Himnos Sagrados de los Andes: The contours of Andean piety

Bill Mitchell
Abstract
Recent discussion of textuality in Amerindian cultures have recognized the different disciplines within
which the concept of 'text' is used. This in turn has led to a move away from its primary linguistic
sense to a more metaphorical use of 'text' and the processes through which it emerges. Clifford
eertz's metaphor of 'culture!as!text' has served as a point of departure for these discussions. "n the
Andes Mountains music and song form an important part of this text. "n this study we shall examine a
selection of hymns from southern #eru with a view to understanding part of the 'text' which has
formed the Bi$le translator and which informs the wor% that he or she does.
&
1. Introduction
"n the latter part of the '(
th
century no parish priest in the south of #eru was so influential in the
preservation of the )uechua language and lore as *ather +orge ,ira-
'
who died in &./0 after over
0( years in the priesthood- mainly spent in "ndian parishes of the archdiocese of Cuzco. "n &.1(
he pu$lished Himnos Sagrados de los Andes in two volumes. The first volume comprises
essentially hymns to +esus 2see Appendix &3 and the second- hymns to the 4irgin Mary 2see
Appendix '3.
These hymns had $een collected during the earlier years of his ministry in a variety of parishes5
Calca- Com$apata- Marangani- 6an #a$lo- 6an #edro- 6icuani- Tinta- and )ui7ui8ana. Many of
the hymns continue to $e sung- especially at cele$rations which do not ta%e place in church
$uildings- e.g. pilgrimages. *r. ,ira in his lyrical way states that these hymns 9have the rare
virtue of having lived for centuries in the hearts and voices of )uechua people9 2,ira- "- :3. "f
that $e true- they provide us with a uni7ue insight into the popular understanding of the Christian
faith in the Andes during the colonial period- and one which is still present today.
2. Music and language in the Andes
;hen the 6panish arrived in 6outh America there was already a long tradition of Andean poetry-
music- song and dance 26tevenson- &!</3. The instruments were $oth wind 2flutes- shells and
pipes3 and percussion 2drums of various %inds3. 6ongs were5
Haillis 2victory hymns or agricultural chants3-
Haravis 2song!cycles- hero!songs- elegies- laments3- and
Taquis 2praise songs- often used for love themes3.
6inging was often antiphonal and in pu$lic ceremonies was usually without musical
accompaniment 2arcilaso de la 4ega- &'(3. =ances had $oth religious an profane settings- and
often accompanied haravis and taquis. A music school also existed in the "nca capital where
taqui acllas literally 9chosen music virgins9 were trained to sing- dance and play instruments
2Murua- <.'f.3.
The early orders in #eru>*ranciscans- =ominicans- Mercedarians and Augustinians>found that
&
#u$lished in UBS Bulletin- &./?&.. 2'((@35 ':<!'.@.
'
Among his pu$lished wor%s are5 Diccionario Kkechuwa-Espaol 2TucumAn- &.003B !armacopea Tradicional
2,ima- &.013B !undamentos de la "engua Kkechuwa- 2,ima- &.@03- #anto de Amor- 2,ima- &.@13B $edicina
Andina% !armacopea & 'ituales- 2Cusco- &./@3.
'
music made a profound impact on the indigenous people- and as schools developed alongside the
extending evangelization- music $ecame an important su$8ect in the curriculum. "t was also
stressed $y secular authorities as a civilizing factor. After dealing with the internecine warfare
among the 6panish- #edro de la asca- Carlos 4's personal delegate in #eru from &@0: to &@@(-
instructed these orders to develop their wor%. As a result- schools were developed which not only
taught reading- writing and hygiene- $ut also music and 9how to say so- fah- mi- re9 2utiCrrez-
&.13. The +esuit order- which arrived a generation later in &@1/- was to excel in the field of
music. The second church council in ,ima had included the 7uestion of music in its deli$erations
24argas- '<03- the Third ,ima Council too% this matter up and underlined the importance of
musical instruction for the native people 24argas- <:03.
Darly dictionaries suggest that the friars and the later priests had headaches attempting to explain
their music in )uechua- e.g. 9counterpoint9 $ecomes quencu quencucta taquini5 9to sing twisting
and turning the voice $ac% on itself9 2Eolguien- <103. Counterpoint- as taught $y sixteenth
century 6panish theorists- meant more than a written wor%. "mprovising a melody a$ove a given
plainsong at sight was the goal. By contrast- the local people appear to have had little difficulty
with the music of their con7uerors. arcilaso de la 4ega left #eru for 6pain in &@1(- yet he
assured his readers that even then there was a group of native flute!players in Cuzco who could
play any piece of polyphony presented to them 2arcilaso- &'(3.
The *ranciscan +erFnimo de GrC 2&@@.!&1'.3 was $orn in #eru of 6panish parents- all his
theological and musical training was done in #eru. Ee wor%ed in the valley of +au8a in the
mountains inland from ,ima. "n &@./ he pu$lished his S&m(olo #atholico )ndiano- a manual of
hymns in )uechua to $e sung with indigenous as well as Duropean tunes. Ee states that in
*ranciscan parishes the choirs had $een singing the office of nuestra Seora with great devotion
Hfor forty yearsI 2GrC- @<3.
At a$out the same time +uan #Crez Bocanegra had $een curate in Gur ,ady of Bethlehem Church
in Cusco- then parish priest in Andahuaylillas- a few miles south of Cuzco. "n all he spent some
0( years ministering to the people in and around Cuzco. An authority on $oth )uechua and
Aymara languages- he pu$lished a #on*esionario in &1&'- and in &1<& his :'(!page 'itual
*ormulario e institucion de curas. Ee closes the latter with Hanac pachap cussicuinin+9the first
piece of vocal polyphony printed in any Jew ;orld $oo%9- composed to $e sung as people
processed into the churches on feast days for Hnuestra SeoraI. "t has $een seen as 9a strophic-
dance!li%e piece for chorus9- whose 9interest lies in its rhythmic exu$erance and in the fact that-
although utilizing a totally unfamiliar tongue- it still manages to sound li%e a sixteenth!century
villancico than anything else9- even though 9its polyphonic 7ualities seem primitive at $est9
2Eamlett- '/3. The hymn reflects a theme which would $ecome a characteristic of Andean piety
>Mary as the source of solace in grief and pain.
<
The use of ,atin and Duropean music in the liturgy was a feature of church life. The liturgy was
expected to $e sung not only in 6panish parishes $ut also in indigenous ones. The Third ,ima
Council decreed that in all parishes the Salve 'egina should always $e sung at 6aturday vespers-
and that in wholly indigenous parishes there should $e people trained to sing the Dpistle at Mass.
<
*or recording see Dx Cathedra +effrey 6%idmore- $oon, sun - all things- Eyperion Records C=A@:1'0 2'((@3-
Trac% &.
<
The Cuzco diocese was the earliest in #eru. "t was founded in &@<: and $y &@@< the masses-
motets and Magnificats of such a nota$le 6panish composer as CristF$al de Morales were in use
in the city's cathedral 26tevenson- 1@3. Jot only were native people $eing introduced to Duropean
music- attempts were also $eing made to reinterpret Andean music along Duropean lines.
arcilaso de la 4ega refers to the Cuzco chapelmaster +uan de *uentes who had- in &@@& or
&@@'- made a polyphonic arrangement of the "nca ha&lli sung to the sun at the time when land
dedicated to the sun was $eing prepared for sowing5 HThe whole choir 8oined in each
refrain...this really pleased the 6panish and utterly delighted the "ndians- who saw their own
songs and dances used $y the 6paniards to cele$rate the *estival of Corpus ChristiI 2arcilaso-
''.3.
The priests had no pro$lem a$out the introduction of their music to the faithful- $ut with the
passage of time some had increasing difficulties with the continuing use of indigenous
instruments- music and dance in Christian cele$rations. The Council of Trent had prohi$ited the
use of instruments other than the organ inside churches- $ut in the processions and festivals
indigenous instruments were used.
"n &1&< Arch$ishop ,o$o uerrero ordered that songs accompanied $y dances and the ancient
songs in )uechua should not $e used. "n &1&0 the #onstituciones S&nodales del Ar.o(ispado de
"os 'e&es prohi$ited indigenous festivals and dances- and songs in )uechua- and ordered that
indigenous musical instruments $e $urned 2BendezK- <.:3. +esuit #a$lo +osC de Arriaga 2&@10!
