6.2: Nahua and Quechua Poems

When Europeans arrived on the American continent in 1492, there were numerous human groups with very different ways of living and thinking. All of these civilizations had their own songs, poetry and narratives. Two civilizations that caused great admiration among Europeans at the time were the Aztec in the Valley of Mexico (whose official language was Nahuatl, also spoken by other neighboring cultures and with almost two million speakers today), and the Inca (whose language is Quechua or Runasimi, today spoken by almost ten million people), in what is now Peru, northern Chile and Argentina, Ecuador, southern Colombia and parts of Bolivia.

Although it is practically impossible to access the original version of this poetry (which occurred mainly orally), from the 16th century to the present, there have been efforts to transcribe, reconstruct and partially translate numerous texts from pre-Columbian cultures. The relevance of these literary works is not only social —to recognize the cultural and political presence of today's indigenous groups—, but also aesthetic-cultural: part of the current Latin American idiosyncracy is influenced by this cultural heritage, and many writers of the 20th and 21st centuries have incorporated this heritage into their literary experimentation, such as Octavio Paz from Mexico (Nobel Prize 1992), Miguel Ángel Asturias from Guatemala (Nobel Prize 1967), José María Arguedas from Peru, and Elicura Chihuailaf from Chile, among many others.

 

Nahuatl Poetry

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“I understood it at last: I hear a song; I see a flower: Oh, may they never wither!” - Attributed to Nezahualcoyotl, ca. 1450

“Lo he comprendido al fin: oigo un canto; veo una flor: ¡ay, que jamás se marchiten!” - Atribuido a Nezahualcóyotl, ca. 1450

In Nahuatl, poetry was called “flor y canto” (in xochitl, in cuicatl), a rich compound name that simultaneously described several aspects of poetic activity: a natural, visual, spontaneous and expressive aesthetic of the sacred and of hope (the flower), and at the same time elaborate, collective, ritual and musical (the song) [1].

“The flower-and-the-song” consisted of a dialogue with one's own heart, with the divine, with the world and with the people, and it was very important in Aztec society. Poets were princes or priests who represented the feeling of the community through words, music and dance. For them, art was a means of imitating the divine creator, Omeothéotl, a dual entity comprising the father (Ometecuhtli) and the mother (Omecíhuatl), also known as the Lord and Lady of the intimate and the near. Although the songs celebrated love, beauty and heroism in war, among other themes, the fundamental objective of poetry was to dialogue about the value of life: “only for a brief time we borrow each other on Earth”. Remembering the ephemeral nature of life on Earth and affirming the possibility of transcending and enduring are two essential goals of Nahuatl poetry.

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^[1] Nahuatl is characterized by this type of double and metaphorical expressions. Other examples are: “the face and the heart” = personality; “black and red ink” = wisdom; “to carve faces” = educate.

Nowhere can it be the house of the supreme arbiter; everywhere he is invoked, everywhere he is worshiped. Only by his side and next to him Can there be life on Earth.” (“Song to Ometéotl”, by the poet Moyocatzín) Left: Representation of Ometecuhtli and Omecíhuatl in the Borgia Codex. Unknown AuthorUnknown author, Public domain, via Wikimedia Commons

«En ningún lugar puede ser la casa del sumo árbitro; En todo lugar es invocado, En todo lugar es venerado. Solo a su lado y junto a él Puede haber vida en la tierra».        ("Canto a Ometéotl", del poeta Moyocatzín)

Songs and stories were learned by heart, but there were large posters (the codices) with designs and phonetic signs that the priest-poet indicated with his finger while he sang the corresponding poem. This choreographic activity, known as “singing paintings,” was presented as a mandatory show for the town on special occasions.

These performances held great social significance. For this reason, from the age of twelve, many young Aztecs of both sexes, if they were not dedicated to war or agriculture, studied at a very rigorous institution for teaching poetry (music, language and dance) called the cuicacalli (“house of singing”).

