Quechua and Spanish Poetry Collection
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ScribdTranslationsPoems in Quechua and Spanish
By Carlos Mávila
Quechua Poetry Collection
Carlos Mávila
Behring-i
(Bering Bridge)
They are going to gather the Kayachikiaqallpa.
(These awakening lands are trembling,)
When we ascend to the spiritual realm
(so that their tongues of infernal fire may emerge)
from the bottom of the abyss.
(from that coruscating inner world.)
Tumpallatammuyukuchkanku:
(They are just moving:)
you are very important to me
(only one quarter in a year,)
Have you filled the teapot with water, or not?
(that's why we didn't hear anything,)
Have you put the teapot on the stove?
(that's why we don't see anything;)
What can I do?
(After that,)
if you want to help me,
this ocean is going to start decreasing,
I will cook for you
(the tongues of fire that are inside)
I will take care of you.
(they are going out, exploding.)
by taking care of the water
(shaking the whole earth,)
capacity, ability, wisdom,
(wounding, healing, devouring everything,)
do not be afraid, do not be sad.
(shining, burning everything.)
What happened?
(After that,)
I will finish my work soon.
(the bridge that is in this water)
sayarispamlluksimunqa
(getting up, he/she is going to leave)
when the stars shine
(drying with the winds,)
ritikunawanchiriyarispa.
(cooling down with the ice.)
It is with suffering that we, the people,
(Seeing those things, we,)
the heart of the Kayhatu people,
(stepping on this immense ocean)
we will not be able to stay, let's go instead,
(we are going to leave, never to return,)
they will rise to the heaven
(to the lands of the other shore.)
We will raise the flag
(Who will be waiting for us)
in the moonlight.
(in those new regions?)
I will not be able to attend you.
(What language will they speak?)
They are not in agreement with each other.
(How many years will they have been living there already?)
We are going to speak with you.
(But maybe there is no one,)
We will speak in our language.
(maybe we will walk alone)
the thoughts of manasarusqañan.
(through paths never traveled.)
In the teapot,
(If so,)
I will do everything for you
(to the summit of a large hill)
they may be the ones who will be successful
(I will go up without anyone;)
wakhananpikachkaptiyñataq
(and when I'm up there high)
I am grateful for the support.
(I will look for the Apu that is there,)
I will help you, my brother
(finding him, my girl and my coke)
sunqunninpaukumpiwinasaq
I will put them in their heart,
to the extent possible,
(imploring a lot,)
aswantawaqakuspa
(crying even more,)
I will give you the pipes.
(so that no one overpowers us,)
please help me.
(so that we do not die while still young.)
Takikuspa, kayaraskaskatatusukuspa:
(Singing, dancing this parade:)
We are preparing to meet,
(Let's go now, let's leave)
wait allay, rus allay...
(my flower, my rose...)
I beg you not to leave me alone
We are going to celebrate together;
(No one has said anything;)
We will remember that we are alive,
(de todas las quebradas están saliendo,)
I love you.
(with its bones without flesh,)
let's go to the town of Chay Llapa.
(all those dead that walk:)
to satisfy us,
(without completing his death,)
qaparispa, waqaspa,
(shouting, sobbing)
I am very grateful.
(calling on their ancestors.)
I am not feeling well. I am fine.
They may not recognize me. They may not.
They are taking care of the tools.
(Blanca will be seeing my face.)
When the children are together,
(Or perhaps the balloons of their eyes,)
I will love you forever, my love.
(in this endless black night, they have died)
As for the teapot, it is used for brewing tea.
(In that case, I will walk alone)
[Link]
OUR-iNCAS/Poems-in-Quechua-and-Spanish
POEM OF INCA PRINCESS (CRISTINA MARTÍN)
I searched for you behind life
finding a burned cemetery,
where only tombstones survived
and death upon death...
and yet in the distance
between the black landscape
a red flower survived
and a dream of birds
I flew through the unreachable sky
Inca Princess (Cristina Martín) - Spain
[Link]
Remove Urpi
(The Wild Dove) (example of a urpi poem)
What is love?
wild dove,
so small and hardworking,
heartbroken;
that to the wisest understood,
wild dove,
does it make him wander aimlessly?
heartbroken.
First Prayer to the Creator
(example of a sacred jailli poem.)
!Oh Wiracocha of the beginning of the world,
Wiracocha of the end of the world,
Wiracocha principal and beautiful!
Oh Creator, Providence!
What are you saying?
Let the man be,
be the woman
you did it for everyone.
Created and placed
for you (in this world)
peacefully
and without care
I will live.
Where are you?
Are you outside?
Are you inside?
Are you in the clouds?
Are you in the shadow?
Listen to me, pay attention to me!
Grant me this request!
Make me live
for an indefinite time,
protect me, support me!
And through this offering
receive me,
wherever you are,
Oh Wiracocha!
Mother Moon
(example of a wawaki poem)
Moon, queen and Mother
for the goodness of your waters,
for the love of your rains
we are crying,
we are suffering.
