by Spence,Lewis
Lake-Worship in Peru
At Lake Titicaca the Peruvians believed the inhabitants of the earth, animals as well as men, to have been fashioned by the creator, and the district was thus sacrosanct in their eyes. The people of the Collao called it Mamacota (Mother-water), because it furnished them with supplies of food. Two great idols were connected with this worship. One called Copacahuana was made of a bluish-green stone shaped like a fish with a human head, and was placed in a commanding position on the shores of the lake. On the arrival of the Spaniards so deeply rooted was the worship of this goddess that they could only suppress it by raising an image of the Virgin in place of the idol. The Christian emblem remains to this day. Mamacota was venerated as the giver of fish, with which the lake abounded. The other image, Copacati (Serpent-stone), represented the element of water as embodied in the lake itself in the form of an image wreathed in serpents, which in America are nearly always symbolical of water.
The Lost Island
A strange legend is recounted of this lake-goddess. She was chiefly worshipped as the giver of rain, but Huaina Ccapac, who had modern ideas and journeyed through the country casting down huacas, had determined to raise on an island of Lake Titicaca a temple to Yatiri (The Ruler), the Aymara name of the god Pachacamac in his form of Pachayachachic. He commenced by raising the new shrine on the island of Titicaca itself. But the deity when called upon refused to vouchsafe any reply to his worshippers or priests. Huaina then commanded that the shrine should be transferred to the island of Apinguela. But the same thing happened there. He then inaugurated a temple on the island of Paapiti, and lavished upon it many sacrifices of llamas, children, and precious metals. But the offended tutelary goddess of the lake, irritated beyond endurance by this invasion of her ancient domain, lashed the watery waste into such a frenzy of storm that the island and the shrine which covered it disappeared beneath the waves and were never thereafter beheld by mortal eye.
The Thunder-God of Peru
The rain-and-thunder god of Peru was worshipped in various parts of the country under various names. Among the Collao he was known as Con, and in that part of the Inca dominions now known as Bolivia he was called Churoquella. Near the cordilleras of the coast he was probably known as Pariacaca, who expelled the huaca of the district by dreadful tempests, hurling rain and hail at him for three days and nights in such quantities as to form the great lake of Pariacaca. Burnt llamas were offered to him. But the Incas, discontented with this local worship, which by no means suited their system of central government, determined to create one thunder-deity to whom all the tribes in the empire must bow as the only god of his class. We are not aware what his name was, but we know from mythological evidence that he was a mixture of all the other gods of thunder in the Peruvian Empire, first because he invariably occupied the third place in the triad of greater deities, the creator, sun, and thunder, all of whom were more or less amalgamations of provincial and metropolitan gods, and secondly because a great image of him was erected in the Coricancha at Cuzco, in which he was represented in human form, wearing a headdress which concealed his face, symbolic of the clouds, which ever veil the thunder-god’s head. He had a special temple of his own, moreover, and was assigned a share in the sacred lands by the Inca Pachacutic. He was accompanied by a figure of his sister, who carried jars of water. An unknown Quichuan poet composed on the myth the following graceful little poem, which was translated by the late Daniel Garrison Brinton, an enthusiastic Americanist and professor of American archæology in the University of Pennsylvania:
Bounteous Princess,
Lo, thy brother
Breaks thy vessel
Now in fragments.
From the blow come
Thunder, lightning,
Strokes of lightning;
And thou, Princess,
Tak’st the water,
With it rainest,
And the hail or
Snow dispensest,
Viracocha,
World-constructor.
It will be observed that the translator here employs the name Viracocha as if it were that of the deity. But it was merely a general expression in use for a more than usually sacred being. Brinton, commenting upon the legend, says: “In this pretty waif that has floated down to us from the wreck of a literature now for ever lost there is more than one point to attract the notice of the antiquary. He may find in it a hint to decipher those names of divinities so common in Peruvian legends, Contici and Illatici. Both mean ‘the Thunder Vase,’ and both doubtless refer to the conception here displayed of the phenomena of the thunderstorm.” Alluding to Peruvian thunder-myth elsewhere, he says in an illuminating passage: “Throughout the realms of the Incas the Peruvians venerated as maker of all things and ruler of the firmament the god Ataguju. The legend was that from him proceeded the first of mortals, the man Guamansuri, who descended to the earth and there wedded the sister of certain Guachimines, rayless ones or Darklings, who then possessed it. They destroyed him, but their sister gave birth to twin sons, Apocatequil and Piguerao. The former was the more powerful. By touching the corpse of his mother he brought her to life, he drove off and slew the Guachimines, and, directed by Ataguju, released the race of Indians from the soil by turning it up with a spade of gold. For this reason they adored him as their maker. He it was, they thought, who produced the thunder and the lightning by hurling stones with his sling. And the thunderbolts that fall, said they, are his children. Few villages were willing to be without one or more of these. They were in appearance small, round stones, but had the admirable properties of securing fertility to the fields, protecting from lightning, and, by a transition easy to understand, were also adored as gods of fire as well material as of the passions, and were capable of kindling the dangerous flames of desire in the most frigid bosoms. Therefore they were in great esteem as love-charms. Apocatequil’s statue was erected on the mountains, with that of his mother on one hand and his brother on the other. ‘He was Prince of Evil, and the most respected god of the Peruvians. From Quito to Cuzco not an Indian but would give all he possessed to conciliate him. Five priests, two stewards, and a crowd of slaves served his image. And his chief temple was surrounded by a very considerable village, whose inhabitants had no other occupation but to wait on him.’” In memory of these brothers twins in Peru were always deemed sacred to the lightning.