Nahuatl poetry has very ancient roots, possdating back to from the Olmec era (400 BC). However, most of the poems we know today were composed in the century before the Spanish conquest (15th century). His most common images are flowers, a symbol of beauty, hope and divine creation; precious stones, a symbol of wealth and power; and birds, a symbol of divine wisdom. Two basic stylistic elements were diffrassism (the expression of concepts through two more or less equivalent terms: “let's live in peace, in harmony”), and parallelism (presenting two consecutive phrases that are repeated and complementary: “let's go, we'll look for flowers; let's go, we'll cut flowers”). There were also compositions of various genres:

• The Teotlatolli were about the origins of the world and the divine universe.
• The Theochicatl were hymns in honor of the gods.
• The Xopancuícatl were songs to life, to joy and to the beauty of the world.
• The Xochicuícatl exalted friendship and human nobility.
• The Yaocuícatl were warrior and heroic songs.
• The Ichnocuícatls expressed anguish, sadness and reflection on death.

As an exercise, and while enjoying Nahuatl poetry, can you identify the genre of the following three fragments? what images or ideas do you find interesting and why? What characteristics of Nahuatl poetry are presented in each fragment? (From Anthology of Pre-Columbian Indigenous Poetry, ed. Jorge Eduardo Paniagua).

 

Excerpt 1. Gender: ___________________________

 

I consult with my own heart: Where will I take beautiful fragrant flowers? Who will I ask? Am I asking the green shimmering hummingbird, the emerald flybird? Am I asking the golden butterfly? Yes, they will know: they know where the beautiful, fragrant flowers open their corollas.

Consulto con mi propio corazón: ¿Dónde tomaré hermosas fragantes flores? ¿a quién lo preguntaré? ¿Lo pregunto, acaso, al verde colibrí reluciente, al esmeraldino pájaro mosca? ¿Lo pregunto, acaso, a la áurea mariposa? Sí, ellos lo sabrán: saben en dónde abren sus corolas las bellas flores olorosas.

 

Fragment 2. Gender: ___________________________

 

My God Cob, with his face held high for no reason, he panics. I am the tender forest of corn: from your mountains I come to see you, I your God. My life will be refreshed: the first-time man grows stronger, the man who rules the war was born!

Mi Dios Mazorca, con la cara en alto sin motivo se azora. Yo soy la mata tierna del maíz: desde tus montañas te vengo a ver, yo tu Dios. Mi vida se refrescará: el hombre primerizo se robustece, ¡nació el que manda en la guerra!

 

Fragment 3. Gender: ___________________________

 

Although united with me we are in the world, like quetzal feathers in a plume, although we are like stones of the same necklace, ................................. only once does our life pass. In one day we leave, in one night we are from the kingdom of the dead. Oh, here we have only come to know each other; we only have the land on loan. Let's live in peace and harmony.

Aunque unidos conmigo estamos en el mundo, cual plumas de quetzal en un penacho, aunque somos cual piedras de un mismo collar, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . una sola vez pasa nuestra vida. En un día nos vamos, en una noche somos del reino de los muertos. Ay, aquí solamente hemos venido a conocernos, solamente tenemos en préstamo la tierra. Vivamos así en paz, vivamos en concordia.

 

Chalco Women's Song

The “Song of the Women of Chalco” is attributed to the poet Aquiauhtzin, considered a wise man, who lived in the 15th century, before the arrival of the Spaniards. Here are a few excerpts. As you read them, can you think about what they reveal about gender relations and eroticism? (from Mexican Songs, trans. Miguel Leon Portilla):