&1''3 had travelled throughout #eru in the campaign to eradicate idolatry- and his findings and
recommendations were pu$lished in ,ima in &1'&. Ee was convinced that the very instruments
themselves were insepara$le from the errors of the indigenous religion- and that when used in
Christian festivals such as Corpus Christi they served to perpetuate indigenous $elief and
practice 2Arriaga- '&'- '''f.3. Arriaga was not opposed to all music. Ee refers to the use of
music in worship $y the *ranciscans in +au8a as one reason why there was so little idolatry there-
it is the specific use of indigenous songs- instruments and dances that he condemns. "t was a
point of view that influenced church decisions.
By &11( the great campaigns to eradicate idolatry were over and Christianization of the people
was thought to have $een achieved. The church entered a period of consolidation and
institutionalization. Let where the indigenous population had accepted the catholic religious
system- that consolidation had to em$race certain reinterpretations of the Christian elements
from within the Andean cultural matrix. Dlsewhere- indigenous rites were carried on in a
clandestine way- often in the more remote regions.
Meanwhile the use of Duropean music had flourished- not only in Cusco $ut also in centres such
as ,ima- #otosi and ,a #lata 2modern day 6ucre3. At the same time another social dynamic had
ta%en effect. The 6panish invaders had put down roots in the Andes- and as colonial life
developed- and 6pain itself wea%ened- they now had no cultural centre. Their descendants found
themselves without a homeland. They were seen from Durope as aliens. "n this vacuum the
vitality of the indigenous culture moved slowly to reassert itself. The 9/er0 mesti.o9 had $een
$orn.
A renaissance of "nca ideals contri$uted to various social movements in the following &@( years-
0
$ut in none so clearly as the re$ellion of +osC a$riel Condorcan7ui TKpac Amaru in &:/(.
=escended from the "nca aristocracy- TKpac Amaru ""- as he was called- spo%e )uechua and
6panish- read ,atin- was well!versed in the #omentarios 'eales of arcilaso de la 4ega
0
-
understood the Andean messianic hope- and held to a Christian religious practice MyetN he was
not an exception in the eighteenth century. The re$ellion was eventually crushed- and the use of
the )uechua language proscri$ed $y law. The indigenous population continued to spea% their
language- $ut it was not until the second half of the nineteenth century- well after independence
was gained in &/'0- that there was a re!emergence of )uechua use in the mestizo population.
3. Provenance of Himnos Sagrados de los Andes
*r. ,ira collected the hymns in the &.0(s and &.@(s- $ut other than his reference to them having
$een sung for centuries- he does not date them. There is one reference to a hymn to Mary
appearing in a collection of hymns in &.'(- $ut he regards this as drawing on a much earlier
tradition
@
. The following factors are important in dating the hymns5
Archaic language
A ma8or pro$lem for the contemporary translator of the hymns is the archaic language used in
many of them. ;ords li%e arpa& 2sacrifice3- llump1aq 2innocent- chaste- pure3- u&llaku&
2intercede- implore3- willka 2sacred3- &akill 2messenger3 are very old- and can only $e understood
$y reference to very early dictionaries 2e.g. that of Eolguien &1(/3 or the accounts of the
chroniclers. The earliest J.T $oo%s translated in the '(
th
. century do not use them
1
. *r. ,ira notes
that in some cases they are now sung with 6panish words replacing the archaic )uechua word.
*or example- &uraq arpa& t1anta 2white sacrificial $read3 $ecomes &uraq hostia t1anta 2white
$read of the host3. The theological impact of the phrase is significantly changed $y the 6panish
loanword.
Absence of Spanish ters
Apart from such variants- the language of the hymns shows a mar%ed a$sence of 6panish
loanwords. Cristo- =ios- +erusalem- +esus- +esucristo- and MarOa- are the only non!)uechua terms
which recur. This could mean that the hymns are from an early period- or from a time when "nca
ideas and language were en8oying a revival and PpureQ or PclassicalQ language was sought. "t also
suggests that it was the hymns without a 6panish content which were preserved in the popular
memory.
!eflection of early church usage
6ome of the terminology is found in early hymns and in early church documents. *or example- a
religious use of the ver$ qesachaqe& 2to damage- offend3 is found in the &@/< Catechism
2Doctrina- .3. The com$ination of qollpa& and su&u& to indicate sorrow for sin is found in a
#erez Bocanegra's 'itual !ormulario. This suggests they could $e from that period or the use in
0
Gn arcilaso de la 4egaQs influence see Mitchell 2'(((3- esp. pp. &@(!&@<.
@
"lump1aq $ar2a appeared in Msr. +osC regorio Castro's 'osicler )ncaico 2,ima- &.'(3- p./..
1
Apunchis 3esu-#hristoc Evangelion San "ucaspa 4quelkascan 2Buenos Aires- &.(&3 translated $y the #eruvian
novelist Clorinda Matto de Turner- herself a native of Calca- Cusco.
@
a later period of stoc% religious language coined in the late&1th century.
Pre"hispanic influence
"n addition- some of the language- especially that of titles- is drawn from royal nomenclature of
the "nca court- which could $e meaningfully appropriated in the early colonial period- $ut not so
in the later period. These $orrowings are numerous- $ut the following examples illustrate the
point5 +uan de Betanzos in his Summa & 5arracion de los )ncas refers to the names $y which the
"ncas were addressed $y su$8ects. Ee states that in addition to the customary Seor they added
Huaccha ccu&ac which means 9lover of the poor9

2Betanzos- 1&3. "f we assume that the )uechua
word used for Seor was Apu- then the title was Huaccha ccu&ac Apu6 The same title is
employed for +esus in ,ira's collection.
The title of the "nca's wife was Sapa& 4o&a 2supreme?high 7ueen3. "n a hymn that appears to
have $een ta%en over from the royal court- Mary is addressed as 4osqo llaqtaq Sapa& 4o&an
2Eigh )ueen of the city of Cusco3. "t is difficult to see how this language could have $een
$rought into use in the church much later than the early &:th. century.
The hymns that appear to $e direct $orrowings from "nca religious or secular use- also point to an
early date of composition- e.g.5
#uri7 wayra- maytan rin%i-
chi%a us7hay phawaspay%iR
+esusllaywan tin%uspa7a
;awallay%in wa7an- nin%i.
;ind $lowing- where are you going-
racing along so fastR
"f you meet my dear +esus
Tell him- HLour little child is crying.
*r. ,ira comments Hthis hymn shows itself to have $een an invocation addressed to the ;ind-
as%ing that the guardian divinities 2or perhaps the "nca3 remem$er the weeping childI 2,ira-
"-&@3.
Lawra7 suma7 inti7 lirpun-
)os7o lla7ta7 6apay )oyan-
Mamay%utan re7siy%i%u
Mamay%upa7 6apay Ahlla.
*laming image of the sun's $eauty-
Eigh )ueen of Cuzco-
;e acclaim you our Mother
Chosen and supreme to $e our mother.
1
Ahlla was the title given to the young women selected for the highest tas%s in the empire- such
as serving the "nca and the 6un. They were set apart and lived a monastic %ind of life. The
wife of the "nca was head over all these women. This hymn appears to have honoured her.
Gthers hymns which appear to $e pre!con7uest in origin are 9"n his glorious light9. "n a variant
which ,ira gives- the reference to od is a$sent- the third line a$out the sun is paralleled in the
fourth line a$out the 96hining star9. "t is significant that as collected $y ,ira- the hymns are
mainly one verse long- at most two verses- and at times with a chorus or antiphonal structure.
)uechua hymns of the early colonial period could $e twenty or more verses long and it is
possi$le that ,ira's collection comprises the remains of some of these hymns in the oral tradition
of the people.
Ta%en together these various factors support an early date for most- if not all- of these hymns in
their original form. "t is of note that the late +esKs ,ara- the foremost Bolivian authority on
)uechua of the '(
th
. century- cites the opinion of #eruvian ethnologist and novelist +osC MarOa
Arguedas on a collection of )uechua hymns made $y *r. +orge A. ,ira as coming 9from the
early part of the Colonial period9 2,ara- &&<3.
#. $oposition of the hyns
A careful study of the hymns- together with information in the writings of the chroniclers and
other early pu$lications helps to clarify the process where$y hymns were composed.
