﻿Vol.2] 
  COLONIAL 
  QUECHUA 
  — 
  KUBLER 
  407 
  

  

  whence 
  it 
  was 
  disseminated 
  by 
  Titu 
  Cusi's 
  agents 
  in 
  order 
  to 
  alienate 
  

   the 
  pacified 
  Indians 
  from 
  their 
  Spanish 
  masters. 
  It 
  was 
  quelled 
  only 
  

   in 
  1572 
  with 
  the 
  suppression 
  of 
  the 
  separatist 
  government 
  of 
  Vilca- 
  

   bamba 
  and 
  the 
  execution 
  of 
  the 
  young 
  Inca 
  ruler, 
  Tupac 
  Amaru 
  I. 
  

  

  The 
  cult 
  centered 
  about 
  a 
  belief 
  in 
  the 
  renaissance 
  of 
  the 
  huacas, 
  

   and 
  it 
  was 
  associated 
  with 
  a 
  ritual 
  chant. 
  It 
  was 
  believed 
  that 
  all 
  

   the 
  huacas 
  had 
  returned 
  to 
  life, 
  some 
  being 
  allied 
  with 
  the 
  ritual 
  of 
  

   Pachacamac, 
  and 
  others 
  with 
  the 
  cult 
  of 
  Tiahuanaco. 
  These 
  two 
  

   factions 
  of 
  huacas 
  were 
  united 
  in 
  giving 
  battle 
  to 
  the 
  Christian 
  god. 
  

   The 
  battles 
  took 
  place 
  in 
  the 
  skies, 
  and 
  it 
  was 
  predestined 
  that, 
  as 
  God 
  

   had 
  defeated 
  the 
  huacas 
  during 
  the 
  Conquest, 
  so 
  were 
  the 
  huacas 
  now 
  

   to 
  destroy 
  God 
  and 
  the 
  Spaniards. 
  

  

  The 
  huacas 
  had 
  planted 
  crops 
  of 
  worms 
  with 
  which 
  to 
  destroy 
  the 
  

   hearts 
  of 
  the 
  Spaniards 
  and 
  their 
  horses 
  and 
  livestock, 
  as 
  well 
  as 
  those 
  

   Indians 
  who 
  had 
  embraced 
  Christianity. 
  All 
  adherents 
  of 
  the 
  new 
  

   huaca 
  cult 
  were 
  to 
  renounce 
  baptism, 
  and 
  to 
  cleanse 
  themselves 
  by 
  

   fasting, 
  and 
  abstinence 
  from 
  Spanish 
  customs 
  and 
  tools. 
  

  

  The 
  huacas 
  were 
  no 
  longer 
  to 
  reside 
  in 
  objects 
  and 
  places 
  as 
  before, 
  

   but 
  were 
  to 
  incorporate 
  themselves 
  in 
  the 
  bodies 
  of 
  the 
  faithful 
  fol- 
  

   lowers 
  of 
  the 
  cult. 
  Hysterical 
  behavior 
  marked 
  the 
  reception 
  of 
  the 
  

   huaca 
  by 
  an 
  Indian, 
  and 
  the 
  spirit 
  then 
  was 
  enshrined 
  in 
  a 
  small 
  

   oratory, 
  where 
  sacrifices 
  were 
  offered 
  and 
  dances 
  performed. 
  It 
  has 
  

   been 
  suggested 
  that 
  this 
  last 
  aspect 
  of 
  the 
  cult 
  was 
  influenced 
  by 
  the 
  

   Christian 
  theory 
  of 
  demoniac 
  possession 
  (Molina 
  of 
  Cuzco, 
  1916, 
  p. 
  99, 
  

   n. 
  265) 
  ; 
  certainly 
  the 
  whole 
  phenomenon 
  bears 
  the 
  closest 
  affinities 
  to 
  

   North 
  American 
  messianic, 
  or 
  Ghost 
  Dance, 
  religions. 
  

  

  Literature. 
  — 
  The 
  existence 
  of 
  a 
  literature 
  in 
  Quechua 
  written 
  by 
  

   Indians 
  is 
  difficult 
  to 
  prove. 
  The 
  corpus 
  of 
  Quechua 
  texts 
  is 
  incom- 
  

   plete, 
  but 
  there 
  is 
  no 
  evidence 
  that 
  its 
  monuments 
  were 
  composed 
  

   other 
  than 
  by 
  Europeans 
  and 
  Mestizos. 
  An 
  Indian 
  theater 
  flourished, 
  

   it 
  is 
  true, 
  to 
  such 
  an 
  extent 
  that 
  its 
  performances 
  were 
  forbidden 
  in 
  

   1781, 
  in 
  connection 
  with 
  the 
  execution 
  of 
  Tupac 
  Amaru 
  (Eojas, 
  1939, 
  

   p. 
  108), 
  and 
  Harcourt 
  asserts 
  that 
  the 
  play 
  "Ollanta" 
  was 
  instrumental 
  

   in 
  fomenting 
  the 
  rebellion 
  itself 
  (Harcourt, 
  1925, 
  p. 
  180). 
  Its 
  texts, 
  

   however, 
  are 
  probably 
  of 
  European 
  composition, 
  such 
  as 
  the 
  one 
  writ- 
  

   ten 
  early 
  in 
  the 
  19th 
  century 
  by 
  Pedro 
  Zegarra, 
  who 
  had 
  also 
  trans- 
  

   lated 
  Racine's 
  Phedre 
  into 
  Quechua 
  (Middendorf, 
  1890-92, 
  3:116). 
  

  

  Older 
  Quechua 
  literary 
  texts, 
  the 
  religious 
  plays 
  or 
  autos 
  sacramen- 
  

   tales, 
  were 
  composed 
  by 
  European 
  curates 
  in 
  the 
  17th 
  century. 
  Such 
  

   was 
  "The 
  Prodigal 
  Son," 
  in 
  three 
  acts 
  and 
  23 
  scenes, 
  written 
  in 
  the 
  

   mid-1 
  7th 
  century 
  by 
  Juan 
  de 
  Espinoza-Medrano, 
  a 
  Creole 
  archdeacon 
  

   of 
  the 
  cathedral 
  chapter 
  in 
  Cuzco 
  (Middendorf, 
  1890-92, 
  4:2). 
  

  

  The 
  text 
  of 
  "Usca 
  Paukar," 
  a 
  play 
  in 
  which 
  the 
  central 
  figure 
  is 
  a 
  

   beggar 
  of 
  Inca 
  descent, 
  also 
  may 
  be 
  attributed 
  to 
  a 
  European 
  in 
  the 
  

  

  