6.16: Poemas nahuas y quechuas

(Translated from Spanish)

Más poemas en: Muestra de poesía en náhuatl y en quechua.

When Europeans arrived in the Americas in 1492, there were numerous groups of people with very different ways of life and thought. All of these civilizations had their own songs, poetry, and stories. Two civilizations that greatly impressed Europeans at the time were the Aztec civilization 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 civilization (whose language is Quechua or Runasimi, spoken today by almost ten million people), in what is now Peru, northern Chile and Argentina, Ecuador, southern Colombia, and parts of Bolivia. 

Although it is virtually impossible to access the original version of this poetry (which was primarily transmitted orally), from the 16th century to the present day 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 acknowledge the cultural and political presence of Indigenous groups today—but also aesthetic and cultural: part of the current Latin American identity is influenced by this cultural heritage, and many 20th- and 21st-century writers have incorporated this heritage into their literary experimentation, such as Octavio Paz of Mexico (Nobel Prize 1992), Miguel Ángel Asturias of Guatemala (Nobel Prize 1967), José María Arguedas of Peru, and Elicura Chihuailaf of Chile, among many others.

Nahuatl poetry 

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

In Nahuatl, poetry was called “flower and song” ( 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, an elaborate, collective, ritual, and musical one (the song) [1] . “Flower and song” consisted of a dialogue with one’s own heart, with the divine, with the world, and with the people, and it held great importance in Aztec society. Poets were princes or priests who represented the feelings of the community through words, music, and dance. For them, art was the way to imitate the divine creator, Omeotéotl, a dual entity, father (Ometecuhtli) and mother (Omecíhuatl), also called 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 the poetry was to discuss the value of life: “only for a brief time are we borrowed from one another on Earth.” Remembering the ephemeral nature of life on Earth and affirming the possibility of transcendence and endurance are two essential goals of Nahuatl poetry.

---

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

"Nowhere can  the home of the supreme arbiter be;  everywhere he is invoked,  everywhere he is venerated.  Only by his side and beside 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 author , Public domain, via Wikimedia Commons

The songs and stories were memorized, but there were also large posters (the codices) with designs and phonetic symbols that the priest-poet indicated with his finger while reciting the corresponding poem. This choreographed activity was called "singing paintings," and it was presented as a mandatory spectacle for the people on special days. 

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

Nahuatl poetry has very ancient roots, possibly dating back to the Olmec era (400 BC). However, most of the poems we know today were composed in the century before the Spanish conquest (15th century). Its most frequent imagery includes flowers—symbols of beauty, hope, and divine creation—precious stones—symbols of wealth and power—and birds, symbols of divine wisdom. Two basic stylistic elements were difrasismo (the expression of concepts through two more or less equivalent terms: “let us live in peace, in harmony”) and parallelism (presenting two consecutive phrases that are repeated and complement each other: “let us go, we will look for flowers; let us go, we will cut flowers”). There were also compositions of various genres: 

• The Teotlatolli dealt with the origins of the world and the divine universe. 
• The Teocuícatl were hymns in honor of the gods.  
• The Xopancuícatl were songs to life, to joy and to the beauty of the world.  
• The Xochicuícatl were an exaltation of friendship and human nobility.  
• The Yaocuícatl were warrior and heroic songs.  
• The Icnocuícatl 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 present in each fragment? (From Anthology of Pre-Columbian Indigenous Poetry , ed. Jorge Eduardo Paniagua).

Excerpt 1. Genre: ___________________________

[acaso: tal vez - colibrí: hummingbird. - esmeraldino: color de esmeralda - áureo: color de oro - corola: el grupo de pétalos de una flor]

I consult my own heart: 
Where shall I find beautiful, fragrant flowers? 
Whom shall I ask? 
Shall I ask the shimmering green hummingbird, 
the emerald-green flycatcher? 
Shall I ask the golden butterfly? 
Yes, they will know: they know where 
the beautiful, fragrant flowers open their corollas.