Adaptation of indigenous songs and hyns
Reference has already $een made to the adaptation of an "nca hymn to the sun for use in the
Corpus Christi festival. Two examples of hymns from the ,ira collection which appear to $e pre!
con7uest in origin have also $een 7uoted. "n addition- the hymns 9"n his glorious light9 2"-'@3-
96hining star9 2""-&03- 9Beautiful princess9 2"".&.3- 96hining star9 2"".'(3- could have $een
addressed originally to the sun- moon- and stars.
$opositions in %uechua by esti&os or native people
By the late &1th. century there was an increasing num$er of #eruvian!$orn priests- either of
6panish parentage or of mixed 6panish!Andean parentage. "n addition to GrC and Bocanegra-
two others should $e mentioned>the +esuit Blas 4alera 2&@@&!&@.:3 and CristF$al de Molina-
the 9cuz7ueSo9. Blas 4alera- $orn in the north!central mountains of #eru- is %nown to us
principally through the writings of others who rewor%ed his materials
:
. After commenting on an
"nca poetic reflection on the wor% of od that Blas 4alera had collected- arcilaso says of his
other religious compositions5 HAll that *ather Blas 4alera had in written form were pearls and
precious stones. My native land did not merit the honour of wearing such adornmentsI
2arcilaso- &'<3.
:
Eis writings were pro$a$ly lost in the Dnglish sac% of CAdiz in &@.1. Ee was an expert on quipus- the "nca
mnemonic systems of %notted strings- and an authority on the )uechua language. Ee was one of the team who
prepared the )uechua version of the &@/< Catechism at the re7uest of the Third ,ima Council.
:
CristF$al de Molina- parish priest in Cuzco and a famous preacher of his day- was- to 8udge from
his writings- more at home in )uechua than 6panish. Ee has preserved many "nca ritual prayers-
and yet- conversant as he was with those traditions- in his own )uechua compositions and
sermons appears to have $een influenced $y the more florid rhetorical style of 6panish- as the
examples given $y uaman #oma show. 2uaman #oma- @/(f.3
6pea%ing of the role of mestizos in poetry- arcilaso says5 HThey tell me that at this time Mof
writingN the mestizos are $usy composing such verses in PindianQ- and of other %inds too- $oth
secular and religious. May od give them grace to serve him in every wayI 2arcilaso- &'<3.
Translations of aterials fro 'urope
Among the hymns under consideration- there is evidence for the adaptation of themes or ideas- as
well as the translation of 6panish originals. This could have $een carried out $y native people- $y
mestizos or $y priests of 6panish origin. The clumsy grammar in a num$er of hymns suggests
that they might have come from the hand of priests from 6pain.
An examination of voca$ulary shows how ideas were $rought into )uechua. A word that occurs
in the hymns addressed to Mary is the ver$ napa&ku&6 Glder dictionaries show meanings of 9to
converse9- 9to communicate $etween friends9- 9to $e tal%ative9- 9to greet9 2Eolguien- '@:3. "n
adapting the Salve 'egina to )uechua- napa&ku& has $een used- presuma$ly for that part of its
semantic range which means 9to greet9. Eowever- it does more than that- it $rings Mary into a
relationship of friendship and intimacy. The term is not used in hymns addressed to +esus.
The example of the versification of the Creed shows how $asic Christian doctrine was adapted
and memorised $y the faithful. 6ome matters defeat the translators- e.g. Trinity- Eoly 6pirit- with
the result that this was learned $y rote rather than understood.
6ome hymns have clear $i$lical allusions. Both 9Gur ,ord's complaints9 and 96orrow!laden
4irgin9 may reflect +esus' experience in the arden of ethsemane. ;hile 9+erusalem-
+erusalem9 appears to $e a reference to +esus weeping over +erusalem. The hymns present a re!
actualisation $y the worshipper of the event- an empathy- an identification with- and even a
participation in it.
There is at least one example of a 6panish 9copla9 which has $een translated5
Eana7 pachata To heaven
Ea%u ripusun come let's go-
=iospa %ayninwan with 9odness9
6amincha%usun we will $e $lessed.
The pro$a$le original is5
/
4Amonos al cielo ,et us go to heaven-
4Amonos allA- ,et us go there-
A gozar de la esencia To en8oy the essence
de la Trinidad. Gf the Trinity.
As noted earlier- the idea of the Trinity proves to $e a translation pro$lem- what is significant
here is that the 6panish word has $een a$andoned in favour of 9odness?od's $eing9. A wider
%nowledge of the music that came to the Andes from Durope might reveal a num$er of echoes in
the hymns- for the moment we may note
+erusalem lla7ta runa #eople of +erusalem
=iosniy%iman %utiri%uy... Return to your od...
and as% whether there might $e an echo of the wor% of CristF$al de Morales whose wor%s are
%nown to have $een performed in Cusco- and specifically of his "amentaciones- one of which
centres on5
Eierusalem
convertere
a =ominum. 2Angles- </1f.3
(yn developent and the shift of eaning
"n the process of hymn development- then- at least two factors affected the communication of
distinctly Christian ideas.
"n appropriating pre!con7uest hymns there was the 7uestion of the extent to which the
indigenous people decoded the hymns in the new context in terms of the associations of the old.
This was further complicated $y the fact that the hymn was at times accompanied $y visual
imagery congruent with that of the old5
Tllphuy%uspa much'ay%usun #rostrate let us adore
ancha suma7 %'anchayninpi the shining sun that is hidden
lliphlli7 inti pa%as7ata very od who is hidden
%i%in =ios pa%as7ata in his glorious light
This was sung during the elevation of the host in form of a dis%- $efore the congregation. "f this
hymn had pre!con7uest roots in sun worship- it is possi$le that it reinforced ideas from its
original context- even during Mass.
;ith regard to Duropean ideas and materials translated into )uechua- these passed through the
matrix of that language and its o$ligatory categories $efore $eing used in worship. "deas li%e
those of the Trinity and personhood were concretised and humanised- thus providing candidates
for a$sorption into the existing pantheon. Meanwhile the emotive range of the language
/
introduced a gentleness- an intimacy- a warmth- and a humanity- that put a different face on od
/
The use of the particles lla and &ku is mentioned in the notes to the hymns.
.
to that of much of the preaching.
). The content of the hyns
;ith some exceptions- these hymns focus on +esus and Mary- and the way in which they are
addressed is instructive for our understanding of Andean Christianity.
Titles of *esus
The most common titles $y which +esus is addressed are Apu 2,ord3- 7a&a 2*ather3- Ta&ta
2*ather3- and Dios 2od3- often in com$ination one with the other. Ee is also addressed once as
4espichiq 26aviour3- and once as &uraq arpa& t1anta 2white $read of sacrifice3. "n association
with each of the most common titles he is characterised as $eing wakcha khu&aq 2lover of the
poor3 or khu&aq sonqo 2loving!hearted3.
The Apus are the tutelar mountain deities. ,ira spea%s of +esus as the 9incarnation of the Apu9
2,ira- :3 in the thin%ing of the Andean people. The indigenous concept is appropriated $y the
church- $ut e7ually the Christian concept is appropriated $y the Andean- to $e something $oth
more and less than it was. At least as significant is the fact that +esus is seen as od and as
*ather
.
. =espite 2or perhaps $ecause ofU3 the formulations of the creeds and the attempts to
communicate the doctrine of the Trinity- od the *ather is understood as one and the same as
+esus. The term &a&a em$races the ideas of 9ancestor9- 9lord9- and a reciprocal %inship term
meaning 9father9.
The role of *esus
The role that +esus plays is implicit in the titles he is given. The main other role in the hymns is
that of a deeply compassionate vicarious sufferer. The centrality of the physical sufferings of
+esus in this reflects ,atin Christianity and the 6panish spirituality through which it was
mediated- especially the mystical element in that spirituality. This is underlined $y the use of
uku 2sweet3 to descri$e +esus- and may also account for the sense of identification with and
participation in the sufferings of +esus.

Titles of Mary
,ira has twice as many hymns to Mary as he does hymns to +esus- reflecting the predominant
role of Mary in Andean Christianity. "n over two!thirds of the hymns she is addressed as
9mother9 2mama3- $ut in only a tenth of those as the 9mother of od9 2Diospa maman3. *or the
most part the language is drawn from the imagery of the family- and from the Andean cult of the
Darth Mother 2/acha $ama3.
