Chapter VII: The Andean South (2)

Monolithic Gateway, Tiahuanaco, Bolivia. This is regarded by many as the most remarkable prehistoric monument in America. It is approximately ten by twelve and a half feet in front dimension, and is estimated to weigh nine to twelve tons. The decoration consists of a central figure, above the doorway, which is certainly a sky-god and probably Viracocha, and a banded frieze showing groups of mythic beings. For description see pages 233-34. After a photograph in the Peabody Museum.

There is little ground to doubt that this monument is cosmical in meaning (it may also be totemic, for at least the ruling Andeans became "Children of the Sun"), and that the central figure is a heaven-god or a sun-god. The most curious of its emblems, taking into account the nature of the region, is the fish; for while there are fish in Lake Titicaca, the natives (at least today) are little given to taking them. It is possible, as suggested by the crescent on the breast of the god, that the fish is here a symbol of the moon, which may have been mistress of the waves; and this would lead us, analogically, to the capital of the Grand Chimu and the temple of Si An, where were the great deities, the Moon above and the Sea below. Certainly, if an animal form were sought to symbolize the crescent of the skies, none could be found more perfect than that of the fish; or, by extension, the bark by which man conquers the piscine realm might be conceived and imaged as symbol of the lunar ship.

Such an hypothesis implies a relation of Tiahuanaco to the coastal regions as well as to the mountain valleys; and this relationship, in a period long past, is demonstrated, representations of the deity of Tiahuanaco being found, drawn in Tiahuanaco style, on the Yunca vases. But what of its extension in the highlands? The Chavin stone (see Plate XXXI) from the region of the headwaters of Rio Marañon far to the north of Cuzco is, as monumental evidence of the ancient cult, second in importance only to the Tiahuanaco arch. The figure on this monument is in Nasca rather than in Tiahuanaco style, having as its head-dress an elaborate structure which, when viewed reversed, is found to be formed of that series of masks, each depending from the lolling tongue of its predecessor, which is so common on Nasca vases; while snakes' heads replace the condor-puma-fish adornments of the southern monument, and it is interesting to note that the whole structure terminates in a caduceus-like twist of serpents. The main figure, however, with its elaborate wands, ending exactly in the form of Jove's bolt, certainly follows the style of the central figure of Tiahuanaco, so that we are justified in assuming that it represents a similar conception--a celestial deity, from which proceed the serpentine rays, sunlight or lightning. To the far south, in the Calchaqui-Diaguité region, potsherds have been discovered implying the same central conception--the deity with mask and bolt, the dragon with head at each extremity, and a series of dragons' heads united by protruding tongues (a design whose far extension leads into the country of the unconquered Araucanians in the Chilean Andes).[138] More remarkable are the ceremonial and votive objects discovered in this region, among them certain plaques which include a masterpiece (Plate XXXVI) bearing many traits that identify it with the monumental images: the rayed head, the tears beneath the eyes, the crescent-shaped breast-ornament, and, on either side of the central image, crested dragons which appear to take the place of the wands in the type figures.

The names of this heaven-god, ancient in origin and wide in the range of his cult, have doubtless been many in the course of history; but though several of them have survived in the traditions which have been recorded, paramount among them all is that by which the divinity was known to the Inca--Viracocha (or Uiracocha). Montesinos's list of kings commences, says Markham,[139] "with the names of the deity, Illa Tici Uiracocha. We are told that the first word, Illa, means 'light.' Tici means 'foundation or beginning of things.' The word Uira is said to be a corruption of Pirua, meaning the 'depository or store-house of creation.'... The ordinary meaning of Cocha is a lake, but here it is said to signify an abyss--profundity. The whole meaning of the words would be, 'The splendour, the foundation, the creator, the infinite God.' The word Yachachic was occasionally added--'the Teacher.'"

Plaque probably representing Viracocha. The head is surmounted by a rayed disk, doubtless the sun; tears, symbolic of rain, stream from the eyes; above the hands, on either side, are dragon-like creatures which are doubtless the equivalent of the wands or serpents shown in the hands of similar figures, and which may represent the two servants of the god, as they appear in legend. After _CA_ xii, Plate VIII.

