PERUVIAN LITERATURE

CONCEPT:

We call PERUVIAN LITERATURE the literary manifestations (oral and written) that have been created by those who have known
how to bear witness to the desires, joys, sufferings, ideals, etc., of man and/or our people in each of their contexts. sociocultural
throughout history.

HISTORICAL PROCESS OF PERUVIAN LITERATURE

1. PREHISPANIC 2. OF THE CONQUEST 3. COLONIAL
STAGES
Periods:
CHARACTERS A) Renaissance or Classical
B) Baroque or Gongorian
C) Neoclassical or Frenchified

TEMPORAL ASPECT
Before 1532 1 532 - 1 570 S. XVI until the end of the S. XVIII
(approximate)

- Agrarian economy
- Colonial stabilization - Crisis of theorder
- Destruction of the - Establishment of the colonial.
and
HISTORICAL CULTURAL Tahuantinsuyo viceroyalty - Struggles by the
collectivist.
CONTEXT - Imposition of the - Dependence independence.
- Government
Castilian social, policy - Peruvian pre-
autocratic
- War civil of and romanticism.
- Polytheism
Spanish conquerors culture of Spain
- Amautas - Guamán Poma de Ayala - - Diego de Hojeda - Carrio de la Vandera
MOST SIGNIFICANT - Haravicus - Amaryllis - Pablo de Olávide
Inca Garcilaso de la Vega -
REPRESENTATIVES - Espinoza Medrano - M. Melgar
Cieza de León
- Caviedes - J. J. Olmedo

4. REPUBLICAN
D) INDIGENISM
C) REALISM AND
A) CUSTOMS B) ROMANTICISM E) CURRENT
MODERNISM
AND
First half of the 20th OF VANGUARD
Mid of 1820 Two last decades of the
century XIX until From 1960 to
until the first half of the 20th century. XIX until the From 1920 to 1960
1880 2 002
20th century. XIX first two of the S. XX
(approximately)
- Crisis of the old
- Neoclassical Model - guano boom - Crisis policy, - Migration movements
oligarchic state
in version economic, moral, etc. of
costumbrista the
- Emergence of countryside to the
- Requirement of
- Victory in - Apparent ideas liberals city.
indigenous claim.
Ayacucho (1 824) prosperity and
positivists. - Emergence of a
- Foundation
- Presentation of - Motion New Literature
and
uses and characters inspired in Hispanic American.
manifestation of
of the Creole world. Spanish and French
the main
models. - Development
political and social
accelerated of the
movements (APRA,
technology andthe
PPC, etc.)
information.

- F. Pardo and Aliaga - c. TO. Salaverry - M. Gonzalez Prada - AND. Lopez Albujar - J. R. Ribeyro
- M. TO. Safe - R. Palm - Clorinda Matto - c. Happiness - M. Scorza
- J. S. Chocano - J. M. Arguedas - M. Vargas Llosa
- J. M. Eguren - J. c. Mariategui - TO. Bryce Echenique
- TO. Valdelomar - v. R. Tower Beech
- c. Vallejo
- Martin Adam

3rd. Year -3- 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

DEFINITION
PREHISPANIC LITERATURE
PREHISPANIC LITERATURE corresponds to this era, which includes the
set of literary manifestations from the founding of the Inca Empire to the
Spanish conquest (1532).

HISTORICAL CULTURAL CONTEXT

- Foundation and development of three great civilizations in America
Central and South:
A) Inca culture
B) The Mayan culture
C) Aztec Culture

Expansion of the Inca Empire, with Pachacutec (1 450 - 1 480)

Political Aspect: Monarchical system of a theocratic nature

Social Aspect: Class Society:

Economic aspect: Essentially agrarian regime.

Religious Aspect: Polytheism.
Linguistic Aspect: Quechua as official language.

