce

A E T D ANCB ARA A NCI N IN NIC GU .

1 O edo Historic General de l as I ndias Lib . LI I ca XI . Pr vi , , X , p. e c se t s ai e or one a to et er i e it is descr ed D i ly hi b l , l g h l k , ib by iego D uran as common in Mexi co in his day ( about He writes : Tambien n l r usaba bail ar a ededor de u n volador alto visti endose Como paj aros y m otras veces co o monas vol aban de lo alto de el dejandose venir por unas cuerdas ue en la unta de este a o estan arolladas desliandose o a q p p l , p co ” oco or un ast dor u fi ene arr — e a etc . I 1istoria de p p b i q ib , las I ndio s dc

N ueva E s a na . omo I I 2 2 Mexi co p T , p. 3 ( , C x x i i I N D I TRO UCT ON .

fam a Na a mb m m a of To one ili r with hu tl sy olis , the e ning m a a wa a Ob . this cere ony is , in gener l y, vious The se ted divi nity on the summit of the pole represents the god of f b ar mes ertility throned in the heavens . The two oys e the sengers he sends to earth ; the arrows refer to the light nings which he hurls below ; the feather fan typifies the b an m n a d b a a d . reezes the irds ; the irror, the w ters r ins

Af m a a a a for a a a ter the ort ls h ve pr yed in ch nts , cert in se son , the god sends his messengers ; men wait in suspense their a a a be for for ha and as rriv l , whether it sh ll good or ill p they a a a of o a for f has re ch the e rth , shout j y is r ised , the ood

and b a and a - m ripened een g thered in , the h rvest ho e is

ended . am a Giralamo B In the s e century the tr veler enzoni , who

N a a a ab 1 0 was m m visited ic r gu out 54 , uch i pressed with the ma f a a . At a as as n tive d nces cert in ones , ny three or our a a assembled some a a n thous nd Indi ns , d ncing, others pl yi g on m f m a dru s , while others , who or ed the chorus , c rried on the n a a a a and a si ging. The d ncers displ yed gre t gility, pr cticed

a a of am a l rge v riety figures . They were orn ented with

f a and m and of a a e thers plu es , strings shells were tt ched to n 1 their arms a d legs . Ma of a a a a a a The ngues Chi p s , or the Ch p necs , ne r rel tives ,

as a of Man of N a a a fam we h ve seen , the gues ic r gu , were ous

a of ma a E a in the d ys Tho s G ge , the nglish priest , who tr veled through Mexico and Nicaragua about for their dexterity in games and the elaborate scenery of their dramatic repre

1 toria del N u ovo Mondo fol . 1 0 enet a Benz on es a II is , 3 (V i , i giv

d cut ex t n the dances but it is not nstru ct e . Anot er tra e er woo hibi i g , i iv h v l ,

s Coreal c a med to a e s ted N cara u a a out 1 680 and a so Francoi , l i h v vi i i g b , l

s the nat e dances but in ords so s m ar to Benz on t at it is an describe iv , w i il i h

a ar sm —Rela tion des Vo a es de F ra n ois Corea l a ux I n des evident pl gi i . y g f m Amst rdam nta les o e I . 88 e Occide , T , p ( , / 2 / mas Ga e A N ew S u rve tire IVest I ndies . 2 th Ed. Tho g , y of , p 34 (4 d n Lon o , D AMA I C DAN ES R T C .

n As for a in of P a a . a a scut tio s ct g l ys , he s ys , this is mn P m common part of their sole asti es . This passion for sce nic performances was by no means x n peculiar to these tribes . It e te ded throughout al most the

of R ed Ra and are ma c of whole the ce , there ny reli s it which

a . O a f fr an h ve survived The lder uthors re er to it equently, d ar m a n n a xt n the e ly ission ries , fi di g th t they could not e i guish it a b b t it , sought to turn to good ccount y su sti uting for the na a c a m a tive pl ys , whi h were idol trous or licentious , or l and c in structive pieces . They en ouraged the more intelligent a i and al f- b r a c and n t ves h reeds to p ep re su h , they were acted f in connec tion with c hurch estivals . But it would be an error to suppose that these attempts c m ab n f suc eeded co pletely in olishi g the older orms, or quenched entirely the tribal histori c al character of these E n own m . cere onies ve within our generation the con trary of has b z b Ob this een recogni ed y close servers . Thus the cum of a a a in a ma a D Juti p , town Gu te l , on Jose Antonio U a in 1 8 6 I n m of rruti , wrote , 5 ost the Indian towns the m t n a of r a c usto is s ill ge er l p eserving kn owledge of great b m a n of a events in their history y e s represent tions , called bailes an are fa a in (d ces) , which , in ct , d nces the public a a n of a o mn sq u res , on the d ys or eve ings gre t s le ities . It is n for n most in teresti g one who u derstands something of the an a a a in ba iles as c an l gu ge to p rticip te these , he thereby f Obta in some knowledge o the most remote traditions and ” 1 in o f n a events the history the I di ns .

Confining a n m of N a a a our tte tion to the li its ic r gu , we find ff r bail s n th at the di e ent e represe ted there within the memory of persons still living may be a rran ged in five different a cl sses .

1 Letter to the London A t/uz n eu m 1 8 6 , 5 , p. 1 53 7. Ovi edo also states t at the son s su n at certai n ba iles ere of an t h g g w his ori cal character intende , d the im rtant nc d n “ to reca po e ts in ersona and tr a istor u ll i i p l ib l h y, q e les uedan en u ar de stor a é memor a de las cosas asad - q l g hi i i p as. Histori a

Genera l de las I ndios Lib . LI I oa XI , X , p . . I N OD C I ON TR U T .

1 S m a . i ple d nces .

2 . D a nces with songs .

. Da a 3 nces with prose recit tion .

. S n a m b a a 4 ce ic recit tions with usic , y single ctor . These a a are c lled L og s.

. m amas m ba a and 5 Co plete dr , with usic , llets , di logue , m costu es .

of h a a a Most t ese h ve religious purpose . Thus , it is still

mm m a Of n m n a co on custo , in c se sick ess or i pendi g d nger, to ma a a in a of a a ke vow th t , c se esc pe , the person will d nce b f ma of m a a a da at a a e ore the i ge so e s int on cert in y, cert in 1 a a at a f a S a are m m pl ce , usu lly estiv l . uch d nces so eti es a m a n a of a are f m cco p nied with so gs or ch nts pr ise , or per or ed f m u a in . ma m silence The per or er is su lly sked or in costu e . It would be erroneous to suppose that there is much gaiety At a a a . a f . in their d nces le st , it is not pp rent to oreign eyes m m n and a m b n The usic is onoto ous l ost lugu rious, the singi g

all m ke and m are m a a is in the inor y, the otions dull , ech nic l

an a f . A E a a has a a d ungr ce ul urope n tr veler , indeed , Ch r c teriz ed these spectacles rather as an exhibition of profound a a b Of m m and has a mel ncholy, th n out ursts erri ent , inst nced “ them as a proof of the psychical inferiority of the race 1 m of m da as b So e the , even to this y, continued y the lower

- a a are a of an ma h alf c ste popul tion , ccused indecency which y

1 a santos a u enes se ace el oto en caso de enfermedad a de H y q i h v ,

rac a de a ba ila r ante su ma en en tal u e o el dia de su esta desg i ir i g , p bl , fi , ” — do le sacan roces ona mente . Pa o Le N ota s Geo ra ca s cu an p i l bl vy, g fi y

ic sobre la R e u blica de N ica ra u a . 28 1 Par s E conom as p g , p ( i ,

Welligt blrj kt de geesteloosheid dez er menschen nit niets z oo z eer

u nne dansen een verm aak hetwelk trouwens r z eldz aam onder als u it h , , v ij

n is Bi het eentooni e eluid van een aar fl u ten en het o en o he . j g g p i , kl pp p

l o out draai en mannen en vrou wen afz onderli k lan z aam een ho bl k h , j j , g n bedaard in a e ri tin en erom en schi nen veeleer d e e treuri heid e , ll g g b , j i p g ” an vreu de aan den da te le en . Haefkens Centra a l Ameri/éa d g g gg , , 0 Dordrec t p. 4 7 ( h ,

I N OD C I ON TR U T .

St. m . m are ma and a a Jero e The wo en sked , we r loose ma a a a a of and a ntle , skirt with l ce edging, s sh rose color , hat f a a with eathers . They c rry bouquets and h ve a silk

a f fa a n a m h ndkerchie stened rou d the w ist , the ends eeting

. men are m over the hips The in grotesque costu es, with ugly

ma . a bu t n ac sks They d nce in couples , without touchi g e h The m n other . usic is the marimba a d the guitar . The songs a m ma of a usu lly turn on so e tter loc l interest . ’ ’ ’ ‘ A fa a B azla a e s zne rizos nother vorite d nce is the g , cele brate M n am ma d by the a gues . This n e is applied to the sque raders a a a a c a of b a a who t ke p rt in it . They we r p l ck str w , an Ea d b a a and a . the ody is n ked to the w ist , p inted ch

a a a of a b and f a c rries stick or the dried y rd ull , in turn li ts m a f m an im co p nion ro the ground d strikes h with the whip .

‘ One m f a a f m a f u n zt , who keeps hi sel p rt ro the rest , is c lled the ,

’ e uzfa ma a f am of a a or y g , the re . He is in r ework c ne dorned ’ m n and a f with wo e s skirts colored h ndkerchie s , supposed to ° n m m n x for a a a . o da represe t so e ni l There is fi ed y the d nce , A a bu t it is usually carried out in fulfillmen t of a vow . v riety of 54 272 a d ca ba llo f m b this , c lled , is per or ed y m a b a m a a a ounted ctors , in rilli nt costu es , with g ily c p ri

n r m ani d b m and a so ed . a e c co e horses They a p y usic , dr w u f of a n a a m p in ront house , where they si g song with onoto

------u le le le leJe la le Zi u . nous chor s , ’ ' ‘ The E d i/e a e N egn zos is celebrated on the festivals of St.

m an na a an are bac a t. A J es d S n . The p rticip ts on horse k , themselves and their steeds adorned with bright - colored f all a morale n a . s ashes a d g rl ands o flowers They we r the , or

a ra hat f m and a bl ck st w , ro which this the preceding d nce 1 n are a derive their names . The songs which they si g c lled ’ E nsa lzmas a a m and a a na , s l ds or edleys , usu lly cont in perso l n allusio s . ’ ’ B azle ae Taro- Guam Da of a a The , the nce the Gr vey rd

' 1 “ t n casco 6 orra de ca u a teri ida ne ra con co a a trensa Moso e. U g b y g , l , — n l a e de los Berendt MSS . u sa da e e b il , A E Xxvl l D RAMATI C D NC S .

l B l as ma be n n f a of u l , it y re dered , is prese ted on the estiv l f t m and a in a an o S . the Virgin , Jero e , other d ys , ccord ce

a f an and with vow . It requires ourteen d cers seventeen “ ma a b b a f am squer ders . The ull is represented y r ework o f m b a a of and a a . reeds , sur ounted y p ir horns g ily decor ted Other such exhibitions are called the B ade dc

’ ’ ' B aile de la Ye mta B a zle de S a n R oma n B az le de S a n Ma r g , , ' ' ’ ' izn B a zla dd Tam Vena ao B azle dd Ma nfuzio , y , ( in which ’ a des eraa o m ( Maid/fer ma b a a p , with nu erous , s ll ells , ppe rs) , b m n a n of B b n as mba esides so e represe t tio s i le sce es , the co t b n Da t and a . etwee vid Goli h , etc

A m of are a m a b and lthough ost these cco p nied y songs , m b a m a so e y di logues , they do not see to re ch to the height

of a of a ac m . B plot , or to the depicting ch r ter or e otion eside m and b a a of a the , however, no dou t to t ke the pl ce origin l

m of a m a i m ama co positions si il r k nd , were co plete dr tic a n cre tio s .

Man of a a a a y these were religious or historic l pl ys , rr nged b and offer of But m y the clergy , little interest . so e were of a a a a and a a f a secul r ch r cter , ppe r to re er to historic l n eve ts .

' ' ne was was a O The Ollzta or Ca ria /zuafe. It cted in the

an at Ma a a as a as 1 8 22 but x M gue tongue s y l te , the te t is ,

' f u a Ollz ta am of un ort n tely, lost . The is the n e the whistling ar and on m a b m a ac c om j , on which , the dru , lugu rious usic l

' animen w am a a a p t as played . The n e Ca rza /m te is s id to h ve b a of a al Ma u a een th t di ect of the ngue . The plot t rned on

ma a b n an man c proposed rri ge etwee old , ri hly dressed in S an a b an n d a a . and a p ish g r , tive princess The chorus ssist an a b a and c m ts c rried ows , rrows quivers , whi h would see to poin t to an ea rly date as th at of the supposed tran s action .

1 “ Gua m Mon e . t c o de se u tura de l nhabitan es anti u os ill p l os i t g .

Cue a madr uera d an m Ho o b ran v ; ig e i al es. y su te eo para ma durar 6 guar " dar fru rduras — tas e . Berendt MSS . y v , Xx l ll I N OD C I N v TR U T O .

' ' M ca ra u n Musi m nts a nd uszc . a ca n tr u 3 g l I s e M .

m a m of a of N a a a men The usic l instru ents the n tives ic r gu ,

tioned b O are m of and cx coletes y viedo , dru s , flutes reeds , , or m i . b m a x a tru pets Th s , however , y no e ns e h usted the list , and several others of simil ar powers have been retained t o n da and a b n f b a as a the prese t y, h ve ee re erred to y tr velers loc l T Mr S as f b curiosities . hus , . quier writes ollows , in descri ing a festival in Leon de Nic aragua : It is impossible to describe

a n m n One n of a a a aba the str nge i stru e ts . co sisted l rge c l sh ,

was of m a ma over which stretched the skin so e ni l this , when a pressed in , recoiled with dull , sullen noise , like the suppressed b of a b a and a of m of ellow wild e st , the w il so e the long reeds ” 1 was a of a man a n f n a like th t in the go ies o a viole t de th . The memoranda that I have obtained from various sources ab me m of n a en le to supply this o ission the disti guished tr veler , and ma f bab to ke out the ollowing list , which pro ly is not x a e h ustive .

' m a a a r m S m sa a The ost el bor te is the M z oa . o e writers y th t b am and n m are of Af c a r a oth the n e i stru ent ri n de iv tion ,

n n n a a h avi g bee introduced by the egroes . Others ssert th t n a n a ma mba m of m and the I di s h ve known the ri ti e out ind ,

n b . a a u dou tedly invented it Cert in it is , th t they develop

a m na m singul r skill in its a ge ent . A good description and illustration of it are given by von m “ Tem sk f m x a . p y, ro whose work I e tr ct the They [the Indi ans of Central America] are still very fond of an and are m a f m n a d cing, very good usici ns , per or i g on a m n a na of a a peculi r instru e t , tive invention ntique d te , the

z a c a mb f a mba . A o M ri long, hori ont l sti k supports nu er

a a a a aba a a a jic r s ( or long, cylindric l c l shes) , rr nged ne r one

' 1 r Mon u ment l 0 M ca ra u a I ts P eo le S cen e a nd s V o . I . . g , p , y , , p 34

2 a rrati ve o I n cidents on a ou rne in Mex ico Gu atema la a nd S a n N f j y ,

- 6 London The Sm t son an I nst tut on con alva dor . 8 S , pp 3 4 ( , i h i i i m f h ar m a tai ns a good speci en o t e M i b . N R B MUSI CAL I ST U HENTS .

’ a acc r in to f m f f nother, o d g size , ro two eet in depth to our or m of a of m ra a three inches . Over the outh e ch the is d wn thin

of b a and at i an of a a of piece l dder , over it , the d st ce qu rter an i are fl at of a a a a l nch , pieces very h rd wood , rr nged ike

a a a and e b c of are the cl vi ture of pi . Th se o long pie es wood f n supported on a frame o light wood , joi ed to the long stick

that supports the row of jicaras un derneath . Two light legs ai a a and a sust n the little pi no , p rtly on the ground , hoop a connects it with the pl yer, who sits within the hoop, pressing it on a bench .

A m m u ru m AND H I S I NSTR M UU .

m ba of a bb at Two long dru sticks , with lls Indi ru er their a are a of a b he ds , in the h nds the pl yer , who strikes dou le notes at of a a every touch the wooden cl vi ture , with the resounding a a a of m a m jic r s underne th . The sound this instru ent is ch r in a m a of a a g, cle r , li pid in its tones , like the inton tion h rp

string of wire . The Indians produce the justest and sweetest b and b a a t dou le notes, lend r ttling une together in very I N OD I N XXX TR UCT O .

a h armonious chords . Their t lent for pl aying this instrument

” b ear a n a da u m y is sto ishing ; in y, they will pick p the ost

f air and a a a of x di ficult , pl y it with good de l e pression , ” a m an a a of m cco p ied with ch nt their own co position .

n a of a aba a a of a are I ste d c l shes , e rthen j rs v rious sizes a na n b a ke a occ sio lly used to suspe d ene th the y pieces ;or , wh t

m a c mm are a b in so e districts is equ lly o on , they vertic l tu es

dre a d ra A of cedar wood ( Ce l o o ta) . s described by the

a Morelet b are - n mb all of tr veler , these tu es twenty two in u er ,

a am a f m f m , equ l di eter , v rying in length ro ten to orty centi eters 1 and f m n m a m n or i g three co plete oct ves without se ito es . In man of oa t/es fa m a of m and y the this is the vorite e ns usic , it a a is often associ ted with the guit r . That it was n ot u nkn own to the an c ient Aztecs seems shown from the followi ng drawi ng from an original Mexi c an ’ ’ ' a n D an JJzstorz a r a n ot a a p i ting in ur s , whe e the pl yer does ppe r be n a m but of m a mba an to striki g dru , the keys the ri , or n instrument of that ature .

A T A Z T M A NCIEN EC USICI N .

D rum was an d ma n a fa m The , re i s , vorite instru ent in Cen

a Am a . a f m of a c of tr l eric It is usu lly or ed hollow pie e wood , N a a a m of which is struck with sticks . In ic r gu , however, so e n a a of bamb of the tives use short piece oo , over the ends a f an and which skin is stretched . This is held in the le t h d struck with the tips of the fingers or the knu ckles of the right a m a n of f m h nd , keeping ti e to the ch nt or so g the per or er ,

1 ’ ’ Art ur Morelet Vo a e da ns l Amem u e Centrale ome I I . 2 h , y g g , T , pp 4 , 43 Par s ( i , xx x i i I N OD C I ON TR U T . while he throws himself into striking and extraordinary atti

. a on n a f m a tudes The illustr tion the precedi g p ge , ro sketch

b D r. B ma of f m y erendt , shows their nner per or ing on this m instru ent . These two varieties of drums were also kn own to the a M x an a one was c ncient e ic s . They c lled the which stru k “ ” a Izuefiu etle a b and a with the h nd the , ncient o ject , th t

' a b te ona t z z l . pl yed y sticks , p

Ollita L ar an m n m mb The , or ittle J , is instru e t still re e ered N a a a and ama in an a in ic r gu , the dr , the M gue di lect , to a f b a am a was which I h ve re erred , e ring this n e , proves th t it fam a r ili rly known at Man agua ea ly in this century . Its sound n is described as grave and suitable to serious emotio s . The

' identical ollzta which was used in this drama was preserved long after the l ast performance of the play ( about in

’ of co ra dza of San ana a but the chest the f Jose , in M gu ; like

man a ab a a b so y other v lu le relics , it dis ppe red in the distur anc es f o the republic . F m am and f m a was of ro the n e , ro wh t told its powers , it was m a but a of a a evidently not erely whistle , sort e rthenw re n in N a a a . S P a d flute uch were known in eru , precisely ic r gu , a of Om n ab at b on the isl nd etepec , i h ited the Conquest y the

Na a a m a ar was of a a and hu s , such usic l j discovered l te ye rs , r was examined and its musical capacity described by D . Berendt in the following words a a Held with the two h nds , the lower side turned upw rd , and f m a a n a the our holes n ged with two fi gers on e ch side , An blowing in the mouth piece yields six different notes . y a n two holes covered give the tonic , one o ly covered the

a all a and b a b n a f secund , open the terti , y h rd lowi g orced quarta while all closed produ c es the dominant (quint) in n the underlyi g octave . Three holes closed yield notes not a a n b an m f in concord nce with the others , v ryi g etween i per ect But se xt and a diminished septima of the lower octave .

i I N OD C I ON x xx v TR U T .

A TI E F L U TE ME L D I E N V O S . MEN XX MUSI CAL I NSTRU TS . X V

a a n also a possession of the Nahuas . Two pertures le d i to are the ca vity of the instrument . When they closed with the

a a are O . fingers , higher note is produced th n when they pen

a a D r . F . I n the investigatio ns prosecuted in Nica r gu by . J B an f r man of a r s o d , he discovered y these whistles in ncient b a m of N c a ab uri l ounds . Indeed , in the district i oy , inh ited

t of n b Ma a a a the period the Co quest y the ngues , he st tes th t every body appeared to have been interred with a small ” 1 n a are a of Odd earthen vessel a d a whistle . The l tter usu lly

a m an ma . sh pes , representing so e i l The following cuts are taken from his report

W T P RO “ I ARA A B R “ HIS LES N C GU N U IAL O UNDS .

F lute of an of a a was f n The long , either c e , or e rthenw re , ou d

mm b a x in a Am a in co on use y the e rly e plorers Centr l eric , M x an F Na f e ico d lorida . The huas o Nicaragua do not seem

a ma m o f as a in x to h ve de so uch use it their rel tives Me ico . u co m an as The j is e ployed in the noisier d ces , such the

’ B a e d D t/ c za olitos. a n n r ar It is dri ki g gou d or j , a of t over the perture which is s retc hed a skin . This is crossed

b a r a a a ma of y co d , to which is tt ched s ll piece wood , which as a a serves cl pper when the instrument is sh aken .

1 A rcha olo ical Resea rches in ra as in M ca u a . ton g g , p 75(W h g , x xx i I N OD I ON v TR UCT .

' uz on o a m ma b fa The Q j g is stringed instru ent , de y stening a wooden bow with a stretched cord over the mouth Of a j ar.

A ab f n and an nc and a a f hollow reed , out five eet lo g i h h l b n a b a a . thick , is e t y wire tt ched to the ends This wire is

- a f m then tied to the reed at one third the dist nce ro one end , and at am x fa of a the s e point , on the conve sur ce the reed ,

a ar fa n m gourd , or thin e rthen j , is ste ed , with its outh down ward . The notes are produced by striking the two sections of a c and at am m wire with light sti k , the s e ti e the opening of ar m f f a the j is ore or less closed by the pal m o the le t h nd , n a m mb of are ar thus produci g li ited nu er notes, which v ied b an a y ch ging the interv ls .