There is an instance on record of how the huillca could refuse on occasion to recognise even royalty itself. Manco, the Inca who had been given the kingly power by Pizarro, offered a sacrifice to one of these oracular shrines. The oracle refused to recognise him, through the medium of its guardian priest, stating that Manco was not the rightful Inca. Manco therefore caused the oracle, which was in the shape of a rock, to be thrown down, whereupon its guardian spirit emerged in the form of a parrot and flew away. It is probable that the bird thus liberated had been taught by the priests to answer to the questions of those who came to consult the shrine. But we learn that on Manco commanding that the parrot should be pursued it sought another rock, which opened to receive it, and the spirit of the huillca was transferred to this new abode.
The Great God Pachacamac
Later Peruvian mythology recognised only three gods of the first rank, the earth, the thunder, and the creative agency. Pachacamac, the great spirit of earth, derived his name from a word pacha, which may be best translated as “things.” In its sense of visible things it is equivalent to “world,” applied to things which happen in succession it denotes “time,” and to things connected with persons “property,” especially clothes. The world of visible things is thus Mamapacha (Earth-Mother), under which name the ancient Peruvians worshipped the earth. Pachacamac, on the other hand, is not the earth itself, the soil, but the spirit which animates all things that emerge therefrom. From him proceed the spirits of the plants and animals which come from the earth. Pachamama is the mother-spirit of the mountains, rocks, and plains, Pachacamac the father-spirit of the grain-bearing plants
, animals, birds, and man. In some localities Pachacamac and Pachamama were worshipped as divine mates. Possibly this practice was universal in early times, gradually lapsing into desuetude in later days. Pachamama was in another phase intended to denote the land immediately contiguous to a settlement, on which the inhabitants depended for their food-supply.
Peruvian Creation-Stories
It is easy to see how such a conception as Pachacamac, the spirit of animated nature, would become one with the idea of a universal or even a partial creator. That there was a pre-existing conception of a creative agency can be proved from the existence of the Peruvian name Conticsi-viracocha (He who gives Origin, or Beginning). This conception and that of Pachacamac must at some comparatively early period have clashed, and been amalgamated probably with ease when it was seen how nearly akin were the two ideas. Indeed, Pachacamac was alternatively known as Pacharurac, the “maker” of all things—sure proof of his amalgamation with the conception of the creative agency. As such he had his symbol in the great Coricancha at Cuzco, an oval plate of gold, suspended between those of the sun and the moon, and placed vertically, it may be hazarded with some probability, to represent in symbol that universal matrix from which emanated all things. Elsewhere in Cuzco the creator was represented by a stone statue in human form.
Pachayachachic
In later Inca days this idea of a creator assumed that of a direct ruler of the universe, known as Pachayachachic. This change was probably due to the influence of the Inca Pachacutic, who is known to have made several other doctrinal innovations in Peruvian theology. He commanded a great new temple to the creator-god to be built at the north angle of the city of Cuzco, in which he placed a statue of pure gold, of the size of a boy of ten years of age. The small size was to facilitate its removal, as Peruvian worship was nearly always carried out in the open air. In form it represented a man with his right arm elevated, the hand partially closed and the forefinger and thumb raised, as if in the act of uttering the creative word. To this god large possessions and revenues were assigned, for previously service rendered to him had been voluntary only.
Ideas of Creation
It is from aboriginal sources as preserved by the first Spanish colonists that we glean our knowledge of what the Incas believed the creative process to consist. By means of his word (ñisca) the creator, a spirit, powerful and opulent, made all things. We are provided with the formulæ of his very words by the Peruvian prayers still extant: “Let earth and heaven be,” “Let a man be; let a woman be,” “Let there be day,” “Let there be night,” “Let the light shine.” The sun is here regarded as the creative agency, and the ruling caste as the objects of a special act of creation.