Molina, Salcamayhua, Huaman Poma, all give Inca prayers addressed to Viracocha--prayers which are our best evidence for the character in which he was regarded. In the group recorded by Molina[140] the deity appears as lord of generation of plants and animals and humankind; and to him are addressed supplications for increase. But he is very clearly, also, a supreme creator: "O conquering Viracocha! Ever-present Viracocha! Thou who art in the ends of the earth without equal! Thou gavest life and valour to men, saying, 'Let this be a man!' and to women, saying, 'Let this be a woman!' Thou madest them and gavest them being! Watch over them that they may live in health and peace. Thou who art in the high heavens, and among the clouds of the tempest, grant this with long life, and accept this sacrifice, O Creator!" In other prayers Viracocha is represented as creator of the sun, and hence as supreme over the great national god of the Incas; and in the rites which Molina describes, Viracocha (the creator), the Sun, and the Thunder form a triad, addressed in the order named. The same supremacy of Viracocha is recognized in the elaborate hymn recorded by Salcamayhua and translated by Markham after the emended text of Dr. Mossi and the Spanish version of Lafone Quevado:[141]

"O Uira-cocha! Lord of the universe;
Whether thou art male,
Whether thou art female,
Lord of reproduction,
Whatsoever thou mayest be,
O Lord of divination,
Where art thou?
Thou mayest be above,
Thou mayest be below,
Or perhaps around
Thy splendid throne and sceptre.
Oh, hear me!
From the sky above,
In which thou mayest be,
From the sea beneath,
In which thou mayest be,
Creator of the world,
Maker of all men;
Lord of all Lords,
My eyes fail me
For longing to see thee;
For the sole desire to know thee.
Might I behold thee,
Might I know thee,
Might I consider thee,
Might I understand thee.
Oh, look down upon me,
For thou knowest me.
The sun--the moon--
The day--the night--
Spring--winter,
Are not ordained in vain
By thee, O Uira-cocha!
They all travel
To the assigned place;
They all arrive
At their destined ends,
Whithersoever thou pleasest.
Thy royal sceptre
Thou holdest.
Oh hear me!
Oh choose me!
Let it not be
That I should tire,
That I should die."

It were easy to accept a pantheistic interpretation of a divinity so addressed; it is plausible to regard that deity as androgynous, as Lafone Quevado suggests. What is certain is that here we have a creator-god superior to the world of visible nature, so that he was represented, according to Salcamayhua, by an oval plate of fine gold above the symbols of the heavenly bodies in the great temple at Cuzco. Salcamayhua, moreover, connects with Viracocha two other names, Tonapa and Tarapaca, which, he declares, are appellatives of a servant (or servants) of Viracocha; and here we have a glimpse into another cycle of mythic history.

The story, as Salcamayhua tells it,[142] begins with the remote Purunpacha--the time when all the nations were at war with each other, and there was no rest from tumults. "Then, in the middle of the night, they heard the Hapi-ñuños [harpy-like daemones] disappearing with mournful complaints, and crying,--'We are conquered, we are conquered, alas that we should lose our bands!'" This Salcamayhua interprets as a New-World equivalent of the death-cry of Old-World paganism, "Great Pan is dead!"--for from their cry, he says, "it must be understood that the devils were conquered by Jesus Christ our Lord on the cross on Mount Calvary." Some time after the devils departed, there appeared "a bearded man, of middle height, with long hair, and a rather long shirt. They say that he was somewhat past his prime, for he already had grey hairs, and he was lean. He travelled by aid of a staff, teaching the natives with much love and calling them all his sons and daughters. As he went through the land, he performed many miracles. The sick were healed by his touch. He spoke all languages better than the natives." They called him, Salcamayhua says, Tonapa or Tarapaca ("_Tarapaca_ means an eagle"), associating these names with that of Viracocha; "but was he not the glorious apostle, St. Thomas?"