F ARA A THE QU I JONGO O NIC GU .

Na a b of Ba am a Among the hu tl tri es the ls co st , this is a a a a b an ab a called the Ca rtmo . It ppe rs to h ve een origin l a m a a a A invention , lthough so e writers h ve sserted th t the ztecs n m m had no knowledge of a y stringed instru ent . So ething f f m like a h arp, however, is represented in the ollowing cut , ro f a a a m the Aztec uner ry ritu l , where priest or hired ourner is

a a of a and a m a shown , ch nting the pr ise the dep rted , cco p ny m a a a be a ing his words with usic , on wh t ppe rs to rude

n m See a xxx . stringed i stru ent . ( p ge vii )

' a m a b a mb of are n The Cfiztc/ttl is s ll ell , nu er which stru g an a A m n a . together a d sh ken This is ncient ztec instru ent,

’ Na a b A aca c/ztlz the term for it in hu tl eing y . N x MUSI CAL I NSTRUME TS . xx vii

a Of ru m of a . A The Cac/zo is sort t pet , constructed horn n be a a a and has blast upon it ca he rd lon g dist nce , it thus

a of n a le a a de ca c/zo b become a me sure le gth , g eing the dis n tan c e at which one c an hear the hor when lustily blown . It a u is said to be rather longer th an a Spanish le g e .

T R R AND Y A Z EC MO U NE SINGING PLA ING . As to the value of the music which was Obtained from m ffi a at an n f m these instru ents , it is di cult to rrive opinio ro

a a N a all a b n a c p ble judges . e rly who h ve ee in position to study the subject h ave l acked acquaint ance with the scien tific

n and m a of m as an art pri ciples develop ent l history usic .

has a be a and a c Hence it usu ll y en st ted , c epted without n i a ab of Am a x defi i qu ry , th t the origines eric were e ceedingly n m a ab and a b ff a n cie t in usic l ility, th t their est e orts r rely we t n an n La beyond creati g discord t oise . te investigations by m a O and a co petent critics h ve disproved this pinion , show th t the melodies of the natives are in accord a nce with a recog

z a a are a c m ni ed sc le , though not th t to which we c usto ed . For a pa rallel we must go back to the ancient Phrygi an and L an m as r a a m n of ydi e u es, where we sh ll find develop e t the art in a simil ar direction to that among the natives of this D XXXV l l l I N D I N TRO UCT O .

1 “ . As ma b A h . S . Gatsc et A continent is re rked y Mr . , lthough

a all o f m a a the Indi n uses the seven notes our usic l sc les , he avoids m any of our melodial sequences ; the majority Of his

f da r slza r a and - tunes ollow the or p sc les , the two eighths or ” 2 - f m a two ourths e sure .

n a Am a a a has a k n ' si In Ce tr l eric , the n tive r ce ee mu cal n T m . e sk f a a n b c ar se se Von p y ound th t they le r ed y , with a a m of B n an i gre t e se , the co positions elli i ; d n Vera Paz and am n Lac andons Morelet a o g the , he rd upon the Chi

' rzmo a an ab na m an air y , origi l wind instru ent , which he “ ” “ characterizes as very remarkable and extremel y touch ” in a n g . Wh t bri gs this air into rel ation to my present

m a fa a was as la alinche the e is the singul r ct th t it known M , 3 bu t Morelet a f m a n could not le rn ro wh t con ection . Quite possibly it was from the character of that n ame in the pl ay of

MALI N CH E .

> ° >79 f

I n b oat/es an m as are nf m the pu lic in cient ti es , we i or ed by b O and B n m a a a oth viedo enzo i , the usici ns were sep r ted from

n and f m f m an a a a the si gers other per or ers , or ing ctu l orchestr , an a ma iie ii n a i d this is lso inti ted in the G g e c e. H v ng thus the of a a b m ma fa e . position cl ss y the selves , it y irly b presumed a a a a art th t they cultiv ted with ssiduity their peculi r .

a a co radias b an In l ter d ys , the f , the rotherhoods d sister

1 The most satisfactory di scussion of native music is th at by Theodore

Ba er Ueber die M a in der N ord Amerika n iscfien Wilden Le z k , ( ip ig, Mr Ed n A Bar er has a so c ontr u ed s m . wi . b l ib t o e val ua bl e arti cl es

h u e on t e s bj ct.

2 be A merica n N atu ra list Fe ruar 1 88 T . , b y , 3

’ 3 a l A eri u e entrale m Vo e da ns m C To . I I y g g , , p. 44. MEN S MUSI CAL I NSTRU T .

ma hoods organized in connection with the churches , de it n a n n and m as part of their busi ess to le r singi g usic , so to was take pa rt in the celebration of churc h festivals . It through these cof ra dias that the art of playing on the ancien t instru B of n of ments was preserved . y the loss i fluence the church at a a of c f m m the sep r tion the olonies ro the other country , 1 the cofradias were mostly dissolved . The music which accompan ies the ballets in the Gueguenc e fam ar N a a has b n t n and a . ee wri te down , is ili to many in ic r gu a b a a of b ff I h ve o t ined portion it , through the o liging e orts

f r ar n f R a an a l a o D . E F o l li t , iv s , e rnest cu tiv tor in the field

of a c a ca a . a a on r h eologi l rese rch The score ppe rs , however , xam na n b m n be bab of S a e i tio y co pete t persons , to pro ly p nish i and not be m a a orig n , it would worth while to give ore th n

c m n See . x1. spe i e Of it . ( p )

1 So tt e is u nderstood a ou t the s stem of the co ra dia s and the o nt li l b y f , p i is one o f so muc h importance in the stu dy o f the organiz ati on of Spani sh w x a ecc es ast c sm in Am er ca t at it is ort e to e in it. e are l i i i i , h h whil pl Th y created the ri est of a ari s in suc num er as he sees fit and ea c by p p h , h b , h

ears the nam e o f a sa nt or re ou s oc cu rrence . Ea c s ou d a e of b i ligi h h l h v , ma e mem ers a ma or domo a ste ard and four or more l b , j , w

a o intees di u ta dos . e attend the r est ser e in the c urc aid pp ( p ) Th y p i , v h h , i he of ces of re on a e a mont mass act as or e n t st rs etc . at fi ligi , h v hly , Ch i , , xed er ods Of fema e m em ers t ere s ou d be th e atroness fi p i . l b h h l p (patron a or ca ita n a and the a l u a z ila ma or ea c of om s ou d a e w p ), g y , h wh h l h v t o

ndan and r u d be er mem s ec a atte ts t e e s o ot ers. e r duties ar p i l , h h l h b Th i e to swee th e c urc dec it w t flo ers en necessar an d aid the m a e p h h , k i h w wh y , l mem ers in t e r dut Ea c co ra dia s ou d a e i ro b h i y . h f h l h v ts st ng box and nanc a resources nde endent and the ma or domo is ex ected to e fi i l , i p ly , j p ke p a oo account n f r fun ds a in m ssi o c o the . I e osse n su a o um e b k i g h v y p h v l ,

' in the C a anec an ua e the Libra de Cu entas de la C ra dza h p l g g , of del R osa

1 6 . rio, 79

From ten to ft cofradi as ere form er attac ed to one c urc but fi y w ly h h h , the ” modern curas com a n t n n n b e u t at e ca o o er e t . Es erdad pl i h h y l g k p p v , “ exc aims he or r Na arro u l r t t es ter e os S es. Curas mis ante l w hy p by v , q , cessores o em os rocurado or an z ar as de nue o ero es mora . , y y , h p g i l v , p l m ” — mente oss e. fl [emoria de la P a r ro u ia dc Villa N ueva 1 8 . i p ibl q , p . Guatema a ( l ,

x l i i I N OD I N TR UCT O .

a m pl ce the co position of the Gueguenc e is a diffi cult question .

D r. B ba n n a arn b erendt , si g his opinio on wh t he could le y

c a a n a a m of S a n n lo l tr ditio , on the rch is s the p nish co structio , and a n f a m on other intern l evide ce , re erred it in gener l ter s

’ to the fi rst periods ( los p rzmeros szglos) of the Spanish occupa of tion . It is probable that we may assign the early portion n as a a f r m the eightee th century the l test d te o its co position , and m c a f n there is so e evidence , whi h I sh ll re er to in the otes

x a a m m r m bab . to the te t , th t ore re ote pe iod is not i pro le Of n ot a a a few m course , it does contr dict this th t odern x a n N be e pressions h ve crept i to the text . othing else could e xpected . N as are O a . hint to the uthor is anywhere found There , a n b however , re sons which I consider weighty o es , to elieve that it is the production either of a native I ndian or a h al f

a t . S a of m are of a a a a and C s e ever l the neg tive ch r cter , I will give these first . All ama SO far as b the dr s , I know , which were introduced y

S an as b for a bailes are the p ish priests su stitutes the n tive , n aim A man sa either religious or i structive in . s the Ger s y,

' Martin r t a d S t. a e endenci as. S are B t/e e they strongly uch the , f m f of a and a which gives scenes ro the li e the s int , in which

a lzor uilla f a r and wheel , c lled the g , covered with e the s flowers ,

a a n B aile dc los Cinco P a res de F ra ncia is dr wn lo g ;the , which s f t of o b a ets orth the conques the infidel Mo rs y the Christi ns , both of which pl ays have been popul ar in Nic aragua ;among

' ' K of ba B a ile de Moros Crzstz anos m a the ekchis , Co n , the y , si il r

‘ ’ a m n Z aé i-Kox ol o B atle dc Cortes to the l st entio ed ; the , , in

But in K a of a a nd . iche , copy which I h ve , the like the Gueguence there is absolutely no moral purpose nor religious m of a a tone ;so uch , indeed , the reverse , th t we c nnot conceive of its introduction by a priest . ’ On a had b m b a a the other h nd , it een co posed y secul r S a a fa fi nd in a n a p nish writer, we should h rdly il to it , ge er l

wa m af S a m . ff y, odeled ter the stock p nish co edy It di ers , HE GUE GUENCE HI STORY OF T .

a i and f am a f at f m however , in sever l str king und ent l e ures , ro

S a m and ff are the p nish odels , these di erences precisely those whic h would flow from the na tive habits of thought . I would a f ma are are r note , first , th t while e les introduced , they st ictly mu te: ersona in a a a p , even the hero e not spe king word ; th t there are no monologues nor soliloquies ;that there is no sepa a a b n r tion into scenes , the ction eing co tinuous throughout ; a r and th t there is neither prologue, epilogue nor cho us al a m of am a especi ly th t the weariso e repetition the s e phr ses , — and by one spe aker of what a previous one has said a marked 1— characteristic of the n ative scenic orations are all tra its whic h we can sc arcely believe any Span iard suflic iently culti vat d ri at all x e b . to w te , would e hi it F m b n of a r c urther ore , the usi ess the pl y is st i tly within

a an m a m a the r nge of the native thought d e otion . The d ir tion of the coarse cunn ing and impuden t kn avery of Guegiienc e is precisely what we see in the modern camp- fire tales of ab am A n of a a am Mich o ong the lgonki s , Tezc tlipoc ong the A c and of a f o f a o . zte s , score other heroes It is piece with the delight which our own ancestors derived from the r R a tricke ies of eyn rd the Fox . The devices for exciting laughter are sca rc ely more th an mb a m afn of Gue uence three in nu er ;one the ssu ed de ess the g ,

n a n of i a m a the seco d , conseque ce th s , th t he isunderst nds , or of t a n pretends to , the words the o her ctors , thus givi g rise to am n - ro- and i of b usi g quid p quos, third , the ntroduction o scene f . Of am a a a t are re erences course , I w re th t hese the stock resources of many E uropea n low comedia ns ; but I also consider it a fact of very c onsiderable import ance in deciding bab a of a a all of the pro le uthorship the pl y , th t these , espe c iall are m n m a y the first two , pro ine tly entioned by old uthors ,

1 See for exam e the Ra oina l-A cni ou le B ro nze- B all et da Tms in , pl , , , K c e u s ed the A é Brasseur de Bour our and the trans at on i h , p bli h by bb b g, l i f — o the song of the Ul uas of Nicaragua given by Pablo La y Abra: mor e - to Re ublic a de M ea r o P u a . 0 ar s p g , p 3 7 ( i , I N D C I N TRO U T O .

as a of a Na a m le ding devices the n tive hu tl co edies . Thus ,

B and Coreal a bailes N a a a enzoni tell us th t in the in ic r gu , n m of a be which they wit essed , so e the ctors pretended to af and be b as x a b de , others to lind , so to e cite l ughter y their 1 m a And Fa D a . a ist kes . ther iego Dur n tells us of a m tive M x a m c ofGiie iienc e ma a e ic n co edy, upon whi h this g y, perh ps , a b f n f of n and a in h ve een ou ded , ull so gs co rse which the clown pretends to understan d at cross purposes what his ma an f rm m . ster orders , tr s o ing his words into others like the As n a a and to the ge er l le ning to indecent gestures jokes , it is f n mm n b m a an as a reque tly co e ted on y the ission ries , d given a for an x b re son discounten cing these e hi itions . ab n of all f n m of and The se ce re ere ce to the e otions love , a a n a in a a ab m the n ive co rseness i dic ted the p ss ges out wo en , a a a a a n n are point r ther to n tive th n E uropea ha d . They in 3 ma ab a re rk le contr st to the Spanish school Of comedy . The neglect of common rules of Spanish construction seems to arise from the ignorance of one imperfectly ac qu ainted a a m a a of b a . with the l ngu ge , r ther th n deli er te purpose It ust also be remembered that this piece was one acted altogether b a n a a d b S a a . y the n tive Indi ns , not y the p nish popul tion

“ ’ 1 u I ls r ent ils 11 en a ui font les sourds d au tres les a e es. y q , v gl i , ” r n font en nu mo oute sorte de s n er es Vo a es de Fra n ois c e t et t t . i , i g i y g c ’ e e Tom . I . 88 Coreal a u x [nd s Occidenta les d u is 1 666 us u cn 1 6 . p j g 97 , p

Amsterdam Borro ed ro a from Benz on who sa s the sam e. ( , w , p b bly, i , y 2 Habi a u n bail e y canto de truhanes en el cual introdu cian nu bobo ue fin ia entender al re es lo u e su amo le manda a trastocandole la s q g v q b , ” — t r ndias de la N u eva a a ras. P F . D e o D uran fl is o ia de las I p l b . i g , m E a na o o I I . 2 1 Mex co sp , T , p 3 ( i ,

3 r r n d sa s in s ea n of the S an s As Mr. Geo e c nor e o te g Ti k v y p i ly y , p ki g p i h drama A o e all it was n ecessar t at it s ou d be S an s and b v , y h h l p i h ; t erefore t ou its su ect be Gree or oman Or enta or m t o o ca h , h gh bj k R , i l y h l gi l , the c aracters re resented ere a a s Cast an and Cast an after the h p w lw y ili , ili fas on of the se enteent centur — o erned Cast an not ons of hi v h y , g v by ili i ” an n n r —Histor o S a ms/z L itera a antr and the Cast o t of o o . g ll y, ili p i h y f p

h ed t on . tu re vol I I . t , , p 539 (s i i ) I S PE SON/E xl D RAMAT R . v

Nor are we without examples of persons of n ative lineage Ab 1 6 2 Bar a r f l . prep ring comedies fo their e lows out 5,

m A a a an of a i of Tez c uco tholo e de lv , descend t the n tive k ngs , m Na a a in f m wrote three co edies , in hu tl , dr w g his plots ro

L a as a a A a ope de Veg . It is quite likely th t nother lv rose f m Na a of N a a a and a for am ro the hu s ic r gu , prep red their use ment the production I now present . For these various reasons I class it among aborigin al pro i ns duc t o .

' ue u ence l e D ra ma tzs P ersona n o G . 5. of g

n a of ama and a f m The ce tr l figure the dr , the person ge ro m am who it derives its n e , is Tl u n Na a f m Gue ue ce. a g This is hu tl word , ro the root

Izue lzuelzu e man a a am , old is old to this is dded wh t gr

' ma a a a m n a tz zn n ri ns c ll the reverenci l ter i tion , denoti g aff and a intercalatin reverence or ection , we h ve , g the euphonic

n lme/zuentz in in a b m hu e/zuentz é . , , which , the voc tive , eco es “ “ m an f a It e s , there ore , the honored elder , or the de r old ” man and ma be e as a t as a , y us d , it is in the pl y , ei her proper nam as a mm of Na a e or co on noun . In his description the hu s of N a a a O lut e/rue and a ic r gu , viedo gives the word , tells us th t was a a men of n a t it pplied to cert in old influe ti l posi ion , who b na as of a an d a were elected y the tives rulers the vill ges , th t

r war- f was they in tu n selected the chie , whose duty it to look f m was f of mmu . a to the de ence the co nity The n e , there ore ,

fam a N a a a a a one ili r to the ic r gu ns , though the ch r cter would m be aw see to dr n as a burlesque or sa tire .

fac an n but a ab . He is , in t , ythi g respect le person His iff n a m ind ere ce to truth , his cynic l i pudence , his licentious ab and b f and of jokes out e ore his sons , the unscrupulous tricks b as s are al a a f m m n which he o t , c cul ted to detr ct ro the ele e t of m a r for a b the co ic in his portr itu e , those who h ve een a m f m But ccusto ed to the higher productions o hu or . it would be an error to allow this sentiment to affect much our estimate x l i I N OD I ON v TR UCT .

of of As L a . b the influence the pl y essing very well o serves , the true value of comedy is to train us to see the ridiculous

' and ab in fl a itious as as the surd , wherever it is , g well in m n a a as Ob m erely inco sider te ctions, thus the server is pro pted 1 m a as as f to or lity well orethought . AS a a a a a ma of ecu I h ve s id , his ch r cter is rked type the p a f m of m a m f and Of li r or hu or which the n tive ind pre erred ,

a Of a a f am m the cl ss ctions in which it especi lly ound use ent , a a a m and to wit , in th t jocul rity which is ssu ed to deceive ’ et b f g the etter o one s neighbor . This is strikingly shown by the number of words in the Nicaraguan patois which

marr a r a an x a . clza e a a e press such ctions Thus , is to t ke dv t ge

' of some one by a joke trzsca is a con versation in which some one is made ridiculous ;féfere is an idle tale with which a

’ he arer is cajoled dar a n ca rztaz o is to deceive a person by a m n l . ii d G e ii e c e. O trick , etc This is the hu or in the g The man nearly always has a selfish a im to gai n by his jokes and

are f his stories ; they intended to urther his own interests , and at of a m , the close the pl y, he , on the whole , co es out a m a victorious by these question ble e sures . As ama was f m Gue uence the dr or erly represented , the g wore m ma a a f an of a a n the ost gnificent pp rel o y the ctors . Ch i s of of and am Of a gold , strings silver coins, orn ents steel dr ped n all a a a his perso . Indeed , the p rticip nts vied with e ch other n a m fa a a in extravaga t c ostumes . Their g r ents were nt stic lly a f a and and Off a and dorned with e thers flowers, set with s shes

h andkerchiefs of brilliant colors .

of Giie iience D on F orcico and D on A mbrosio The two sons g , , a as f m fol are drawn in as strong contr st possible . The or er

1 S ea n of th e comed h e sa s I hr a rer a eme ner Nutz en p ki g y , y w h llg i

e in dem Lac en se st in der U ebun unserer Fahi keit das Lac er li gt h lb , g g h lich e z u bemerken ; es unter allen Bemantelungen der Leidensch aft u nd

der Mode es in a en V erm sc un en mit noc schlimmern Oder mit , ll i h g h

u ten E ensc aften so ar in den unz e n des fe er c en E rnstes e c t g ig h , g R l i li h , l i h ”— H r t r e 2 tiick . n esc nd z u emer en. a mbu tlsclze D ra ma u i S u d g hwi b k g g , 9 ZE D RAMATI S PERSON .

a xam fa f and a a lows the p tern al e ple ith ully , sust ins his p rent in all his tricks and lies the l atter as invariably opposes and ’ b exposes the old man s dishonesty . The itter words which a b m m not be a a p ss etween the , however , ust t ken in de d a n are n a f and a e r est ;they, too , o ly h l serious , do not le d to n a y separation of i nterests . The Governor Tastzca nes appe ars on the scene in Spanish m m m a aff and ab . a costu e , with st s re His n e , however , see s ' be f m Na a bab a Of tlatoa nz to ro the hu tl , pro ly corruption , ’ f He m a a la chie , lord . is little ore th n y figure , designed to a f dr w orth the ruses of Giiegiienc e .

A l u a cil S ecretar and R e istrar a a a The g , the y g ppe r in wh t

'

be f ffi a stafl s of oflice . is supposed to ull o ci l dress , with their The ma ter: persona of the drama are the women and the ma c/10s m m n ne is am . Of f o , or ules the or er , o l y n ed , the

- She a S u chi Malinda a r of . l dy , d ughte the Governor enters

in a of fa n w a clothed sort tunic , stened to her perso ith g y silken sashes ; ch ai ns of gold and costly jewels adorn her

a m n and a a of a . g r e ts , wre th flowers crowns her h ir The a t ma be a f am S u chi a l t er y re erence to her n e . is corruption

’ of Na a x ocl utl Ma linche ma be m m the hu tl , flower ; , it y re e be was am of fam n a red , the n e the ous I di n girl who served

as n r am a n x and Cortes i terp eter in his first c p ig in Me ico , b am m a was a ec e his istress . Some have supposed th t it

' o f S a a nam Ma n na but as corruption the p nish Christi n e , ,

S n I c az balc eta has c am of e or con lusively shown , it is the n e

' ’ of a of Az m n ma lzna llz m one the d ys the tec o th , , with the ter i

' na tz in S n f n afl i n was m M x ec t o . tion , ig i yi g It the custo in e ico and n a Am a and ma a for a Ce tr l eric , still is in ny p rts , the n tives

1 ’ ” Tlatoom means tera l the s ea er from tla toa to s ea to ask , li l y, p k , , p k , , “ ” but it is trans ated the s x n senor The l by Span i h le icographers gra .

c efs ere ro a so ca ed from t e r r t of s eec in the assem es. hi w p b bly ll , h i igh p h bli enz on es som n f B i giv ethi g like this as th e titl e of the Nic araguan c hi e s. ” C i amano S nor Tutruane w c I su s ect is a mis r nt for Ta t. h li ig i , hi h p p i — tru o n i . I storia del Mondo Yu m/ 1 { o . 0 eneti a , p 3 (V , xl m I N OD C I ON v TR U T .

am af da b to n e their children ter the y on which they were orn , l a a n led thereto by cert in ancient astrologic l notio s . In

N a a a ma linclze a am of a a of ic r gu , is lso the n e tree , species

P oinciana b a a a m , which e rs h ndso e red flower .

