Literatura Prehispánica - Literatura Incaica

Introduction to Pre-Hispanic Literature: Inca Literature

Overview of Inca Literature

• The discussion begins with an introduction to pre-Hispanic literature, specifically focusing on the Inca Empire's literary contributions. This literature is characterized as a cultural legacy predating Spanish colonization.

• It emphasizes that this body of work reflects the rich cultural heritage left by the Incas, which is crucial for understanding their societal values and beliefs.

Characteristics of Inca Literature

Oral Tradition

• A primary feature of Inca literature is its oral nature; it was passed down through generations without a traditional writing system, relying instead on storytelling and oral traditions.

• Some scholars suggest that quipus (a system of knotted strings) may have contained narratives, but these were largely untranslatable after the Spanish conquest, leaving much debate among researchers.

Anonymity and Collectivity

• Inca literature is characterized by anonymity; there are no known individual authors as works belong collectively to communities rather than individuals. This reflects a shared cultural identity among the people.

• The collective aspect means multiple versions of stories existed, emphasizing community over individualism in storytelling practices.

Cultural Themes

• The themes within this literature are deeply connected to religious, political, and social aspects of life in the Incan Empire, often reflecting communal experiences and beliefs.

• Additionally, it has agrarian themes focused on nature and land (Pachamama), highlighting agricultural rituals like Inti Raymi (Festival of the Sun). These rituals underscore the importance of agriculture in their culture.

Animism and Musical Elements

• There exists an animistic belief where all elements in nature are considered alive and divine; this perspective influenced many narratives within their literature.

• Music played a significant role in disseminating literary works; poetry was often expressed through songs and dances that conveyed myths related to the empire's history.

Class Division in Inca Literature

Official vs Popular Literature

• Two distinct types of literature emerged: official literature aimed at nobility (produced by amautas or teachers) versus popular literature directed towards commoners or peasants. Each served different educational purposes within society.

• Official literature included historical accounts meant to instill cultural identity among noble classes while popular literature focused on agrarian myths intended for educating laborers about farming practices through poetry and songs related to nature's cycles.

Literary Genres in Inca Culture

Epic, Lyric, and Dramatic Forms

Overview of Inca Lyrical and Dramatic Genres

Lyrical Poetry in Inca Literature

• The discussion begins with various lyrical genres, highlighting the "jaragua," a poem reflecting themes of love and absence, characterized as a sad love poem.

• Another example is "ají," which celebrates joy related to work and war, showcasing the diversity within Inca lyrical poetry.

• The "allá está aquí" is identified as a funeral song that addresses death and loss, indicating the emotional depth present in these works.

• The influence of this lyrical tradition extends into contemporary Latin American music, illustrating its lasting impact.

Introduction to Dramatic Genre: Ollantay

• Transitioning to drama, the focus shifts to "Ollantay," an anonymous Inca theatrical work that will be analyzed in detail.

Summary of Ollantay's Plot

• The narrative centers on Ollanta, a general from humble origins who gains nobility through heroic deeds for the Inca. His rise reflects social mobility within the empire.

• Ollanta falls deeply in love with Cusi Coyllur (Lucero Alegre), daughter of Pachacútec. Their love is forbidden due to laws against plebeians marrying royal daughters.

Complications Arising from Forbidden Love

• With assistance from Queen Mama Cocha, they secretly unite; however, their relationship remains clandestine due to societal constraints.

• Ollanta boldly requests Cusi's hand from Pachacútec but is rejected due to his lowly status. This rejection leads to further conflict.

Consequences of Rejection

• To ensure compliance, Pachacútec imprisons Cusi in a secluded area while she secretly bears Ollanta’s child named Ima Sumac (Bella Niña).

Rebel Against Authority

• Believing Cusi has been killed after her disappearance from the palace, Ollanta decides to rebel against the Incan authority alongside his confidant Pichituy.

• A power struggle ensues as both sides prepare for battle; Rumiñahui is sent by Pachacútec to confront Ollanta.

Betrayal and Capture

• Rumiñahui successfully ambushes Ollanta’s forces after luring him into a false sense of security during a celebration leading to his capture.

A Change of Heart

• Túpac Yupanqui contemplates executing all captured rebels but ultimately chooses mercy upon realizing it could incite further rebellion among other tribes.

Resolution and Reunion

• Túpac appoints Ollantay as chief instead of condemning him, strengthening alliances within the empire while recognizing his valor.

Final Revelations

• As Ima Sumac grows up aware of her lineage, she bravely enters the palace seeking help for her imprisoned mother.

• Upon reuniting with Cusi Coyllur at last, their story culminates in liberation and acceptance by Túpac Yupanqui.

Authorship Debate

Authorship and Influence of the Work

Debates on Authorship

• The work, originally attributed to Judy in 1853 and translated by Sebastián Barranca in 1868, remains a subject of debate regarding its authorship. Some still consider it anonymous due to these ongoing discussions.

Cultural Influences

• There are two main perspectives on the cultural influences of the work:

• One argues for an Incan origin, suggesting no Spanish influence.

• The other posits that the structure reflects Spanish elements, as concepts like kingship were European rather than Incan.

Structural Comparisons

• The work's structure is compared to "La Celestina," which features a woman aiding men in romantic pursuits. This connection highlights similarities between Incan narratives and Spanish literature. Additionally, elements reminiscent of "Cantar de mío Cid" are noted as distinctly Spanish influences.

Composition and Language

• The drama is divided into three acts and was originally written in Quechua, incorporating numerous aspects of Incan culture and imperial themes throughout its narrative. This emphasizes the importance of language in understanding cultural context.

Conclusion and Engagement