Many tales are told of the miracles performed by Tonapa, among others the story, which Avila narrates of Pariacaca, of the overwhelming by flood of a village, the inhabitants of which had abused him; and similar legends in which the offenders were transformed into stones. "They further say that this Tonapa, in his wanderings, came to the mountains of Caravaya, where he erected a very large cross; and he carried it on his shoulders to the mountain of Carapucu, where he preached in a loud voice, and shed tears." In 1897 Bandelier[143] visited the village of Carabuco, on Lake Titicaca, and there saw the ancient cross, known for more than three centuries, which tradition associates with pre-Columbian times. "The meaning of Carapucu," Salcamayhua continues, "is when a bird called _pucu-pucu_ sings four times at early dawn." May there not be here a clue to the meaning both of the myth and of the emblem? At dawn, when the herald birds first sing, the four quarters of the world, of which the cross is symbol, are shaped by the light of day--a token and a reminiscence of the first creation of Earth by shining Heaven.

Molina, Cieza de León, Sarmiento, Huaman Poma[144] tell of the making of sun and moon, and of the generations of men, associating this creation with the lake of Titicaca, its islands, and its neighbourhood. Viracocha is almost universally represented as the creator, and the story follows the main plot of the genesis narratives known to the civilized nations of both Americas--a succession of world aeons, each ending in cataclysm. As told by Huaman Poma, five such ages had preceded that in which he lived. The first was an age of Viracochas, an age of gods, of holiness, of life without death, although at the same time it was devoid of inventions and refinements; the second was an age of skin-clad giants, the Huari Runa, or "Indigenes," worshippers of Viracocha; third came the age of Puron Runa, or "Common Men," living without culture; fourth, that of the Auca Runa, "Warriors," and fifth that of the Inca rule, ended by the coming of the Spaniards. As related by Sarmiento the first age was that of a sunless world inhabited by a race of giants, who, owing to the sin of disobedience, were cataclysmically destroyed; but two brothers, surviving on a hill-top, married two women descended from heaven (in Molina's version these are bird-women) and repeopled a part of the world. Viracocha, however, undertook a second creation at Lake Titicaca, this time with sun, moon, and stars; but out of jealousy, since at first the moon was the brighter orb, the sun threw a handful of ashes over his rival's face, thus giving the shaded colour which the moon now presents. Viracocha, we are told, was assisted by three servants, one of whom, Taguapaca, rebelled against him; for this he was bound and set adrift upon the lake (an event which, in a different form, is given by Salcamayhua as a part of the persecution of Tonapa); and then, taking his two remaining servitors with him, the deity "went to a place now called Tiahuanacu ... and in this place he sculptured and designed on a great piece of stone all the nations that he intended to create," after which he sent his servants forth to command all tribes and all nations to multiply. The last act of Viracocha's career was his miraculous departure across the western sea, "travelling over the water as if it were land, without sinking," and leaving behind him the prophecy that he would send his messengers once again to protect and to teach his people.

Vase painting of the sky-god, Tiahuanaco style, from Pachacamac. Compare Plates XXXI, XXXIV, XXXV, XXXVI. After Baessler, _Contributions to the Archaeology of the Empire of the Incas_, Vol. IV, Plate CIV.