Ma c/10s m are m mb The , or ules , twelve or ore in nu er . They

n E l Ma cao- ra ton an a give the seco d title to the piece , , ppro riate a a n a L a p tr nsl tio of which I m at a loss to give . iter lly “ ” m a M M a . As at it e ns The le ouse used present , it signifies

ma a n n h a m a . A ac a a as sker , or squer di g dress qu int nce , who

N a a a me a has ar lived in ic r gu , tells th t he he d the children “ a See Ma cho-ra ton c ll out , there goes the , which would

' la be an n an a fan a m . I n the prove to I di in t stic costu e p y, a a Of S m a n of m m n they we r he ds kins , i it ti g those ules , sur ou ted

n of a and a eta ca ba f am with hor s go ts , p , or wicker sket r e

a a . I n an c a b . dr ped with s shes , etc their h ds they rry ells Am an n Na a and bab da ong the cie t hu s , pro l y to this y, there

a a n m I f were v rious curious superstitions rel ti g to ice . they

a a in of a f ba as a gn wed hole the dress wi e , her hus nd took it sign that she had been unfaithful to him ;and she en tert ained

a n f the same suspicion were his g rments attac ked . Whe ood was a a b m a a of tt cked y ice , it indic ted th t the people the 2 f m n house would be falsely accused o so ethi g .

E itome o tne S tor o Tne Gu e u ence. 6 . p f y f g

A a m an (5. and d p . The Governor the lgu cil eet enter a a into convers tion . The Governor directs th t the

’ 1 I caz balceta s discu ssion of the name may be found in his notes to the

z Mex co Ma lin a lli i lo o de F ra n cisco Cerva ntes S a la a r . 1 8 1 D a g s , p ( i ,

is th e t e ft da of the Mex can mont . Accord n to D uran the ord w l h y i h i g , w means u nder rus ma torra l and the ro nost c was t at t ose orn on b h ( ), p g i , h h b t at da s ou d a e an annua attac of s c ness e t s u nder rus h y h l h v l k i k , lik hi b h ,

r —Historia de la N u eva E s a a c dr es u or oses its ea es ea . n whi h i p, l l v y ly p , 6 1 Mex co omo I I . 2 T , p ( i , 3 f See the rare work of Fray Joan Baptista ( o ten spelled Bauti sta). Mex co dverten cia s a ra los Con essorcs de los N a tu ra les o s. 1 0 1 08 A p / , v l 7, ( i , en el Con ento de Sanctia o Tlatilulco a no v g ,

N D I TRO UCTI ON .

’ Gue uenc e s a and a him wh has g s lute , sks y he entered a m At Giie iienc e the province without per it . first g

. an b a had a a p 3 0. swers y rel ting how he tr veled without m F n per it in other provinces . indi g this does not m a b a eet the c se , he seeks to turn the inquiry y dubious story how a girl once gave him a permit m n n n for b a . so ethi g esides tr veli g The Gover or , n be ut Off Giie iienc e not choosi g to p with this , g a be f and a proposes they sh ll riends , th t the Gov cruor sh all ’ h ave some of the immense riches n a f iie ii n a d be uti ul clothing which G g e c e possesses .

n m b as a 2 . x p . 3 The Gover or e presses so e dou t to this we lth , ’ and xam n a a Gij e iience s O proposes to e i e, p rt , g ldest

F r i D on o c c o. son , and D on Forc ic o b a He does so corro or tes , in the m m a m a m of fa ost e ph tic ter s , the st te ents his ther “ the day and the night are too short to name all n his possessio s . ma nc a ab The Governor re ins , however, u ert in out an d a m a a a the truth , requests si il r priv te t lk with ’ m e enc e s D on A b . Gii gii younger son , rosio The

a a ff a n a all l tter tells very di erent story, sserti g th t ’ fa b a and a fa a his ther s o sts were lies , th t he is , in ct , n ra amufli n Giie iienc e poor , old , thievi g g . g , who

a him a at him as a ra overhe rs , r ils disg ce to the

fam and Don Forc ic o a ily ssures the Governor , in

c a m a D on Amb has very le r ter s , th t rosio none of ’ ii iien c e s b G eg lood in his veins . Gue u enc e To settle the question , g proposes to

S of - how the Governor the contents his tent shop, and has the two boys bring it forward and raise the

ff a im os sides . He then o ers the Governor sever l p as a a sible things , st r , which is seen through the and an m tent , old syringe , which he suggests ight ab a R a n be profit ly pplied to the oy l Cou cil . As Ii THE STORY .

Geu u enc e at the Governor replies roughly, g once

c an b c a a a n Of ma ab p . 42 . h ges the su je t to l ud tio the re rk le

skill of D on Forc ic o in many vocations . The Gov ern or is interested and proposes to i nquire Of D on a Forc ic o himself as to the tru th of this . The l tter

a b as and n repe ts the o ts , on the Gover or inquiring m a as to whether he knows so e diverting d nces , with

fa and b a a ba . his ther his rother, he d nces llet a ba The Governor wishes to see nother llet , which

f m a an d f b the three per or , lso this is ollowed y two n and A a a others , in which the Gover or lgu cil lso

take pa rt . Following these the Govern or asks for the masque

a f mac/z -ra ton m ar o o . e r de the , or the ules They in b D on F rc i an ma a n a o c o d . led y , rch rou d the st ge Giiegiienc e avails himsel f o f this auspicious moment

ask for an of La S - Ma to the h d the dy uche linche , ’ a n the Governor s d ughter . The Governor se ds the

A a r S c a n . 2 . fo f t p 5 lgu cil the Chie e ret ry, who re ur s with

S c - Ma n and n m n u he li che other you g wo e . The Sec retary describes wh at an elegan t costume is expected

of - in - law of rn and a the son the Gove or , the l tter

a Gii e fienc e has a suggests th t g c st his eyes too high .

Old man x a n a was n ot for m f The e pl i s th t it hi sel ,

but for D on Forc ic o a was ma , th t the request de ,

and f ba ab ma a pretends to eel quite dly out the rri ge . b u n m He , nevertheless , rings p the you g wo en , one b are b Don Forc ic o i y one , who rejected y , w th very m m n a ma n S c Ma unco pli e t ry re rks , u til u he linche m f a a him and m co es orw rd , who ple ses , with who he

is married . The Governor then suggests tha t Giie u enc e a m S an i g tre t the Council with so e p ish w ne . This the Old man does not fi nd it convenien t to a and n c an a an underst nd , whe he no longer esc pe , d and at a b a is loss where to o t in the liquor , is l i i I N OD C I N TR U T O .

b D on Forc ic o has S a relieved y , who ecured it in a ma question ble nner .

m a ma a re re The ules , th t is , the squer ders who p m are b u and as iie enc e sent the , then rought p , G gii xam and a him e ines first one then nother, they give opportunity for a series of extremely broad jokes and a a vulg r llusions . F a a are a m in lly, the lo ds pl ced on the ules , the b m m and m off Gii e ence oys ount the ove , while gii , a ff S h ving o ered his wine to the Governor, the ecre a R a and A a a t ry, the egistr r the lgu cil , who e ch in him b e off a a turn tell to , le ves the st ge shouting to his sons th at they will all h ave a rouse that will

cost them nothing.

A CO ME D Y BAL L ET

NAHUATL-SPANISH DIALECT OF NICARAGUA MACHO - RATO N .

PE NA RS O S .

EL GOBE NADO TASTUANES R R . E L ALG ACI L MA O U Y R .

E L GUEGUENCE .

D ON FORCI CO. D I ON AMBROS O.

- A N HE D ONA SUCHI M LI C . A EAL EL ESCRI B NO R . EL E I D E CAN R G DOR A.

ILE DEL GUEGUEN E BA C .

e da r nc o a an do a a el S p i ipi b il , y h bl

Al u a cil g .

Matatec o D io mis iales S efior G b a Tastu an s e . p , o ern dor

Gobernador .

Matatec o D io misc u ales quilis no pilse Capita n A lgu acil

M ay or y a tiguala neme P

G br Tastu an s carna a u a S or. e Mas y g o .

D an vu elta bail ando y h abla el

Matatec o D io mis iales S efi or G b r a Tas u n t a es. p , o e n dor

Gooerna dor .

Matatec o D io m isc u ales quilis no pilce Capitan Algu acil

Mayor : no piloes S im ocagu e campamento S enores prin c i ales m a a velanc ic os a a altec hu a p , sones , u d nz s , nec n y p

m ab a E n m a e l s linar o C ildo Re l . pri er l ug r tec ta e seno m a s a a b a es de oro , eno c rpet de ord do , seno tintero

oro m a o a a a de , seno plu de oro , sen s lv der de oro , y no m as hemo papel bl a nco y paltechu a senta r mo Cabildo

Re al .

D an vuelta bailando y h abl a c l

Al ua l g ci .

i mis iales n u s Matatec o D o S G b r a Tast ane . p , e or o e n dor

Gooernador .

Matatec o Dio misc uales quilis no pilc es Capitan Algu acil

May or . - NCE THE COMEDYBALLET OF GUEGUE .

The A uac and Go ernor enter dancin . ( lg il v , g )

Al ra God to e ou G r Tastuanes. g . I p y prot ct y , ove nor

Gav ra God ou m a ta . I p y to prospe r y , y s on , C p in Chief Algu acil ;are y ou well ?

Al At r rv G r Tastu anes. g . y o u se ice , ove no r

(They dance around the sta ge. )

l u r T a God o Go r astuanes. A . g I pr y to protect y , ve no

ov ra God ou m son ta n G . a I p y to prospe r y , y , C p i

f A u a : m the ar r of the Chie lg cil y son , su spend in qu te s l a men m a s bal s and e ding th e u sic , d nce , songs , let , s uch

asa mat of am m t the a I t ple nt ters u se en to Roy l Cou rt.

a r at am t a a tab em is g e sh e h t we h ve n o golden le , n o

b tab - t ta d of d roidered le clo h , n o golden inks n , no pen gol ,

a - box h a and no golden s nd , not even w ite p pe r , s uch like

s ab h for a of the l a rt. uit le t ings , session Roy Cou

(They dance around the sta ge. )

Al ' ra God ou G r r Tastuanes g . I p y to protect y , ove no .

ov ra God ou m n ta G . so a I p y to prospe r y , y , C p in

u a l Chief Alg ci . AI E EL E EN 8 B L D GU GU CE .

Al u acil g .

a lic hua a m o ab a E n m r lu Y lin r C ildo Re l . pri e gar tec etales s m a s ar ta de b a s o eno es de oro , eno c pe ord do , en

t de s ma o sa ad a de tin ero oro , eno plu de oro , sen lv er oro , no m as hem o papel blanco y paltec hu a sentar mo Cabildo

a Re l . Gooernador .

“ 1 ° lr N ilc es a Al M S im oca u e am am to es O p C p g g c p en S r .

i a s sones m a a velancic os a a a te princip le , ud nz s , nec n y p l ch u a seno la ronda q u inq u imagu a licencia galagu a no

a a provinci re l .

lr m u r Go O Tastuan sca a a a o es. Matatec D io Ma y g S . b o

i le rs a m l n i s mis a s S . a a ve a c co p princip les sones , ud nz s , necana y paltechu a seno la ronda del S enor Gobernador

Tastu anes.

A u se toca la ronda dan u e ta ai ando a a el q i , v l b l y h bl

GOb° r Tastuanes a m nisti am a S or. a , y ne o niqui p p , y

‘ m sam la a a a s de ne o niqu i o rond , son r stros y ped zo c inchones m a s mb de a rom ro pidos de cor ge , o rero C stor

de a mas h m mantera revoso mas pido cor ge , no e o de , no hemo capotin colorado a sones panegua sesule Giie " b° Tastuanes r Go . u ence S o . g ,

Gobernador .

“ l ° r No o Ca Al M asamatima uas t pil es p g g consen idor, m afrentador o ab a . , ticino C ildo Re l

Al uacil g .

m e m a A caso no de consentidor ticino o C bildo Real . E N E 9 BALLET OF GUE GU C .

Al m h am a rt. a g . S o et ing to use the Roy l Cou I t is

at am t a a tab mb gre sh e h t we h ve no golden le , no e roidered

tab -c h an of le lot , no golden inkst d , n o pen gold , no golden

sa - box a and h e tab e nd , not even white p per, s uc lik s ui l

t for a of the a rt. hings , session Roy l Cou

v M a a f A u a the Go . y son , C pt in Chie lg cil , s uspend in

a of a men m a qu rters th e le ding the usic , d nces , songs ,

ba ts and ma at a rm lle , s uch tters , u nless th e p rol gives pe it

f r a to enter my royal province [o th t pu rpo se] .

Al mma d Governor Tas u an s t e . I ra g . You rs to co n , p y

ou The a m en a ive ~no God to protect y . le ding [sh ll g ]

m a ba ts and u sic , d nces , songs , lle , such things , with ou t

m of a of G r Tastuanes [the pe r ission ] the p trol ove nor .

dan (The patrol is sounded and they ce . )

Al G Tastu anes am . as e but g overnor , I h ere , is prop r,

a t are a and ta and th e p rol is not ;their girdles in r gs tters ,

a s ma f m t fra and a no their h t s shed in ro heir y s , w e h ve t a

a a b t ha t a a single s ddle cloth or red clo k e ter, per ps , h n th t

- for- t Gfie uence G r Tastuan es good no hing g , ove nor .

M Gov. a ta f A u a ou m br y son , C p in Chie lg cil , y u st ing t a m a m t f t a a a a b f e th h t pi p , th t i puden ellow, h t ch rl t n , e or e

a Roy l Cou rt.

’ Al P a t at m g . erh ps h pi p and ch arlata n wo n t come

t me the a r wi h to Roy l Cou t. A LE EL G E E 10 B I D U GUENC .

’ Gooernaa or .

“ l Olr NO ilc es Ca Al M S imoca u e am am p p g g c p ento S res .

a s m a a velanc ic os a a al princip les ones , ud nz s , nec n y p

' techrI a sesu le Gii e u enc e 6 la a 6 las r a 6 g , de col , de pie n s ,

n l las a 6 D te a u dare a Al de n rices , de onde ios y , C p g M

° r r G b Tas u m Mascama a u a S o . t anes a y g , o , sones , u d n

z as velanc ic os a a . , nec n

Gue uenc e g .

Ha m a iiil 6 iiil ara 3 uch chos , g ternero , ( ) g potro p

a rebiatar la a 6 las a 6 las quich u s de col , de piern s , de

n arices

D Amorosio . .

A si m Gu e u ence mb t lo ereces , g e us ero .

Gue u ence g .

ab a D on F orc ic o ? a Me h l s ,

N o tatita ra Oidos le a , , se n los que chill n .

ue uence G g .

ab a D on A mb 3 Me h l s , rosio

D Amorosio . .

ha ab a Gu e u enc e mb t a Q uien te de h l r , g e u s ero

m m a a a ta sa a a S in a en a ‘ Co o no , l c s , c fiest s vigili s los di s

aba Ora V a n ab de mi de tr j os . quien , quie quiere s er nombre ?

Al uacil g .

' Gob° Tastu anes n a S or. U cri do del . E 11 BALLET OF GUEGU NCE.

Gov M a ta f Al a the . y son , C p in Chie gu cil , su spend in

a r of the ad men the m a qu rte s le ing u sic , d nces , songs , ba an d t and b a d- for- t i llets , such hings , [ ring] th t goo no h ng

’ Gri e fi enc e t b th e ta the the g , ei her y il , or legs , o r nose , or b a God h ou br him a ta y wh tever will elp y [to ing ] , C p i n f A a l Chie lgu ci .

Al At r G r Tastu anes the m g . y ou r se vice , ove nor , u sic ,

a s ba w l be e . d nce , songs , llets [ il s u spend d]

Gue uenc e b ! it a alf a t at g . H o , oy s is c or is it col th

be t d b b the tail the e the is to ie ehind y , o r l gs , or nose

’ D on Ambrosio Tha at ou Gfie fience . t s wh y deserve , g , ou mb y old hu ug .

ite D o u m e D n Forci o G . o a to o c y spe k ,

’ D on Forcic o No a a e i . t a t s ea s , li tle p p , p rh ps y ou r r a are bu th t zzing.

fie D u S me D on Amb G . O o a to P y pe k , rosio

D on Am S a Gii e . ou fi ence ou Wh o would pe k to y , g , y Old h umbug

ite Wh o bad b u G . u o a af y not , y reed , y l zy lo er on working day s Wh o is it now wh o wants to know my name

Al A r a of the G r Tastu anes g se v nt ove n or . 12 AI E D E L GUE GUENCE B L .

Gu e u ence g .

m ada ii il chocolatera 6 iiil a a a 6 Co o que cri , g , g l v nder , c om onedera la a S or Gob° lr Tastuanes p de rop del . ?

Chocolatera 6 a a ra a or Gob° Ir l v nde no ; cri do del S .

T u n ast a es.

Gu e uence g .

’ P a a iril a 6 iiil m a ues que cri d , g cociner g co ponedor del

a del or G bor Tastu anes P pl to S . o

A su u n u a me a me e m a del y g negu , no cel co ponedor O

r b° f Tastuane A a a o G s. a a a S . pl to , C pit n lgu cil M y or del o

ue u ence G g .

n l or ° r r G b Tastuanes : O Ha ! Cap Alg M del S o . o

1 ' n M° r or Gob° Tastuanes asa am a Al S . igo C p g del , campamento insign a va ra P

Al u zl g ac .

m e uenc e A sa ne ane e Gu . g , g

ue uence G g .

“ l A setato am Ca A l , igo p g

A setato Gue u ence. , g

Gu e uence g .

“ l “ d el Goberna Am Ca Al S or. igo p g M , y qu e ice dor Tastuanes Al u a l g ci .

a as a Gu e u ence. Que v y corriendo y vol ndo , g

ue uence G g .

Corriendo y volando Como quiere qu e corra y vuela

b v a a am a ? u mpo re iej o , lleno de dolores y continu s c l id des

14 AI E E E E E B L D L GU GU NC .

n l ° r Amigo Cap Alg M y u n silguero que esta en la

rta a or G b° r T S . astu anes a po d del o , qu e es lo qu e h ce

antand a a d n s a C o y legr n o a los S e ore gr ndes .

Ese mi mi m Am es consuelo y diverti iento . igo

l ° r Alg M con que corriendo y v olando ?

Al uacil g .

a d Gii e ii ence Corriendo y vol n o , g .

ue uence G g .

Ha m a ! me hab an ? i , uch chos l

Ambrosio D . .

te ha de ab a Giie u ence mbu t ? Quien h l r , g e s ero

ue uence G g .

hab a D on Forcico 3 Me l s ,

i s i h la NO tat ta a o dos le . , , er n los qu e c il n

ue ence G gu .

m a P ten ta con la b d a E ses , era , uch chos ues cuen o eg ,

ar q ue voi a ver si puedo vol .

a Alg u cil .

Ha Gue u ence c on m cortec illa , g , que odo y con que te

r r G b° Tastu anes ? a a a a S o . c l s , qui provinci re l del o

u uence G eg .

“ 1 ° r P m am Ca Al M ues , y co o , igo p g

’ m u h velanc ico altechrra c ar el Pri ero ha de ser , y p onsol

° r or Gob Tastu anes. Cabildo Real del S . 15 BALLET OF GUEGUE NCE .

fl ? Fr a ta f Al u a and a n t tha y iend C p in Chie g cil , lin e t a e oo of G Tastuanes at re ches th d r overnor , wh does it do there P

r ra th e I t sings and a n u ses the g ndees er .

d h F Th at is my consolation an delig t. riend

f A u a ab t and Chie lg cil , h ow o ut his ru nning flying

l ' - — i n A A u and a fl n Gii e fi e ce. g . r nning y g, g

’ zie do ou me G . bo ! ea Ho , y s y sp k to

D on Am a s a ou Giie fi ence . . Wh o w nt to spe k to y , g , old h umbug ?

ilt D ou a t m D on F rc ic G . O o e o o y spe k ,

’ D on For No t a a e a ears that . , lit l e p p , p rh ps it s y ou r are buzzing.

' ‘ ma be ie at bo . t af e Gl . oo th . Th y , ys Well , h en , l k ter

a nd o and if can fl shop , I will g see I y .

Al HO Giie fi enc e ! a t and h at g . , g in wh t s y le , wit wh t are ou a e of the etiquet e , y going to enter the roy l presenc Governor Tastu anes

' zZe S f ta n G . a f Well , now , h ow hould I , riend C p i Chie Algu acil ?

l F t d A . t be a an g irs , here sh ould song, s uch like , to

m a rt of T a u se the Roy l Cou the Governor astu anes. 16 AI E DE L GUEG EN E B L U C .

Gue u ence g .

n l " V elanc ic o am a Al s S imoca u e , igo C p g M , pue g

am am S a m da a velanc icos c p ento res princip les sones , u nz s,

a a altechu a a m ab a or nec n y p consol r o C ildo Re l del S .

° r Tas u nes Gob t a .

Al u acil g .

Masc ama a u a u e enc e Matatec o D io y g G gii .

' S a m a a velanc ic os res princip les sones ud nz s ,

altechu a sesu le Gu e u ence p g .

an ue ta los dos a ando a a l D v l b il y h bl e .

Al uacil g .

Ha Gu e u ence a am el ara e , g , y est os en p j .

u e u ence G g .

m a Ya. ta es os con cor j e .

E n el a a p r je . Gue uence g . E n el bra o j e .

l a a E n c p r je . ue uenc e G g .

“ 1 l a a P am a l me E n e . C A p r j e ues , igo p g no ensefi ara con qu e m odo y con qu e c ortec illa he de entra r y

a la a a S or G b° r Tastuanes ? s alir nte presenci re l del . o

Al u acil g .

S i te ensefi aré ba m ha ser , , pero no de lde ;pri ero de

mi a a s l rio . ue uence G g .

P s a sa a Ha m a ! Ahi tan las e c dos l dos , uch chos es

redes de pescados s alados ENCE 17 BALLET OF GUEGU .

Gfie A s f a a h f A a t . ong, riend C pt in C ie lgu cil ; h en

e e a r of a men the m su sp nd in th qu rte s th e le ding u sic ,

a ba l t and h am th e d nces , songs , l e s , such t ings , to u se

a T tu an s Roy l Cou rt Of th e Gove rnor as e .

