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Paz Soldan's Atlas / Elegia Apu Inka Atawallpaman / The CHASQUI PERUVIAN MAIL Year 12, number 23 Cultural Bulletin of the Ministry of Foreign Affairs October, 2014 Jaime Mamani. Oil on canvas. 2000. Jaime Mamani. Oil on canvas. Portrait, Portrait, PAZ SOLDAN’S ATLAS / ELEGIA APU INKA ATAWALLPAMAN / THE DEVELOPMENT OF IDEAS IN CONTEMPORARY PERU/ PRAISE OF RIVERA MARTINEZ / JAIME MAMANI: RARA AVIS / TEÓFILO HINOSTROZA’S PHOTOGRAPHY / THE PEOPLES OF YUCCA BRAVA APU INKA ATAWALLPAMAN Sporadically felt Those touched by its My heart sensed it Original version in Quechua A nasty blow fly- the harbinger of many powerful hands; again and again death; those enfolded in And in my dreams too, bewildered, Ima k’uychin kay yana k’uychi Endless pain. the wings of his heart; trapped, Sayarimun? (...) those protected I noticed the nasty blow fly- the Qosqoq awqanpaq millay wach’i by the delicate fabric of his chest; harbinger of death, Illarimun, And its strong teeth gnaw wail with the unbridled cries fate, misfortune Tukuy imapi seqra chikchi Sadness they cannot stop; of inconsolable widows. T’akakamun Its sun-like eyes have become eyes of (...) lead, (...) Watupakurqan sunqollaymi The Inka’s eyes. They say its firm bite already begins to Sapa kutin, Ruled by heaped up punishments, gnaw, Musqoyniypipas ch’eqmi ch’eqmi Atahualpa’s great heart has now turned Cut to the quick; unbearable condition Uti uti, Bitter cold, Stupefied, estranged, without justice They say the clear eye-sight of Chiririnka qhenchataraqmi, Men from the Four Regions are Isolated the great patriarch blurs Aqoy phuti. shouting out Weighing how our bodies have no […] Their lungs. shadows They say Atawallpa’s great heart has We cry, Turned cold Q’eqmaq kirus yarphachakunña The clouds of heaven have turned Having no one or nowhere to go, They say that in his four dominions Llakiy salqa. misty, Talking crazy people cry Titiyanñas Inti ñawillan blackening; So much so as to hoarse Apu Inkaq. They say that a dense fog has come Chiriyanñas hatun sunqollan darkening Atawallpaq. They say that mother moon is already Tawantinsuyus waqallaskan shrinking Hik’isparaq. as if reborn And they say that everything is Pacha phuyus tiyaykamunña plunging Tutayaspa. regretfully Mama killas q’anparmananña Wawayaspa; They say that the earth itself refuses to Tukuy imapas pakakunña shelter within it Llakikuspa. its Lord as if abashed by the body Allpas mich’akun meqllayllanta which he loved, Apullanpaq, as if afraid to swallow it, P’enqakoq hina ayallanta gulp its guardian Munaqninpaq Manchakuq hina wamink’antan (...) Millp’unqampaq. […] Aching, rueful; heartbroken, ¡Anchhiq, phutiq sunqo k’irilla restless Mana thaklla! What maiden, what dove would not Atahualpa Funerals, Luis Montero. Florence, 1867. Oil on canvas, 350 x 537 cm. Municipal Art Gallery of Ignacio Merino, in trust at the Lima Art Museum. Ima urpin mana kanmanchu take care Yananmanta? of her lover? Musphaykachaq t’illa luychu And what passionate stag Sunqonmanta? does not get carried away by his […] feelings? Chunka maki kamarinninwan ELEGIA APU INKA ATAWALLPAMAN lulusqanta (...) Sunqonllanpa raphrallanwan Those who were touched by P’intuykuspa, his strong ten fingers Qhasqollanpa llikallanwan Those that were struck by his strokes, The anonymous Quechua elegy on the death of the Inca Atahualpa is one of the greatest masterpieces of the Qataykuspa enveloped in his heart Peruvian lyrical works. Heartfelt testimony of the collapse of the Tahuantinsuyo1 Empire and heartbreaking song Llakiq ikmaq qhaqyaynillanwan Those who were sheltered Qaparispa. with fine mesh of its torso imbued with an underlying message of hope, the elegy remained unknown until 1930, when it was first translated by […] squeal with shouts Huk makipi ñak’ay qotu like mourning widows J.B. Benigno Farfan. In 1955, José María Arguedas divulged his literary translation and we have now a new version T’ipi t’ipi, Tunki tunki yuyaymanaspa (...) into Spanish, with a careful critical study by Odi Gonzales,* a poet from Cusco. Sapallayku, Mana llanthuyoq rikukuspa Ruled by a hand quenching pain, he discovery of this elegy signi- us recognize here another key aspect Waqasqayku, disaggregated ficantly impacted the Peruvian of the poem, the secret of its special Mana pi mayman kutirispa Thoughtless, estranged, without Tliterature and art of the second appeal for those who feel doomed to Musphasqayku common sense, half of the 20th century. José María a crisis similar to the world around alone, Arguedas then purposely pointed out us: the poem has expressed the Atinqachu sunqollayki, Atahualpa ("Atabalipa" Huascar’s brother, Inca or emperor of Peru) by André Thevet. 