The tales are surely explanatory of the monuments; and in both we see the general outlines of the ancient Peruvian religion. Supreme in the pantheon was the great creator-god, High Heaven itself, Illa Tici Viracocha. Attendant upon this divinity (perhaps ancient doublets in some cases) was a group of two or three servants or sons, who were assuredly also celestial--Sun and Moon, or Sun and Moon and Morning Star, or Sun and Thunder (for in Peru _bidentalia_ were everywhere). Tonapa (whom Markham regards as properly _Conapa_, "Heat-Bearing," and the same being as Coniraya) is the Peruvian equivalent of Quetzalcoatl and Bochica[145]--the robed and bearded white man, bearing a magic staff, who comes from the east and after teaching men the way of life, departs over the sea. It is no marvel that the first missionaries and their converts saw in this being, with his cruciform symbol, an apostle of their own faith who had journeyed by way of the Orient to preach the Gospel. Yet certainly it is no mere imagination to find another interpretation of the story--what better image could fancy suggest for the daily course of the sun than that of a bright-faced man, bearded with rays, mantled in light, transforming the world of darkness into a world of beauty and the domain of the concealed into a domain of things known, before his departure across the western waters, promising to return, or to send again his messengers of light, to renew the luminous mission? When the Spaniards came, bearded and white, in shining mail and weaponed with fire, the Indians beheld the embodied form of the mythic hero, and so they applied to them the name which, is still theirs for a white man--_viracocha_. In such devious ways have the faiths and the fancies of Earth's two worlds commingled.

What ground there is for the ascription of something approaching monotheism to the Peruvians centres in the sky-deity rather than in the Sun, whose cult under the Incas, to some extent replaced that of the elder supreme god. "No one can doubt," says Lafone Quevado,[146] "that Pachacamac and Viracocha were gods who correspond to our idea of a Supreme Being and that they were adored in America before the coming of Columbus; and it is logical to attribute to the same American soil the idea of such a conception, even when it occurs among the most savage tribes, since that simply presupposes an ethnic contact to which are opposed no insuperable difficulties of geography. The solar cult is farther from fetishism than is the idea of the Yahveh of the Jews from the solar cult: from this to the true God is a step, and the most savage nations of America found themselves surrounded by worshippers of the light of day."

V. THE CHILDREN OF THE SUN

The most striking feature of the Inca conquests is their professed motive--professed, that is, in Inca tradition, especially as represented by the writings of Garcilasso de la Vega--for the Incas proclaimed themselves apostles of a new creed and teachers of a new way of life; they were Children of the Sun, sent by their divine parent to bring to a darkened and barbarous world a purer faith and a more enlightened conduct. Garcilasso tells[147] how, when a boy, he inquired of his Inca uncle the origin of their race. "Know," said his kinsman, "that in ancient times all this region which you see was covered with forests and thickets, and the people lived like brute beasts without religion nor government, nor towns, nor houses, without cultivating the land nor covering their bodies, for they knew how to weave neither cotton nor wool to make garments. They dwelt two or three together in caves or clefts of the rocks, or in caverns under ground; they ate the herbs of the field and roots or fruit like wild beasts, and they also devoured human flesh; they covered their bodies with leaves and with the bark of trees, or with the skins of animals; in fine they lived like deer or other game, and even in their intercourse with women they were like brutes, for they knew nothing of cohabiting with separate wives.... Our Father, the Sun, seeing the human race in the condition I have described, had compassion upon them and from heaven he sent down to earth a son and daughter to instruct them in the knowledge of our Father, the Sun, that adoring Him, they might adopt Him as their God; and also to give them precepts and laws by which to live as reasonable and civilized men, and to teach them to dwell in houses and towns, to cultivate maize and other crops, to breed flocks, and to use the fruits of the earth as rational beings, instead of existing like beasts. With these commands and intentions our Father, the Sun, placed his two children in the lake of Titicaca, saying to them that they might go where they pleased and that at every place where they stopped to eat or sleep they were to thrust into the ground a sceptre of gold which was half a yard long and two fingers in thickness, giving them this staff as a sign and a token that in the place where, by one blow on the earth, it should sink down and disappear, there it was the desire of our Father, the Sun, that they should remain and establish their court. Finally He said to them: 'When you have reduced these people to our service, you shall maintain them in habits of reason and justice by the practice of piety, clemency, and meekness, assuming in all things the office of a pious father toward his beloved and tender children; for thus you will form a likeness and reflection of me. I do good to the whole world, giving light that men may see and do their business, making them warm when they are cold, cherishing their pastures and crops, ripening their fruits and increasing their flocks, watering their lands with dew and bringing fine weather in proper season. I take care to go around the earth each day that I may see the necessities that exist in the world and supply them, as the sustainer and benefactor of the heathen. I desire that you shall imitate this example as my children, sent to earth solely for the instruction and benefit of these men who live like beasts; and from this time I constitute and name you as kings and lords over all the tribes that you may instruct them in your rational works and government.'"

