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_Introduction._
§ 1. _The Nahuas and Mangues of Nicaragua._ v
Location of the Nahuas of Nicaragua, v
Derivation of the word _Nicaragua_, v
Origin of the Nicaraguan Nahuas, vi
Location of the Mangues, viii
Why called _Chorotecas_, viii
Relationship to the Chapanecs, ix
Culture level of the Nahuas, x
Of the Mangues, x
Disappearance of their languages, xi
Comparison of the Nahuatl of Nicaragua and of Mexico, xiii
Comparison of the Mangue with the Chapanec, xiii
Differences between Nicaraguan and pure Nahuatl, xiv
Comparison of the Mangue or Chapanec, of Central
America, with the Aymara, of Peru, xv
Development of the Nahuatl-Spanish jargon, xvii
Specimens of it, xvii
§ 2. _The Bailes or Dramatic Dances of Nicaragua._ xix
Oviedo's description, xx
Symbolism of the dance, xxii
Benzoni's description, xxii
Gage's remarks, xxii
Historical character of the dances, xxiii
Five classes of dances, xxiii
Purpose and characters, xxiv
The Logas, xxv
Las Inditas, xxv
The Chinegritos, xxvi
The Negritos, xxvi
Toro-Guaca and other dances, xxvi
The drama of the Ollita, xxvii
§ 3. _Nicaraguan Musical Instruments and Music._ xxviii
The Marimba, its form and origin, xxviii
The Drum, xxx
The Ollita or Musical Jar, xxxi
The Pito or Whistle, xxxiii
Specimens of Airs, xxxiv
The long Flute, xxxv
The Juco, xxxv
The Quijongo or Carimba, xxxvi
The Chilchil or Ayacachtli, xxxvi
The Cacho, xxxvii
Character of native music, xxxvii
Air of the Malinche, xxxviii
Choruses and Cofradias, xxxviii
Melodies from the Güegüence, xl
§ 4. _History of the "Baile del Güegüence."_ xli
Whence the text was obtained, xli
Time and manner of its rehearsal, xli
Age of the play, xlii
Reasons for considering it a native production xlii
How different from the Spanish comedy, xliii
Native plots of similar character, xliv
Native comedians, xlv
§ 5. _The Dramatis Personæ of the Güegüence._ xlv
The Güegüence, xlv
Derivation of the name, xlv
Character, xlv
Malicious humor, xlvi
Costume, xlvi
Don Forcico and Don Ambrosio, xlvi
Contrast of actions, xlvii
The Governor Tastuanes, xlvii
Derivation of the name, xlvii
Minor characters, xlvii
The lady Suchi Malinche, xlvii
Derivation of the name, xlvii
The mules, xlvii
Their costume, xlviii
§ 6. _Epitome of the Story of the Güegüence._ xlviii