"n a 7uarter of the hymns she is MarOa- respectively sweet 2uku3- $eautiful 2sumaq3- pure
2llump1aq3- and excellent or supreme 2qollanan3. Many of these ideas are amplified in the rich
use of nature imagery in other titles. James of some of the most $eautiful and fragrant Andean
flowers are used5 chiwanwa& 2"".&@3- ma&wa 2"".&:3- siklla 2"".<3- t1ika 2"".<3- as are descriptive
terms indicating fragrance or freshness5 uku q1apaq- wia& llanllaq 2"".&:3.
.
The use of two terms 7a&a and Ta&ta may reflect language change over the years. 7a&a is the )uechua term for
*ather- which- when once appropriated as od!language- fell out of use in everyday discourse to $e replaced $y
Ta&ta- of ,atin origin mediated through 6panish. As 7a&a $ecame increasingly archaic- so also Ta&ta moved into
od!language- and /ap8 $ecame more common in everyday use.
&(
,anguage of the royal court an the official cult is used- she is the supreme 9chosen one9. The
term ahlla has a root meaning of 9to choose9- $ut $ecause of its use as the title for the young
women selected for the service of the "nca and the 6un- it also em$raced the idea of virginity-
9princess9 2ust9a V "".'-@-&.-<(-<@3- 97ueen9 2qo&a V "".&<-&:-0&3- 9sacred one9 2willka V "".0&3.
The imagery of the celestial $odies- also worshipped at the time of the Con7uest- is drawn upon
9flaming image of the sun's $eauty9- 9star that lightens the night9- etc. 2"".&-&<-&0-&.-'(3. This is
an understanda$le application to one who was regarded as 'egina coelorum- and although it is
stressed that she is purer and greater than the sun- these titles contri$ute to an Andean
reinterpretation of Mary. +ust as the flowers mentioned earlier are characteristic of Andean lyric
poetry- so the terms 9my dove9- 9my dear heart9- 9my little flower9 are characteristic of )uechua
love poetry 2""./3. This stresses again the personal and intimate relationship thought to exist with
Mary- a com$ination of 6panish and Andean strains.
"n short- the whole range of )uechua expression is pressed into service- Mary is even the 9dear
shepherd9 2"".<@3. They com$ine to produce an image of splendour- purity- fragrance- $eauty and
supremacy5 from immaculate conception to assumption to heaven- a 7uite uni7ue figure. Let- at
the same time- she is the archetypal Andean mother- the 9true mother9.
The role of Mary
6he loves- she cares- she has mercy- she guides- she shepherds- she listens- she sympathises- she
guards- she %eeps- she spea%s gently- she holds- she suffers- she shelters- she receives the
wayward child- she intercedes- and she saves. 6he is revered $y angels- and sought- found and
loved $y sinners. 6he is present- though a hint of her a$sence at times creeps in.
+esus and Mary seen against a $roader $ac%ground of Andean thought where a male?female
diarchy with complementarity o$tained in pre!con7uest structures- it would seem that the
*ather?6on distinction coalesce in the male figure +esus. The female element was supplied $y
Mary. The concepts of tutelar mountain deity and of the Darth Mother have informed this
process. The Eoly 6pirit appears to have $een reduced to another level in the pantheon- either
that of the saints or that of the winds 2".:3. Then as now the concepts of spirit- saint- disem$odied
$eing- and wind $elonged to same level of reality.
+. The conte,t in -hich hyns have been used.
A num$er of hymns have annotations regarding their use- they indicate the following contexts
for the hymns5
.se in the Mass
9Lou are od9 2".'<3 and 9"n his shining light9 2".'@3 were used in masses. Jot only were these
hymns used in the past- many continue in use today- the former as an official eucharistic hymn
which was sung spontaneously $y the congregation when the host was lifted up $y the priest.
The latter was sung at a similar point in certain special masses.
/ent and (oly 0ee1
Although church councils decreed a num$er of festivals that had to $e o$served each year- in
&&
practice the cele$ration of Eoly ;ee% was the one time in the year when indigenous people from
the more rural areas confessed and were present at Mass. "n preparation for Eoly ;ee%- missions
were held in ,ent. The hymn 9Crucified9 2".<3 was sung as the mission team came in procession
to the native community- $earing the cross of +esus aloft. 9The world $elow9 2".'(3 was another
mission hymn- warning the sinner. =uring the general communion on Thursday of Eoly ;ee%-
the point at which the ,enten missions ended- 9Come- my dear +esus9 2".'03 was sung. 9reat
*ather- +esus Christ9 2".&3 was sung on ood *riday- accompanied $y the harp. 9+esus- my dear
*ather9 2".'3 which spea%s of +esus $eginning his 8ourney to death's hill- was sung at the
$eginning of the 9sermon of the three hours9. ;hile 96weet +esus9 2".@3 was sung spontaneously
at different times during that sermon on the 9seven words9. 9+erusalem- +erusalem9 2".&03 was
also sung in relation to the passion of +esus.
"n the procession recalling the 4ia Crucis of +esus on ood *riday- 9My dear +esus- " am
following you on this $loody road you wal%ed9 2".&@3 was sung repeatedly as a prayer.
2estivals an Pilgriages
Church festivals included those which were part of the traditional church calendar- and those
developed around pre!Christian shrines- apparitions and visions. #ilgrimages- a characteristic of
pre!Christian times in the Andes have continued to the present day as a manifestation of Andean
religion. After Eoly ;ee%- the most important date in the church year for the Andean people is
All 6ouls' =ay 2Jov.'3. The solemn 9death9 is entoned then.
Gne of the most important pilgrimage sites near Cusco is the shrine to the 9,ord of the #illar9 2Dl
6eSor de ;an%'a3. :ank1a in )uechua means 9roc%9- or 9protu$erance9 at a point where a
strangely shaped roc% protrudes from the mountainside. 9Gur ,ord's complaints9 2".&<3 was 2and
is3 sung with great fervour and emotion at that festival- held in 6eptem$er.
Most Andean festivals end with the Kacharpari 2farewell3- during which the image is returned to
the shrine or church. The hymns 9*arewell9- 9oo$ye to our mother9- 9*arewell to the 4irgin9-
and 9Jow with od9 2"".</!0&3 were traditionally sung at this point 2a practice still found today3.
These hymns that close the festival also mar% the end of a certain intensification of sacred space
and sacred time which has o$tained throughout the festival. This is similar to the sense of
solidarity with the sufferings of +esus commented on earlier with regard to Eoly ;ee%. "t points
to the relatedness of festival?cele$ration with everyday life in Andean reality. The use of
9festival9 in Dnglish implies a happy occasion- it should $e pointed out that Andean festivals are
not necessarily so. Eoly ;ee% is mar%ed $y intensity and even of struggle.
Serons
A final context for these hymns is as accompaniment to sermons on specific themes.
96heep that gets lost9 2"./3 accompanied a sermon on the para$le of the lost sheep- 9Remaining in
sin9 2".&13 reinforced a sermon on sin- H+udgment day9 2".&.3 went with a similar sermon- while
a hymn li%e 9=eath9 2".&/3 stressed the urgency of things 2and was also sung at re7uiem masses3.
9;allowing in sin9 2".03 and 9#lease listen to me9 2"".'/3 were $oth hymns of penitence
addressed to Mary.
&'
The settings of these hymns shed light on the practice of the church at different moments in the
Andean church year in the colonial period and more recent times. "t is significant how many of
them have $een preserved in settings outside that of the church $uildings- i.e. in festivals and
pilgrimages- and are sung spontaneously $y the congregation rather than under the direction of
the leader of worship.
3. $onclusions
*r. ,ira has $e7ueathed a fascinating legacy of Andean spirituality. The hymns give an insight
into the understanding and expression of the Christian faith in the southern Andes of #eru in the
colonial period>an understanding that shaped the present!day expression of the faith.
The linguistic constraints of the )uechua language and thought forms moulded the Andean
appropriation of the Christian message. At the same time- the use of pre!Con7uest poetry and
imagery too% into the new context associations from the past- giving them a continuing validity.
Gver against the churchQs reluctance to express %ey theological terms in )uechua is set an
amazing readiness to inculturate +esus Christ and the 4irgin Mary through the appropriation of
ProyalQ terminology- the Andean understanding of the Pultimates of existenceQ- and the intensely
relational )uechua language.