Viewed as theology, this utterance is remarkable. Even if it be taken (as perhaps it should be) rather as an excuse for conquests made than as their veritable pretext, the story still reflects an advanced stage of moral thinking, since utterly barbarous races demand no such justification for seizing from others what they desire; and in this broader scope the successors of Manco Capac and Mama Ocllo soon interpreted their liberal commission. The third Inca, Lloque Yupanqui, decided, Garcilasso says,[148] that "all their policy should not be one of prayer and persuasion, but that arms and power should form a part, at least with those who were stubborn and pertinacious." Having assembled an army, the Inca crossed the border, and entering a province called Cana, he sent messengers to the inhabitants, "requiring them to submit to and obey the child of the Sun, abandoning their own vain and evil sacrifices, and bestial customs"--a formula that became thenceforth the Inca preliminary to a declaration of war. The Cana submitted, but, the chronicler says, when he passed to the province of Ayaviri, the natives "were so stubborn and rebellious that neither promises, nor persuasion, nor the examples of the other subjugated aborigines were of any avail; they all preferred to die defending their liberty." And so fell many a province, after vainly endeavouring to protect its native gods, as the realm of the Incas grew, always advancing under the pretext of religious reform, the mandate of the Sun.

But while the extension of the solar cult was made the excuse for the creation of an empire, it was more than a political device; for the Incas called themselves "children of the Sun" in the belief that they were directly descended from this deity and under his special care. Molina[149] tells of an adventure which he ascribes to Inca Yupanqui, meaning, apparently, Pachacuti, the greatest of the Incas. While, as a young man, the Inca prince was journeying to visit his father, Viracocha Inca, he passed a spring in which he saw a piece of crystal fall, wherein appeared the figure of an Indian. From the back of his head issued three very brilliant rays, even as those of the Sun; serpents were twined round his arms, and on his head there was a _llautu_ [the fringe, symbol of the sun's rays, worn on the forehead by the Incas as token of royalty] like that of the Inca. His ears were bored, and ear-pieces, resembling those used by the Incas, were inserted; he was also dressed in the manner of the Inca. The head of a lion came from between his legs, and on his shoulders there was another lion whose legs appeared to join over the shoulders of the man; while, furthermore, a sort of serpent was twined about his shoulders. This apparition said to the youth: "Come hither, my son, and fear not, for I am the Sun, thy father. Thou shalt conquer many nations; therefore be careful to pay great reverence to me and remember me in thy sacrifices." The vision vanished, but the piece of crystal remained, "and they say that he afterward saw in it everything he wanted." The solar imagery and the analogy of this figure, with its lions and serpents, to the monumental representations of celestial deities, are at once apparent; and there is, too, in the tale, with its prophecy and its crystal-gazing more than a suggestion of the fast in the wilderness by which the North American Indian youth seeks a revelation of his personal medicine-helper, or totem. The Incas all had such personal tutelaries. That of Manco Capac was said to have been a falcon, called Inti; and the word came to mean the Sun itself in its character as deity--or, perhaps, as tutelary of the Inca clan, since the name Inti appears in the epithets applied to the "brothers" of more than one later Inca. Serpents, birds, and golden images were forms of these totemic familiars, each buried with the body of the Inca to whom it had pertained.

Just as individuals had their personal Genii of this character, so each clan had for ancestor its Genius, or tutelary, which might be a star, a mountain, a rock, or a spring. The Sun was such a Genius of the Incas, and it came to be an ever greater deity as Inca power spread by very reason of the growing importance of their clan; while its recognition by members of allied and conquered septs came to be demanded very much, we may suppose, as the cultic acknowledgement of the Genius of the Roman Emperor was required in expression of loyalty to the reigning race.

