1000090053

PIETSChlMANN.-The

Ch?'o?!Jicle of H1&mncón P01ncó.

518

l nformation is given by Huaman Poma about popular festivals and enter–

tainments. He wishes to keep them up :-

1Vo tiene cosct de hechise1ia

.?Jd?tlatms ni encctnta11tiento cino todo h1telgo

fiesta ?'?·egocixo,

cÍlno ubiese

bm~·ctchent

se1·ia cosa liJnda.

saying so he asserts rather too much in more than one sense; immediately

after having made these remarks he gives under the heading " Songs and music,

atra1ói, pin.qollo, 1óctncn"

a picture, the meaning of which is rather difficult to máke

out, but which,

I am right, can only be understood as illustrating the complaint

of a lover separated from his sweetheart by

cóGOymq1w,

a spell or incantation.

Near Cuzco two yonng men looking clown from the top of a hill see two girls, who

have been separated from them, as a kincl of fata-morgana rising from the waves of

the Huatanay river.

The scene of a song entitled

ucwiczn

c~mui

(h·ua1·icsa.,

lo~óa?·iscn

hcwcmi)

of the Inca is the Hacaypata, the great square at Cuzco where

festivals were helcl. There a red llama is tied to a post.

The Inca accompanied

by bis Coya ancl his conrt places himself before the llama. The llama " after its

manner" is moaning :

'!)-y- y.

¡'he Inca imitates that moaning to the souncl

of music for half an hour·,

yn,

and then commences a long sequel of alternative

songs and refrains. One of the

coplas,

as Huaman Poma calls them, sung on this

<Jccasion is quotecl

Uchuyocclw clwcrct.1Jqui?

1tchuyt1tnpalla SCI11tUsac.

tieayoccho chacrayqui?

ticay/.liJJri¿Jalla samusac.

"Has thy fielcl?tchu

Uncler pretext of the

uchu

I shall corue.

Has thy fielcl f!owers

Under pretext of the f!ower I shall come."

These verses, which bear sorne resemblance to Spanish

coplas

or Italian

1'itO?'nelli,

may be translatecl in the following sense : "

thy field is an uchu field ,

imitating the uchu (Spanish pepper

aji)

I shall come.

thy fielcl is a fiower

:fielcl, imitating the fiower I shall come."

Each of the four great administrative clivisions of the realm is representecl in

the book by a special popular feast. To the Chinchaysuyu belongs a chasing dance

callecl

Uaco tcóq1ói

~tCt1tcon,

to the Antisuyu the

Caycócaya

of the

1ócmni auw,

the

dance of Amazons. The inhabitants of the Collasuyu are shown blowing the

peculiar short big

púogillo,

the finte still in use among them ; a stout Colla woman

is beating a huge clrum hung np like a gong in a frame.

In the festival of the

Cuntisuyu the principal performers are men who have put on masks ancl are

clressecl entirely in feathers. When these enter a place they are haranguecl by

the women, ancl a;re callecl (withont· cloubt on account of certain religious beliefs

that formerly prevailecl)

ayct 1nilla suyncttct,

"putricl corpse mask," "putricl corpse

spectre." The language of the dialogue of the women ancl masks, like other

specimens of the CuNtisuyu language given by Huaman Poma, comes very near to

the clialect that has been stylecl

Aimnm

by Bertonio.

I pass over the chapters on palaces ancl storehouses, on the litters in which

the Tuca ancl his highest clignitaries were borne, the chapters on royalties ancl on

the clifferent functionaries of aclministration. These are shown from the memberR