The contours of colonial piety were shaped around a powerful lord?ancestor?father whose
sufferings resonated deeply with the peopleQs suffering- and around Mary- the compassionate
caring mother- 7ueen of heaven and earth. 6uch developments were strengthened and fostered $y
the growth in pilgrimages to the increasing num$er of Marian and Christ shrines- the devotion to
the Sant2ssimo Sacramento and the importance of the feast of Corpus Christi.
&<
4ibliography
Angles- Eiginio. H,atin Church Music on the Continent V <. 6pain and #ortugalI in The 5ew
;<*ord Histor& o* $usic =ol6 )=% The Age o* Humanism. Dd. A$raham- .
2,ondon- &.1/3.
de Arriaga- #a$lo +osC. 9DxtirpaciFn de la "dolatrOa el #erK9- in *. Dsteve Bar$a- #r>nicas
/eruanas de )nter?s )nd2gena- 2Madrid- &.1/3.
de Betanzos- +uan. M&@@&N. H6umma y Jarracion de los "ncasI in *. Dsteve Bar$a- #r>nicas
/eruanas de )nter?s )nd2gena- 2Madrid- &.1/3.
Doctrina #hristiana & #atecismo para )nstruccion de los )ndios- 2,ima- &@/03.
Dsteve Bar$a- *. #ultura =irreinal- 2Barcelona- &.1@3.
!!!!!!!!!!!!!!!. #r>nicas /eruanas de )nter?s )nd2gena- 2Madrid- &.1/3
BendezK Ay$ar- D. "iteratura 4uechua- 2Caracas- &./(3.
arcilaso de la 4ega. M&1&:N #omentarios 'eales de los )ncas- 4ol. &. ed. A. Rosen$lat- 2Buenos
Aires- &.0<3
uaman #oma de Ayala- *elipe. M&1(.N. 5ueva #oronica & Buen @o(ierno. 2#aris- &.<13.
utiCrrez de 6anta Clara- #edro. 9Eistoria de las uerras Civiles del #erK9- in #r>nicas del /er0-
4ol. "4- ed. +uan #Crez de Tudela Bueso- 2Madrid- &.1<3- p.&.1.
Eamlett- Ro$ert Curtis. 9An "nvestigation of 6elected Colonial ,atin American 4ocal?Choral
;or%s- including practical performance editions9- #h.= diss.- 2Eatties$urg5
Tniversity of 6outhern Mississippi- &./13.
Eolguien- . M&1(/N =oca(ulario de la "engua @eneral de Todo el /eru "lamada "engua
4quichua o del )nca, 2,ima- &.@'3.
,ara- +esKs. "a /oes2a 4uechua- 2MCxico- &.0:3.
,ira- +orge. Himnos Sagrados de los Andes 2Cusco- &.1(3.
Martin de Murua. M&1&&N Historia general el /er0- ed. D. M. Ballesteros- 2Madrid- &./:3.
de Molina- CristF$al. M&@:0N !a(ulas & 'itos de los )ncas- 2,ima- &.0<3.
Mitchell- ;illiam. '(((. HRedeeeming the #ast and *acing the *uture5 the Andean P;riting
#rophetsQI in R.G. Gmanson 2ed.3- ) $ust Speak to 7ou /lainl&- Carlisle5
#aternoster #ress3- pp. &<:!&@0.
Gmanson- Roger G.- ed. '(((. ) $ust Speak to 7ou /lainl&. 2Carlisle5 #aternoster #ress.3
de GrC- +erFnimo. M&@./N S&m(olo #atholico )ndiano. 2,ima- &..'3.
6ilver$latt- "rene. $oon, Sun and :itches- 2#rinceton-&./13.
6tevenson- R. The $usic o* /eru% A(original and =icero&al Epochs- 2;ashington- &.1(3.
4argas Tgarte- Ru$Cn. #oncilios "imenses- 4ol.&- 2,ima- &.@&3.
&0
Appendi, 1
(inos Sagrados de los Andes " I
1. Apu 5aya *esucristo 6reat 2ather *esus $hrist
Apu Laya +esucristo- reat *ather
&(
+esus Christ-
)espichi7niy =iosnillAy
&&
- my 6aviour and my dear od-
Ri%ray%ita mast'arispan5 with outstretched arms5
Eampuy- waway- niwashan%i. Come $ac% my child- you are saying to me.
Ri%ray%ita mast'arispan ;ith outstretched arms5
Eampuy
&'
- waway- niwashan%i. Come $ac% my child- you are saying to me.
2. *es7s 5ayall8y *esus y dear 2ather
Wu%Su +esKs Layallaymi 6weet +esus my dear *ather
;aSuy or7oman puririnSa has $egun his 8ourney to death's hill-
;aSuyllanwan %unay%u%u7 he who gently warns me with his death-
AU...)anchis simi rimayllanwan ohU...$y simply spea%ing his seven words.
3. $ha1atas9a $rucified
Cha%atas7a %'irinchas7a Crucified- wounded
Apu +esus hamusun%i the ,ord +esus comes to you
Euchasapa churillanta his sinful little son-
Tapupaya%amusun%i
&<
. he as%s for you over and over again
#. (uchapi 9hospa9 0allo-ing in sin
Euchapi 7hospa7
&0
millay %uru7a- A horri$le worm wallowing in sin
"ma nispata7 napay%us7ay%i how will " greet?worship youR
Xharullamanta maSa%us7ay%i Gnly from a distance will " pray to you-
MaSa%us7ayta uyarillaway #lease hear my prayer-
&(
Apu 7a&a5 ,ira suggests that this can also $e translated 9#owerful ,ord9- $ut 9Laya9 is most naturally translated
9father9. "n contemporary )uechua it is used only with reference to the deity- the ,ord's #rayer is the 9Layay%u9
2literally 9father Y &st. person plural exclusive suffix3.
&&
The particle !lla! which occurs fre7uently in )uechua gives a note of intimacy and identification to the word.
&'
Hampu&5 gives the idea of returning to the place from where one left.
&<
Tapupa&akamusunki5 implies the a$sence of the one as%ed after and also real concern and interest for the a$sentee.
&0
4hospa&5 is used typically of a pig wallowing in mud or dirt. This is a specifically Christian metaphor for sin.
&@
Tyarillaway. #lease listen to me.
). :u1;u *es7s S-eet *esus
Wu%Su +esus Layay- 6weet +esus my *ather
;a%cha %huya7 Apu- ,ord who loves the poor-
Xhuyapayallaway- Eave compassion on me
Euchasapay%ita
&@
. a sinner who is yours
&1
.
+. Apu *esucristo /ord *esus $hrist
Apu +esucristo ,ord +esus Christ
Xhuya7 son7o Tayta loving!hearted *ather-
Xhuyapayallaway have mercy on me-
;a%cha waway%ita your poor child.
3. Puri9 0ayra 0ind blo-ing
#uri7 wayra- maytan rin%i- ;ind $lowing- where are you going-
chi%a us7hay phawaspay%iR racing along so fastR
+esusllaywan tin%uspa7a "f you meet my dear +esus
;awallay%in wa7an- nin%i. Tell him- 9Lour little child is crying9.
<. $hin1a9 u-issa Sheep that gets lost
#isi son7o uwissa *aint!hearted sheep
Xunanmi 7anwan rimasa7 Jow " will tal% with you
Muna7llay%ita che7nispa Lou hate the one who does nothing $ut love you-
Che7ni7llay%ita waylluspa. Lou love the one who does nothing $ut hate you.
=. $riston rantinchista
&:
$hrist instead of us
Criston rantinchista muchun Christ suffers in our place-
;aSuyninwan %awsarinchis ;ith his death we live-
&@
There is an essential )uechua simplicity to this hymn and to the one that follows- four lines of six sylla$les each.
&1
,iterally 9your sin!full!of!one9. The one word says $oth 9" am a sinner9 and 9" am yours9.
&:
This has a high Christian theological content- $ut the )uechua does not have a natural ring to it- especially the
third line where the ideas of 9chaski&9 and 9manu!9 do not easily fit together. The )uechua suggests that the
composer is not a mother!tongue spea%er.
&1
#aymi chas%in manunchista (e receives
&/
our de$t-
#aymi pichan huchanchista. (e sweeps away our sin.
1>. Taytay 1aypi;an 1ani I a here no-? y 2ather
Taytay %aypiSan %ani- " am here now- my *ather
Aw7a churiy%i %ar7ani- " was your re$ellious child
;a7a%uspay%in %unan7a But now- weeping $itterly
Sa %uti%ampuy%iSa. " return to you 2never to go3.