 

Excerpt 2. Genre: ___________________________ 

[mazorca: el fruto del maíz - azorarse: confundirse o emocionarse - mata: planta - primerizo: primero, que comienza - robustecerse: hacerse fuerte]

My God Mazorca, with his face held high, 
is troubled for no reason. 
I am the tender cornstalk: 
from your mountains I come to see you, I am your God. 
My life will be refreshed: 
the firstborn man grows strong, 
he who commands in war is born! 

 

Excerpt 3. Genre: ___________________________

cual: como - quetzal: pájaro centroamericano de hermosas plumas verdes, sagrado entre los aztecas y mayas - penacho: ornamento de plumas - plumas: feathers - préstamo: loan

Though we are united with each other in this world, 
like quetzal feathers in a headdress, 
though we are like stones on the same necklace, 
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
our life passes only once. 
In a day we depart, 
in a night we belong to the realm of the dead. 
Alas, we have only come here to know each other, 
we have only borrowed this earth. 
Let us live thus in peace, let us live in harmony. 

 

Song of the women of Chalco 

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 Spanish. Here are some excerpts. As you read them, can you consider what they reveal about gender relations and eroticism? (from Mexican Songs, trans. Miguel León Portilla): 

levantaos: get up! se extienden: spread around escudo: shield se antojan a los hombres: are desired by men	Rise up, my little sisters,  let us go, let us go, we will seek flowers,  let us go, let us go, we will cut flowers.  Here they spread, here they spread  the flowers of water and fire,  the flowers of the shield,  those that men crave,  those that give prestige: those of war.
anhelo: longing hilar: to thread, to spin	They are beautiful flowers,  with the flowers that are upon me I adorn myself,  they are my flowers, I am from Chalco, I am a woman!  I desire and desire the flowers,  I desire and desire the songs.  I am longingly here in the place where we spin,  in the place where our life goes.
entonar: to intone entretejer: to entwine circundar: to surroind, rodear lecho: bed	I sing his song to the lord, little Axayácatl.  I weave it with flowers, I surround it with them.  Like a painting is the beautiful song,  like fragrant flowers that bring joy,  my heart cherishes them on earth.  So too I cherish your word,  companion in bed, you, little Axayácatl.  I weave it with flowers, I surround it with flowers.  Thus I will give pleasure to my companion in bed.
haz que se yerga lo que me hace mujer: have what makes me a worman rise de veras: truly encenderse: to fire up deleite: delight desflorar: ejaculate, penetrate mamar: breast-feed	Companion, little companion, Mr. Axayácatl.  Let what makes me a woman rise up,  let much truth ignite.  We will laugh, we will rejoice,  there will be delight, I will have glory.  But no, don't deflower me yet,  My friend, you, my lord, little Axayácatl.  You want to suckle at my breasts,  almost at my heart
acomódate: get comfortable acaso: by any chance lograr: to accomplish	My companion, my little boy,  let's be together, settle down by my side,  let your manly self speak.  Don't I know, don't I have any experience  of your enemies, my little boy?  But now surrender yourself to my side.  Even though we are women,  perhaps you will achieve nothing as a man.
revuélveme: stir me por completo: completamente estera: mat entrégate: give yourself	Flowers and songs of the companion of pleasure,  you, lord, companion, my little boy,  stir me like corn dough.  I offer myself to you completely.  I have come to give pleasure to my flowery vulva,  my small mouth.  I desire the lord, the little Axayácatl.  Look at my flowery painting, my breasts,  let us have pleasure on your mat of flowers.  And where you exist, little companion,  little by little surrender to sleep,  be at peace, my little boy,  you, lord Axayácatl.

---

Quechua Poetry 

 The official language of the Incas and the peoples belonging to their empire was Quechua (from qishwa , "temperate zone"), also called Runasimi ( runa : people, simi : speech, mouth). This culture, like the Aztec, also placed great importance on poetry, which was present in all social activities: agriculture, funerals, official ceremonies, and love. However, unlike the Nahua codices, the Incas did not have a known writing system, so there is no clear documentation of their original literature. 