Al fi en ra d At rv Gfie ce. Go g . y ou r se ice , g I p y to the a m en and t w S the m protect le ding [ hey ill u spe nd] usic , a ba s an d for d- for d nces , songs , llet , s uch like , this goo t e fi n no hing Gii g e ce.

e dan (Th y ce around the stage . )

Ha Gfie ii enc e are at th e a ! . , g here we pl ce

’ zie f G . are t ea t o a e Here we , wi h h r gr c .

Al At the a e g . pl c .

Gue a a . To work p ce .

At the ac pl e .

ite At the a G . Now fr . a a f Al u pl ce , iend C pt in Chie g ’ a ou a me t at and t a cil , won t y te ch wi h wh sty le , wi h wh t eti u ette I o and m of a q , ought to g in co e out th e roy l presenc e of the Go vernor Tastuanes

Al I ’ ll h . a ou but not for h F t . g Yes , te c y ; no ing irst ,

a m a ar I w nt y s l y .

'

Gzce. Sa e fish ? b s ! are the ts of al lt d Ho , oy ne s ted fish here i’ 2 18 AI E D E L GUEGUENCE B L .

Ahi ta tar a es n , it .

m osio A or . D .

a a a has de Gu e Que redes de pesc dos s l dos tener ,

u enc e mb t g , e u s ero P

ue uence G g .

m ! ma a a a de a m rto ! Am Co o no l c st , oj os s po u e igo

“ l “ Ca Al a tam a a a p g M , y es os des vi dos de los pesc dos

a a s l dos . Al u a cil g .

A a me a a a Gu e u enc e e . c so no cel de pesc dos s l dos , g

Gue uence g .

’n 1 r P m am a Al M ues , y co o , igo C p g P

l ua czl A g .

a a a Gu e iienc e Re les de pl t , g .

u e u enc e G g .

a A ! m a ahi a Ha ! . redes de pl tos uch ch os , est n

redes de pl a tos P

hi a atita A t . est n ,

Gue u ence g .

n I “ P s am a Al a am a a de u e , igo C p g M , y est os vi dos

Y m a la a . a 6 de pl tos co o de qu e pl tos quiere P de chin , ba rro P Al u a cil g .

ma m e de a Gu e u en A u a c e, y g , no cele pl tos , g

ue uenc e G g .

“ I or P m a m Ca A l M ? ues , y co o , igo p g

Al u a cil g .

P Gu e u enc e. esos du ros , g D on For t are t a a. . Here h ey , lit le p p

D on A rn a s of a fish ou r ten to o. Wh t net s lted do y p e d a Giie ii enc e ou Old mb h ve , g , y h u ug P

' Gzie Wh ou bad b eed ou -e d b at ? . y not, y r , y evil ye r

F r a a f Al a are t of iend C pt in Chie gu cil , w e j us now out a fish s lted .

’ Al r Gii fi enc e P a d a fo a e . . e g erh ps I on t c r s lted fish , g

' zZe ta f A a l ? G . a th a Well , wh t en , C p in Chie lgu ci

Al P of Gfie fi enc e. g . ieces eight , g

’ zZe Ha and a b ha w G . ! . ! e e dishes pl tes H o , oy s v some dishes and plates P

D on For the are e a a . Here y , littl p p .

' zZ t a f A a e r su G e. a u w a e Well , hen , C pt in Chie lg cil , p

ed a ha i of a do ou a pli with pl tes . W t k nd pl tes y w nt , china pla tes or earthen plates P

’ Al N t t t a f r . o g ei her one nor th e o h er . I don c re a Gfie ii enc e pl tes , g .

ilt t t a a f Al a i G . a n P Well , wh hen , C pt i Chie g u c l

Al a es Gfie iience g . H rd piec , g . 20 BAI LE D E L GUEGUENCE

Gue u ence g .

Ha ! a randotes A m h . a Q uesos du ros de quellos g , uc

ahi s a u e a m chos , e t n los quesos duros q tr ji os de sobornal P

Fo cico D . r .

No tatita c omio mi hermanito D on A mb , se los , rosio .

D Am rosio . b .

has de Gu e u ence mb ? Q ue quesos du ros tener , g , e u stero

ue uence G g .

m ta e u es 5 h s m m a a a s 10 a . Co o no , l c s , d p qu e te co ido l Amigo Capn Alg y a e stam os des aviados de los

d ahi a u n m u ha tan an quesos uros , porqu e tr igo c cho g zo ,

u m d q e no e ej a n ada .

A a m e u e e c e G u n . c so no cele de quesos duros , g

ue ence G g u . l P es m a m i Ca “ Al MO' P u , y co o , go p g

D b de ata u e u enc e G . o lones oro y de pl , g

ue uence G g .

Ha ! d b es A ! m a sab doblar P o l . uch chos , es

i ta i t ta . S , ue uence G g .

P d b a m a D erso u e mi am ues o l , uch chos , ios p g a igo

1 “ a n Al u e a a endenantes m t ata C p g M , q hor estuvi os r ndo

’ t ata el a llevc) u na b a f o y con r ndo con , y y se lo ol de ueg mi m a. a igo . Al u acil g .

A as me e de Pa a r Gu e iience. o r tu cue po , g c no cel

s dobl e .

22 AI E D E L GUE GUE N E B L C .

Gu e uence g .

l ” P es m am a n Al ? u , y co o , igo C p g M

Al u acil g . D b a a Gu e u enc e. o lones de oro y de pl t , g

Gue u ence g .

D b 01 0 de ata P hablem e r o lones de y pl ues ecio , qu e

m S oi s m e co o viej o y ordo , no oigo lo qu e dicen y por e a ra a a ni s s tier s dentro no se entiende de redes de pl tos , de a a a u i u i b pesc dos s l dos , de quesos du ros , de do les , sino o a m a a a am a t nz s de oro y oned de pl t . Y, v os , a cu n o quiere P Al u acil g .

h ubiere la b a Gu e u ence. Todo lo qu e en odeg , g

— P No m e a a a. ? a Todo , todo e dej s n d

Al u a cil g .

Na a a a Gu e u enc e . d , n d , g

ue u ence G g . Ni batu chito P

Ni batu chito Gu e u enc e . , g

ue u ence G g .

Ya ven m a h m t aba a a a lo , uch ch os , lo que e os r j do p r

a r otro h mb iento .

i A si tat ta . es , Ambrosio D . . m A si m Gu e u enc e b . lo ereces , g , e u stero

u e u ence G g .

A r a a ma a a ta m a u fi as. r y , l c s , co er s tu s N 23 BAL LE T OF GUE GUE CE .

' Gzie h fi'iend a tai n f A u a ? . a Well , wh t t en , C p Chie lg cil

Al D f . b o an d g ou loons gold silver .

' GzZe D b of and T a . ! ou loons gold silver h en spe k loud , for I am Old and deaf ; and in th ese inl and pla ces pe opl e

of t of a and of a fish know nothing ne s pl tes , s lted ,

ab a e ab t bu t ab nor ou t h rd ch eses , no r o u tolls , only out

f d f r m o an o . ou nces gold coins silve Well , let us co e to

m do ou wa P it , how uch y nt

Al E r the Gii ence. . t e ii g ve y hing in sh op, g

’ iZe E h ? E r G . veryt ing ve y thing ? You won t any thing ?

Al N t . t Gii e fienc e. g o hing, n o hing, g

Gfie Not m as an m box . s o uch e pty P

Al N m . ot an t box ii e ence G ii . g even e p y , g

Gite Now b ou a fe . , oy s , y see how we h ve worked to ed a t r f no h er hu ng y ellow .

D on For S O t . a a . it is , li tle p p

D on Am o u d s n m . S o r Gii e ii e c e o u hu y e e ve , g , y old bu g.

ue Get u G . o bad b ou a eat n out , y reed , y sh ll y ou r fi ger

ai n ls . 24 AI E E E N E B L D L GUEGU C .

Las m m Gu e u enc e co ere os , g .

u e uence G g .

P a las m a : las m a el ues , pong nos y dos nos pone

“ amb t u e b a na ne mi am Ca h rien o , y q u en s u s se tie igo p 1 A lg de perico - ligero ! a ! u na bomba caliente pa ra esta s u has Al u i g ac l .

Pa a Gu e iience r tu cuerpo , g .

Gu e uence g .

P m ! no a Ha mi ata U . ! u es , to e , dos , tres , cu tro pl , m uch ach os ! Cu atro cientos y ta ntos pesos le he dado a.

n l ° ’ l “ mi m Al M — d am a n a a V . Al igo C p g , igo C p g M ,

b a n i a m d a a . no s e cu l es re l , cu l es e io

Al ua cil g .

m e u enc e no P S i de Gu . Co o , entiendo todo , g

u u ence G eg .

La mitad de este m edio h acen dos c u artillos ;u n cu a r t O ta u n ta ar nu ar illo dos c vos , oc vo dos cu tos , cu to dos m d a a m a a b a a a . r ve is , c d r vedi dos l ncos

l u acil A g .

P é . ues , chelos todos

u e uence G g . m e P ensene . ues ,

P az eta a o . ues , g g ue uence G g .

P ma ta . ues , ne congon

l u a l A g ci .

° f i l o Gob Tastu anes. Matateco Dio m s ia es S r. p , BALLET OF OUEGUENCE .

D on Am Let eat m Giie ii ence. . u s th e , g

Gite h a and . T en put o ut y our h nds , let this h ungry

fellow put out both his ha nds ;and my ! wh at fine nails

has m fr the a a f A a ! are y iend , C pt in Chie lgu cil They

t of a a m ! HO h ! a like h ose scr tching onkey , t ere hot

shot for th ese nails !

Al M fi e fi ence a b r b G . g . y it u n y ou r o dy , g

ite snows ou r coins ne two G . O . Well , here then [ f ] , ,

t f Ha m m b ! F and . ! hree , ou r y oney , oy s ou r hu ndred

m a a m fr a ta so e odd doll rs I h ve given to y iend , th e C p i n

f A a o u f a a f Al a Chie lgu cil . But y , riend C pt in Chie gu cil ,

’ ou a f m a f y don t know a re l ro a h l a one .

’ Al Wh a all ab m li . ? t G g y not I u nderst nd ou t he , e

iienc e g .

Gue a f of t a f a ma s two c uartillos . The h l his h l re l ke ; a c u artillo is two octa vos ;an octa vo is two qu artos ;a

qu arto is two maravedis ; and each m aravedi is two

b a l ncos .

Al m . t t e all g Well , then , down wi h h .

’ Gzie h a m . t e Well en , te ch .

Al . t a a t n. g Well , h en , p y t entio

Giée t m . e. Well , h en , show

Al . . ra God t ou G er Tas uane g I p y to protec y , ov n or t s. 26 AI E D E L GUEGUEN E B L C .

Gu e uence g .

' Matatec o D i a u u s T s o c u sc ane c a c uane a tuanes.

Al uacil g .

Matatec o D io mis ales r G bor s i S o . tua es Ta n . p , o

Gue uence g .

Matatec o D io ane iie ale u e Tastu nes p g p g a .

Al u acil g .

a orfiado Gu e ii enc e V d ha m u na H ce p , g ; . enester d a ocen de cu eros . Gue uence g .

D a de P Ha m a fa a atas ocen cu eros , uch chos , nos lt n re

“ 1 or i nes A el am Ca Al M of e 6 c ob j o . qui igo p g nos rec

a de una docen cu eros .

i tit S , ta a. Gue uenc e g .

n I “ Am a Al m u s de igo C p g M , y co o de qu e c ero , a c rudia 6 de gamusa P Al u l g aci .

M a G e ii as az eta o u . g g , g ence

Le da dos rej az os.

u e uence G g .

A a a b des u es a a me has rr y , con qu e u eno , p de p g do

az ta a t . o do ;esos no s on cueros , es os son zo es

Am osio D . or .

A si 10 me e Gu e u enc e mbu . rec s , g , e stero

s iales or Gob° r Tastuanes u ini tec o Dio mi S . Mata p , q m motales u inimente m ose uan A a d a ente , q g , lc l es ordin

ta man a a d rios de la S . her d d , regidores y not rios y eposi BAL LET OF GUEGUENCE 27

a God ma ou Tastu anes. I pr y will ke y sing,

Al d t ou G r Tastu an es. . a Go o g I pr y to pr tec y , o ve nor

u nes I pray God to overcome Tast a .

are tubb Gii e u ence ou You s orn , g , y need a dozen h idings .

b ! e d m ? H o , oy s do w e n e s o e lines or covers

Ou r f a a f A u a ff a riend here , the C pt in Chie lg cil , o ers u s dozen hides .

D on For t a a . . Yes , li tle p p

ite b f a ta f G . a th H ow out ose hides , riend C p in Chie

A a are t ? lgu cil , hey green or dressed

Al F m t t m e fi enc e ab Gii . g . ind ou t ore ou he , g

e o (Giv s him tw blows. )

’ zie Get a r a ou bea me G . out ! wh t ight h ve y to t w he n

a a P T are t are b I h ve p id hese not hides , hey lows .

on Am m D . 50 ou Gfie iienc e o u hu y deserve , g , y old

u b g.

Al a God t th e Tastu anes . Go g I pr y to protec vern or , t o who ar m a an d ra a b s h se c ry his ess ges t ns ct his usin e s , the a a a of th e t th e regul r lc ldes Holy Bro h erh o od , regi s 28 AI E B LE DE L GUEGUENC . tarios E ua Olr . g n noche mo Cabildo Real del S or Gob

T stuanes a .

u u ence G eg .

n 1 “ A m a Al ba le a mi d igo C p g M , si de lde he d do inero , si estos son mis lengu aj es asonesepa negualigu a s eno

' b ma lic hrra a escataci iscala fi on uan li ro de ro nce , rez r , g isc umbatasi a campaneme Tastu anes P

Al u acil g .

A san aneme G e en e u u c e. g , g

ue u ence G g .

n 1 ° Ir S i cana amigo Cap Alg M

D i mis i l r bO lr Tastu anes Matatec o o a es o . Go S . p ,

Matatec o D io misc u ales quilis Gu egu enc e y atiguala neme P ue uence G g .

Ya m nisti am a u inimente mose uan ne o niqui p p q g .

A a a la S a a ma a r lc ldes ordin rios de nt h er nd d , egidores y notarios (y) E guam noch e mo Cabildo

r G bor T stuanes a o . a Re l del S o .

Gooerna dor .

P Gu e u ence u in uima u a a a a u i u es , g , q q g licenci te c l s q provincia real P Gue uence g .

' m D or Gob° T stuanes es a a S . a . V lg e ios , , pu es qu e m enester licencia P obernador G .

m a E s Gii e iienc e. enester licenci , g

ue uence G g .

m r Gob° ’ Tastuanes ! uan o o O a a D S o . v lg e ios , C d y

3 0 AI E DE L GUEGUE N B L CE .

o a e a a a la a a de Mex ic o nduv por es s tierr s dentro , por c rrer ,

la a la a Paz A nte e u e a a por Ver cruz , por Ver , por p q , rri ndo mi a a m a O a D on Forc ic o a d recu , gui uch chos , p lleg don e

u n m a a u na d a am esonero tupile tr ig ocen de h u evos , v os

m a a . a a e vo de co iendo y desc rg ndo y vu elto a c rg r , y m y

' as m a a a S or G bor p o , y no es enester licenci p r ello , . o

Tas u n es t a .

’ oé ernaa or G .

P a m a a a Gu e u enc e u es qui es enester licenci p r ello , g .

Gue uence g .

m D or G bor Tas n a a S . tu a es o V lg e ios , o , viniendo y por

u na calle derech a m e c olu mbro u na nifia qu e estaba

ta a u na a a m e : a a el sen d en vent n de oro , y dice qu e g l n

Gu e uenc e b a el Gii e ii enc e a b d a g , qu e iz rro g , qui tienes o eg ,

Gu e u enc e a Gii e ii enc e S ientato Gii e u enc e a g , entr g , , , g , qui

ue u e c e a ha m m ha G n . so u n y dulce , g , qui y li on Y co o y

h mb tan a e a té la a u m ab é u e o re gr c j o , s l a c lle con c riol , q

su s a a de u e era de con dornos no s e distingui lo q , lleno

ata a ta el asi u na ha m e diO a pl y oro h s s u elo , y ni licenci ,

or Tas u anes r G b t . S o . o

Gobernador ’

i dar Gu e u enc e P una a a . u es n n no pu ede licenci , g

Gue uence g .

r G b° r T st O a am D S o . a uanes m s v lg e ios , o , no s ere o

uanc os m am s m de se ane g , no sere os igos , y ere os sones p

ali ua fardesia a m a ca oneria g g , no de rop ;en pri er lug r j

de c a oneria a a a de a a a de c on oro , j de pl t , rop C still , rop

aba ii i il iii il de ma m d a tr ndo , g p de pech o , g p plu , e i s de

s a a a mb de a estriberas d ed , z p tos de oro , so rero c stor, e BALLET OF GUEGUENCE 3 1 was t a r a x t r veling up co unt y , on th e ro d to Me ico , hrough

' ra and a Paz and Ante e u e riv m Ve C ruz , Ver , p q , d ing y m a i m b tw D on F orc ic o m ules , l e d ng y oy s , ice co es a cross a constable innkeepe r wh o brings u s a dozen

an d o a and a and a eggs ; we g on e ting u nlo ding , we lo d u a a and o r a and t of p g in , I g ight long , here is no need a m f i Tastuanes or t G . pe r it , overnor

Gov of a rm for it Gfi e . Well , here there is need pe it ,

nc e giie .

476 God b me G Tastu anes as was 6 . les s , overn or , I

m a ra t tr a was tt a co ing up st igh s eet , girl who si ing in

w c m e and a me : a a golden indow des ried , s y s to Wh t

’ fine fell ow is Giiegii ence ;h ow gallant is Gri egfi ence ;

’ ‘ shO for ou Giie fi enc e m Gfie iience here s th e p y , g ;co e in , g

’ Gfie fienc e t sweatmeats Gfie fi sit do wn , g ; here s here , g

’ t a m A nd as am h a f ence ; here s le on here . , I s uc u nny f m off m r a f of ellow , I j u ped , with y iding clo k on , s o ull

r am t a o u a was o o n en s th t y could not tell wh t it , c vered

’ with gold and silver to th e grou nd ;and th a t s the way a

m e a m r Tas u a G t anes. girl g ve pe r it , ove n or

’ ov m G . a a a Gii e fi Well , girl c n t give pe r it [here] , g

ence .

' ’ GzZe O ! God b m e G Tastu anes . les s , overnor , we won t be f be f i s and ba a ools ; no , we will r end , we will rg i n

m a of the a f ab d . s o ou t y p cks goo s In first pl ce , chest

s s of t of S ai f m m gold , che t silver , clo h p n , cloth ro s uggle rs ,

t f at s o i o b a ves s , e her skirt , silk st ck ngs , golden sh es , e ver 32 AI E D E L GUE GUE NCE B L .

" a o de de ata a achi u e mu ule or Gob° l z oro y pl , y p g y S .

Tas ua t nes.

Gooerna dor .

Pachi u ete achi ii ete Gu e u enc e asamatima as g no p g , g , g ,

a se al aresia m ollu se D Fo rc i D ( s ones) p p otel p . c o y .

Amb tima u as a a rm a rosio g y verd d , tin riqu ez s y h e os ur s t mile mo ab al u C ildo Re .

Gue uence g .

No a u imate m ollu le S or G b° 1r Tastuan s . e . chop q , o

Go ernador b .

No c hi u im te Gu e uenc e a . q , g

Gue uence g .

n l “ P S i ca a am a Al S imoca iie t ues n igo C p g M , g nis i

m a a s m l i s a S . a a ve anc c o p p , res princip les , ones , ud nz s , ,

i F orc ic o ma u s e a a al ares a D . ti a a n c n , y p p g y verd d, tin h b a umiles m ab m ra t o a . er osu , tin ellez s C ildo Re l

Goberna dor .

l or n l M im ca ii e am am e o r NO pils e Cap A g s o g c p nt S es .

c a m a a velancic os a a a a prin ip les , s ones , ud nz s , , nec n y p lp

D Forc ic o tima as da tin m a a . resi g y ver d , her os ur , tin belleza tu mile mo Cabildo Re al .

b° r Tastuanes Matatec o Dio u or G . Mascamay ag a S . o

m l i s s iales S . a a a ve anc co p res princip les , s ones , ud nz s , ,

D r i tima u as a si Fo c c o . neca na y palpare a . g y verd d

a l b Aqu i cl Alguacil saca a D . Forcico p hablar con c Go

° ’ Tas es i les or Gob tu n . c o D io mis a S . a Matate p , 33 BALLET OF GUE GUENCE .

ats r u tra of and a as ma ati f h , sti r p s ps gold silver l ce , y s s y th e clever Governor Tastu anes.

Gov No am at t a ou sa . , I not s isfied wi h wh t y y ,

e n D on F orc ico and D on Amb m Gfi gu e c e. rosio ust give a t f a al t h ou a ruth u l ccount to our Roy Co u r , whet er y h ve riches and abunda nt treas u res .

Gite D O o u a a G r . y not know it lre dy , clever ove nor

Tastuanes P

n e Gov Gfie u e c . . I do not know it , g

Gite if f a ta f A u a i . Then , riend C p in Chie lg c l will s u s

in m the m a and pend , y presence , u sic , d nces , songs ba of the a men D on Forc ic o a llets le ding , will give truthful accou nt to the Roya l Cou rt abou t my rich es a nd ab an a und t tre s ures .

av M a ta hi f A a G . the y s on , C p in C e lgu cil , s u spend in

ar of a men m a and qu ters th e le ding the u sic , d nces , songs ba ts and D on Forc iCo a ru f a lle , will give t th ul ccount to the Royal Co u rt abou t their rich es and abu nda nt treas

'

U I CS .

Al At G r Tastu a . nes. ra g y ou r service , ove nor I p y

Go d a men and the to p rotect the le ding , [they s u spend] m a and ba t and D on Forc ic o u sic , d nces , songs lle s , will

a f a give tru th ul cco unt .

The Al u ac ta es D on Forci co as de to tal t the Go ern r ( g il k i k wi h v o . )

on For d D . ra Go e ou G r T I p y to prot ct y , ove nor as

tu anes. 3 4 AI E DE L GUE G E N E B L U C .

Gooerna dor

Matatec o D io misc u ales quilis D on Forc ic o y a tiguala m ne e .

Ya m nisti am a u inimente m otales uini ne o niqui p p , q , q m e m ose uan A a d l ta ma a a S . r n ntes g , lc ldes or in rios de he dad d ta a E u an m . o , regi ores , no rios y deposit rios g noche

ab a or ° r u n G b Tast a es. C ildo Re l del S . o

Gooernador .