1584. Engraving. Contemplating our body without its aesthetic and literary value, "This hidden power of our people which Apu Inka, shadow elegy is a poem that is very close, in leads them to tighten and focus all Kanaykuta chinkay chaki We sob form and in the general conception its energies to overcome such bitter Mana kuska Mother moon, withdrawn, with a sick Will your heart allow us, Without turning to anyone Ch’eqe ch’eqe hoqpa makinpi face, Great Inca, among us, rambling of the composition itself, to Western trance, —although it might be hur- dwindles. poetry. It is written in stanzas with pie ting, overwhelmed, confused, hope- Saruchasqa? To wander every which way 2 And everything and everyone hides, Scattered, Your heart will allow quebrado . The rhythm, a formal ele- less— to save enough embers of life disappears, Surrounded by danger without story, great patriarch, ment, is wielded as a means of expres- that allows it, in the face of the first Ñukñu wach’eq ñawillaykita Kicharimuy, remorseful. in the wrong hands, us to wander aimlessly sion. The short verses, such as those glimpse of good weather, to make the Trampled? scattered in the verses of Manrique, strike the most of any favorable circumstances". Ancha qokoq makillaykita Mast’arimuy Earth refuses to bury separated; into the wrong hands, listener.” "The strength and drama Westphalen also pinpoints: "Szyszlo’s Its Master Open your eyes which like arrows humiliated? of the elegy were also key stimuli art is particularly suited to express Chay samiwan kallpanchasqata Ripuy niway as if ashamed of the body would hurt for the painter Fernando de Szyszlo these new aspirations, hopes, and of one who once loved it, Reach out your hands Look down and open your eyes to compose a series of oil paintings fears. His art can be compared to that As if mortified of having to devour Most giving radiating clarity which would later be exhibited at the of some painters of our time, in the its lord. Stretching them out; reach out And with this good sign your generous hands Lima Institute of Contemporary Art words of Werner Haftmann, [they] APU INKA ATAWALLPAMAN in 1963: "It is probably in this exhibi- 'do not paint trees, streams, and Translation into Spanish by José María (...) Leave us strong. And with that good sign encouraged tion that I began to find my very own dunes but instead growth, trends, Arguedas, 1955 Tell us: come back! language [...]. It is there that I really yearnings'. In this regard, we describe Moaning, heavy heart struck started live not only painting but also his painting as one of 'meditation'.” What sort of rainbow is that black Without fanfare. AL PATRiaRCA, INKA ATAWALLPA to discover my path. That is the most rainbow What virgin dove would not surrender Translation into Spanish by Odi Gonzales, important exhibition of my life." 1 Translator’s note: Tahuantinsuyo: Quechua word on the Rise? to 2013 This exhibition inspired Emilio literally meaning "The Four Regions" used to For Cuzco’s enemy an awful arrow The one it loves * Odi Gonzales. Elegía Apu Inka Atawallpaman. refer to the Inca Empire, the largest empire in Al loved? What is this pernicious black rainbow Primer documento de la resistencia inka [Elegy of Apu Adolfo Westphalen to write the essay pre-Columbian America, located in Cusco. The That dawns. What delirious and restless stag Inka Atawallpaman. First document of the Inka Poesía quechua y pintura abstracta. A Inca civilization arose from the highlands of Peru An evil hailstorm In the sky? sometime in the early 13th century, and the last Does not follow its heart? A dreadful dawn glowing resistance (XVI century). Lima, Pakarina Editors, Hitting everywhere. 2014. The book and an allusive exhibition were propósito de una exposición de pinturas de Inca stronghold was conquered by the Spanish in to harass Cuzco Szyszlo [Quechua Poetry and abstract 1572. presented at the Inca Garcilaso Cultural Center of Umallantas Wittunkuña (Su amada cabeza ya la envuelve) [wrapping its beloved head], by (...) Unstoppable hailing striking the Ministry of Foreign Affairs as part of the cycle painting concerning an exhibition 2 Translator’s note: type of lines in Spanish versifica- My heart sensed Fernando de Szyszlo. Apu Inka Atawallpaman Series. Oil, 114 x 130 cm. 1963. Private tion: a short line included in a sequence of longer It coming time and time again, against all of La república de los poetas. Antología viva de la poe- of Szyszlo’s paintings], in which he Collection. lines, either randomly or according to a regular sía peruana 2014-2021 [The republic of poets. Live stressed the virtues of the elegy: "Let pattern While I, still sunk in my dreams, Anthology of the Peruvian poetry of 2014-2021. CHASQUI 2 CHASQUI 3 was first undertaken by Alejandro some of his ideas, adjusted to the AUGUSTO SALAZAR BONDY Deustua and the philosophers that Peruvian reality. he most influenced like Mariano Throughout his book, Salazar Iberico, Ricardo Dulanto (1896- Bondy takes a look at each of these 1930), and Humberto Borja García authors with greater acuteness, THE DEVELOPMENT OF IDEAS (1895-1925). Mejia Valera believes both historical and analytical. As that for some authors, like Clem- for his historical approach, he ente Palma, Alejandrino Maguiña, makes a strong textual criticism Ezequiel Burga, Guillermo Salinas and reconstructs the intellectual, Cossio (1882-1941), and Juan social, and political environment in IN CONTEMPORARY PERU Bautista de Lavalle (1887- 1970)5, which their thoughts appeared and the decisive driver for turning to unfolded.
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