Cieza de Leon is certainly one of the most important authorities on Ynca history and civilization, whether we consider his peculiar advantages in collecting information, or his character as a conscientious historian. His remarks respecting the Ynca roads and system of posts, on the use of the quipus, on the system of colonists, and on the ceremonial songs and recitations to preserve the memory of historical events, are of the first importance. He bears striking evidence of the historical faculty possessed by the learned men at the court of the Yncas. After saying that, on the death of a sovereign, the chroniclers related the events of his reign to his successor, he adds:—“They could well do this, for there were among them some men with good memories, sound judgments, and subtle genius, and full of reasoning power, as we can bear witness who have heard them even in these our days.”[23]

Students owe much to the labours of Don Marcos Jimenez de la Espada. He has not only edited the text of the Second Part of Cieza de Leon, and his War of Quito, but also the hitherto inedited narratives of Betanzos, Molina, Salcamayhua, Santillan, and an anonymous work, all of great importance with reference to the history and civilization of the Yncas. These additions to our knowledge are sufficient to show us how much there is to learn before anything approaching to a correct appreciation of this interesting subject can be attained. The future historian who will at last achieve this task, must be intimately acquainted with every part of the Yncarial empire, must be a thorough Quichua scholar, must have closely studied all early Spanish writers, and must possess the critical faculty to enable him to assign its proper weight to the varied evidence given by many different authorities. The present useful labour of editing and indexing will prepare the way for the future work. It is the accumulation, sorting, and preparation of the materials with which the noble edifice will some day be built.

The Index of the present volume is classified on the same principle as those in the volumes of Garcilasso de la Vega, Acosta, Molina, Salcamayhua, Avila, and Polo de Ondegardo. The student is thus able to see, without trouble, the Quichua words and the names of places and persons which are mentioned by each author. His studies will in this way be much facilitated, especially if he undertakes the task of weighing the respective value of facts and opinions given by different writers. Such an investigation is one essential step towards the comprehension of the history and civilization of the Yncas. A more important inquiry refers to the assignment of traditions, customs, beliefs, and words to the different races which were comprehended in the Yncarial empire. But this can only be attempted by students of the native languages. It is from Peru itself—from learned and painstaking Peruvian scholars—that we must look for future real progress in this most interesting field of research. Republican Peru has already produced many eminent writers who have devoted their talents to historical studies, and to the elucidation of the archæology and philology of their native land. The names of Rivero, Paz Soldan, Palma, Zegarra, Barranca, Mujica, and others, at once occur to the mind. Peru, in her undeserved misfortunes, has shown that her sons can fight bravely for their beloved fatherland. In literature, many of her sons have shed lustre on their country’s history. In no christian land is there warmer family affection; in none is there truer and more cordial hospitality. Those who know Peru best, most deeply regret her misfortunes, and most heartily desire her future welfare.

NOTE
ON
THE ANCIENT YNCA DRAMA.

THE reference of Cieza de Leon to the songs and recitations at the court of the Yncas suggests the question of the existence among the ancient Peruvians of a drama, or system of representing historical and other events by means of dialogues. This, therefore, seems a suitable opportunity for examining what light is thrown on the question in the works which, in a translated form, have been issued by the Hakluyt Society; and for considering the most reasonable conclusion to be derived from the materials now within our reach.

At page 32 of the present volume, Cieza de Leon says that the most learned among the people were selected to make known historical events by songs and recitations, which were handed down from memory. This is the germ of dramatic representation, which might be expected to attain fuller development; and that it did so is clear from the evidence of other historians. Garcilasso de la Vega says:—“The Amautas, or philosophers, were not wanting in ability to compose comedies and tragedies, which were represented before their kings on solemn festivals. The subject matter of the tragedy always related to military deeds, triumphs, and victories, or to the grandeur of former kings and of other heroic men. The arguments of the comedies were on agriculture and familiar household subjects. All the plays were on decorous and important topics, the sentences being such as befitted the occasion. They understood the composition of long and short verses, with the right number of syllables in each. They did not use rhymes in the verses, but all were blank.”[24] The native author, Salcamayhua, also bears witness to the existence of an ancient drama, and even gives the Quichua names of four different kinds of plays. “In the festival they represented plays called añay sauca,[25] hayachuca,[26] llama-llama,[27] and hañamsi.”[28] That the memory of the old dramatic lore was preserved, and handed down after the Spanish conquest, is proved by the sentence pronounced on the rebels at Cuzco in 1781, by the Judge Areche. It prohibited “the representation of dramas, as well as all other festivals which the Indians celebrated in memory of their Yncas.”[29] Dr. Justiniani, a descendant of the Yncas, who was eighty-five when I knew him, in 1853, told me that he could remember having seen, when a very little boy, a Quichua tragedy acted by Indians in the town of Tinta.[30]

The Spanish priests took advantage of this aptitude of the Indians for dramatic representation, and composed religious plays in the Quichua language, in imitation of the Autos Sacramentales then in vogue. Garcilasso says,—“The Jesuits composed comedies for the Indians to act, because they knew that this was the custom in the time of the Yncas.” He mentions three such plays,[31] and adds, “the Indian lads repeated the dialogues with so much grace, feeling, and correct action that they gave universal satisfaction and pleasure; and with so much plaintive softness in the songs, that many Spaniards shed tears of joy at seeing their ability and skill. From that time the Spaniards disabused themselves of the opinion that the Indians were dull, barbarous, and stupid.”

Several of these religious plays were written by the Spanish priests in the Quichua language, for the people to perform at great festivals, and they of course bear unmistakeable evidence of their Spanish origin. I possess two of these plays. One is by Dr. Lunarejo, a native of Cuzco, and a celebrated Quichua scholar, who flourished in the eighteenth century. It is entitled Comedia famosa del pobre mas rico, and is on the plan of the “Autos” of Lope de Vega and Calderon. The other is anonymous and appears to be of earlier date. The title is Usca Paucar, Auto Sacramental el Patrocinio de Maria.

We thus have evidence that the Yncas cultivated the drama in ancient times; that some of the plays were handed down and were acted as late as 1781; and that the Spanish priests, finding that the Peruvians possessed traditional aptitude for dramatic performances, turned this talent to account in the inculcation of religious dogma. It might, therefore, naturally be expected that one or more of the ancient Ynca plays, as distinguished from the religious “Autos” of Spanish times, would have been preserved. It has long been known that at least one such drama does exist, under the title of Ollantay, and Quichua scholars concur in the belief that it is really of ancient origin, and that it dates from pre-Spanish times.

The drama of Ollantay, as it now exists, was arranged for representation, divided into scenes, and supplied with stage directions in Spanish times; but competent Quichua students believe that most of the dialogues, speeches, and songs date from a period before the conquest; and that consequently it is an Ynca drama. The manuscript copies are probably numerous, some carelessly made by ignorant scribes, and containing modern words in substitution of what may have been illegible in the originals. But others are older and more correct versions, and these alone should be referred to in discussing the question of the date of this composition. A really critical text has not, however, been hitherto established, from which all modern interpolations have been excluded, and the readings in the most authentic and oldest versions alone retained.