11. *esuspa ya-arnin The blood of *esus
#hoir
+esuspa yawarnin The $lood of +esus !
"ma suma7 yawar such $eautiful $loodU
=iosniypa yawarnin The $lood of my od-
Euchay%una7 hampin. The cure for my sins.
#ongregation
Ch'uyanchay son7oyta #urify my heart
tu%uy huchamanta. from all sin.
Ch'uyanchay son7oyta #urify my heart
tu%uy huchamanta. from all sin.
12. (erusale *erusale
Eerusalem lla7ta runa #eople of +erusalem-
=iosniy%iman %utiri%uy Return to your od-
6ipiwaspa sipiwaypas Xill me- if you must- even so
Manan anchuriy%imanchu. " will not a$andon you.
13. Apunchispa -illa1uynin1una
&.
@ur /ordAs coplaints
#hoir
Millay 7a7a7 7ayllallanpi Close $eside that awful roc%
Tylla%uspa maSar7ani. " pleaded and prayed.
#ongregation
&/
#erhaps in the sense of accepting responsi$ility for- or of receiving to himself.
&.
This refers to +esusQ prayer in ethsemane. "t is sung regularly in the sanctuary of the Seor de :ankaVa pre!
Colom$an sanctuary characterised $y a sacred roc%.
&:
Millay 7a7a7 7ayllallanpi Close $eside that awful roc%
Tylla%uspa maSar7ani. " pleaded and prayed.
1#. *erusale *erusalepis *erusale? *erusale
+erusalem +erusalempis +erusalem- +erusalem-
runa %huya7 Layallanchis our dear *ather who pities humanity
unuy parata wa7aspa weeping uncontrolla$ly
'(
-
7ollpay!7ollpayta suyuspa. so$$ing so $itterly
'&
.
1). 5a-ar ;an 4loodstained road
=erse
Xay yawar San puris7ay%ipin My dear +esus- " am following you
+esusllAy- 7ati%amushay%i- on this $loodstained road you wal%ed
''
-
7anwan %us%alla waSuspay7a even if " die together with you
mis%'i waSuyta waSusa7pas. death will $e sweet for me
'<
.
'e*rain
Xhuyapayallaway- TaytallAy- Eave mercy on me- my dear *ather-
#ampachawayta7- =ios LayallAy- *orgive
'0
me- od my dear *ather-
Anchan huchalli%us7ay%una- My sins are great-
Anchatan- AU...phiSachir7ay%i. Gh..U " have made you very angry.
1+. (uchallaypi 1allaspayi !eaining in y sin
Euchallaypi %allaspaymi Remaining in my sin
%awsayniypa nu%Su %awsay my life's sweet centre-
7an =iosniyta phiSachiy%i " anger you my od
mana chanin %awsayniywan. with my un8ust life?$ehaviour.
13. (ay1Aa91aa (o- longB
'(
,iterally 9weeping heavy rainfall9.
'&
,iterally 9so$$ing nothing $ut salt9.
''
Gr- 9as you wal% this $loody road9.
'<
,iterally 9" will die a sweet death9.
'0
,iterally 9ma%e me flat9.
&/
Eay%'a7%ama- waway- niway- Tell me- my child- how long
chin%aris7a puri%un%iR will you wander getting more and more lostR
Ama- ari- chhayna %aychu =on't- then- $e li%e that
purun aw7a 7esacha7ey. stop $eing a savage enemy.
1<. 0a;uy pacha Ceath
;aSuy pacha chayamun7a- =eath
'@
is coming-
)on7ay 7on7ay tarisun%i- "t will overta%e you very suddenly-
)antapuni mas%hasun%i- "t's you
'1
it will see%-
Xawsayniy%in tu%u%un7a. Lour life will end.
1=. Taripay pacha *udgent day
Xunan p'unchay %awsa7 runa- MGN Man who is alive today-
imapita7 yuyayniy%iR what are you thin%ing a$outR
Mana taripana hina Lou go on in your sin
huchay%ipi purishan%i. as if there were no 8udgment
':
.
2>. .1hu pacha The -orld insideDbelo-
Euchasapa runapa7chus "f only there were no endless
;iSay muchuy mana %anman- suffering for sinful man-
=iospa simin p'a%i7pa7chus- "f only there were only endless 8oy
Xusi%uylla wiSay %anman- for the one who $rea%s od's word
Xusi%uylla wiSay %anman
'/
. if there were only endless 8oy.
21. (ana9 pacha The -orld aboveDheaven
Eana7 pachata To heaven
Ea%u ripusun come let's go-
'@
:au& pacha5 literally 9death sphere?time?place?world9 and this indicates the wide range of meaning of 9pacha9 !
place- time- earth- land. "n the accompanying ver$ there is the idea of something that comes from there to here- it is
$ehind and catches up with the person. "n spatial terms- the future is $ehind and the past is in front.
'1
4antapuni5 'nd. person singular Y direct o$8ect mar%er Y suffix indicating strong focus and emphasis.
':
Gr 9as if you'd never $e found out9.
'/
A series of rhetorical conditionals which to affirm the opposite- i.e. there is endless suffering for the sinner.
&.
=iospa %ayninwan with 9odness9
6amincha%usun we will $e $lessed.
22. Ea-saripuy pacha The -orld of life again
Ea%u ya%ill puririsun Come- let's $e 7uic%ly on our way-
=ios Layanchisman To od our *ather
Chaninchas7a %ananchispa7 to $e 8ustified?purified
%awsas7anchismanta from the way we have lived.
Eatariy- ariU 6ayariy- ari- et up thenU Arise then
7anpas asna7 aychaU you too- stin%ing flesh?$ody.
23. %ani Cios 1an1i 5ou are 6od
)anmi =ios %an%i- yura7 arpay t'anta- Lou are od- white $read of sacrifice-
7on7or sayaspan chun%a much'ay%uy%i5 motionless on %nees " adore you reverently-
Tyarillaway- Apu +esucristo- #lease hear me- ,ord +esus Christ-
=ios wa%chay %huya7. od who loves the poor.
2#. (auy *esusll8y $oe? y dear *esus
Eamuy +esusllAy Come- my dear +esus-
6on7oy u%human- to my innermost $eing
)an muna%uypi in order that it may flame
rawrarinanpa7. with love for you.
2). Ancha sua9 1Aanchayninpi In his glorious light
Tllphuy%uspa much'ay%usun #rostrate let us adore
ancha suma7 %'anchayninpi the shining sun that is hidden
lliphlli7 inti pa%as7ata very od who is hidden
%i%in =ios pa%as7ata. in his glorious light.
'(
Appendi, 2
(inos Sagrados de los Andes " II
1. %ollanan MarFa Mary? ost e,cellent
)ollanan MarOa- Most excellent Mary
Tuta %'ancha7 7oyllur 6tar that lightens the night-
Wanta chin%achispa ;hen we lose the way
AU..AU..7hawapayanay%u. Gh..oh..we should always loo% to you
Wanta chin%arispa ;hen we lose the way
AU..AU..7hawapayanay%u. Gh..oh..we should always loo% to you.
2. Sua9 nustAa 4eautiful princess
Eana7 pacha suma7 nust'a- Beautiful heavenly princess-
La%ill%una7
&
ullphuy%unan- the one angels revere-
)anmi =iospa maman %an%i- you are the Mother of od-
AU...Euchasapa7 wayllu%unan. GhU...the one sinners love.
3. Sua9 si1lla 4eautiful siklla
#uruntas7a suma7 si%lla
'
- Tni7uely $eautiful delicate flower-
Mis%'i 7'apa7 yura7 t'i%a- *ragrant!scented white flower-
Wan %unan7a hampuniSa Jow 2at last3 " have returned-
#antas7ayta re7si%uspay- realising that " have gone astray-
Chas%illaway waway%ita. please receive me- your child.
#. Son9ollaypa 1usin My heartAs Goy
AU Wu%Su MarOa- Ah..sweetest Mary-
6on7ollaypa %usin- My heart's 8oy-
)anpin suya%uni " hope in you
)espi%unallayta. *or my salvation.
). :ustAallaytan My dear princess
&
7akill5 This archaic word appears to mean 9messenger9- with the implcation that a heavenly messenger is an angel.