P D on Forc ic o asamatima uas m a a u es , g se o verd d sones sepagu ala motalc e Giiegiienc e quichu a conta r gilil h mb e a tin m a b a o r rico , tin riqu ez s , her os ur , tin ellez , en

m a ca oneria de ca oneria 1ata doblones pri er lug r j oro , j de p ,

m a a a ha m a D n Fo r ic e a o c o . de oro , oned s de pl t , y s gu

r a am D or G b° Tastu anes l dia O S . e v lg e ios , o , es corto y la n oche para conta r las riqu ezas de mi padre ;en

m a c a oneria de ca oneria de a a a pri er lu g r j oro , j pl t , rop de I

a a a aba estriberas . de a O C still , rop de contr ndo , l zo de ro

° ’ hi ue m u u l or ob TastiI anes a a a ac e S . G . y de pl t , y p g y

Goé erna dor .

Pachi u ete ac hi u ete D on F orc ic o g no p g pues , , a sones se palparesia tu h ermanito D on Ambrosio timagu as y

a m a tu miles mo ab a verdad tin riquez s y her osur s C ildo re l .

n I r G b° r Tastu anes a a am a A l S o . o , sic n igo C p g M

m m a m a a ma a u e a a S . y g c p ento res princip les , sones , ud nz s , velanc icos a a al aresia mi hermanito D on Am , nec n y p p b rosio tima u as a g y verd d . F E N E 3 5 BALLET O GU GUE C .

Gov I ra God ou D on F orcic o are . p y to prosper y , ; y ou well ?

D on For am as and ra God . I here , is proper, [ I p y to

ca r the m a ra a protect] th ose who r y ess ges , th ose who t ns ct

b a a a of the t the usiness , the regul r lc ldes H oly Bro her

a a a nd a t b da and hood , the registr rs , not ries rchivis s , [y y]

t f T anes a o G astu . night, in the Roy l Cou r o vern or

Gov D on Forc ic o o u are m e the u t . Well , , y to tell tr h ab Gfie iience a a out the stories which g tells , s ying th t h e

a m an and has r and a m and is rich , prope ty , h ndso e b a f the a s of e uti ul things ;in first pl ce , chest gold , chests of b Of of me silver, dou loons gold , coins silver ;so tell

D n F o rc ic o a o . cle rly ,

D on For O ! God b me G r Tastu anes th . e les s , ove n or , day and the night are too sho rt to tell y ou all the rich es

m the a t of of fat . s y her In first pl ce , ches s gold , chest of t of S a t f m m t silver , clo h p in , clo h ro s u gglers , s irrup

a Of a of a nd as ma a f the str ps l ce gold silver , y s tis y cleve r

Governor Tastu anes.

N a et D on F orc ico f Gov. o or x , not s tisfied y , ; ne t ,

b D on Amb a t t f y ou r little rother, rosio , will give ru h ul acco unt to the Roy al Co urt abo ut these riches and abundant trea s ures .

For G r Tastu anes if fr a a f D on . ove nor , iend C pt in Chie

Algu acil will suspend in th e qu arters Of the le ading men

m a and ba s m b the usic , d nces , songs llet , y little rother,

mb a r t f a D on A . rosio , will give t u h ul ccou nt 3 6 AI E D E L GUE GUE NCE B L .

Goaernador .

n 1 “ NO a A l S imoc a u e am am pilse C p g M , g c p ento S res .

a m a a velanc ic os a a a a princip les , sones , ud nz s , , nec n , y p lp

a su hermanito D Amb im resi . rosio t agu as y verdad tin

a rm a riquez s , tin he osur s .

Al u a cil g .

Mascama a u a or Gob° ! Tastu anes M S . atatec D i y g . o o m is iales m S . a a a velanc ic os p res princip les , sones , ud nz s , ,

a a al aresia D on Amb tima u as a nec n , y p p rosio g y verd d .

l a or A u el Al saca a D . Am ros o a ar con el Go q i g b i p h bl b .

Am rosio D . b .

M tatec o D io mis iales r a S o . G b a Tastu anes p , o ern dor .

oaerna dor G .

Matatec o D io m isc u ales D on Amb a , quilis rosio , y tigu ala neme P

Am rosio D . o .

Y m nisti am a u inimente m otales m a. ne o niqui p p q , qui i m mose u an A a a la S ta h m a ente g lc ldes ordin rios de . er n dad a ta E u an e , regidores y not rios , y deposi rios . g noch

" b° T stu anes a r Go a . m o Cabildo Re l del S o .

Gobernador .

Pues D on Ambrosio asamatimagu as semo verdad a sones (se) pagu ala m otalc e Gii egu enc e quich u a conta r

E n m a c a oneria ii il mb . g h o re rico pri er lug r j de oro , c a oneria a a a a a a de o aba j de pl t , rop de C still , rop c ntr ndo ,

ii i il de ii i il ma m a a a a g p pecho , g p de plu , edi s de sed , z p tos

mb a estriberas a de oro , so rero de c stor , de l zo de oro y de a a m u chintes m a a a sesu le pl t , her os ur s quich u cont r

D n m Giiegu enc e hoy melagii e o A brosio .

3 8 AI E DE L GUE E N E B L GU C .

D Ambrosio . .

a am D S or Gob° Ir Tastu anes me . ver u enz a da V lg e ios , , g

a las a Gii e ii enc e mb cont r cos s de ese g e u stero , pues solo

esta espera ndo qu e Cierre la noche para salir de ca sa en

a a r a ha las a a a a a el su c s a h u t r lo que y en cocin s p r p s r , y

i D i c a oneri h D on Forc c o . n a ij o ice qu e t e e j de oro , y es

u na ta a a totolatera a a pe c viej , qu e tiene c tre de sed y es

u m a a d m a a pet te viej o revolc do , ice que tiene edi s de sed y

a botias a f a a s on un s viej s sin orro , qu e tiene z p tos de oro ,

a a a a S in a u m f y son u n s ch nclet s viej s suel s , qu e tiene usil

l r el ah a de c l a O . oro , y es solo p , po qu e c on se lo quit ron

ue uence G g .

V e af a m a ab a b a fl o a ! , qu e rent de uch ch o , h l dor , oc j revientale la ab a m m io me , hij o , c ez , que co o no es hij o desacredita .

Forcico D . .

' r Gob u itate a m a a a ta ! NO a S o . Q de qui , l c s se esp nte

Tas u anes Oir ab a a o a t en a este h l dor, que cu ndo y nduve

con mi padre por la ca rrera de Me x ico y cu ando venimos

a aba mi ma a a i tan y est dre en cint de otro , y por eso s l o

° " Gob Tastu anes. m a a a ta S or. l c s ,

nc Gu eg u e e.

‘ ° r ~ r G b Tastu anes a ac hi u e m u u les te u ane S o . o y p g y g

o u ce D on F o rc ic o ta m a motel p y con r tin her osur s , tin

a tu miles m o ab a . bellez s , C ildo Re l

na dor Gober .

chi u ete ac hi ii ete Gu e u enc e asama u imate Pa g no p g , g , q

a mollu le mo Cabildo re l . E E 3 9 BALLET or GUE GU NC .

D on Am God b me G Tastu anes am . less , overnor , I a am ta ab the affa of t Old mb sh ed to lk out irs his hu ug,

Giie iienc e for a a o g , h e is only w iting until it is d rk , to g f m t a a ro h ou se to house , s e ling wh tever is in the kitchens , to i a s him and D on Forc c o a . keep his s on , , live H e s y

has a of and an b - ba a he ch est gold , it is old ird sket ;th t

has a a nd a rt O ld mat a he silken cot , it is di y ;h e s y s h e has a nd e a re h silk stockings , th y old leggings , wit ou t t a has an d are lining ; h t h e golden shoes , they w orn o ut

t a has a u n and slippers , withou t soles h t he golden g , it a t c b a t ba is only wooden s o k , ec u se h ey took the rrel a a f m him w y ro .

Gue a ! w a an m bo a babb a . He vens h t i pudent y , ler,

! a a m bo for of lying tongu e Bre k his he d , y y , no son m a me t a wa ine wo uld sl nder in h t y .

’ D on For Get of ou bad b . D . be o ut here , y reed on t

S G a t babb fo r hocked , overn or, to he r his ler when I went

m fa the a x am with y ther on ro d to Me ico , when we c e ba m m was bi b a t and a wh ck y other g y no her , th t is y t a bad b Tastu nes G a . his one is such reed , overnor

u e G r Tastu es G . an are ou at ove nor , now y not s isfied

m ab b a D on F orc ic o the co pletely ou t u s , y wh t told

a r at a a t Of t and b a ti Roy l Cou t , th I h ve qu nti ies pret y e u ful things ?

N Gav. o a i the a r , not s t sfied ; Roy l Cou t wo uld like

' o know t it . 40 AI E D E L GUE GUE NCE B L .

Gu e u enc g e.

No c hi u imate m ollu le S or G b° r T q . o astu anes : pues

n l “ ma a u e am a Al am am rs y g igo C p g M , c p ento S . princi

a m a a velanc icos a a al aresia p les , sones , ud nz s , , nec n y p p mo tinderia ma iiiso m o ab a tu g C ildo Re l .

Gooernado r.

n l No a Al S im oca u e am am S pilse C p g g c p ento res .

a m a a velanc ic os a a a princip les , sones , ud nz s , nec n , y p lte ch ira consola r sesu le Eguan m o tinderia y

altechu a a mo ab a p consol r c ildo re l .

Al uaci l g .

Mascama a u a r GobOlr T s S o . a tuanes Matat . e y g , c o D io mis iales m S . a a a velanc ic os p res princip les , sones , ud nz s , , n a a al aresia tinderia mo ab a ec n y p p C ildo Re l .

D a u e ta el Gue uence los m u c ac os a ando con la t enda v l g y h h b il i , y habla el

u e u ence G g .

° M tatec o D io mis iales or G b r Tastu anes asane a S . a p , o , g

m mo tinderia matama iieso m o ab a A ne e g C ildo Re l . lzen

m n m m m a a a a . E n a uch chos , ire cu nt her osu r pri er lug r c a oneria c a oneria a a iii il iii il j de oro , j de pl t , g p de pech o , g p de ma m a a a a mb plu , edi s de sed , z p tos de oro , so rero de

a estriberas a de a a m u c hintes c stor, de l zo oro y de pl t ,

° r G b Tastu anes asane anem e h m a S or. er osu r s , o , g ese lucero

e la ma a a mb a a m ar a a d n n que relu r del otro l do del , s ne cau eme esa jeringu ita de oro para ya remediar el Cabildo

bor Tastu anes or G . Real del S . o

obernador G .

a a r Gu e ii ence. P r tu cue po , g

42 AI E D E L GUE GUENCE B L .

Gu e uence g .

m t mi m a ta Ofic ios a ta Co o es e uch cho tiene ntos , qu e h s en las u fias e a a Ofic ios tien enc j dos los .

Goberna do r.

ii enc S a a a Gu e e. er n de ren , g

Gue uence g .

P s m as ha f a ue sido escultor, u ndidor, repic dor, piloto de a t a a a a a las b or l ur s de quellos qu e se elev n h st nu es , S .

b° r astuanes Go T .

Gooernador .

E son Ofic ios Gu e u ence sos no de continu o , g .

Gue u ence g .

P mas ha a e a a e ues sido c rpint ro , h cedor de y u gos unqu s a a a ha de a a a a e n de p p y o , cedor r dos , u nqu e se n de

m a achi iie mu u le or o ° lr t a S . G b Tastu anes eco j oche y p g y .

G bernador o .

Ya achi u ete ac hi u ete Gu e u enc e asanese p g no p g , pu es g

al aresia m o D on Forc ic o tima uas a Ofic ios p p g y verd d tin .

ue u ence G g .

n I Pues si ca na amigo Cap A lg Mayagu e nisti

a m da a velanc icos am a S . p p res princip les , sones , u nz s , , neca na y palparesia D on Forc ic o timagu as y verdad tin

i s ofic o .

Al uacil g .

e en e M tateco D io Mascama a ua Gu u c . a y g , g

e a m da a velanc icos S r s . princip les , sones , u nz s , , i m d l r si D Forc c o o ab a . pa pa e a . C il o Re l

ar a D Forcico. V uelve el Alguacil a sac . N 43 BALLET OF GUEGUE CE.

Gue I t d f how ma a bo of . is won er ul ny tr des this y

’ m has in a . ine . He is deep tr des to his fingers ends

Gov a re of a Giie iienc e. . They no ccou nt , g

’ GzZe Wh has b n a a m tal f . y , he ee sculptor , e ou nder , a b - and a the s ab ell ringer , pilot to h eight which rise ove the G Tastu anes clouds , overnor .

Gov are not erma m m Gue ii . These p nent e ploy ents , g ence .

Gue has b a a r a ma of . Then h e een c pe nter , ker y okes ,

of a a a a ma of of though p p y wood , ker plows , thou gh

m a f G r te ple tree wood . This should s tis y the clever ove no r

T stuanes a .

ov No am a d Let Gfie fienc e G . et . , I not y s tisfie g tell his D on F orc ic o a f l a of s on , , to give truth u ccou nt his trades .

iZe i f G . f a a f A a Then , riend C pt in Chie lgu cil will , in m a the a men m y presence , c use le ding to s uspend th e usic ,

a and “ba D on F orc ic o a d nces , songs llets , will give tru th fu l a of a ccou nt his tr des .

Al At r u e nce a God G u e . g . y ou r se vice , g I pr y will

t a m en and m protec the le ding , [ they suspend] the u sic ,

a and ba s for ta of D on Forc ico d nces , s ongs llet , th e lk to

a t the Roy l Cou r .

The A ua c l r n s D on Forcico for ard ( lg i b i g w . ) 44 AI E DE L GUE GUE NCE B L .

D Forcico . .

° lr or Gob Tastuanes as l s S . a a ufias t a a , h t en engo enc j dos

oficios los .

Gobernador .

S a a a D on Forc ico er n de ren , .

P m as f a ues he sido escultor , undidor , repic dor, piloto

a t a a a las b r a a ta S o . de l ur s de quell s qu e se elev n h s nu es ,

G bor Tastuanes o .

Go erna dor b .

Pachi u ete achi ii ete D on Forc ico asama u i g no p g , pues g ma m ollu le m a a sa atetas m o ab te tin ud nz s , tin p C ildo

a Re l .

a m D or G b° r Tastuanes s a a am O a S . v lg e ios , o , ic n igo l n A l am am a s a S . C p g c p ento res princip les , ones , m a a velanc ic os a a tin alechua ud nz s, , nec n corridos y p

o ab consolar m C ildo Real .

’ Goé ernaa or .

n 1 or O a Al M S im oc a u e am am S N pilse C p g g c p ento res .

a m a a velanc icos a a a a princip les , sones , ud nz s , , nec n y p lp

ic hu a a sesu le Gu e u ence resia l consol r g .

Al u a cil g .

obOlr Tastuanes Ma ate D io s ma a ua r G . t c o Ma ca y g S o .

s i a m a a velancicos mi ales S . p res princip les , sones , ud nz s , , necana y p alparesia consolar m o Cabildo Real sesu le

ence Giiegu .

m r a ada del Corr do a a el Pri e a b il i , y h bl

46 AI E DE L GUE GUE N E B L C .

Gu e uence g .

or G bor Tas S . tu anes a achi u e m ollu le ti iiita o , y p g g tin

. m a a sa atetas lic hu a a m o ab a ud nz s , tin p , consol r C ildo Re l .

Gooerna dor .

Pachi u ete ac hi u ete Gue u enc e asama u im ate g no p g , g , q m u u le asanese al aresia m o u se D on F o rc ic o y , p p otel p y y

D on Amb a el ab a rosio a consol r C ildo Re l .

Gu e u ence g .

No a u imate m u u le or GobOlr Tastu anes S . chop q y , .

Gobernador .

NO a u imate Gii e u enc e chop q g .

Gue u ence g .

n I “ Ma a u e am a A l m m a a S . y g igo C p g M , c p ento res

a a a altec hu a a princip les , sones , corridos , nec n y p consol r

D on Forc ic o e u an D Amb m o ab a g . rosio C ildo Re l .

Goé ernador .

n I 0” N a A l S im m am O M oca u e a S . pilse C p g , g c p ento res

a a a altechu a a princip les , sones , corridos , nec n y p consol r

D on Fo rc ic o e u n D m ab a g a on A brosio mo C ildo Re l .

Se unda a ada del Gii e ii enc e los dos m u c ac os. g b il g , y h h

Gu e u ence g .

or S or G b Tastu anes a achi u e m ollu le ti iiita o , y p g g tin

m te li hu a m o ab a a a sa a tas c a . ud nz s , tin p consol r C ildo Re l

oernador Go .

i i e e en e Pach u ete ac h ii te Gii u c . g no p g , g

Gu e uence g .

° Gob lr Tastu anes asama u imate m ollu le m u S or. q tin

a a sa atetas S an ar lichu a a d nz s , tin p sones M tin , a consol r

m m ab a D on Fo rc ic o egu an D on A brosio o C ildo Re l . 47 BALLET OF GUEGUE NCE .

' iZe Tastu anes ou are at a G . G r ove nor , now y s isfied th t th ey h ave da nces an d caperings to am u se the Roy al

Court.

Gov N t . O am at . , I not s isfied I would k now hor oughly what D on F orc ic o and D on Ambrosio can do to am the a r use Roy l Co u t.

’ GzZe D Tastu anes P . O o u G r y not know it , ove nor

Gov d . o Gfi e fienc e. I not know it, g

’ Gzi e a . Let friend Capta in Algu acil M j or [suspe nd] in the a of the a m en the m da qu rters le ding u sic , nces , songs and t a D on Forc ic o and D on Amb ma s uch like , h t rosio y am the a use Roy l Cou rt.

Gov M he . a ta f Al a t y son , C p in Chie gu cil , s u spe nd in

ar of the ead men the m a s and qu ters l ing u sic , d nces , ongs

a D o n Forc ic o and D on A mb ma s uch like , th t rosio y am the a use Roy l Cou rt.

Second al e f u ( b l t o Gueg ence and the two boys. )

Gue . G r Tastuanes ou are ta nl ove nor , now y cer i y

a a t ha a ha ca erin s am s tisfied th t hey ve d nces , ve p g , to u s e

th e a Roy l Cou rt.

Gov N . O m e i e a not ati Gii i nce. , I s sfied , g

Gite ~ . Gove rnor Tastu anes may certa inly k now th at

D on Forc ic o and D on Ambrosio h a ve da nces and ca pe r f O St. a t am the a ings , to th e tune M r in , to u se Roy l

Cou rt. E L EG ENCE BAI LE D GU U .

do Goberna r.

n N O a u im m llu le Gfi e u enc e No a chop q ate o g . pilse C p A l l M° r im m m S oca u e a a S . a g g c p ento res princip les , s ones

S an M artin a lichu n consola r m o Cabildo Real sesu le

Gii e iience g .

A u se Mart n dan e ta odos a ando toc a . t q i S i y vu l b il .

oeerna dor G .

A Gu egu enc e y a pachigu e m uy u le tigii ita tin s apa

i hu a m a teta s l c as cons ol r o Cabildo Re l .

ue uence G g .

i i G b° r Tastu anes asama Pach u ete ac h iie S or. g no p g , o

“ 1 q u im ate m ui le sones Portorico no amigo Cap Alg

Mor lichua a D on Forc ic o D on Amb mo a consol r , y rosio

a Cabildo Re l .

Goberna dor

n 1 0” NO e a A l M S im oca u e am am t pils C p g , g c p en o

rrnc r ales P lic h ua a sesu le p p , sones ortorico cons ol r

enc e gu .

A u se toca nu ton ant u o dan u e ta todos ai ando q i ig y v l b l .

A Gu egu enc e ya pachigu e m uy u le tigiiita tin sapatetas i u a mo ab a l c h a consol r C ildo Re l .

Gue uence g .

Olr chi ete achi u e or Gob Tas u anes Pa u S . t g no p g , , qu e

van a a a a a a a unos p r tr s , y otros p r del nte .

Gaé ernador m E so S é Gu e ii ence. P Gu e u enc e a a a no lo , g u es , g , s

u imate m u u le m a a sa atetas m a q y , tin ud nz s , tin p s e ul mac —a li u a a m ab a ho r ton a ch consol r o C ildo Re l .

AI E D E L G E E E 50 B L U GU NC .

Gu e u ence g .

' “ l r Gob° Tastu anes a b am Ca A l S o . , y ueno igo p g M

m m a m a a a a a a S . c p ento res princip les , s ones , ud nz s , nec n ,

m ma - a m o a a a lichu a consol a r se ula cho r ton C bildo Re l .

A m a ! de ma ? , uch chos qu e es los chos

D Forcico . .

ita Ahi a tat . est n ,

A u se toc a la a ona ara los m ac os a a el q i V l p h , y h bl

Gu e u enc e g .

" Gob° Tastu anes a achi u e m ollu le m a S o r. y p g , tin ud n

z as sa ateta s m a c orc obios m a m a , tin p , tin re tes , tin se ul cho

ra ton .

Goé ernador .

hi ete a hi e e enc e Pac u c ii Gii u . g no p g , g

Gu e uence g .

b° lr Tastu anes a m u n a P S or. Go ues , no h re os tr to y

a el S in a e u an m o D ha contr to , qu e tu no , sin tun l de g o S uche - M alinche P

aerna do Go r.

N O a u imate m u u le Gu e u ence . ch op q y , g

Gue u ence g .

' N O c hi u im ate S or Gob° Tastu anes q , . .

ooerna dor G .

“ 1 olr NO pilse Cap Alg M S imocagu e campa mento el

‘ S h E ba a chi m u a a a lic hu a c or scri no Re l , g g no provinci re l

b d e u an m o D ha S - a o e ecer g o uch e M linche .

V a el A u ac a a ar con el E scr ano ea lg il h bl ib R l .

Al u acil g .

Matateco D io m is iale s S r E ba a . p , . scri no Re l E 51 B ALLE T OF GUE GUE NC .