The saddest of your creatures
of hunger,
of being
is calling you.
Father, driver of the world,
Where are you,
in the sky,
on earth
or in some other nearby world?
Obsequious with your rains
to this servant,
to this man
that implores you.
[Link]
Common questions
Powered by AIIn the Quechua and Spanish language poems, 'time' is portrayed as both cyclic and linear, reflecting the nuanced experience of existence and cultural continuity. Quechua elements often evoke a cyclic understanding of time, linked to nature's rhythms and ancestral cycles, emphasizing enduring cultural traditions and reoccurring spiritual themes. Conversely, the Spanish sections introduce a more linear progression, highlighting individual existential journeys and contemporary experiences. This dual portrayal creates a layered understanding of time as simultaneously historical, cyclical, and linear, reflecting the complexities of merging cultural narrative and personal experience .
Nature imagery in Quechua and Inca poetry serves as a conduit for spiritual exploration and connection to the divine. By incorporating elements such as mountains, oceans, and celestial bodies, these poems convey a profound sense of reverence towards the natural world, seen as an integral part of the spiritual and existential journey. For example, the invocation of natural forces like the wind and ice in Mávila’s work or the plea to Wiracocha, syncing human experiences with a larger cosmos, illustrates a harmony between humanity and nature, emphasizing interdependence and sacredness .
The concept of 'home' and belonging in Quechua-Inca poetry is closely tied to natural landscapes and ancestral connections. Places like mountains, oceans, and the moon are depicted as both physical and spiritual homes, reflecting a deep sense of belonging within the natural world. This notion of home transcends the physical, embodying cultural memories and communal identity. By portraying place as an innate part of self, these poems articulate a rootedness in both identity and geography, suggesting that home lies in the interweaving of ancestral heritage with present reality .
Both Quechua and Spanish language poems construct a dialogue between human emotions and cosmic elements by intertwining personal feelings with universal natural imagery. Emotions such as longing, love, and existential dread are contextualized within natural and celestial frames, like the moon, stars, and winds in Quechua poetry, forging a connection that transcends individual experience. This blend deepens the emotional resonance and suggests that human experiences are both influenced by and part of the larger cosmic order, emphasizing an interwoven relationship between personal and universal .
In Carlos Mávila's poetry, the 'teapot' symbolizes domesticity and the mundane aspects of life, serving as a grounding element amidst the poem's spiritual and existential exploration. It signifies routine and resilience in the face of existential uncertainty, anchoring the abstract journey within the tangible reality. This symbolism connects the individual to broader existential questions about purpose, legacy, and survival, reflecting the continuing balance between ordinary life and larger universal inquiries .
Narrative voices in Quechua poetry often address themes of resilience and survival by emphasizing endurance through hardship and a steadfast resistance to cultural erasure. Through vivid imagery and the invocation of natural elements, these voices embody a stoic determination and cultural pride. Elements like the ocean's depth, the wind's whisper, or the mountain's strength symbolize both eternal challenges and indomitable fortitude. This framing reflects a collective resilience, portraying survival as both an individual and communal journey, crucial for maintaining cultural integrity and identity in the face of adversity .
Quechua poetry often intertwines ancestral reverence with existential longing, reflecting a cultural narrative focused on continuity and resilience. The ancestral reverence underscores a deep connection to heritage and identity, grounding individuals in shared history and cultural pride, while the existential longing reveals a universal human desire for understanding, purpose, and transcendence. These dual elements create a narrative that acknowledges past wisdom and seeks future meaning, reflecting a broader cultural commitment to preserving identity amidst evolving existential challenges .
In Carlos Mávila's poetry, bridges symbolize the connection between different realms, such as the tangible and the spiritual, or past and future. The imagery of a bridge encapsulates transitional moments, serving as a metaphor for crossing from one state of being to another, expressing both physical and spiritual journeys. This symbolism underscores themes of transformation and unity, as well as the challenges and potential that lie in navigating these bridges towards new understandings or destinations .
Longing and separation play critical roles in expressing cultural identity within Quechua poetry by highlighting the tension between past and present, traditional and modern. These themes evoke a sense of nostalgia and desire for cultural preservation, reflecting the struggles faced by indigenous communities to maintain their heritage amidst external influences and change. The imagery of longing and separation not only underscores the emotional weight of cultural continuity but also resonates with broader narratives of displacement and resistance, presenting cultural identity as a timeless, resilient thread woven through individual and collective histories .
Carlos Mávila's poem weaves Quechua and Spanish languages to express a duality between the everyday physical world and the transcendental spiritual realm. The Quechua elements often reflect cultural heritage and spirituality, invoking natural elements and ancestral connections, while Spanish passages complement this by broadening the appeal and accessibility to a diverse audience. This interplay highlights themes of cultural identity, transformation, and existential contemplation, emphasizing the coexistence and interaction of two linguistic worlds .