Get up, my little sisters, let's go, let's go, we'll look for flowers, let's go, let's go, we'll cut flowers. Here they spread, here the flowers of water and fire spread, the flowers of the shield, those that seem to men, those that give prestige: those of war.	Levantaos vosotras, hermanitas mías, vayamos, vayamos, buscaremos flores, vayamos, vayamos, cortaremos flores. Aquí se extienden, aquí se extienden las flores del agua y del fuego, las flores del escudo, las que se antojan a los hombres, las que dan prestigio: las de la guerra.
They are beautiful flowers, with the flowers that are on me I adorn myself, they are my flowers, I am from Chalco, I am a woman! I desire and desire flowers, I desire and desire songs. I am longing here in the place where we spin, in the place where our life goes.	Son flores hermosas, con las flores que están sobre mí me adorno, son mis flores, soy de Chalco, soy mujer! Deseo y deseo las flores, deseo y deseo los cantos. Estoy con anhelo aquí en el lugar donde hilamos, en el sitio donde se va nuestra vida.
I sing his song to the Lord, little Axayácatl. I weave it with flowers, with them I surround it. Like a painting the beautiful song, like fragrant flowers that give joy, my heart cherishes them on earth. So too do I cherish your word, companion in bed, you, little Axayácatl. With flowers I weave it, with flowers I surround it. This way I will give pleasure to my partner in bed.	Yo entono su canto al señor, pequeño Axayácatl. Lo entretejo con flores, con ellas lo circundo. Como una pintura es el hermoso canto, como flores olorosas que dan alegría mi corazón las estima en la tierra. Así también estimo tu palabra, compañero en el lecho, tú, pequeño Axayácatl. Con flores lo entretejo, con flores lo circundo. Así daré placer a mi compañero en el lecho.
Companion, small companion, Mr. Axayácatl. Make what makes me a woman stand out, make a lot of it really turn on. We will laugh, we will rejoice, there will be delight, I will have glory. But no, you haven't faded yet, buddy, you, sir, little Axayácatl. You want to suck on my breasts, almost in my heart.	Acompañante, acompañante pequeño, señor Axayácatl. Haz que se yerga lo que me hace mujer, consigue que mucho de veras se encienda. Reiremos, nos alegraremos, habrá deleite, yo tendré gloria. Pero no, todavía no desflores compañero, tú, señor, pequeño Axayácatl. Quieres mamar en mis pechos, casi en mi corazón.
Comrade, my little boy, we are going to be together, take a seat next to me, make your being like a man speak. Don't I know, have no experience of your enemies, my little boy? But now abandon yourself to my side. Even if we are women, you may not achieve anything as a man.	Compañero, niñito mío, vamos a estar juntos, a mi lado acomódate, haz hablar a tu ser de hombre. ¿Acaso no conozco, no tengo experiencia de tus enemigos, niñito mío? Pero ahora abandónate a mi lado. Aunque seamos mujeres, tal vez nada logres como hombre.
Flowers and songs from the pleasure companion, you, sir, companion, my little boy, stir me like corn dough. I completely offer myself to you. I have come to give pleasure to my blooming vulva, my small mouth. I wish the Lord, little Axayácatl. Look at my flowery painting, my breasts, let 's have pleasure on your flower mat. And where you exist, little companion, slowly give in to sleep, be calm, my little boy, you, Mr. Axayácatl.	Flores y cantos de la compañera de placer, tú, señor, compañero, niñito mío, revuélveme como masa de maíz. Yo a ti por completo me ofrezco. He venido a dar placer a mi vulva florida, mi boca pequeña. Deseo al señor, al pequeño Axayácatl. Mira mi pintura florida, mis pechos, tengamos placer en tu estera de flores. Y en donde tú existes, compañero pequeño, poco a poco entrégate al sueño, queda tranquilo, niñito mío, tú, señor Axayácatl.

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Quechua Poetry

The official language of the Incas and the peoples that belonged to their empire was Quechua (from qishwa, “temperate zone”), also called Runasimi (rune: people, simi:speech, mouth). This culture, like the Aztec one, also gave great importance to poetry, which was present in all social activities: agriculture, funerals, official ceremonies, love. But unlike the Nahua codices, the Incas had no known writing system, so there is no clear documentation of their original literature.

The only system of signs known until today is that of the quipus, which were cords with knots of colors and shapes distributed in such a way that they could be “read” to remember historical information, numbers, etc. Thus, the only documents we have today about Quechua poetry come from colonial chronicles, for example by Felipe Guamán Poma de Ayala, Father Cristóbal de Molina, or the Inca Garcilaso de la Vega.

Incan Quipu. Unknown AuthorUnknown author, Public domain, via Wikimedia Commons

According to the testimonies recorded by the chroniclers, the Inca nobles also received a thorough literary education at an institution called the Yachayhuasi. There, amauts, historians and philosophers taught, who also created historical, epic and sacred poetry. Finally, the Haravicus, or “inventors of poetry”, were the specialists in the art of language and music. Haravicus did not necessarily belong to the noble class, and not only helped to embellish epic or sacred poems, but also composed other types of poetry that were more lyrical, personal or popular. Among the poetic genres of the Incas are: the Jailli, a hymn sacred to the gods, heroism and agricultural tasks; the Arawi, intimate, loving or melancholic poetry; the Wawaki, a poem in dialogue between the two sexes; the Qhashwa, a song of dance and joy; and the Wayñu, a collective poem that included dance and music.

As an exercise, and while enjoying Inca poetry, can you identify the genre of the following three fragments? what images or ideas do you find interesting and why? What characteristics of Inca poetry are presented in each fragment? What similarities and differences do you find with the Nahuatl poetic style? (From Anthology of Pre-Columbian Indigenous Poetry, ed. Jorge Eduardo Paniagua).