The Inca pantheon was not narrow.[150] Besides the ancestral deities, there were innumerable _huacas_--sacred places, oracles, or idols--and whole classes of nature-powers; the generative Earth (Pacha Mama) and "mamas" of plant and animal kinds; meteorological potencies, especially the Rainbow and Thunder and Lightning, conceived as servants of the Sun; and, in the heaven itself, the Moon and the Constellations, by which the seasons were computed. Remote over all was the heaven-god and creator, Viracocha, with respect to whom the Sun itself was but a servitor. Salcamayhua declares that Manco Capac had set up a plate of fine gold, oval in shape, "which signified that there was a Creator of heaven and earth." Mayta Capac renewed this image--despising, tradition said, all created objects, even the highest, such as men and the sun and moon--and "he caused things to be placed round the plate, which I have shown that it may be perceived what these heathen thought." In illustration Salcamayhua gives a drawing which many authorities regard as the key to Peruvian mythology. At the top is a representation of the Southern Cross, the pole of the austral heavens. Below this is the oval symbol of the Creator, on one side of which is an image of the Sun, with the Morning Star beneath, while opposite is the Moon above the Evening Star. Under these is a group of twelve signs--a leaping puma, a tree, "Mama Cocha," a chart of this mountainous Earth surmounted by a rainbow and serving as source for a river into which levin falls, a group of seven circles called "shining eyes," and other emblems--the whole representing, so Stansbury Hagar argues, the Peruvian zodiac. Salcamayhua goes on to say that Huascar placed an image of the Sun in the place where the symbol of the Creator had been, and it was as thus altered that the Spaniards found the great Temple of the Sun at Cuzco.

It would appear, indeed, that the action of Huascar was only a final step in the rise of the solar cult to pre-eminence in Peru. Doubtless the sun had been a principal deity from an early period, but its close relation to the Inca clan made it progressively more and more important, so that by the time of the coming of the Spaniards it had risen, as a national divinity, to a position analogous to that of Ashur in the later Assyrian empire. Meantime the older heaven-god, Viracocha, presumably the tutelary of the pre-Inca empire and of Tiahuanaco, had faded into obscurity. To be sure, there was a temple to this god in Cuzco (so Molina and Salcamayhua attest); but to the Sun there were shrines all over the land, with priests and priestesses; while Cuzco was the centre of a magnificent imperial cult, the sanctuary honoured by royalty itself and served not only by the sacerdotal head of all Inca temple-service, a high priest of blood royal, but also by hundreds of devoted Virgins of the Sun, who, like the Roman Vestals, kept an undying fire on the altars of the solar god.

Yet Viracocha was not forgotten, even by the Incas who subordinated him officially to the Sun; and few passages in American lore are more striking than are the records of Inca doubt as to the Sun's divinity and power. Molina says of that very Inca to whom the vision of the crystal appeared that "he reflected upon the respect and reverence shown by his ancestors to the Sun, who worshipped it as a god; he observed that it never had any rest, and that it daily journeyed round the earth; and he said to those of his council that it was not possible that the Sun could be the God who created all things, for if he was, he would not permit a small cloud to obscure his splendour; and that if he was creator of all things, he would sometimes rest, and light up the whole world from one spot. Thus, it cannot be otherwise but there is someone who directs him, and this is the Pacha-yachachi, the Creator." Garcilasso (quoting Blas Valera) states that the Inca Tupac Yupanqui likened the Sun rather to a tethered beast or to a shot arrow than to a free divinity, while Huayna Capac is credited with a similar judgement. In the prayers recorded by Molina, Viracocha is supreme, even over the Sun; and these petitions, it must be supposed, represent the deepest conviction of Inca religion.

VI. LEGENDS OF THE INCAS

Stories of Inca origins, as told by the chroniclers, present a certain confusion of incident that probably goes back to the native versions. There are obviously historical narratives mingled with clearly mythic materials and influencing each other. The islands of Titicaca and the ruins of Tiahuanaco appear as the source of remote provenance of the Incas; a place called Paccari-Tampu ("Tavern of the Dawn"), not far from Cuzco, and the mysterious hill of Tampu-Tocco ("Tavern of the Windows") are recorded as sites associated with their more immediate rise; yet as Manco Capac is associated with both origins, and as the narratives pertaining to both contain cosmogonic elements, the tales give the impression of blending and duplication.