The only system of signs known to date 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 record historical information, numbers, etc. Thus, the only documents we have today about Quechua poetry come from colonial chronicles, for example, those of Felipe Guamán Poma de Ayala, Father Cristóbal de Molina, or Inca Garcilaso de la Vega.  Left: Inca Quipu.  Unknown authorUnknown author , Public domain, via Wikimedia Commons

According to accounts recorded by chroniclers, Inca nobles also received a rigorous literary education at an institution called the Yachayhuasi . There, they were taught by amautas , historians and philosophers who also created historical, epic, and sacred poetry. Finally, the haravicus , or "inventors of poetry," were specialists in the art of language and music. The haravicus did not necessarily belong to the noble class, and they not only contributed to embellishing epic or sacred poems, but also composed other types of more lyrical, personal, or popular poetry. Among the poetic genres of the Incas were: the Jailli , a sacred hymn to the gods, heroism, and agricultural tasks; the Arawi , intimate, amorous, or melancholic poetry; the Wawaki , a dialogue poem between the 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 present 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).

Fragment 1. Genre: ___________________________ (Transcribed by Guamán Poma, 1615)

[entre tanto: meanwhile - “tuya”: extracción de una semilla. - paloma: dove - prado: meadow]

The time will come to bring joy to our Inca. 
We will dance with him under the full moon. 
We will sing the sweetest song. 
The time will come to dance with our Inca. 

Meanwhile, my darling , my golden dove, 
do not fear the full moon. 
Let us meet in the flowery meadow 
to play beneath the golden star. 

  

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

[Viracocha: Creador, Dios supremo de los incas. - el ser: the being - con solo: just by - sea: may it be (command) - que viva: may I live (request)]

 

Cause of being, Viracocha, 
ever-present God, 
Judge who is in all, 
God who governs and provides, 
Who creates simply by saying: 
“Let there be man, let there be woman.” 
May the being you placed and nurtured live free and in peace. 
Where are you? 
Outside or inside? 
In the cloud or in the shadow? 

 

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

[tierno: tender - manjar: comida deliciosa - lágrima: tear - arrastrar: drag - empujar: push]

 

My dark-haired beauty, my dark-haired beauty, 
tender delicacy, smile of the water, 
your heart knows no sorrows 
and your eyes know no tears. 

Because you are the most beautiful woman, 
because you are my queen, 
because you are my princess, 
I let the water of love 
carry me away in its current, 
I let the storm 
of passion push me.

 

A Wawaki 

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

fulgurar: to shine, brillar	The princes  Because you are a star, yes!  You shine at night, yes!  For under the fire of the sun, yes!  I seek you in vain. Yes!
entornar los ojos: half-close one's eyes	The princesses.  If I am a star, no!  Open your heart, no!  And under the fire of the sun, no!  Close your eyes. No!
simular: to pretend acercarse: to get close trocarse: to change into	The princes.  Only by moonlight, yes!  You pretend to call me, yes!  And when I approach, yes!  You turn into snow. Yes!
presuroso acude: please rush to respond echar: to pour into	The princesses.  And if I pretend to call you, no!  Come quickly. No!  If I turn into snow, no!  Throw your fire on me. No!

---

The rich poetic production of Indigenous peoples is part of Latin American cultural tradition, not only as history but also as a source of contemporary creativity. Famous poets of the 20th and 21st centuries have incorporated this tradition into their literary work. Furthermore, Indigenous cultures today continue to develop their collective experience through poetry, literature, and art in general.

---

Review questions 

1. What language did the Aztecs speak? In what region did they live? 

2. What language did the Incas speak? In what region did they live? 

3. What was the name of poetry in Nahuatl? 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 imagery of Quechua poetry? 

Más poemas en: Muestra de poesía en náhuatl y en quechua.