Narrative and Critical History of America, Vol. 1 (of 8): Aboriginal America
History
Narrative and Critical History of America, Vol. 1 (of 8): Aboriginal America
America -- Discovery and exploration; America -- History; United States -- History
It was the custom for the Yaravecs or Bards to recite the deeds of
former Incas on public occasions, and these rhythmical narratives
were orally preserved and handed down by the learned men. Cieza de
Leon tells us that “by this plan, from the mouths of one generation
the succeeding one was taught, and they could relate what took place
five hundred years ago as if only ten years had passed. This was the
order that was taken to prevent the great events of the empire from
falling into oblivion.” These historical recitations and songs must
have formed the most important part of Inca literature. One specimen
of imaginative poetry has been preserved by Blas Valero, in which
the thunder, followed by rain, is likened to a brother breaking his
sister’s pitcher; just as in the Scandinavian mythology the legend
which is the original source of our nursery rhyme of Jack and Jill
employs the same imagery. Pastoral duties are embodied in some of
the later Quichuan dramatic literature, and numerous love songs and
_yaravies_, or elegies, have been handed down orally, or preserved in
old manuscripts. The dances were numerous and complicated, and the
Incas had many musical instruments.[1197] Dramatic representations,
both of a tragic and comic character, were performed before the
Inca court. The statement of Garcilasso de la Vega to this effect
is supported by the independent evidence of Cieza de Leon and of
Salcamayhua, and is placed beyond a doubt by the sentence of the judge,
Areche, in 1781, who prohibited the celebration of these dramas by the
Indians. Father Iteri also speaks of the “Quichua dramas transmitted to
this day (1790) by an unbroken tradition.” But only one such drama has
been handed down to our own time. It is entitled Ollantay, and records
an historical event of the time of Yupanqui Pachacutec. In its present
form, as regards division into scenes and stage directions, it shows
later Spanish manipulation. The question of its antiquity has been much
discussed; but the final result is that Quichua scholars believe most
of its dialogues and speeches and all the songs to be remnants of the
Inca period.
[Illustration: INCA SKULL.
Public-domain text, read in full here on John Shaqi.
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