"Temple of the three Windows," Machu Picchu. Windows are not a frequent feature of Inca architecture, and when Bingham discovered at Machu Picchu the temple with three conspicuous windows, here shown, this discovery seemed to give added plausibility to the theory that Machu Picchu is indeed the Tampu-Tocco of the Incas. See pages 248 ff. and compare Plate XXX. From photograph, courtesy of Hiram Bingham, Director of the Yale Peruvian Expedition.

With different degrees of confusion all the chroniclers (Cieza de León, Garcilasso, Molina, Salcamayhua, Betanzos, Montesinos, Huaman Porno, and others) tell the story of the coming forth of Manco Capac and his brothers from Tampu-Tocco to create the empire; but of all the accounts Markham regards that given by Sarmiento as the most authentic.[151] According to this version, Tampu-Tocco was a house on a hill, provided with three windows, named Maras, Sutic, and Capac. Through the first of these came the Maras tribe, through Sutic came the Tampu tribe, and through Capac, the regal window, came four Ayars with their four wives--Ayar Manco and Mama Ocllo; Ayar Auca (the "joyous," or "fighting," Ayar) and Mama Huaco (the "warlike"); Ayar Cachi (the "Salt" Ayar) and Mama Ipacura (the "Elder Aunt"); Ayar Uchu (the "Pepper" Ayar) and Mama Raua. The four pairs "knew no father nor mother, beyond the story they told that they came out of the said window by order of Ticci Viracocha; and they declared that Viracocha created them to be lords"; but it was believed that by the counsel of the fierce Mama Huaco they decided to go forth and subjugate peoples and lands. Besides the Maras and Tampu peoples, eight other tribes were associated with the Ayars, as vassals, when they began their quest, taking with them their goods and their families. Manco Capac carrying with him, as a palladium, a falcon, called Indi, or Inti--the name of the Sun-god--bore also a golden rod which was to sink into the land at the site where they were to abide; and Salcamayhua says that, in setting out, the hero was wreathed in rain-bows, this being regarded as an omen of success.

The journey was leisurely, and in course of it Sinchi Rocca, who was to be the second Inca, was born to Mama Ocllo and Manco Capac; but then came a series of magic transformations by which the three brothers disappeared, leaving the elder without a rival. Ayar Cachi (who, Cieza de León says,[152] "had such great power that, with stones hurled from his sling, he split the hills and hurled them up to the clouds") was the first to excite the envy of his brothers; and on the pretext that certain royal treasures had been forgotten in a cave of Tampu-Tocco, he was sent back to secure them, accompanied by a follower who had secret instructions from the brothers to immure him in the cave, once he was inside. This was done, and though Ayar Cachi made the earth shake in his efforts to break through, he could not do so. Nevertheless (Cieza tells us) he appeared to his brothers, "coming in the air with great wings of coloured feathers"; and despite their terror, he commanded them to go on to their destiny, found Cuzco, and establish the empire. "I shall remain in the form and fashion that ye shall see on a hill not distant from here; and it will be for your descendants a place of sanctity and worship, and its name shall be Guanacaure [Huanacauri]. And in return for the good things that ye will have received from me, I pray that ye will always adore me as god and in that place will set up altars whereat to offer sacrifices. If ye do this, ye shall receive help from me in war; and as a sign that from henceforth ye are to be esteemed, honoured, and feared, your ears shall be bored in the manner that ye now behold mine." It was from this custom of boring and enlarging the ears that the Spaniards called the ruling caste _Orejones_ ("Big-Ears"); and it was at the hill of Huanacauri that the Ayar instructed the Incas in the rites by which they initiated youths into the warrior caste.