,ira 7uotes the following parallelism from an old text5
"ma allin ya1ill- G good essenger-
%usi te7si 1acha. the one sent from the land of delight?heaven.
'
siklla ! an edi$le plant with a delicately shaped $lue flowerB in figurative language it means 9lovely- graceful9.
'&
Wust'allaytan napay%usa7 " will greet my dear princess
,la%illaytan willay%usa7 " will tell her all my sorrow
Mamayman hina. as " would to my mother.
Mamay hinan yanapawaspa Eelping me li%e my mother
Ai...lla%iyniyta thasnu%uspa Gh...gently calming my sorrow
%usichiwan7a. she will ma%e me happy.
+. Allinnillaypa9 2or y o-n -ellbeing
6umay!suma7llan %an%i So7apa7 Lou are so $eautiful to me-
Wu%Su MarOa- allinnillaypa7. 6weet Mary- all for my good-
Ri%ch'ayniy%ita 7hawarispallan +ust loo%ing at your image
,la%lla son7oypas %allpanchay%u%un My trem$ling heart warms with strength.
:. Ma8y? 1huyapaya-aspa Mother ine? have ercy on e
MamAy- %huyapayawaspa Mother mine- have mercy on me-
+esusta maSay%apuwayB pray to +esus for meB
Euchaymi 7aparispara75 My sin calls out saying to me5
Chin%ariwa7ta7- niwashan. Lou may $e lost.
<. .nuy parata -a9aspa 0eeping copiously
Tnuy parata wa7aspa ;eeping copiously
Cha%iy%iman ullphuy%uni- " $ow low at your feet-
TrpillAy- son7ochallAy- t'i%aychAy
<
. My dove- my little heart- my little flower.
Xhuyapayallaway- MamAy- Eave mercy on me- mother mine
AU...#isi son7o waway%ita- GhU Lour faint!hearted child-
T'i%allAy- son7ochallAy- urpillAy. My little flower- my dear heart- my dove.
=. Maay1u Earen @ur other $aren
Mamay%u Xarmen Gur mother Carmen-
Xas7ay%imanta $ecause of who you are
;away%imanta pray on our $ehalf
MaSapuway%u. to your child.
1>. $hAuyay chAuyayllan 0holly pure
<
The language here is that of love poetry.
''
Ch'uyay ch'uyayllan pa7arir7an%i
0
- Cristaline pure you were $orn-
Japay%us7ay%i =iospa maman. " greet you- Mother of od.
Ch'uyay ch'uyayllan pa7arir7an%i- Cristaline pure you arose-
Japay%us7ay%i =iospa maman. " salute you- Mother of od.
11. Eusi sai (appy blessing
A- MarOa- So7a7 mamay- G Mary- my mother-
,lapa runa7 %usi samin- =elight and 8oy of all-
Lanapaway- pusapuway Eelp me and lead me
Eana7 pacha wasinchista. to our heavenly home.
12. Hapay1us9ay1i 9ollanan MarFa I greet you? e,cellent Mary
Japay%us7ay%i- 7ollanan MarOa- " greet you- excellent Mary-
Xay we7e pachapi
@
huchasapa7 Maman- the sinner's mother in this sad earth-
,la%i7 intus7anmi waway%i%una7a your children are surrounded $y sorrow-
Cha%iy%imanSa ullphuy%a%amuy%u 2and3 we $ow down imploringly at your feet
Mamay%iman hina. as to our very own mother.
13. Sua9 inti9 lirpun Mirror of the beautiful sun
Lawra7 suma7 inti7 lirpun- *laming image of the sun's $eauty-
)os7o lla7ta7 6apay )oyan
1
- Eigh )ueen of Cuzco-
Mamay%utan re7siy%i%u ;e acclaim you our Mother
Mamay%upa7 6apay Ahlla
:
. Tni7ue virgin chosen to $e our mother.
Euchasapa wawallay%in Lour sinful child
Cha%iy%iman %'umuy%amun- $ows at your feet-
)hawarillaway- Mama... #lease loo% on me- Mother...
Ch'as%a 7oyllur Sawiy%iwan. with your 4enus of an eye.
1#. Achi1yay 9oyllur Shining star
0
There is a resonance here with original myths and the official ideology of the "ncas. The first "nca and his wife-
$ama ;cllo- emerged from the pa9ari9 tampu 2place of origin?$irth?dawn3- in the midst of struggle and intrigue.
The $ama introduced $y the church has a 7uite different origin?$irth.
@
:eqe pachapi5 literally 9tear land!in9- appears as the translation of 9valley of tears9 in the &@/< Catechism. A
figure drawn from #s. /0.1.
1
Sapa& 4o&a5 the title of the "nca's wife.
:
Sapa& Aclla5 Title of the head over the "nca's 9vestal virgins9.
'<
Achi%yay 7oyllur 7anpunin Lou alone are the star of dawn
X'anchay%amuway%u waway%i%unata ,ighten us- your children.
Achi%yay 7oyllur 7anpunin Lou alone are the star of dawn
Achi%yay ch'as%a 7anpunin Lou alone dawn on the dar%.
1). %ori chi-an-ay 6olden chi-an-ay
Eana7 pachapi 7ori chiwanway
/
Bright golden flower of heaven-
=ios Laya7 munaspa mall%i%us7an #lanted $y od the *ather who wanted to do so-
Ch'uya pho7che7 %ayniy%imanta
.
ive to each one of us
,lapay%umanyari ra%irimuy. 26ome3 of your overflowing purity.
1+. %ayllay1auy1in 6ently I approach you
)ayllay1amuy%in
&(
7ayllay1amuy%in ently- reverently " approach you-
6uma7 urpillAy- ima niwan%is- My $eautiful dove- what will you say to me-
"ma niwan%is 7haway1uwaspaR ;hat will you say when you loo% intently at meR
6on7oy u%human imallatapas 6ay something to my innermost $eing-
"mallatapas- niy1uway- ari. #lease- 8ust something.
13. :u1;u 9Aapa9 S-eet fragrant one
Wu%Su 7'apa7- napay%us7ay%i- 6weet fragrant one- " greet you-
)oya%una7 7oyanmi %an%i- Lou are the )ueen of 7ueens-
MaSa%us7ayta uyariway- Eear my re7uest?prayer-
;iSay llanlla7 suma7 maywa. Beautiful lily- forever fresh.
1<. Son9ollaychus If y heart...
6on7ollaychus llanllariwan- "f my heart would revive
&&
-
Junallaychus %awsarinpasB "f my spirit would $egin to live-
MamallaychA muna%uwan #erhaps my dear mother would love me-
#aywan %us%a %awsanaypa7. so that " would live together with her.
1=. Pillas chha9ay sua9 nustAa 0ho is that beautiful princessB
/
The chiwanwa& is a Andean flower li%e the lilyB another version has qori a.ucena 2golden lily3.
.
Another version has gracia phoqcheq ka&ni&kimanta ! 9of your overflowing grace9.
&(
The letters in $old are mine. The tone of this verse hangs on the repeated use of !y%u?y%a!- it adds a dimension of
gentleness on the one hand and interest- care and endearment on the other. Coupled with urpi 2dove3 and sonqo
2heart3 we move into the realm of a close- intimate relationship.
&&
Gr5 Could my heart revive
Could my spirit $egin to live again-
#erhaps...
'0
#illas chha7ay suma7 nust'a- +ust who do they say that $eautiful princess is-
)oyllur%ama lla7ollayo7- with the cloa% made of stars-
6ayayninri warmipunis 6uch size- a woman- no dou$t a$out it- they say-
"nti %illa sarunayo7. her footstool the sun and moonR
2>. $hAas1a 9oyllur Shining star
6ami mas%ha7- ch'as%a 7oyllur 6ee%er of good- shining star-
6amiy%iwan ari saminchaway. Bless me with your good fortune.
Xhuya%uyniy%iwan ZhayU niway "n your love as% me- 9;hat's the matterR9
Einantinpa millayninta. Through the pervading awfulness.
21. /lupAa9 MarFa (oly Mary
,lump'a7 MarOa
&'
Eoly Mary-
=iosniypa Maman Mother of od-
Xhuya%uyllawan "n your mercy
)hawarimuway. ,oo% upon me
&<
.
22. !e9si1uni;an I realise no-...
