The historian's mother was of the Peruvian blood royal. She was niece of Huayna Capac, and granddaughter of the renowned Tupac Inca Yupanqui. Garcilasso, while he betrays obvious satisfaction that the blood of the civilized European flows in his veins, shows himself not a little proud of his descent from the royal dynasty of Peru; and this he intimated by combining with his patronymic the distinguishing title of the Peruvian princes, - subscribing himself always Garcilasso Inca de la Vega. His early years were passed in his native land, where he was reared in the Roman Catholic faith, and received the benefit of as good an education as could be obtained amidst the incessant din of arms and civil commotion. In 1560, when twenty years of age, he left America, and from that time took up his residence in Spain. Here he entered the military service, and held a captain's commission in the war against the Moriscos, and, afterwards, under Don John of Austria. Though he acquitted himself honorably in his adventurous career, he does not seem to have been satisfied with the manner in which his services were requited by the government. The old reproach of the father's disloyalty still clung to the son, and Garcilasso assures us that this circumstance defeated all his efforts to recover the large inheritance of landed property belonging to his mother, which had escheated to the Crown. "Such were the prejudices against me," says he, "that I could not urge my ancient claims or expectations; and I left the army so poor and so much in debt, that I did not care to show myself again at court; but was obliged to withdraw into an obscure solitude, where I lead a tranquil life for the brief space that remains to me, no longer deluded by the world or its vanities."
The scene of this obscure retreat was not, however, as the reader might imagine from this tone of philosophic resignation, in the depths of some rural wilderness, but in Cordova, once the gay capital of Moslem science, and still the busy haunt of men. Here our philosopher occupied himself with literary labors, the more sweet and soothing to his wounded spirit, that they tended to illustrate the faded glories of his native land, and exhibit them in their primitive splendor to the eyes of his adopted countrymen. "And I have no reason to regret," he says in his Preface to his account of Florida, "that Fortune has not smiled on me, since this circumstance has opened a literary career which, I trust, will secure to me a wider and more enduring fame than could flow from any worldly prosperity."
In 1609, he gave to the world the First Part of his great work, the Commentarios Reales, devoted to the history of the country under the Incas; and in 1616, a few months before his death, he finished the Second Part, embracing the story of the Conquest, which was published at Cordova the following year. The chronicler, who thus closed his labors with his life, died at the ripe old age of seventy-six. He left a considerable sum for the purchase of masses for his soul, showing that the complaints of his poverty are not to be taken literally. His remains were interred in the cathedral church of Cordova, in a chapel which bears the name of Garcilasso; and an inscription was placed on his monument, intimating the high respect in which the historian was held both for his moral worth and his literary attainments. The First Part of the Commentarios Reales is occupied, as already noticed, with the ancient history of the country, presenting a complete picture of its civilization under the Incas, - far more complete than has been given by any other writer. Garcilasso's mother was but ten years old at the time of her cousin Atahuallpa's accession, or rather usurpation, as it is called by the party of Cuzco. She had the good fortune to escape the massacre which, according to the chronicler, befell most of her kindred, and with her brother continued to reside in their ancient capital after the Conquest. Their conversations naturally turned to the good old times of the Inca rule, which, colored by their fond regrets, may be presumed to have lost nothing as seen through the magnifying medium of the past. The young Garcilasso listened greedily to the stories which recounted the magnificence and prowess of his royal ancestors, and though he made no use of them at the time, they sunk deep into his memory, to be treasured up for a future occasion. When he prepared, after the lapse of many years, in his retirement at Cordova, to compose the history of his country, he wrote to his old companions and schoolfellows, of the Inca family, to obtain fuller information than he could get in Spain on various matters of historical interest. He had witnessed in his youth the ancient ceremonies and usages of his countrymen, understood the science of their quipus, and mastered many of their primitive traditions. With the assistance he now obtained from his Peruvian kindred, he acquired a familiarity with the history of the great Inca race, and of their national institutions, to an extent that no person could have possessed, unless educated in the midst of them, speaking the same language, and with the same Indian blood flowing in his veins. Garcilasso, in short, was the representative of the conquered race; and we might expect to find the lights and shadows of the picture disposed under his pencil, so as to produce an effect very different from that which they had hitherto exhibited under the hands of the Conquerors.
Such, to a certain extent, is the fact; and this circumstance affords a means of comparison which would alone render his works of great value in arriving at just historic conclusions. But Garcilasso wrote late in life, after the story had been often told by Castilian writers. He naturally deferred much to men, some of whom enjoyed high credit on the score both of their scholarship and their social position. His object, he professes, was not so much to add any thing new of his own, as to correct their errors and the misconceptions into which they had been brought by their ignorance of the Indian languages and the usages of his people. He does, in fact, however, go far beyond this; and the stores of information which he has collected have made his work a large repository, whence later laborers in the same field have drawn copious materials. He writes from the fulness of his heart, and illuminates every topic that he touches with a variety and richness of illustration, that leave little to be desired by the most importunate curiosity. The difference between reading his Commentaries and the accounts of European writers is the difference that exists between reading a work in the original and in a bald translation. Garcilasso's writings are an emanation from the Indian mind.