Pacari Tampu
Pacari Tampu (House of the Dawn) was the place of origin, according to the later Inca theology, of four brothers and sisters who initiated the four Peruvian systems of worship. The eldest climbed a neighbouring mountain, and cast stones to the four points of the compass, thus indicating that he claimed all the land within sight. But his youngest brother succeeded in enticing him into a cave, which he sealed up with a great stone, thus imprisoning him for ever. He next persuaded his second brother to ascend a lofty mountain, from which he cast him, changing him into a stone in his descent. On beholding the fate of his brethren the third member of the quartette fled. It is obvious that we have here a legend concocted by the later Inca priesthood to account for the evolution of Peruvian religion in its different stages. The first brother would appear to represent the oldest religion in Peru, that of the paccariscas, the second that of a fetishistic stone-worship, the third perhaps that of Viracocha, and the last sun-worship pure and simple. There was, however, an “official” legend, which stated that the sun had three sons, Viracocha, Pachacamac, and Manco Ccapac. To the last the dominion of mankind was given, whilst the others were concerned with the workings of the universe. This politic arrangement placed all the power, temporal and spiritual, in the hands of the reputed descendants of Manco Ccapac—the Incas.
Worship of the Sea
The ancient Peruvians worshipped the sea as well as the earth, the folk inland regarding it as a menacing deity, whilst the people of the coast reverenced it as a god of benevolence, calling it Mama-cocha, or Mother-sea, as it yielded them subsistence in the form of fish, on which they chiefly lived. They worshipped the whale, fairly common on that coast, because of its enormous size, and various districts regarded with adoration the species of fish most abundant there. This worship can have partaken in no sense of the nature of totemism, as the system forbade that the totem animal should be eaten. It was imagined that the prototype of each variety of fish dwelt in the upper world, just as many tribes of North American Indians believe that the eponymous ancestors of certain animals dwell at the four points of the compass or in the sky above them. This great fish-god engendered the others of his species, and sent them into the waters of the deep that they might exist there until taken for the use of man. Birds, too, had their eponymous counterparts among the stars, as had animals. Indeed, among many of the South American races, ancient and modern, the constellations were called after certain beasts and birds.
Viracocha
The Aymara-Quichua race worshipped Viracocha as a great culture hero. They did not offer him sacrifices or tribute, as they thought that he, being creator and possessor of all things, needed nothing from men, so they only gave him worship. After him they idolised the sun. They believed, indeed, that Viracocha had made both sun and moon, after emerging from Lake Titicaca, and that then he made the earth and peopled it. On his travels westward from the lake he was sometimes assailed by men, but he revenged himself by sending terrible storms upon them and destroying their property, so they humbled themselves and acknowledged him as their lord. He forgave them and taught them everything, obtaining from them the name of Pachayachachic. In the end he disappeared in the western ocean. He either created or there were born with him four beings who, according to mythical beliefs, civilised Peru. To them he assigned the four quarters of the earth, and they are thus known as the four winds, north, south, east, and west. One legend avers they came from the cave Pacari, the Lodging of the Dawn.
Sun-Worship in Peru
The name “Inca” means “People of the Sun,” which luminary the Incas regarded as their creator. But they did not worship him totemically—that is, they did not claim him as a progenitor, although they regarded him as possessing the attributes of a man. And here we may observe a difference between Mexican and Peruvian sun-worship. For whereas the Nahua primarily regarded the orb as the abode of the Man of the Sun, who came to earth in the shape of Quetzalcoatl, the Peruvians looked upon the sun itself as the deity. The Inca race did not identify their ancestors as children of the sun until a comparatively late date. Sun-worship was introduced by the Inca Pachacutic, who averred that the sun appeared to him in a dream and addressed him as his child. Until that time the worship of the sun had always been strictly subordinated to that of the creator, and the deity appeared only as second in the trinity of creator, sun, and thunder. But permanent provision was made for sacrifices to the sun before the other deities were so recognised, and as the conquests of the Incas grew wider and that provision extended to the new territories they came to be known as “the Lands of the Sun,” the natives observing the dedication of a part of the country to the luminary, and concluding therefrom that it applied to the whole. The material reality of the sun would enormously assist his cult among a people who were too barbarous to appreciate an unseen god, and this colonial conception reacting upon the mother-land would undoubtedly inspire the military class with a resolve to strengthen a worship so popular in the conquered provinces, and of which they were in great measure the protagonists and missionaries.