Gize G Tastu anes and f a a n . overnor , good riend C pt i

f A a the a of a Chie lgu cil , [s uspend] in qu rters th e le ding m en the m a and t a ma u sic , d nces songs , in o rder h t we y a m mac o-ra ton HO b ! a r t h . u se th e Roy l Cou t wi h th e , oy s h ow abo ut th e mules P

D on For t are a a . . Here hey , little p p

The a ona is a ed r e m u es ( V l pl y fo th l . )

Gue G Tas an es u are rta a . tu o overn or , y ce inly s tisfied

a a a ca e rin s and th t they h ve d nces , p g , finishing to uch es c u rvetin s mac/zo- ra ton the . g , like

Gov N en e m not a fie c . . o a G u , I s tisfied , g

GiZe G r Tastuanes a . Well , then , ove nor , sh ll we not m a a ra and a t at b him t a f ke t de re y etween , wi h o ut olly

a fi - and a S - a ? or g tree , th e l dy uche M linch e

Gov D O ou of al a Gue enc e P . fi y not know it re dy , g

' GzZe n t G n T tu an s . o as e . I do k now it , over or

ov M f G . a a A a the y son , C pt in Chie lgu cil , s u spe nd [ ab ar O f a S a and l or] in the qu ters th e Roy l ecret ry , let him be m al t the o y ou r order to enter y roy presence , wi h a S - a i l dy uche M l nche .

The A u ac oes to s ea t the a cre ar ( lg il g p k wi h Roy l Se t y . )

Al a God u . o S ar . g I pr y to protect y Mr . ecret y 52 AI E D E L GUE GUE N E B L C .

s i a no E cr b .

n 1 " Matatec o D io misc u ales a Al a , quilis C p g M , y tigu ala nem e P

Al ua cil g .

Ya m nisti am E a a S or. b a a ne o niqui p p scri no Re l , negu

a P a a or Gob° lr Tastu a es S . n n ligu y rovinci Re l , del , lich u

b e u an m o D ofia S - a o edecer g uche M linche .

' E scrzba no .

“ I or P Ca A l M S im oc a u e am am u es , no pilse p g g c p ento

ru er lte u a b S . a os a ch res princip les , sones , j , y p o edecer e u an m o D O-fia - a g S uche M linche .

Al u ac il g . m Masca a a u a or. E ba a S . y g , scri no Re l

A u se toca el R u ero dan u e ta a ando los dos a a el q i j , v l b il y h bl

Escriba no .

° r T s i m is iales or b a tu anes. Matatec o D o S . G p , o

oé erna dor G .

i mi l r E ba Matatec o D o sc u a es quilis S o . scri no tigu ala neme ?

Escri a no b .

Ya m nisti am a lic hu a b e u an m o ne o niqui p p o edecer , g

- D oha S uch e M alinche .

Goberna dor

P S or E ba a asane a u ala sesu le ues , scri no Re l , g g

iie ii enc e mb e u an m o D ha S u G g gull ho re rico , g o ch e

M alinche .

° r o r Gob Tastuanes asane u ali u a a a la S , g g vestir s y de

a ii i il de ii i il ma m a dc a Chin , g p pecho , g p de plu , edi s s ed ,

54 AI E E L E G E N E B L D GU U C .

a at s mb a t a a monistilc o z p os de oro , o rero de c s or , p r

‘r or G b° Tast S . uanes o .

S e u e e el E scr ano a su u ar a ando c on el A u ac v lv ib l g , b il lg il .

Goberna dor .

Ha Gu e u enc e asi u ala lic hu a esco er m osam onte , g , g j .

ue uence G g . aD esm onte P

Gooerna dor .

M m nte u e u enc e osa o G . , g

u e u ence G g .

h a u i a c l or G b° r Yo no h e h ec o tr to contr to con S . o m i m Tastu anes sea a . , solo que uch cho

'

Goé erna a or .

E so sé Gu e u enc e . no lo , g

u e u ence G g .

Ha m a a a c l S or. , uch ch os , que tr to y contr to tienes con

° lr Gob Tastu anes.

D Forcico . .

m tatita D e a a . c s r e ,

Gu e u ence g .

D e a a ! tan a r a a a c s rte ay chiquito te t eves c s rte , m u Chacho P

D F orcic o . .

i ita S tat . ,

ue u enc e G g .

m e a m a P Y con quien dej s , uch cho i D Forc co. .

n A mb mi hermanito D o . Con , rosio

Q u e cas o me h a ra ese j ipato ! 55 BALLET OF GUE GUE NCE . — oe of a b a ha t for a - in law of ings , sh s gold , e ver , s on G overnor Tastuan es.

g The Secretar returns to his a ce danc n t th e A ua ci . ( y pl , i wi h lg l )

ov Ha ii e ii enc e ! a m e t a ou o G . G , g it ngers h t y ch ose m so presu ptuou sly .

' Gue Tru mpe ry ?

Gov P m t ii e ii ence . G . res u p u ou sly , g

GiZe a ma an ra t at t . I h ve not de y t de or re y wi h the G m m overnor Tastu anes ;it ust be y boy .

’ Gov tha e ii ence abo Gii . . I don t know ut t , g

’ GzZe H b a t a t a ha ou t . O ! t , oy s wh t r de o r re y ve y wi h th e Gove rnor Tastu anes P

D on For F or m e e marr a t l tt a . . to g ied , i le p p

ite F ou t mar ! a o G . or e b ! a ttl y to g ried Wh t , y li e ch ap like y ou da res to get m arried P

D on For t a a . Yes , lit le p p .

Gfie And m are ou a m . with wh o y going to le ve e boy ?

D on For m b t n . t D o Amb With y li tle ro her, rosio .

Gtie a a t a im f m . Wh t c re will h t p tak e o e P E D E L GtJE GUE N E 56 BAI L C .

' m roszo A é . D .

Y am ie me a a y o t b n quiero c s r .

Gile uence g .

Pa a b D on F orc ico asi u ale lic hua r eso s eres ueno . g esco er m osamonte V e b a a ama a m a j . , qu e iz rr d qui , uch h c o .

D Forcic o . .

N mi ta it o t a . esta de gu sto,

Giée u m ce g .

P m a ? orque , u ch ch o

P m u a a a tatita orque esta y p ch c , .

Giie ilefl ce g .

P a a <3 a b a a sté a ha a ? ues , qu e es igu n g rro o p r que e p c c

la o m a Q uien ech a perder, uch cho P

hermanito D on Amb Mi , rosio .

ue uence G g .

Pa a b a sa m r r eso sera u eno este sopl do , oj os de po ue to ,

an a u u ado V e a a ma a t . b por es o esta p p j , que iz rr nec , m a uch cho .

tatita S i a a a . esta vent d ,

ue uence G g .

Q uien 1a m uch acho P

hermanito D on Amb Mi , rosio .

Giée u ence g .

m a ta a ama D on Amb ? Co o ven stes est d , rosio

58 AI E E L Gfi EGUE N E B L D C .

' D Améroszo . .

D e m e enc Gii ii e. dor ir con vos , g

Giée u enee g . m a a a a a ta . V e b a a C ll te , l c s qu e iz rr m uch ach o . D Forcico . .

mi ti E ta S l ta ta. s esta de gusto ,

’ Giée zience g .

S ab esco er m a ab esc o er es j , no uch cho , pero n o s es j

m a a a a u n b m bu en ch ete p r h cer u en des onte .

m i n tita Ta b e ta . ,

u e u ence G g .

° lE b T s u anes m s u a r Go a t o e a a . S o . , g tr to y contr to

’ Goéerna a or .

No m oce u a Gu e u ence g , g .

Gile uenee g .

m o e u a r b° r T s an No c S o . G a tu es g , o lo que siento

m a m e uch cho qu e s e pierde .

’ Goé erna a or .

é Gu e u enc e E so s . no lo , g

u se c asan a a el Aq i , y h bl Goberna dor .

“ I ° r No Ca A l M c hi iii u a m o P a a pilse p g g g rovinci Re l,

campamento sesu le Gu egu enc e lic hu a obedecer con u na

y unta de botq as de vino de Ca stilla para en choc ola y

ua b a m o ab a paltech rind r C ildo Re l .

l m a or Al Ma a e m l S i oc u e S . u a sesu e g , g M y g , igo

n e E n mb m o a a dam Gii egu e c . no re C bildo Re l te os los E 59 BALLET OF Gfi E GtJE NC .

D on Am am f m ou Gue u . It c e ro sleeping with y , g ence .

’ m bo a a zle u bad b . See G . S o h ut up , y reed , y y , wh t gay lady this oth er one is .

me t D on For s a a . . This one P Yes , she suit , li tle p p

Gfie m bo bu t o u . You k now h ow to ch oose , y y ; y

’ don t know h ow to ch oose a good ax e to make a g ood cle aring.

D on For a a t l a a . Th t lso , li t e p p

' zZ Tastu anes ma a tra and a G e. G r ove nor , let u s ke de t a re ty .

m n I a u e ue ce. Gov . G will k e it , g

iée I ma G r Tas es a I f G . tuan . will ke it , ove nor Wh t eel

the of m bo is loss y y .

’ I ab ue n 6 071 . ha G ue ce don t know o ut t t , g .

arria ac (The m ge tak es pl e . )

M a ta f A Gov. a be n y son , C p in Chie lgu cil , let it k own in th e qu arters of my Roy al Province th at this good - for nothing Giiegii ence is going to treat the Royal Co u rt to

of a o f S a a y oke j rs p nish wine .

R e S b f . A a and g u spend [usiness] , M r . Chie lgu cil , a f - for- Giie i enc e the am i . ttend , riend good nothing g In n e of the a r the ra a i and a Roy l Cou t , we give con g tul t ons , lso 60 AI E D E L GUE GiJE NCE B L .

a ab e u an mo D ri a S - a de p r ienes de g o u che M linche ,

m D on F orc ic o Gii e iienc e in enso que goce con , t u hij o , g .

Al ua cil g .

Ha Gu e u enc e asane u ali u a P a a del , g , g g y rovinci Re l

r r G b° Tastu anes altechu a b c on u na S o . o y p o edecer y unta

‘ de botij as de vino de Castill a en choc ola y paltechu a

m ab a or Gob ° lr Tastuanes a o S . brind r C ildo Re l del .

' iée zéenee G g .

Ha m a a a a am , uch chos , y lo ven , vi dos est os . Bu eno

a a a a f nu a aba es , s er c s do , pero hor se nos o rece gr n tr j o .

Ya e el a m Am vien provinci l y no tene os provision . igo

“ l ° ' a Al M é al a a a a C p g a onde dej provinci l , en M n gu 6 en Nindiri P

Al ua cil g .

A a m e a Gu e u enc e u na a c so no cele de provinci l, g ; y u nt

l aS de de bot j vino .

ue u ence G g .

Ya m a u na a b ha lo ven , uch chos , y u nt de u ey es , y de

a a ser con c rret .

Al ua cil g .

m b o ta u u ence A a e a G e . c s o no cele de u ey es de c rre , g

U na y unta de botlJaS de vino de Castilla pa ra en choc ola

° " b d a or ob Tastu anes u G . brinda r s Ca il o Re l S .

iée uenee G g .

Ya m a m n m e m lo ves , uch cho , en qu e e pe o etes , con ser

Ya la a el ° r S or. G b ca sado . ves providenci qu e pide o

Tastu anes u na a botl aS de as a a a , y u nt de j vino de C till p r

° r l e r G b Tastu anes a abuscarla e n c hoc o a d l S o . o te treves

f a a a a m a P o s c rl , uch ch o

62 BAI LE D E tJE G EN E L G U C .

No de tatita tengo onde , .

GiZe iZenee g .

Pa ra esc oj er m osamonte si eres Te atreves a b a u na a b i a de a a D on u sc r y unt de ot j s C still , Ambrosio ?

' Améroszo D . .

No ue en G u c e. tengo de onde, g

Giée uenee g .

a b a has a m a a a a ! Qu e cos u en de h cer, l c st

at m a P ano te reves , u ch cho

ta ita No t . ,

Gu e iienee g .

I I Pues a ga nar o a perder voy a bu sca r la y unta de botij a s de vino .

No a a tatita a m e av1e la ta de b i a de v y , , y de y u n ot j s vino .

ue uence G g .

A a a m a P onde te vi stes , uch cho

n m E n ca s a de u a igo .

ue u ence G g .

Q uie n te ensefio h acer amigo P

U d tatita . ste ,

Gu e iienee g .

a m a d la o te enseii o Call , uch ch o, qu e ira gente qu e y a hacer amigo P E G EN E 63 BALLET OF Gfi fi C .

’

D on For I tt a a . . don t know wh ence , li le p p

' GzZe are b a f . You old enou gh to ch oose [ wi e] pre

m t A re ou b a s u p u o usly . y old eno ugh to h unt up y oke of a of S a D on Amb ? j rs p nish wine , rosio

’ D on Am I ue uence d G . . on t know where , g

’ Gzie a are ou for ou bad b P . Wh t y good , y reed Well ,

’ ou a bo P don t y d re to , y

D on F N t or o a a. . , lit le p p

' GzZe h be i I a o . t Well , t en , to win or lose , sh ll g in

a of he m se rch t wine y self.

’ D on For D o tt a a I a a a . on t g , li le p p , h ve lre dy provided the wine .

’ Gzi e bo . ou et ? Where did y g it , y

D on For f a f i o . . I n the h ou se r end

’ zZe a ou m a a f P G . Wh o t u ght y to ke riend

D on For t a a . You , lit le p p .

' GzZe S bo at f sa if . h ut up , y . Wh will th e olks y [ they hear] th at I ta u ght y ou to make a friend ? A B I LE D E L GUEGU ENCE .

D Ambrosio . .

Y pues no es verdad qu e ensefias a malas m ana s a tu hfio ?

Gu e u ence g .

A a a m a a m m ana m las a a ! a as . rr y , l c st l s co o tienes vos

“ i “ A m Ca A i a am a a la a igo p g M , y est os vi dos de y unt

b i a de ab u m m a de la f a a o de ot j s vino , no h ra ch o co r di de la comu nidad P

Al uacil g .

V a fama mb b e n , qu e de h o re de ien

Gu e u ence g .

m b a mis ma tan S o b . y h o re de ien Tr igo chos , pero es algo raspados desde su cruz h asta su rabo a lichu as dili

i “ n Ha m u enc ia am a A . a e g , igo C p lg M , uch chos , q es de los ma chos P

it Ahi a tat a . , est n ,

na e ta a ando co en los m ac os Aqu i dan u vu l b il y j h .

a c 0 1dos m a tatita. Ya est n j los chos ,

u e u ence G g . f Enc 0j 1dos P S era de rio .

a a Los mach os y est n condos .

a a o es Coj u dos P Pues no er n c p n .

i m a tat ta . Condos los chos ,

AI E DE L GtiEGUENCE B L .

u e uence G g .

C0j 1dos los m ach os P Pues hableme recio ! A onde estan los ma chos ?

A a ti ta ta . qui est n ,

Gue uence g .

m a m a h P Qu e ch o es este pu ntero , uch c o

E ma tatita l . ch o viej o ,

u e u enc e G g .

Y este otro ma cho P

ma u a a u en o E l ch o g j q .

Gu e u ence g . Y este otro macho P

m a m El cho ohino .

' Gue zlence g . Y este otro m a ch o P

m m El ach o oto .

’ ' zZe zZerzee G g .

Ya a are a ron m ha P 3 p j , uc chos

- d No tatita a are eselos V . , , p j

ile iienee G g .

a el Todo 10 ha de h cer viej o .

S i m tatita . , es ej or , ' ’ E 67 BALLE T OF GtJEGtJ NCE.

me D are t ? S a . riven up , hey pe k o ut lou d to

. I Where are th e m ules P

For are a a D on t . . Here hey , little p p

’ Gzée h m t bo P . W ich ule is this hin one , y

on or m a D F tt a. . Th e old ule , li le p p

’ zie And t m G . this o her ule P

n For a th r - u D o e . . Th t is d ied p one

' GzZe A nd . this other ?

D 071 For a the a m m . Th t is qu rrelso e ule .

’ zZe A nd t G . his other one P

D on For m . The rowdy ule .

' zZ A re G e. a bo P th ey h rnessed , ys

on For No t D . a a a h m , lit le p p ;h rness t e y o urself

’ Gzie man h . as r t Th e old to do eve y hing.

’ D on For . b t a a Yes , it s et er, little p p . AI E DE L GUE Gfi ENCE B L .

ue u ence G g .

Ya t a a la c mchera m a m a P es a s n de este cho , u ch cho

Ya t tita ta . es a ,

iie u enee G g .

Y este otro ma cho { y a esta s a na la rifionada ?

Ya t tatita es a , .

u e u ence G g .

a a ha ta m a asi a a a a Qu e s n de es r , uch cho , si t nt est c tiene

' d a t ? A estac c) m a m a ? por el n e onde se este cho , uch cho

c l atita E n t . potrero ,

' Gu e zéenee g .

E so m ralirse t erece por del potrero a o ro potrero . Y la vaticola m a a t a a m a P de este ch o , y es a s n , u ch ch o

Y esta tatita a , .

u e u ence G g .

a a ha a m a le ha ba a 1a Q ue s n de est r , uch cho , si j do

fi u c ion por de baj o de las piern a s y la tiene m u y hinch ada P m Revxentalo a . , u ch ch o

e ié ntelo V d tatita R v , .

ue u ence G g .

Ahi ta m a fa a ? se reven ra solo , uch cho , qu e lt

ita A a c l fa tat . lz r rdo ,

BAI LE D E L GU EGU E NCE .

é Calenta r el j arro P

A a el fa lz r rdo .

Gu e uence g .

Ha ! c l fa rdo ! A onde esta el fardo ?

D Forcico . .

tatita A qu i esta .

A m i t m a fu i m a el t m h ie po , cu ndo uch cho , ie po del ilo a a me a am de D iriom os zul , cu ndo vei en quellos c pos los a a a fa a aba — m a P lz ndo qu ellos rdos de gu y s , no uch chos

Al u acil g .

D a u e nc e a G u e . te pries , g

ence.

“ I “ a P P am Ca A l ? Me llev s pres o orqu e , igo p g M

Al u a cil g .

Q u e te des pries a !

u e u ence G g .

' D e em e ac orda r de m i m m e c on j tie po , qu e con eso

Ha ! m a a a am a a a a 6 s uelo . uch chos , p r onde v os , p r tr s pa ra del a nte P

t ta tita Pa a a . r del n e ,

P la a m a ues , a gui , uch ch os .

u se montan los mu c ac os en los mac os Aq i h h h .

Gu e iienee g .

a ab u n a b a M uch chos , { no h ra pein dor rind r

° r C abildo Rea l del S or Gob Tastu ane ? j x E 71 BALLET or Gfi E Gi E C .

' GzZe a the flas P . He t up k

D on For a a . . H e ve up th e p ck

' Gzée the a P O ! a . . th e p ck Where is p ck

D 072 For ttl a a . Here it is , li e p p .

’ GzZe m im I was a bo the im o f . I n y t e , wh en y , in t e

b t a I was in a of the D irio the lue hre d , w hen th ose pl ins

’ mos ift t a of a abas— it b P , l ing h ose p cks gu y isn t s o , oy s

Al uenc r Gue e. g . H u r y up , g

Giie a m e ? a for f i a a . You t ke up Wh t , r end C pt in Chief Algu acil ?

Al m u a r . g . I e n h u ry p

’ lie m a l t m I m G . e a a Let rec l old i es , th t y cons ole m f a a b t t. S o f y sel wi h th y , oy s , do we g in ront or behind ?

on For f D . t a a In ront , li tle p p .

' zZ b G e. o a a . Then g h e d , oy s

m un (The boys o t the mul es. )

’ ’ GzZe h a f . e as Boy s , isn t t ere ch eky ellow to to t the

Royal Cou rt of the G‘ovem or Tastuanes P AI E DE L G E GUE NCE B L tJ .

i a tatita S h . , y ,

’ Gzi e zeefl ee g .

r S eii or G b° Tastu anes asane anem e a a o , g C still en

c hocola de vino .

’ Goé em aa or .

i u ale u e u en e S G c . g , g

Gu e uenc e g .

or E r ba a asane aneme as a c hoc ola S . sc i no Re l , g C till en

de vino .

' Esen ba rzo .

n Gu e enc e S a u . ig le , g

' Gue zienee g .

me a a c hocola S or. a asane ane Regidor Re l , g C still en de vino .

n Gu e uenc e S a . ig le , g

Gu e iéenee g .

l r A migo Caplrl Alg M° asaneganem e Ca stilla en c hoc ola de vino .

S na Gu e u enc e ig le , g .

Gu e u ence g .

P la a m a ! ues nosotros , a gorr , uch chos

E N OT S .

