  | Introduction. | PAGE | | § 1. The Nahuas and Mangues of Nicaragua. | v | | Location of the Nahuas of Nicaragua, | v | | Derivation of the word Nicaragua, | v | | Origin of the Nicaraguan Nahuas, | vi | | Location of the Mangues, | viii | | Why called Chorotecas, | viii | | Relationship to the Chapanecs, | ix | | Culture level of the Nahuas, | x | | Of the Mangues, | x | | Disappearance of their languages, | xi | | Comparison of the Nahuatl of Nicaragua and of Mexico, | xiii | | Comparison of the Mangue with the Chapanec, | xiii | | Differences between Nicaraguan and pure Nahuatl, | xiv | | Comparison of the Mangue or Chapanec, of Central America, with the Aymara, of Peru, | xv | | Development of the Nahuatl-Spanish jargon, | xvii | | Specimens of it, | xvii | | § 2. The Bailes or Dramatic Dances of Nicaragua. | xix | | Oviedo's description, | xx | | Symbolism of the dance, | xxii | | Benzoni's description, | xxii | | Gage's remarks, | xxii | | Historical character of the dances, | xxiii | | Five classes of dances, | xxiii | | Purpose and characters, | xxiv | | The Logas, | xxv | | Las Inditas, | xxv | | The Chinegritos, | xxvi | | The Negritos, | xxvi | | Toro-Guaca and other dances, | xxvi | | The drama of the Ollita, | xxvii | | § 3. Nicaraguan Musical Instruments and Music. | xviii | | The Marimba, its form and origin, | xxviii | | The Drum, | xxx | | The Ollita or Musical Jar, | xxxi | | The Pito or Whistle, | xxxiii | | Specimens of Airs, | xxxiv | | The long Flute, | xxxv | | The Juco, | xxxv | | The Quijongo or Carimba, | xxxvi | | The Chilchil or Ayacachtli, | xxxvi | | The Cacho, | xxxvii | | Character of native music, | xxxvii | | Air of the Malinche, | xxxviii | | Choruses and Cofradias, | xxxviii | | Melodies from the GÜegÜence, |
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