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Updated: June 18, 2025
Nowhere is he more himself than in the immortal stanzas dedicated to Oloarte under the title of Noche serena of which Churton has bequeathed us an English version which I will quote, though it gives but a far-off echo of the original's magic melody: The fact that the original is cast in the lira form would compel one to assign this composition to a date not earlier than 1542, when Garcilasso's poems were first published.
Garcilasso's writings are an emanation from the Indian mind. Yet his Commentaries are open to a grave objection, and one naturally suggested by his position. Addressing himself to the cultivated European, he was most desirous to display the ancient glories of his people, and still more of the Inca race, in their most imposing form.
Garcilasso's work is the reflection of the age in which he lived. It is addressed to the imagination, more than to sober reason. We are dazzled by the gorgeous spectacle it perpetually exhibits, and delighted by the variety of amusing details and animated gossip sprinkled over its pages.
Interesting as a proof of Inca crystal-gazing, this legend of Christoval's cannot compete as evidence with Acosta and Garcilasso. The reader, however, must decide as to whether he prefers Garcilasso's unpropitiated Pachacamac, or Christoval's Uiracocha, human sacrifices, and all. Mr. Tylor prefers the version of Christoval, making Pachacamac a title of Uiracocha.
To Garcilasso's mind, Peruvian religion seems to be divided into two periods the age before, and the age which followed the accession of the Incas, and their establishment of sun-worship as the creed of the State. But men were not content to adore large and dangerous animals.
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