D ama P s a . a b P age 4. The r tis er on e These h ve een dis a ma ad a nt xlv. d cussed in the I roduction , p ge I y th t the ” Regidor de Cana may be for R egidor Decan o . Other “ n n m A a wise I do n ot see a me a i g to it . The ter lgu cil ” ff ” m be an a c n a b ba . ight tr sl ted o st le , or ili a a n xc an A a P age 6 . The s lut tio s e h ged between the lgu cil ar a t ara and Governor e repe ted frequently be ween the ch cters . I n s m be Na a ma ta the first , the word would see to the hu tl taea be a and a ro , to g, to pr y, to w tch over , to p ’ ' tec t in for a b mze u ilza the reply, the l tter is su stituted g , to f b ua /Ii d m a 5 prosper , ollowed y Q , goo , or well . The ter in l , ' mzk zales miscu a les bab a mna o f S a in p , , is pro ly re nt the p nish ' N o il se a no tz e m a m or ou . zl c o , y p is the voc tive p , y de r son , po unded of the inseparable possessive pronou n of the first ' ' n no and te i/tz z fz an afl ec tionate a f m perso , , p , or reverenti l or , ' ' m llz x r n n fro the root pz . The e p ession need ot be take as a m an n a as Na a f m a liter lly e i g rel tionship, the hu s used the or ul in a n all n f Ma ma ddressi g perso s o position . y ’ ' ” z eatz z n b n n ol a 6 S . , se s ien ve ido , ilustre e or m t ra Mean . 20 a G . . C ochi , , p ' ' ' ' “ Yd t u a la neme a be ? tz u a l/z fz nemz e ig , I t ke to y g , in which y a a c of c a and bo a - a rb is p rti le ontr position , th the djective dve ° ’ u a /11 and b nemz be are b q , the ver , to live , to , preceded y the n n m second perso al pro oun ti . The co pound ma sea may agu a a a be f m max ed a n mo ppe rs to ro , yours , liter lly, your thi g ( , ax ed n and a a ma eeu e/e your , , thi g) , the opt tive p rticle y , equivalent to the Spanish afa ld hence the meaning is mman at e yours to co d , or your s rvice . In his nex t words the Governor uses a phrase which is “ repeated by various speakers with a damn able iteration m S imo a . c u e Na a throughout the co edy g would , in pure hu tl , ’ be x imoea uol/z a m a c n n n a of , the i per tive se o d perso si gul r , the m f m of moea u a a or co pulsive or , to ce se , to stop , to suspend n n somethi g . The nou moeaea u a is the word for the pauses n a i n m a or i terv ls usic . The re son for the frequent repeti tion of be a a c n x n the request , I suppose to th t in the n ie t e hibitio s of ama m a an n a the dr nu erous ssist ts joi ed in d ncing, singing 75 76 NO ES T .

and playing on musical instruments ; and when a specified ba was be f m an m a a llet to per or ed , or i port nt convers tion to be a a and repe ted , they were courteousl y ddressed , requested r m a n e f r m D . a e i to b silent o a ti e . V lentine tells th t ’ Guatemal a the term gente przm zjfia l is commonly used to des i nat m m ab an f a g e the ost pro inent inh it ts o pueblo . N eeafl a a l/ee/zua Na a b S a y p , hu tl words , united y the p nish m Nah n . f a conjunction The or er is . d nci g ’ m n a a ler/ma and a le uzsa otio s the l tter , elsewhere written p p g , '

a r of a /eu uz ab a a . is co ruption p q , suit le , or ppropri te things hemos an a a x f H eme a f m Of S . or , or p , is ntiqu ted e pression m s tene o . ' ’ The word mo in the expression mo Ca é zlao P ea l may be io m Nah th S a m . mo the p nish , y ; or the , y, thine . The ’ ’ Ca é zlao was a a Of a and origin lly the ch pter religious house , a a c but at a a Am a l ter coun il , present it is pplied in Centr l eric

m a and . to the unicip l courts , the house in which they sit

a I n n Of A a a P ge 8 . the seco d reply the lgu cil on this p ge there are eviden tly several words Omitted which I have sup am h plied in brackets in the transl ation . The s e as occurred and was be x as a all Na a elsewhere , it to e pected , ne rly the hu tl expressions h ave become unintelligible to the native popula n As m of f m tion of the present generatio . ost these or ulas are a a m c an a x ma a repe ted sever l ti es , we ppro i te to wh t the full expression should be. ' ' Ya nemo m zet nisti am a a f a a p p , is requent reply in the pl y to a f ma a a O f a a a a as or l s lut tion superior. I h ve tr nsl ted it m n Of Na a e nemoa e m so e corruptio the hu tl words , y q ' ” '

m z . m mx t/z am a a e. a p p , liter lly, y presence is proper , , I m ” A b f ou as . a as a present e ore y , is y duty The lgu cil , h ving a a a a . of Of ch rge the p trol , h stens to spe k its wretched n f m a sesule a a Giie u i or . The djective , const ntly pplied to uenc e in a a mann bab f m g , evidently depreci tory er, is pro ly ro

Nah . t a l/i . the e , worthless ' A a P a e z o. and are g While the Governor lgu cil conversing, ue uenc e and and a a direc G g his sons enter , overhe r the l st All a m tions of the Governor . three underst nd who he m a but of Giie iienc e a m a ff e ns , it is the cue g to ssu e di erent b of on Am signification . To the rusque rejoinder D brosio be af a nd f n ffi of a he pretends to de , this eig ed di culty he ring is depended on as one Of the main elements of the comic throughout .

NO ES T .

’ P a e 1 8 . O o a u a a a r a e s o m erto of . g j p , lit . eyes de d to d S x an and uch eyes were considered to e ercise evil influence , b n bad to ri g luck . P a e 20. D a m a a g oolar . This Sp nish word e ns to toll b as at a a ue uenc e a ell , de th . G g chooses to underst nd the ’ ’ ’ A a ma f r a o o a aoblar and lgu cil s de nd o u loom to be request to , h astens to announce to his sons th at the Alguacil has suddenly died .

R M A RA CUP P O NIC GUA .

The coins which Gueguence names are those of

S an . A a was a b a a the old p ish currency cu rto r ss piece , equ l a a f- E n Am a n D to h l penny glish , or one eric n ce t ( elpino , Spa ms/z a nd E nglish I t was worth four ’ and a a a real a e el a a v lon. m r vedis , eight cu rtos equ led n The phrase ma neta eofzgorz is of u certain significatiom . I ' a a a as m a f rm Of nextza h ve tr nsl ted the first word the i per tive o , wa on ma a be a c f to show, to disclose g y perh ps orruption o ’

nt/z bo . eoneto , y ‘ 0 A a i b i hi s i n i and a f r The lgu c l now eg ns struct on , repe ts , o O f ue uence a a the benefit G g , the proper s lut tion which should l be used in addressing the Governor . The O d man pretends a m and ma Of m a to misunderst nd the , kes use other words , si il r

but Of an a n . a in sound , insulting signific tio I h ve not suc E n x a c eeded in showing, in the glish te t , this pl y upon words . A sonese z ne u a / u a a a has e 2 . P ag 8 fl g (g , etc This p ss ge proved b me and i m a a un intelligi le to , the render ng is little ore th n am at f f a as o . 0 guess . The phr se is the s e the oot p 3 . 79 NOTES .

In the midst of the conversa tion the Governor suddenly a a s and Giie iienc e u him ma and ppe r , g t rns to with the custo ry a a i wi n a for i n proper s lut t on , thus sho g th t his desire nstructio m a w a am fro the Algu cil as sh . ’ ’ On a te ca la s ni roz rzna a real N the phr se o p , see the otes to a 1 p ge 4, has a of P a e . Mesonero a n g 3 0 , person who ow s or ch rge a meson a o a of a , house in which the p orer cl sses tr velers

v f and a of bea Dr. sleep, pro iding their own ood , th t their sts (

n For tu ile ab a . Vale tine) . p see Voc ul ry

A nte e u e Tec oante e u e a o Of Guaxaca. p o or p q , the se p rt ma a 1 6 2 of Tho s G ge , who visited it in 5, wrote it This P ort Of Tec oantepeq ue is the chief for fishi ng in all th at n r met in a m t me ft cou t y ; we here the w ys , so e i s with fi y, o m m a m a s eti es with hundred ules together , l den with nothing ” M xi but a for Guaxaca O f An and . s lt fish , the City gels , e co

— e f . L n A new S uro o Me lf ert I ndies 1 . qy f , p 95 ( ondo , D u lce: are m a Of a a u a sweet e ts v rious kinds , e ten su lly “ m a ma an as for between e ls . Sq uier re rks : The Sp ish t te ‘ ’ n a o a a b bu t a dulces lo g g p ssed into prover , it r ther sur ‘ ’

a f N a a a . of en p sses itsel in ic r gu The venders dulces , g erall b n a a an d bea a ra y right I di n girls , g ily dressed , ring t y, na n an d m t a covered with the purest white pki s , te p ingly spre d a a a f m and upon their he ds , p ss d ily ro house to house ; it is m m ffi t and a a n a an f a so eti es di cul , lw ys u g ll t , to re use purch sing ” — ° n M ea r a . . 2 . m f m . a u so ethi g ro their stock g , Vol I , p 75 The punctu ation toward the foot of the page should prob ab be no seremor u aneos no seremos ami os etc l y , g ; ; g , . The ’ ’ uz zl de /lo a n m g p pee is the short upper j cket wor by the wo en . ’ A u znil a e /u ma a n f f a I n a g j p is skirt wove o e thers . ncient m a m fu of b a f ti es , these g r ents , skill lly const ructed the e uti ul m of a bi m as m al plu es tropic l rds , were estee ed the ost v ued a in a of and m ma n n Of rticles the tre sures kings , the ost g ifice t a m art of f a - a n c n r roy l costu es . The e ther we vi g o tinued fo m n a f . as a as 1 8 0 so e generatio s ter the Conquest Indeed , l te 4 one fam 1n M a a e f nc it ily echo c n preserv d it . The re ere e to x 13 a n Of a as as n in the te t , however , sig ntiquity , it h lo g since a a i n a Am a See an n n m n dis ppe red Centr l eric . i teresti g o o a b b m n n Fr n an ar Fer gr ph on the su ject y the e i e t e ch tiqu y, — ’ dinand D s A rte P lu man a L es P lu mes leu r Va /eu r et eni ; , ' leu r E m loz da m les A rty an i u r u Mex u e a P e o etc . Pa i p q , , r s ,

1 8 75. 80 E NOT S .

a M f a P ge 3 2 . uch o this p ge is rendered with doubtful ac

a as x b . cur cy , the te t is very o scure a H a me a a am a P e . r u as [m mel u e 6 g 3 4 y g , the s e y g , p . 3 ire S a - da me/aua Nah a y , p nish , now, to y , , . , to spe k out, or

openly . P age 40. The reference to the star would seem to be a a a b th t when the tent is opened st r is visi le through it , which iie ii n ff G g e c e O ers to the Governor . P ra tu u er o an x x D r a c m . . p , e tre ely filthy e pression ( a V lentine . ) ’ ’

a era n a ar n ma of a z . P e 2 . S e e a . be g 4 They y s nd , e are Of a m a . , they no v lue or i port nce . ’ Yu os a e a a o Of a a a f g p p y , yokes p p w wood , so t wood , worth for as a Of ma less the purpose , is lso the wood the teco joche , ’ P lumerz a for ma a D on Forc ico the , plows . The inti tion is th t a n a m was sm rt e ough to che t his custo ers . The Nicaraguan plow is a wooden instrument Of the most ’

m f f m . S pri itive construction . The ollowing cut ro Mr quier s

work represents one .

A AR A A OW NIC GU N PL .

m n n the St. a a . a a P ge 48 The tunes e tio ed , M rtin , the V lon , P rim and are N a a a the orto others , still preserved in ic r gu . ’ ‘ S in tu no szn zu na l . An Ob a c P age 50. , scure phr se whi h T n f m a c an x a . u a y a none o y dvisers e pl in is the prickl pe r , ' an a b a a of O u nfza u nal . t , the pl t th t e rs it , v rious species p una an m an b a T , in the university sl g, e s egg rly, reckless ; “ a la a m a a ab estudi ntes de tun , endic nt or v g ond students . ' a n Costumores S alama n uzna A s. See D on . ( J ri s Giro , g ) Na a P age 54. When the Governor uses the hu tl word ' m eematz m Giie iienc e f n n a o , presu ptuously, g eig s to u derst nd ’ him sa a esmonte m an N a a a S a a to y , which e s , in ic r gu n p nish , a and a a of cle ring, lso the worthless w ste products thrown out m a ine . ue uenc e a a and P age56. G g le ds in sever l girls, presents

82 N OTES .

m f ' a O utefz a a b . escaca re si il rity the word to p , rothel The f of an Ob a as a erred to is , course , scene llusion , is lso the ' ’ ' u ccz n oa do as rn m o or a e o [ ie as z e. . fl f j p , . , the scrotu

P a e . m has f g 70 E l tiempo del [1270 a z ul . This idio oiled all m a Dr a f who I h ve consulted . . V lentine thinks it re ers to the season of the year when the verdure reappears after the

F . a a drouth . Diego Dur n st tes th at the village conjurors were ac customed to suspend charms to the necks Of boys by ’ ’ b an a E sforca a e [as I ndia: de la N u eva lue d green thre ds . ( ' E s a na m T m . of . o p II , p . Thus understood , the ti e a the blue thre d would be equivalent to boyhood . ' a m r an e r D zrzomo C pos de los D i iomos. The M gu wo d m an f b n an f a f o a o . e s the hill u d ce , or gre t ertility The a m n ma a xii a o . loc lity so n ed is shown the p, p ge u ba f O f a ab G a a . y This is the ruit the gu y o tree , the ' ’ ’ P szazu m rz ru n ab of e m. a d py f It is red in color , out the size m a s all apple . “ P a e 2 A la orra a for c a an m g 7 . g , liter lly the p, idio meaning that one receives something merely for taking Off m c a a a Dr. V a e : the p ; gr tuity. lentine , however , writes ‘ I understand nosocros a la to mean then we sh all ’ a h ve to do without . ' a u a tl a nd ro incia l Unusu a l or A nfi n N n P u af a a iel: W s. v , o e Sp ord

A

W orn out a out A u u ado S . e . p p j , p , pl y d A rra l Get u p ! Get al ong A cry of the m ul eteers to th eir a n m a s i l . Asa The v a ri ous words begi nn ing th us are c ompou nds m n n Nah a o c h x r s s a c o me c w t th e . e s i g i h c , whi e p e = m ou t or m l es a u estion erha s ma . O os d b , i p i q , p p , ybe l “ sa s u ere ec r or ventura r s n d en o 6 y Q i d i f , e po i d — du da n o Gra m N a /z u a fl . 1 . d . . , p 79

r s is the Nah oma s r x to ar o us o . a Asama Thi p efi v i w d c ,

- c is a stren t en ed form of a ar Carochi whi h g h f , m a m ra Mea 1 1 . Th e s a th . ls G n . 8 a e , p yll ble is o n Of m sig the i pera tive .

m ou n of a mmo as a Asama u imate Nah . A c o o q , p d , b ve , ' ma z no u i is h an d t to . t e O e t , k w The q bj c ronoun of the t r s n u a r him her ive p hi d i g l , , , it t at b ut its em o m nt in t s c onn c , h ; pl y e hi e tio n i n orr c t s i c e . — Asamatima u as or tima a s Na h . Pro a from g , g , b bly ‘ a oma see a o e a nd t er tema c/z tzc o to r ( b v ), ei h , c om to t ac or te l or tamaca to e e h , l ; , give t n t a erson some hi g o p . m Asaneca neme see Asa ne ane e. , g l ali a Asane a u a a see Asane u u . g g , g g

' '

A sa ne a neme Nah . Pro a a o m ca nemactza the a st g , b bly c , l word m ean ing to give or offer som ethi ng to ” anot er er a s I m a Off r s m t in : h , p h p y e o e h g May I offer y ou some P 83 84 OCA AR V BUL Y.

’ ’

Asane u ali ua Nah . Pro a a e and necuzlfi u za to a g g , b bly c , de l , ar a n treat for b g i , .

Nah A . 2 sanese . . A c om ou nd of a o a nd som u n no n , p 4 p c e k w

or . Pro a ason es w d b bly , q . v .

’

S . ant. a nd As tato ro . for szenta le sit n e o . , p p v , d w

'

A si u ala Nah . From a o and r a u a lanz to ro g , g pe h ps g , g w angry

Nah m a A S OHCS . Fro o a n d ro a nec/zca or ne a a r s , c , p b bly p , dve b “ " “ " “ ” “ of ac a n d t m t ese t en onc e for pl e i e , h , h , , m er . S om t mes it is r tt n asones and a sonese a ly e i w i e , p .

’

Asu u n ua Nah . Com ou nd of a o and n o u fi u z t u in y g , p c y g , h s , t s m ann er P Car i r Cf. h m Mex . oc G a . hi ( , . p

Nah a m a n A a ama . occa o er not at all ne r. y g , y p , wh e , , ve

' '

A z eta a o Nah . A arent a c orru t form from a czca ca u z g g , pp ly p g , to u n r ta n de s d.

m S . ro . A a box in m n I S t Batu chito c etc . , p p v s ll , whi h o ey , kep

C

il a n ntra Am r a the b do S . A c t r a c ou c . I n C c Ca , p h p e ; il e l e i , m u n c a rt u S e . 6 . i ip l co . e p 7

i l A nd Of r d n c oat a narro r d n c oat o é S . Cabr , p ki i i g ; w i i g i t out s ee D e n o S a n . D et. wi h l ves . ( lpi , p )

Cam a nem e . 28 . Pro a for ca m a men to. p , p b bly p “ ” “ Nah A art c x res n dou t a n t m an Carl a, . p i le , e p si g b , y i e , y

’ h r Cu zx cana Ha e ou c onfess w e e . v y ed a n er ? I t c ann ot n a sentence but mu st a a s ywh e begi , lw y

hi a m Mex . fo o som ot r ord Caroc Gr . . ll w e he w ( , , p

A form Of z elar to z a ous for to be S . ro . Cel e, p p v , be e l . a n x ous for no me cele I do n ot r stron r i ; , ve y gly desi e ron a u sed i i c lly .

h z la za nt r in N a . Per a s t ca u ou . Chl u i ua , g g , h p q y will e e ’

m ma lz t no u z t . Nah . Fro o O ec Chi u imate , , , q , k w g bj ive ‘ n fiz a u imate Nah . u zma tz see a o . Clzo a a d c Chop q Q , b ve fi m t r na form s see o be pe so l .

86 OCA AR V BUL Y .

Garrobo A ar c es of tre z ard th e m a of th e . l ge spe i e li ; le ' u an a Ber ndt Len u a Castellano ae Nica ra ig ( e , g ua MSS g , ).

’ N m u a n Gu a a u efi o ah . Fro u fiu a uz to a ar t n a d j q , g g , ppe hi d a r e t c . y , lik s i k

S . ro for ua n a f Guancos . cos oo s s rsons. , p p v g , li h , illy pe

Gii il S . ro . Pro a for u e es el or uel who is the or , p p v b bly q , g , , whi c h

’ N ah m Of u ez z l or s ort rt Gu i il . A for p , g f , The h ski , t d th n a n om n Cam sa out s s u s e . wi h leeve , e by I di w e i ' ' de a odon in m an as — su s S a nc z Glo a rzo ae s . s lg g j e he , ’ /z u a a a u Na tl . Voces C ste/[ n s a el . , s v Gu iso see Toma u iso , g .

L

' m from tla uci ana Li h Nah . Pro a an a re ate fo c u a, b bly bb vi d r , ' ' to do or m a e s m t n lzc/z ua ooea ecer to m a , k o e hi g ; , ke to O bey .

i v TO ea am u se = consolar for c it n S . ro . L a r, p p pl se , , , whi h

n som str cts B r ndt. is used i e di i . ( e e )

M

A a n fe or sort Of u t a s a Bis S . ro . M achete, p p v he vy k i , c l s (

S ee a 8 1 . c ay an word). p ge

f n a n m a s ec a Of a m u u e h S . A m a O a , M ac o, p le y i l e p i lly le ; s d

in th en e generally for m ule e Gu egu c .

- a h m a m u u t in N a n S . L ter t e e o s b c M acho rato , p i lly , l e , i ra u a a ed to a fantast c c ostum an d nc g ppli i e , he e h a or ba ile in c it is orn to t e . S ee pl y , , whi h w I t m a a so m a n a m ou page xlvii . y l e se

c olored j ac k .

r m ma na to m a m a z a or ort as aneca N ah . F , , ; M , o ke i e c kes t ill m a su c c f ar i ma nuca n one who s to . C och , like ke h ( ,

ra m Mex . . G . , p

' ’ th m erat form of nex tza ma x z aneta Nah . Pro a e M , b bly i p ive ( ’ m nex tz a to s o to sc o e or nfor . ), h w , di l s i 8 7 VOCABULARY .

- m o u nd Of ma r ea =mo a x ca Ma m Nah . A c o , ) sca ayagua . p ( t i ne it is t n tera th t i n and h , hi e (li lly , y h g),

ma ac uele th e O tat e art c e or e ma y , p iv p i l , lse

’ I t is v dent a e c a uz thin e al a s. y , w y e i ly “ “ nt to o to c omm an at eq uiv al e y urs d, "

our ser c e etc . y vi , m is Mata ma u eso see Tu a u o . g , g

Nah S t a ter form of ma ta luc a to be to Mata teco . i h , g, , l g ly l ed ra oss th e a dd t on Ofth e S an s rson a p y , p ibly by i i p i h pe l

ronou n I o . p , , y

’ Nah A arent th e Si n of th e a a u a 07 Ma a u e . g M y g , y g , pp ly O tat e ma ac u ele an d ex ress e Of a sh p iv , y , p iv wi ; h ea of rom tn es ec u el in Nah . a so c on e s t e y , , l v y id p p s a Mea hi r m n . a n d ar n ess Caroc G . e li ( , , p

’ a a Mela ua Nah. A form Of mel u a to s y Mela u e 07 , g , g , n The term nation ue i n c ear to s ea O e . l ly , p k p ly i q , n d t n ses m ar th ura of certa in n u s a n . N ah . s e , k pl l o e

' ' m ze u ia t ro r a u m ent Misc u ales Nah . Fr m zl o , , o q , p spe , g n cr ase i e .

m miec ia lia to atc h o er ar NIis iales Nah . F ro u p , p , w v , g d , ' h a ords th r i mz rot ct. I n ot t e o e e e x s ee p e b h b v w , p fi ,

m uc u sed as an ntens e arti c . h , i iv p le

M Nah . S ec on erson s n . of th e n se ara e ossess O, d p , i g , i p bl p ive ronou n no m mo th his to o ur a ma our n t e r p , , y , , y , y , , , , , y , y , h i

Mo is a o th e refl exi e ronou n of th e t i r rson s n u a r ls v p h d pe i g l , a nd appears to be oc c asionally u sed in th e Giiegiienc e as th e o ssess Of the th r erson ro a from a n a o p ive i d p , p b bly l gy a n su wi th the S p i sh .

Moce u a or NI ose ua Nah . A a rent from mocen g , g , pp ly ' c /zz u a to u n t in o n som h n Th n et . e is eu ho , i e d i g i g p

' nic the c om os ti on e n cc on e a nd a c /l z u a to do , p i b i g , , , .

ohino S . A l to a m u e roc e n from a tu an M , p pp ied l p e di g s d d

a nn a so v s cross . je y ; l , pee i h ,

’ Mollule 07 Mu u le Nah . A arent from molotl smart , y , pp ly , , c r c ra , ft t e f a r ati from ollo a e leve y ; i s l de iv ve y , bl , n en ou s tal nt d i g i , e e . 88 A AR VOC BUL Y.

‘ M ni Nah A arent from monetlz on- in-law th o stil o . s c , pp ly , , wi th o t o for tc e t on co e . p s p si i , , by ,

’ M Nah m ma m d osamonte . oce tz resu tu ous too o . , , p p ly , b l ly

Motal Nah D r at a ar nt from es or Motalce . e e , , iv iv s , pp e ly , matla loa to ru n to c arr m essa s , , y ge ,

with the signific ation messengers.

l Nah o er 8 . An nt rro at n a art r ote . . t e c M , p 3 i e g ive eg iv p i le , p p ly mo l ne .

