[143] Bandelier [d], [e], especially pp. 291-329.
[144] Molina, op. cit.; Cieza de León , ch. v, pp. 5-10; Sarmiento, pp. 27-39; and for summary of the narrative of Huaman Poma, Pietschmann, CA xviii (London, 1913), pp. 511-12.
[145] Viracocha and Tonapa obviously belong to the group, or chain, of hero-deities of a like character, extending from Peru to Mexico, and, in modified forms, far to the north and far to the south of each of these centres. This personage, as a hero, is a man, bearded, white, aided by a magic wand or staff, who brings some essential element of culture and departs; as a god, he is a creator, who appeared after the barbaric ages of the world and introduced a new age (there are exceptions to this, as the narrative of Huaman Poma); further, he is a deity of the heavens, the plumed- or the double-headed serpent is his emblem, perhaps his incarnation, and he is closely associated with the sun, which seems to be his servant. Is it not entirely possible that this interesting mythic complex is historically associated, in its spread, with the spread of the cultivation of maize at some early period? In the Navaho representations of Hastsheyalti, the white god of the east, bearded with pollen, and himself creator and maize-god, with the Yei as his servants, and his two sons (in the tale of "The Stricken Twins") genii respectively of rain (vegetation) and of animals (see Mythology of All Races, Boston, 1916, x, ch. viii, sections ii, iv) we have the essential attributes of this deity and at the same time an image of his probable function, as sky-god associated especially with the whiteness of dawn, with rain-giving, and hence with growing corn. The staff, which is the conspicuous attribute of Tonapa and Bochica in particular, may well bear a double significance: in the hands of the hero, as the dibble of the maize-planter; in the hands of the god, as the lightning. In any case, there are a multitude of analogies, not only in the myths, but also in the art-motives and symbolisms of the group of tribes which extends from the Diaguité to the North American Pueblo regions that powerfully suggest a common origin of the ideas which centre about the cult of heaven and earth, of descending rain and upspringing maize. Many partial parallels for the same group of ideas are to be found among the less advanced tribes of the plains and forest regions of both South and North America. Possibly, the myth, or at least the rites upon which it rests, accompanied the knowledge of agriculture into these regions.
[146] Lafone Quevado [a], p. 378.
[147] Garcilasso de la Vega, bk. i, chh. xv, xvi. The myth is also given by Acosta, bk. i, ch. xxv; bk. vi, ch. xx; by Sarmiento, chh. xi-xiv; and by Salcamayhua (Markham, Rites and Laws), pp. 74-75.
[148] Garcilasso de la Vega, bk. ii, ch. xviii; bk. viii, ch. viii; cf. bk. ix, ch. x.
[149] Molina, pp. 11-12.
[150] The Inca pantheon is described by Markham [a], chh. viii, ix, and by Joyce [c], ch. vii. The primary sources are Garcilasso de la Vega, Cieza de León, Molina, Salcamayhua, and Sarmiento, and perhaps most important of all Blas Valera, the "Anonymous Jesuit" whose writings were utilized by various early narrators. Salcamayhua's chart is published by Markham, in a corrected form, in Rites and Laws of the Yncas, p. 84. The literal reproduction accompanies Hagar's discussion of it, CA xii, and it has been several times reproduced. Its interpretation is discussed by Hagar, loc. cit.; Spinden, AA, new series, xviii (1916); Lafone Quevado , and "Los Ojos de Imaymana," with a reproduction of the chart which he characterizes as "the key to Peruvian symbolism"; cf., also, Ambrosetti, CA xix (Washington, 1913).
[151] The myth of the Ayars is recorded by Sarmiento, x-xiii; it is discussed by Markham [a], ch. iv, where are the interpretations of the names adopted in this text.