At this mount, which became one of the great Inca shrines, both the Salt and the Pepper Ayars were reputed to have been transformed into stones, or idols, and it was here that the rainbow sign of promise was given. As they approached the hill--so the legend states--they saw near the rainbow what appeared to be a man-shaped idol; and "Ayar Uchu offered himself to go to it, for they said that he was very like it." He did so, sat upon the stone, and himself became stone, crying: "O Brothers, an evil work ye have wrought for me. It was for your sakes that I came where I must remain forever, apart from your company. Go! go! happy brethren, I announce to you that ye shall be great lords. I therefore pray that, in recognition of the desire I have always had to please you, ye shall honour and venerate me in all your festivals and ceremonies, and that I shall be the first to whom ye make offerings, since I remain here for your sakes. When ye celebrate the _huarochico_ (which is the arming of the sons as knights), ye shall adore me as their father, for I shall remain here forever."

Finally Manco Capac's staff sank into the ground--"two shots of an arquebus from Cuzco"--and from their camp the hero pointed to a heap of stones on the site of Cuzco. "Showing this to his brother, Ayar Auca, he said, 'Brother! thou rememberest how it was arranged between us that thou shouldst go to take possession of the land where we are to settle. Well! behold that stone.' Pointing it out, he continued, 'Go thither flying,' for they say that Ayar Auca had developed some wings; 'and seating thyself there, take possession of the land seen from that heap of rocks. We will presently come and settle and reside.' When Ayar Auca heard the words of his brother, opening his wings, he flew to that place which Manco Capac had pointed out; and seating himself there, he was presently turned into stone, being made the stone of possession. In the ancient language of this valley the heap was called _cozco_, whence the site has had the name of Cuzco to this day."

Markham placed the events commemorated in this myth at about 1100 A. D., and Bingham's remarkable discoveries of Machu Picchu and of the Temple of the Three Windows appear to prove the truth of tales of a Tampu-Tocco dynasty, preceding the coming to Cuzco. The tribal divisions (in their numbers, three and ten, strikingly suggestive of Roman legend) are surely in part historical, for Sarmiento gives names of members of the various _ayllus_ in Cuzco in his own day. Yet it is clear that the Ayars are mythical beings. Garcilasso says[153] that the four pairs came forth in the beginning of the world; that in the various legends about them the three brothers disappear in allegory, leaving Manco Capac alone; and that the Salt Ayar signifies "instruction in the rational life," while the Pepper Ayar means "delight received in this instruction." The association of the two Ayars with initiation ceremonies and civic destiny points, in fact, to the character of culture heroes; and their names, Salt and Pepper, again suggest association with economic life, perhaps, in some way, as genii of earth and vegetation, though in the myth of Ayar Cachi the suggestion of a volcanic power is almost irresistible. Ayar Auca is clearly the _genius loci_ of Cuzco, while Manco Capac himself, conceived as an Ayar, is little more than a culture hero. Perhaps the solution is to be found in Montesinos's lists, where Manco Capac is the first ruler of the dynasty of the oldest emperors, after the god Viracocha himself, while the first Inca is Sinchi Rocca. The myth of the Ayars would then hark back to the Megalithic age and to the cosmogonies associated with Titicaca, while their connexion with the Incas, after the dynasty of Tampu-Tocco, would be, as it were, but a natural telescoping of ancient myth and later history, adding to Inca prestige.

In Inca lore there are other legends--the tale of the prince who was stolen by his father's enemies and who wept tears of blood, by this portent saving his life; the legend of the virgin of the Sun who loved a pipe-playing shepherd and of their transformation into rocks; the story of Ollantay, the general, who loved the Inca's daughter, preserved in the drama which Markham has translated; and along with these are many fragments of creation-stories and aetiological myths chronicled by the early writers. History and poetic fancy combine in these to give materials into which are woven beliefs and practices far more ancient than the Inca race, just as Hellenic myth contains distorted reflections of the pre-Greek age of the Aegean. By means of such tales the ancient shrines are made to speak again, as through oracles.