S r . oto . o . No s ro sh a nois blusterin ers n M , p p v i y , wdyi ; y h g p o ” El m u a m al c r a o ot r n t a c c o u e m c a . Be e L h h i d q ( d , ' ' Len u a Castella na d e M ca ra u a M S S . g g , )

M m u ch m h a au m nta u hi S . o u t h c ntes c t e N . . The p , h , wi h g e

’ t rm n at on tz zn = r m u r xt n t c e e s . ive e i i , ve y h , v y e ive

‘ ’ r h muchz ntz n all ura o O s t e ur Nah. f el e , p e , , pl l

’ m a hc — mos ra m N a hua tl c . O G . . . 8 . l , p 4

Th m ot ons in an u da nz as S . ro . e a c e. M , p p v i d

Mu u le see Mollule y , , N

‘ ' Nah m ne uana lz z tlz an n m t n a Necana . Fr s are , o g , d ci g o io s , u e in ba iles s d . Ne an m see s ni n m e e A a a e e. g , g

'

Ne u a Nah . I f a s arate ord h is ro a from necz g , ep w , t is p b bly , to c os ones f to s o nes f it is o r a dis l e el , h w o el ; , h weve , ou tfu x r on d b l e p essi .

' ’ m ne u zlhu za to ar a n Ne uali ua Nah . Fro c to a for. g g , , b g i , de l

’

Neme Nah . From nemz to e to S . estar to . , , liv , be ( p ), dwell

Nemo see Ni u i , q .

’ ’ i i Nah F ou n in the c onstru ct on nemo nz uz N u . q , d i g , which ’ ' s ou d ro a r a d n z mone u z it ro r for m e h l p b bly e g , is p pe ,

’ me n ene ar w . om n or n ces . S co bec i g e s y p .

' '

Nisti am a Nah . o t os t on a m a zx tlz the fac p p , The p s p i i p p , , e , nd th r os ss ronou n no com a e fi st p se ive p . The ” ” ou n m a ns I res nt or in m r nc p d e , p e , y p ese e . hi ra m ea ar M n . . C oc G . , , p 45

90 A LAR VOC BU Y.

i li S r a u a n h - m on er co ero . o . I n N car the , P g , p p v i g , ig t key ' Cercole tes ca udz u olz/u lu s c h as ar p , whi h sh p It is re a to a c s of cl aws . elsewhe pplied spe ie a an h r M rmeco ha a rrot d to t e b ee a . p , be , y p g , ’ ’ ’ B ren t Len ua Ca stella na a e A zcara u a ( e d , g g , M SS).

'

eta ca Nah . From etla ca llz a box ru n or c st c a P , p , , t k he ;espe i lly a s uar as t t a c a on u adran u ar con q e b ke , wi h lid j q g l ” a a c o a m a B r n t p , he h de p l ( e e dt,

' ah e a h r m n of a m eta N . t/ tlz t e nat e ru o at P te, , p , iv g , wove p l a le ves or ru shes.

' ’ il Nah il zn at z ltz e a se . tz son c . S ee . P , , p , , vo ive , p p ge 75

’ Pollu se 07 Po u se Nah . A arent a form Of oa t , y , pp ly p , to ell , r a an a c ount reter t ou h onhea el te , give c , p i , p , p .

Q

' who a o t m u i S . at for S . a uz h r . Q , p , ; ls i es p g , e e

’

u ichu as Nah . Pro a a d r at from a chzua or Q , b bly e iv ive , to do ’ m a Com ar L echa a . ke . p e

' ili ah ua llz oo e u s N . . Q , , g , g d , w ll

’ ’ Nah uzn t o a uzn wh m . s o. I t ou s m uini ente , Q , , g , he h e , g , w ld ee to a m onstrat form but its ana s s be de ive , ly i is r O bscu e .

'

uin u ima ua Nah . A c om ou n of ma cu a to to Q q g , p d , give , ’

c onc t r noun s a in a u zn . ede , wi h the p o g or g

R

To ti e n m S . r . e as u t rs tie one Rebiatar, p p ov b hi d , the le ee m u in the n to th e m u in front of it le li e le .

A team or n of mu s S . r . . Recu a , p p ov , li e , le

a S . r . n n t or c os n ur of Rem tes, p p ov The fi ishi g s eps , l i g fig es anc a d e .

n ort on of a or or m u er Rifl onada , The hi der p i h se le , ov c h ass on of the arn tra whi p es e h ess s ps .

' ’ Ru eros S . r . for ru za os bellowin s or ut n . j , p p ov g , g sho i gs The nam of a t n e u e . A R 91 VOC BULA Y .

S

la ' S a . A m ut l at r Afe u . ua . e o e g , p 34 i d w d ; see g

S a a a a fo a s . S o t S . ro f r z a a tef fr m z a eta s . o s o p , p p v p , p , hoe h e sla in s the nam of the ur s in a r u no s pp g , e fig e o gh , i y danc e .

S am Nah Pro a om ou n of a ma no not. o . 8 . ome c , . , p b bly s p d , ,

m S . fo mi S e l ro . r si la r u a e m ar to . , p p v , lik , si il S n . ro f S e o . or sin t out , p p v , wi h .

S e Nah S a la a u ala ee P ua . p g , . g

' N nd f a la u z a to nter S e ane ali ua ah . A c om ou o c , p g g , p q , e ' t some re x as ce a n to eth r or zx an wi h p fi , p , g e , p , in th r en c f som one e p es e o e .

Nah rt S esu le . A c om ou n of { u llz oo for n ot n , p d c } g d hi g , wo h is a n ess r a s it ce on e or te some one . I t l , pe h p w h , , , a ect e a e in a re iator m ann r to the dj iv , ppli d dep c y e Gue uen c g e .

Nah . i a S ee a na . S can , C

’

i S . ro . f r z S l u erio o x l u ero a n n t or t ru s . g , p p v g , li e , h h

S im oca u e Nah . m ra ti e form of moca u a to au s g , I pe v , p e ,

sus n c ease. See a e . pe d , p g 75

S . i n S obornal exc ess or a tio to a oa . , p The dd l d

S ones S . un es mu c . , p T , si ‘T

L tt a S . a . A n t Tatita imin uti of en arm t. I , p i le p p d ve de e

' cou a so be er from the Nah ta tlz fat r ld l d ived . , he .

' Nah m tetz a uza to a Tec etales or Teseta les . Fro , , , be m a u s a to b e sc n a o s. h e , d l

’ Tecoma oche Nah tecoma tl ase x oc hz tl fl o r a tr j , , v , , we ; ee ear n sm a l h t fl o r a s c s of b i g l w i e we s , pe ie ' “ H u mzera allie to th e E ast nd an t m , d I i e ple "

tree .

’

Te u ane Nah . Fo m of tehua ntz n ro noun fir t on g , r , p , s pers

u ra us. pl l , we ,

' ’ Na Ticino h . tzc z tl a n at doctor a c ar ata n one who c a ts , , , ive , h l s ots for d nat on a erson a form from field m t l ivi i ; p l , , igh

‘ ’ ' tzcztonz be . 92 OCA AR V BUL Y.

’ '

Ti uala Nah . A c om ou nd of tz t ou and u a llz ood or g , p , h , g , g S ee n ot a well . e , p ge 75.

Ti u ita Nah . A ord of u ncerta n m an n a es 6 8 in g , w i e i g, p g 4 , 4 , ’ the ra se mollule tz u z la It m a a rst erson ph g . y be fi p

' ' ’ ’ ura from u zx tza tic uzx tza do ou r ut pl l , g , g , we d y , we do our st be .

Tima uas Nah . E t r from tema ca to som et n to g , i he , give hi g ’

a not r or from temac htz a t ac r a n n structor. he ; , e he , i

A f rm f r S . o o tener in ff rent Tin to a . I t tands e , p , h ve s di

' assa s for tiene tenemos and tzenen a n d is a ood u s p ge , , , g ill tration of the ear n a a x d a c t w i g w y of forms in this mi e di le .

’

Tinderia S . for tenderza a s o ooth or t nt in ch ar , p , h p, b e , whi w es are a f r a displ yed o s le .

Totolat ra Nah . From tototl a rd or fo eta ca totola tera e , , bi wl ;p , a a s et for c arr n fo s b k yi g wl .

Tu ma u iso Nah . A c om ound of tu ma to u nt o n an d g , p , ie , pe , wi a r a term n at on c s n s a s m, ve b l i i , whi h ig ifie performanc e of the a c ti o n of the verb to whic h it is a — mo r m a d O s a N h 1 . G . . . dde l , , p 57

Tumiles Nah . A11 a d ct from sam root as tomana , je ive the e

’ ’ lzz tlz fatn ss or u nc a nd s n es a ou n n , e , c p le e , ig ifi b di g , a b un dant

S r fr ia w n T . o . om a Ha t n Ara ac or It m a u na] k . , p p v , y ( ) w d e s ‘ a antat on of the nat Am r c a n c a ctu s fi s or pl i ive e i g , r c ears S ee a 80 p i kly p . p ge .

T il Nah . An offic er of t c a n a ca d or a u a u e us c . p , j i e , l l e lg il ' ' ' ' From to zle h e who c arr es a stafl to zllz taff t s p , i ; p , s , hi e n the a e of the Of c e b i g b dg fi .

V

ro f n ma th e c u r a i l S . . oster or o an a V t co a , p p v The p i i l ; r ppe

’ from e a n th ta re on . Po s v t dz cola Of e . gi s ibly , vei il

’ ’

V lan i s S . ro . for u zlla ncz cos ru st c on s sun at the e c co , p p v , i s g g doors Of the b rotherh oods (cofra dia s) at c ertai n ' ' fest a B r n t n a s e e s a ra u a Lo . C t l a c iv ls ( e e d , g . g , M SS ). Y

n r t on . You t r ! ! Ya . I te jec i he e Yes , there

94 I NDE X.

Masa a x n R E AL P . F . ix . i v . E M S y , v ii , , , Ma a x d la xii s i . oc a E e . y , R h , J . . , M ce su rs ns a u x e t t o o t . i , p i i b , lviii Mor l e et A . xxx xxx , , , viii . l 111 . SALAZA F . C . x v R , ,

u r G. x . S e E . i , , v , vi , , 79 NAH A q S . U , v Su c - Ma nc e hi li h , Na u at an ua e x h l l g g , v, vi , iii . l D er at on of x v11 . iv i , Na uat S an s ar on xxi h l p i h j g , . m Na otiva, xxx .

A T ANES der at on of xlv1 1 . T S U , iv i , Na arro M xxx x . v , , " i J Tecoate a XX g , . N e r tos dance xx . g i , , vi

Tecoante e u e . Nets for urdens p q , 79 , b , 77. Tem sk V on x xvm x xx 111. p y , , , v N cara ua . i g , v - Ternaux Com ans 1x . D er at on of p , vii , iv i , vi . c nor Geor e xxv xll v. La e of xi Ti k , g , , k , v , . ome a V 11 i ar u an g . N c a s . g , vi q

T1t1caca La e xv . N caraos , k , i , vi . - oro Guaca dance of xxv1 . T , , N co a Gu f of xxx . i y , l , v , viii , v or u emada v11 1x . T q , , N u rans . iq i , v , vi

LI A DAN E F xx . ll l l OL C O L AS x . T , , vi U U , m n xxx x O ta nstru e t . rrut a A x l u . lli , i , i U i , J . . ,

Omete ec I s and xi x xx . p , l , , i

O edo F de xi xix xxi. vi , . , v , viii , , , F xx11 V AS EZ . . QU , , vi , 6 H . 82. a ent ne F . V l i , , 7 , MO xix PE EZ GE ONI . , , ix . R R n . a ent e P . . V l i , J, xxx J Peru , xv . , i V era Paz Pro nce xxxvn l . , vi ,

P to the xxx . i , , iii P o N cara uan 80 l w, i g , . HI S LES x xx xxx . W T , iii , v

U I CH A LANG AGE xvi . QQ U U ,

ui on o the xxx ZAPA E O I SLAND xxx . Q j g , , vi . T R , , iii

II THEI I NU . ROUOSBOOKOFRITE . Q S.

E d ted H O R A I O H A L E E s i by T , q .

1 . 8 vo. P a vol , rice , p per , cloth ,

OO K OF fi rm s a na m n w was The B is tive co positio , hich

e e a for en e and was r n n ab a pr s rved or lly c turi s , w itte dow out

en a o. on and m n e c tury g It gives the speeches , s gs cere o i s which were rehearsed when a chi ef died and his success or

was a n . f n am n a a of L ea e a ppoi ted The u d e t l l ws the gu , list of an n n a nd the na m of the f who rn their cie t tow s , es chie s co

e r r nc are a m r in he t . posed th i fi st cou il , lso co p ised work It may be sa id to ca r ry the auth entic history of North ern America back to a period fifty years earli er than the era of

mb introdu ctor a r a of the n Colu us . The v ess y t e ts eth ology a nd o of the r n - L ea e and f n er hist ry Hu o Iroquois gu its ou d s ,

n of B of R the m n of the the origi the ook ites , co positio

F e a n an m a of Lea and ed r l Cou cil , the cl syste , the l ws the gue , h a a e b a n an t e d a e. Iroquois ch r ct r , pu lic policy , l gu g

E S O F TH E P R E S S A N D O F E I E N S N O TI C M N T W R I TE R .

h s wor may be sa d to o en a fi e d of I nd a n researc new to et no o t T i k i p l i h h l gis s. rec i ou re c s of a nt -r t are conc i n th e r w rd n an u of m ese s se o d ean n . Th p li i q i y i i i g , f ll i g

he additi ons mad e b Mr . a a v a h h T y H ll re almost as alu ble as t e texts t emselves . w m e 1 The N ation Ne Yor Se te r 3 1883 . k , p b , Th e re u ta t on of th e au thor added to t s asc nat n t t e w nsu re its a ora e p i , hi f i i g i l , ill i f v bl o th m ar rece t o n not n b e no o i sts b u t a so th e read n u l c . A re p i , ly y l g , l , i g p b i k d nd s u ta l t o a a u e A oo w i c a e disco er a n of reat e no c . bl v y , i i p b y g h l gi l v l b k h h ” h m u — n 3 Au u t 1 1883 . i s as su est e as t s st ear ood ru t. Sc ie ce s gg iv i b g f i , g , “ Th e work c ontai ns m uc h new materi al of permanent i nterest a nd val ue to the h and he r — e Ma az ine o Americ an H stor e stor ca sc o ar t sc rent st. Th S hi i l l g f i y , p tem er 1883 . b , “ I n t s oo of R tes we a ve oetr la w stor trad t on and enea o nte r hi B k i h p y , , hi y , i i g l gy , i - e f man reasons — ood ta n t-m e Au u st 18 1883 est n and a ua or . G L . i g v l bl y i , g , “ t d i rat o a e w o h as Th e oo of R es is e ted b th e em nent o o st Mr. o h B k i i y i ph l l gi , H i H l , done so m uc to el u c date th e wh o e su ec t of I nd an e th no ra h and m ra t ons W l tll h i l bj i g p y ig i , th e arg ument derived from la ngu a ge in connecti on wi th esta bli sh ed traditi on ; a nd e spec i ally to di sentangle I roq u oi s hi story from its compli cati ons wi th the legends of th ei r — m a il Advertis r m t o o . Aubu e Ju 21 1883 . y h l gy D y , ly , The oo is one of reat eth no o ca a u e in the t it c asts on the o t ca and b k g l gi l v l , ligh p li i l s oc a e as we l as th e c arac ter and ca a c t of the eo e w t w om it or nated . i l lif , l h p i y , p pl i h h igi — c enc Monthl No em er 1883 P o u la r S e . p i y, v b “ I t is a phi loso phical and masterly trea tise on th e I roq u oi s l eagu e and the cog na te r re at ns a n ua e men h t n t u we a e ne e r tri es th e o , ta c arac er st c s a d o y , s c as b , i l i l g g , l —i i p li h h v v nati on of th s onti nent. Dr J t ma r Shea . h ad of any i C . . y I t is u of nstruc t e nts art c u a r as ear n on th e state of ao-ca ed sa a es f ll i iv hi , p i l ly b i g ll v g - ore th e a re ro u t in contac t w th so c a led Ci z ed men . Su c e dence is b ef y b gh i l vili h vi ,

rom th e natu re of th e case er difli cu lt to o ta n a nd t ere ore all th e more a u a e. f , v y b i , h f v l bl — il tl ller o F . Ma x J . P r f. I t gives u s a mu c h clea rer i nsigh t i nto the formati on and worki ngs of th e I roq u oi s ” d — o e r o e sesse H n. o e . on rer a n we e or os . S lea gu e th b f p G g C . I t conta ns more that is au t hent c and new of th e I ro u o s nat ons th an a n ot er i i , q i i , y h " w — r n e wor w t c I am ac ua rntod . Rev. ha les Ha mle . . si gl k i h hi h q C y , D D - IH MEDYBALLETOFGUEGUENCE. N. THECO 0 .

N N E d ted D A NI E L G . B R I O M. D . i by T .

1 a er Cloth 8 y o. P vol . , p , ,

A and n e s ecim en of the na c omic dances curious u iqu p tive , a es a ba iles f m r y common in ntra with di logu , c lled , or e l Ce l m r in m x Na a - S an s ar n of A e i ca . It is the i ed hu tl p i h j go

Ni a a a and s s inc i f a e of n a a t r c r gu , show di t t ve e tur s tive u ho n r n rea s of n y of N a ra a ship. The I t oductio t t the eth olog ic gu , and a a s m ic a n t m n s and a matic the loc l di lect , us l i s ru e t , dr s f ma representati on of tha t section o ou r conti nent . A p ra n r and a n u mber of illust tio s a e added .

O r m an r s in ar nat an a es are in the i port t wo k , v ious ive l gu g , m the co rse of a a n n c tent . u prep r tio , u der o pe editorship Of these mav be mentioned

E THE NATIONAL LEGEN D OF THE CREEKS . di ted S ' bv A . . GA TsC H E r .

na a u n r t n in 1735 an E n transla The origi l cco t , w i te ; glish a n and a re-tra s at n in the an a in c 1t l tio , n l io to Creek l gu g{we , whi h wa s ri ina y e r by an u a nati e an n t the o g ll d live ed , ed c ted v , d i o t i a a nate to ( “e Hi chit , di lect cog the r ek

HE LS F HE KA HI Bv E axx xr m T AN NA O T KC QUELS .

XA H I L A .

These ch ronicl es a re the c elebrated Jl emorial de Tecp a n ’ Ah lla n so often quoted by the l ate Abbe B rasseur de Bou r

y are n a ab f r e . bourg . The i v lu le o th ancient history and m y l f u t m l n f n tho o y o Ga e a an a n a nd are, o b a u hen g tio s , u dou ted t i n tic ty and a tiquity .

HE LS OF A H I E ed bv A . F T AN NA QU U T TLAN. dit . B AN D E I E R L .

The n A z x w a e a ne a ns a . a origi l tec t t , with tr l tion This is lso n n as de himal ne f k ow the Co r C p op oca . It is o o the most and aluab m n s in x c a n ar hze lo y curious v le docu e t Me i c o g .

BORIGI L MERIC A E e b A NA A AN NTHOLOGY. dit d y D AN I E B a r r M D . x ox . . L G ,

A t n of the n c an and me r a om os t ns collec io so gs , h ts t ic l c p i io of the n an e to a m na and i ma na I di s , design d displ y the e otio l gi r of a c and the rosodv f an tive powe s the r e p o their l guages . w The llowin two works a re not rtions o the series fo g p o f ,

but a re related to it b their contents The ma be obta ined y . y y

rom the same ublishers f p .

AMERICAN HERO- Y MTHS.

A STUDYin the NATIVE RELI I N o h WE T GO S f t e STERN CONTINEN . B D A I E B R M M . D . et N G . I N O N A . . c . y L T , , , 1 8 251 il ’ P . Ph ad a r vo . . vol , , pp ( , Cloth , ice ,

N TI C E S O F TH E P R E S S O .

B rtn n wr tes r u Dr. w i om a m n te a nd ex tended k nou d e f h n f i le g o t e origi al sou rces. ‘ 4 His work renders a signal servi c e to th e c au se of com pa ratwe my thology 111 ou r 9 9 I V v c ou n tr —1 he L iter a r World osto n . v. y ( B )

Th i s stu dy of c erta i n o f the most re mark able stori es of Ameri ca n myth ology is ” — he a turda exc eedi n i nterest n . T S Remew Lond n gly i g y ( o ).

I n h 1 Ame r c a n ero- M t s D r r n o n e u s h c h on s i H y h . B i t giv s t e lu e to t e religiou s th ght o l h e r i na R a es I t i a e r ed w i e t a o c . s a n and ca re u oo c ea r r tt n o u a r b ig l l f l b k , l ly , p p l i n st e t ou h sc ent fi c i n method and mu st be a ood dea res er th an a no ve to yl h g i i , g l f h l mo reade — The Americ a n P h i ade h i a st rs ( l lp ).

Thi s volu me is th e f ust a ttempt at wh at 13 e ntitl ed to be rega rded as a c ri ti c ally ac c u ra te p resentati on of th e fu nda men ta l c onc epti ons fou nd in th e nati ve beli efs of the ” e Am —The New E n la nd bl o olist trib s of eri ca . g Bi i p .

h s i a th ou h t u a nd or na c ontr u t on to th e sc ence of c m a rat e re i n T i s g f l igi l ib i i o p iv l gio . — l The Boston Jo ur na .

W e rega txl the H ero My th s as a valu able c on tribu ti on to th e hi story of reli gi on a nd ' ' to om a rat e m th o o — 1 he Tea c her Ph lad e hi a c p iv y l gy . ( i lp ).

ese few extra c ts e no dea of the mass of le ends in th s \ o u me and th e Th giv i g i l , u eer ou t-of-th e-W a informa tl on it s u l i es o ncern n th e deas a nd u sa es of ra c es q , y pp C i g i g W x n — he bl n ueu m II a t 11O ex t nc t o r asten n to e t c t on . T u E J l i h i g i i D i g .

o in h s Am r c a -M h h s a ed h e m a rat e me t od Dr. r nt n i e n ero t s a t co B i , i H y ] ppli p iv h n b — he r l z w Y r n T c Ne o . so er a d ac ed it so id researc h i th e or na au t ors. C t b ly , b k y l igi l h ( k ) RI AL AME I AN AUTHORS ABO GIN RC ,

A N D THE IR P RO D U C TIO NS .

i A r b n Especially those n the Native Langu ages . Cont i utio

to the History of Liter ature .

M . D . etc M. . D N I E L B R I N O N A . B A G . y T , , ,

B . P e 8 o . 6 . a 1 . v 3 vol , , pp o rds ric , An essay fou nded on an address presen ted to the Congress

of Am a at n a n in 1883 . an xt n eric nists , Cope h ge , It is e e ded

of the l rar eff of red a in e own review ite y orts the r ce , th ir n and in E n h L a n and S an b ma to gues , glis , ti p ish ( oth nuscri pt

An e r n e of n n to a nd printed). nti ely ovel fi ld i quiry is ope ed

V of a n e e e no o n and an . iew , equ l i t r st to th l gists , li guists histori s