Re7si%uniSan %unan7a Jow " recognise that
=iosnillay phiSachis7ayta " have angered my od
Euchaymanta wa7anaypa7B so that " weep for my sinB
)anta7 Mamay %allpanchaway But you- mother mine- give strength to me-
Muspha7 son7o waway%ita. your $ewildered child.
23. Ma8y? -a1cha -a-ay1ita Mother? your poor child...
MamAy- wa%cha waway%ita Mother mine- have mercy now
Xunan7a %huyapayaway- on this poor child of yours-
)anpin- MamAy- suya%uni Mother mine- " hope in you
Euchaymanta 7espinaypa7. to save me from my sin.
2#. MuchAay1us9ay1i I -ill adore you
&'
"lump1aq5 pure- chaste- innocent- honest- un$lemished. "t is now only used in the phrase llump1aq $ar2a- and has
$ecome a standard phrase for 9virgin Mary9.
&<
The content here suggests a ,atin prayer to Mary such as the Salve 'egina.
'@
Much'ay%us7ay%i- llump'a7 MarOa- " will adore you- 4irgin Mary-
Dva7 huchan7a manan 7anpichu- Dve's sin is not in you-
Ch'uyay ch'uyayllan pa7arir7an%i Cristaline pure you were $orn-
"nti %illata p'en7achispara7. #utting even the sun and moon to shame.
2). Ala-? ni-ayI 2eel for eI
AyU MamallAy- Gh dear mother mine-
AlawU niy%uway
&0
- *eel for me-
%ay wa%chay%ita. your little orphan.
Ma%iy%ipita7 hap'iy%uway Dnfold me in your hand-
Lanapaspa amachaspa. help and protect.
2+. MuchAay1us9ay1i aa I -ill adore you? other
Wo7a yanapa7niy Trpi- =ove who helps me-
Much'ay%us7ay%i- Mama- " will adore you- Mother-
Alllinta wa7aychawan%i Lou will %eep me
&@
completely safe
=iosniyman ripunay%ama. Tntil " finally go to my od.
23. Pita9 pay hinaB 0ho is li1e herB
"ma nispata7 ri%hurisa7 ;hat shall " say when " appear
=iospa Ahllan che7a7 Mama7 7ayllanpinR $efore od's chosen virgin- the true MotherR
#ita7 pay hina pa7arir7an ;ho was $orn li%e her
mana hucha7 ch'an%as7an intiman yalli7R unspoiled $y sin- purer than the sunR
"ma simiwanta7 rimarisa7 ;hat words shall " spea%-
%ay %urullari this poor worm-
pisi sami tayta7 wawan- unfortunate father's child-
huchapi 7hospa7 who wallows in sin-
huchapi 7hospa7R who wallows in sinR
2<. .yarilla-ay Please listen to e
&0
As in hymn &1- the presence of the particle !&ku! in the ver$s indicates gentleness and care- appropriate especially
for the feminine and maternal.
&@
This could also $e an imperative V P%eep me completely safeQ.
'1
"ma nispata7 ullphuy%amusa7 Eow shall " prostrate myself $efore you-
Euchapi %awsa7 millay %uru7aR misera$le worm that " am- living in sinR
Xharullamanta napay%us7ay%i " can only hail you from afar5
Tyarillaway- MarOa- Mamay. #lease hear me- Mary- my mother.
2=. !i1u1uy tAi1a 2lo-er that appears
Eana7 pachapi ri%u%uy t'i%a- t'i%arisha7- *lower that is seen ever $looming in the s%y-
"ma suma7chA llanllay%ashan- Eow $eautifully it remains fresh-
=ios Layapa77a ima %usichA- ;hat 8oy for od the *ather-
Ri%ch'ayllantachA 7hawapayashan. loo%ing again and again at its appearance.
3>. :ustAallay1u @ur dear princess
Tllphuy%amuni cha%iy%iman- " prostrate myself at your feet-
Tllphuy%amuni cha%iy%iman- " prostrate myself at your feet-
AU...Wust'allay%u- Gh...our dear princess-
;a7aspachA ripusa7%u- ;e will leave in tears
&1
6aminchay%amuway%u #lease $less us-
,lapay%uman All of us-
,lapay%uman All of us-
,lapay%uman. All of us.
31. AI MarFaI @h? MaryI
AU MarOa- So7a7 Mamay- Gh Mary my Mother-
,lapa runa7 %usi samin- +oy of all people-
Lanapaway- pusapuway Eelp me- guide me
Eana7 pacha wasinchista. to our heavenly home.
32. /lupAa9 Ahlla Purest Jirgin
,lump'a7 Ahlla- =iospa Maman #urest 4irgin- Mother of od-
Tyarillaway%u- #lease hear us-
Te7simuyuntin huchasapan ;e sinners of the whole world
;a7ya%uy%i%u- call to you-
Tllphuy%amuy%u cha%illay%iman ;e are prostrate at your feet-
)an mamayta7 and you my mother
llanthuy%iwan pa%ay%uway%u. hide us secretly in your shadow.
33. Ia nispata9B (o-B
&1
".e. $ecause they have not received the desired $lessing.
':
"ma nispata7 napay%us7ay%i Eow will " greet youR
Xay huchasapata uyarillaway. #lease hear this sinner.
"ma nispata7 napay%us7ay%i Eow will " greet youR
Tyarillaway- suma7 MarOa. #lease hear me- lovely Mary.
Eay%'a7%amata7 +esKs waway%i Eow long will your child +esus
Euchay%unawan phiSas7a %an7aR $e angry $ecause of my sinsR
3#. Munay unay Truly lovely
Munay munay purun thas%i raceful innocent child-
6umay suma7 Trpillay%u- Gur most $eautiful =ove-
;a7a7%una7 %usi%uynin- +oy of those who weep-
6on7ollayta %usiy%achiy. Ma%e even my heart happy.
3). $hun1an uchAay1uy1i !everently I adore you
Chun%an much'ay%uy%i- Reverently " adore you-
Michi7llay- michi%ullaway%u. My 6hepherd- please shepherd us.
6uma7 %ayniy%iwan- Wust'allay ;ith your $eauty- my dear #rincess
,lanthuy%ullaway%u. please shelter us.
3+. (a1u a8y $oe? Mother
Ea%u MamAyU #uririsun Come- Mother- let us go-
;away%ita mas%hamusun. ,et us go to loo% for your child.
Aw7a%una7 ma%inpiSas- Ee's now in enemy hands- they say-
;away%i7a Sa%'arishan. 2There3 your child is suffering.
33. /la1iyanas9a ahlla Sorro-"laden Jirgin
;ill%ay Ahlla- =iospa Maman- 6acred 4irgin- Mother of od-
Euchasapa7 mas%hanay%u- The one we sinners see%-
Maypis- Mama- yawar we7e- Tell me where the tears of $lood are- Mother-
)anwan %us%a wa7anaypa7. that " may weep together with you.
3<. Eacharpari 2are-ell
'/
AU MamallAy- Gh my dear Mother-
=iosllawanSa %utimunay%i%amaSa Jow with od alone until you return-
%awsaypipas waSuypipas ;hether " live or die-
Ama mA 7on7awan%ichu. ;hatever you do- please don't forget me.
3=. Maanchisan 1acharpari 6oodbye to our other
"s7on%ama p'unchayllay%in Tntil the ninth is your day-
,lump'a7 MamallAy- #urest Mother dear-
Xunan p'unchay tu%u%apun- Jow today is finally over-
,lump'a7 MamallAy. #urest Mother dear.
#>. Maacha9 1acharparin 2are-ell to the Jirgin
Wachu MamAy niwan%iSa5 Mother mine- did you really say-
RipullaySa- waway- nispaR 9My child- off you go now9R
Maytan risa7- suma7 umiSa- #recious 8ewel- where will " go
)an Mamayta sa7erispaR when " leave you- my own MotherR
#1. Cioslla-an;a Ho- -ith 6od
=iosllawanSa 6apay )oya- Lou are now with od- Eigh )ueen-
MamallAy =iosllawanSa- My dear Mother- now with od alone.
Eana7 pacha7 %usi samin- Eeaven's great 8oy-
6on7ollaypa %huya%unan- ,ove of my own heart-
X'ancha7 ri%ch'ayniy%itari Eow can " leave
"maynata7 sa7erisa7R Lour shining imageR
Eu%llatawan much'ay%usa7 ;ith all my heart
Tu%uy son7o cha%iy%ita. " will gently %iss your feet one more time.
'.