 

Excerpt 1. Gender: ___________________________ (Transcribcenturies have integrated this tradition into their literary creations

The time will come to cheer up our Inca. We'll dance with him under the full moon. The sweetest song we'll sing. The time will come to dance with our Inca. Meanwhile, my yours, my golden dove, don't be afraid of the full moon. Let's meet in the flowery meadow to play under the gold star.

Llegará la hora de alegrar a nuestro Inca. Danzaremos con él bajo la luna llena. La más dulce canción entonaremos. Llegará la hora de danzar con nuestro Inca. Entre tanto, mi tuya, mi paloma de oro, no tengas miedo de la luna llena. Reunámonos en el florido prado para jugar bajo la estrella de oro.

 

Fragment 2. Gender: ___________________________ (Transcribed by Molina, 1575)

Cause of being, Viracocha, God always present, Judge who is in everything, God who governs and provides, Who creates simply by saying: “Be a man, be a woman”. May the being you put up and raised live freely and in peace. Where are you? Outside or inside? In the cloud or in the shade?

Causa del ser, Viracocha, Dios siempre presente, Juez que está en todo, Dios que gobierna y provee, Que crea con solo decir: “Sea hombre, sea mujer”. Que viva libre y en paz El ser que pusiste y criaste. ¿Dónde estás? ¿Afuera o adentro? ¿En la nube o en la sombra?

 

Fragment 3. Gender: ___________________________ (Transcribed by Guamán Poma, 1615)

My brunette, brunette, tender delicacy, the smile of the water, your heart doesn't know sorrows and your eyes don't know tears. Because you are the most beautiful woman, because you are my queen, because you are my princess, I let the water of love drag me into its current, I let the storm of passion push me.

Morena mía, morena, tierno manjar, sonrisa del agua, tu corazón no sabe de penas y no saben de lágrimas tus ojos. Porque eres la mujer más bella, porque eres reina mía, porque eres mi princesa, dejo que el agua del amor me arrastre en su corriente, dejo que la tormenta de la pasión me empuje.

 

A Wawaki

The following is an example of Wawaki, which was sung in two choirs, one by men and the other by women.
As you read, think about how genders are defined and thought about in this poem:

The princes Because you're a star, yes! flashes of the night, yes! Well, under the fire of the sun, yes! I'm looking for you in vain. Yes!	Los príncipes Porque eres estrella, ¡sí! fulguras de noche, ¡sí! pues bajo el fuego del sol, ¡sí! en vano te busco. ¡Sí!
The princesses If I am a star, no! Open your heart, no! and under the fire of the sun, no! squint your eyes. No!	Las princesas Si yo soy estrella, ¡no! abre el corazón, ¡no! y bajo el fuego del sol, ¡no! entorna los ojos. ¡No!
The princes Only in the moonlight, yes! Call me simulates, yes! and when I get closer, yes! You're screwing in the snow. Yes!	Los príncipes Solo a la luz de la luna, ¡sí! llamarme simulas, ¡sí! y cuando me acerco, ¡sí! te truecas en nieve. ¡Sí!
The princesses And if I call you pretend, no! hurriedly come. No! If I go bartering in snow, no! Give me your fire. No!	Las princesas Y si llamarte simulo, ¡no! presuroso acude. ¡No! Si me trueco en nieve, ¡no! échame tu fuego. ¡No!

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The rich poetic production of the native peoples is part of the Latin American cultural tradition, not only as a history, but as a source of creation in the present. Famous poets of the 20th and 21st century have integrated this tradition into their literary creation. In addition, today's indigenous cultures continue to elaborate their collective experience through poetry, literature, and art in general.

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Review Questions

1. What language did the Aztecs speak? What region did they live in?
2. What language did the Incas speak? What region did they live in?
3. What was poetry called in Nahuatl, and what ideas does this name evoke?
4. What was the fundamental purpose of Nahuatl poetry? Give an example.
5. What was the social importance of Nahuatl poetry? How was it disseminated?
6. What are some characteristics of the style and imagery of Nahuatl poetry?
7. What was the social importance of Quechua poetry? How was it disseminated?
8. What was an amauta? What was a haravicus?
9. What are some characteristics of the style and images of Quechua poetry?