Yet his Commentaries are open to a grave objection, - and one naturally suggested by his position. Addressing himself to the cultivated European, he was most desirous to display the ancient glories of his people, and still more of the Inca race, in their most imposing form. This, doubtless, was the great spur to his literary labors, for which previous education, however good for the evil time on which he was cast, had far from qualified him. Garcilasso, therefore, wrote to effect a particular object. He stood forth as counsel for his unfortunate countrymen, pleading the cause of that degraded race before the tribunal of posterity. The exaggerated tone of panegyric consequent on this becomes apparent in every page of his work. He pictures forth a state of society, such as an Utopian philosopher would hardly venture to depict. His royal ancestors became the types of every imaginary excellence, and the golden age is revived for a nation, which, while the war of proselytism is raging on its borders, enjoys within all the blessings of tranquillity and peace. Even the material splendors of the monarchy, sufficiently great in this land of gold, become heightened, under the glowing imagination of the Inca chronicler, into the gorgeous illusions of a fairy tale.
Yet there is truth at the bottom of his wildest conceptions, and it would be unfair to the Indian historian to suppose that he did not himself believe most of the magic marvels which he describes. There is no credulity like that of a Christian convert, - one newly converted to the faith. From long dwelling in the darkness of paganism, his eyes, when first opened to the light of truth, have not acquired the power of discriminating the just proportions of objects, of distinguishing between the real and the imaginary. Garcilasso was not a convert, indeed, for he was bred from infancy in the Roman Catholic faith. But he was surrounded by converts and neophytes, - by those of his own blood, who, after practising all their lives the rites of paganism, were now first admitted into the Christian fold. He listened to the teachings of the missionary, learned from him to give implicit credit to the marvellous legends of the Saints, and the no less marvellous accounts of his own victories in his spiritual warfare for the propagation of the faith. Thus early accustomed to such large drafts on his credulity, his reason lost its heavenly power of distinguishing truth from error, and he became so familiar with the miraculous, that the miraculous was no longer a miracle. Yet, while large deductions are to be made on this account from the chronicler's reports, there is always a germ of truth which it is not difficult to detect, and even to disengage from the fanciful covering which envelopes it; and after every allowance for the exaggerations of national vanity, we shall find an abundance of genuine information in respect to the antiquities of his country, for which we shall look in vain in any European writer.
Garcilasso's work is the reflection of the age in which he lived. It is addressed to the imagination, more than to sober reason. We are dazzled by the gorgeous spectacle it perpetually exhibits, and delighted by the variety of amusing details and animated gossip sprinkled over its pages. The story of the action is perpetually varied by discussions on topics illustrating its progress, so as to break up the monotony of the narrative, and afford an agreeable relief to the reader. This is true of the First Part of his great work. In the Second there was no longer room for such discussion. But he has supplied the place by garrulous reminiscences, personal anecdotes, incidental adventures, and a host of trivial details, - trivial in the eyes of the pedant, - which historians have been too willing to discard, as below the dignity of history. We have the actors in this great drama in their private dress, become acquainted with their personal habits, listen to their familiar sayings, and, in short, gather up those minutiae which in the aggregate make up so much of life, and not less of character.
It is this confusion of the great and the little, thus artlessly blended together, that constitutes one of the charms of the old romantic chronicle, - not the less true that, in this respect, it approaches nearer to the usual tone of romance. It is in such writings that we may look to find the form and pressure of the age. The worm-eaten state-papers, official correspondence, public records, are all serviceable, indispensable, to history. They are the framework on which it is to repose; the skeleton of facts which gives it its strength and proportions. But they are as worthless as the dry bones of the skeleton, unless clothed with the beautiful form and garb of humanity, and instinct with the spirit of the age. - Our debt is large to the antiquarian, who with conscientious precision lays broad and deep the foundations of historic truth; and no less to the philosophic annalist who exhibits man in the dress of public life, - man in masquerade; but our gratitude must surely not be withheld from those, who, like Garcilasso de la Vega, and many a romancer of the Middle Ages, have held up the mirror - distorted though it may somewhat be - to the interior of life, reflecting every object, the great and the mean, the beautiful and the deformed, with their natural prominence and their vivacity of coloring, to the eye of the spectator. As a work of art, such a production may be thought to be below criticism. But, although it defy the rules of art in its composition, it does not necessarily violate the principles of taste; for it conforms in its spirit to the spirit of the age in which it was written. And the critic, who coldly condemns it on the severe principles of art, will find a charm in its very simplicity, that will make him recur again and again to its pages, while more correct and classical compositions are laid aside and forgotten.
I cannot dismiss this notice of Garcilasso, though already long protracted, without some allusion to the English translation of his Commentaries. It appeared in James the Second's reign, and is the work of Sir Paul Rycaut, Knight. It was printed at London, in 1688, in folio, with considerable pretension in its outward dress, well garnished with wood-cuts, and a frontispiece displaying the gaunt and rather sardonic features, not of the author, but his translator. The version keeps pace with the march of the original, corresponding precisely in books and chapters, and seldom, though sometimes, using the freedom, so common in these ancient versions, of abridgment and omission. Where it does depart from the original, it is rather from ignorance than intention. Indeed, as far as the plea of ignorance will avail him, the worthy knight may urge it stoutly in his defence. No one who reads the book will doubt his limited acquaintance with his own tongue, and no one who compares it with the original will deny his ignorance of the Castilian. It contains as many blunders as paragraphs, and most of them such as might shame a schoolboy. Yet such are the rude charms of the original, that this ruder version of it has found considerable favor with readers; and Sir Paul Rycaut's translation, old as it is, may still be met with in many a private, as well as public library.