LITERARY CHARACTERISTICS

Oral Anonymo agrarian Pantheisti Cosmological

us c

3rd. Year -4- 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

GENDER
S

SPECIES (

1. Representative of Modernism: 03. Does not belong to the group:

A) Aymoray B) Ayataqui
C) Harawi D) Usca Páucar
2. Representative of symbolism: E) Haylli

04. They worked as teachers in the

yachayhuasis, where the children of the Inca
3. The Cubs was written by: studied. They transmitted official literature. We are
referring to:
A) The high priest. B) The Haravicus
4. Free pages is a work of: C) The amautas D) The Warriors
E) The farmers
5. Trilce is a work that belongs to the stage:
05. Who transmitted popular literature at the time?
pre-Hispanic?
6. Ascencio Segura and Pardo and Aliaga are authors of A) The minstrels B) The chroniclers
the stage: C) The Haravicus D) The aedos
E) The amautas
7. Poems that belong to the lyrical genre: 06. The testimony of Quechua literature has reached
us through:
A) Amautas B) Incas
8. Popular and courtly lyrics were cultivated by:
C) Chroniclers D) Quipucamáyoc
E) Haravicus
9. What is Harawi? 07. What Quechua lyrical species corresponds to the
ode?
A) Haylli B) Harawi
10. Stages of Colonial Literature:
C) Cacharpari D) Ayataqui
E) Aymoray

08. Collective songs that evidenced the victory of the

01. The Inca harawis are:
wars:
A) Pastoral eclogues in dialogue.
B) Religious hymns dedicated to Huiracocha. A) Harawi B) Cacharpari
C) Epic poems commemorating warrior victories. C) Aymoray D) Ayataqui
D) Elegies composed for the death of an Inca. E) Haylli
E) Lyrical poems of love and absence.
09. The poet who sang about love, about the pain of being
02. Check the correct alternative regarding the subjected to
Quechua literature: nature, developing the lyric in pre-Hispanic times:
A) Waswritten.
A) Amauta B) Haravicu
B) It had an individualistic character.
C) Thethemes onlywereagricultural. C) Coplero d) Chronicler
D) Wasanonymous. E) Mariano Melgar
E) There were not classes social.
10. Does not belong to the group:
A) The myth of Kuniraya Viracocha.

3rd. Year -5- 1st. BIMESTER

 HIPÓLITO UNANUE SCHOOL Literature

B) The myth of Vichama.

C) Harawi
D) The myth of Kon.
E) The myth of Tamputoco Hill

11. Inca literature is fundamentally anonymous

because:
A) It is collectivist
B) It is pantheistic
C) It has no known authors
D) It is unwritten
E) Lacks literary genres

12. Which God from Greek mythology can we

relate to the Sun god of Quechua literature?
A) Zeus Pubs
C) Cronus D) Phoebus Apollo
E) Poseidon

13. The amautas were and the

A) judges - slaves Haravicus
B) blood nobles - peasants
C) teachers - folk poets
D) teachers - actors
E) priests - popular poets

14. Correctly relate:

A) haylli ( )animals
B) ayataqui ( )love
C) urpi ( )triumph
D) aymoray ( )death
E) huacantaqui ( )nature

15. Mark False (F) or True (T) regarding the

Quechua literature:
PERUVIAN LITERATURE...............................................................................................................3
CONCEPT:...............................................................................................................................3
DEFINITION...........................................................................................................................4
HISTORICAL CULTURAL CONTEXT................................................................................4
PREHISPANIC LITERATURE II..................................................................................................9
READING................................................................................................................................9
PERUVIAN PREHISPANIC LITERATURE.........................................................................9
I. CHARACTERISTICS OF QUECHUA INCA LITERATURE.....................................10
MYTHS, LEGENDS AND STORIES...................................................................................10
THE MYTH OF THE KON - TIKI........................................................................................10
THE LEGEND OF NAYLAMP............................................................................................11
THE MANUSCRIPTS OF HUAROCHIRÍ...........................................................................11
FIRST SPANISH VERSION.................................................................................................11
IV. LYRICAL GENRE IN INCA LITERATURE............................................................11
LYRICAL SPECIES..............................................................................................................11
FIRST PRAYER TO THE MAKER (Haylli - Sacred).........................................................11
HARAWI................................................................................................................................13
PASTORAL...........................................................................................................................13

3rd. Year -6- 1st. BIMESTER

 HIPÓLITO UNANUE SCHOOL Literature

V. DRAMATIC GENRE IN INCA LITERATURE........................................................14

1. THEMES AND CHARACTERS OF THE INCA THEATER.......................................14
ACTIVITY.................................................................................................................................14
LITERATURE OF THE CONQUEST.................................................................................................17
PERFORMANCES AND WORKS.......................................................................................17
Pre-Toledanos.........................................................................................................................18
Toledo.....................................................................................................................................18
Post-Toledanos.......................................................................................................................18
INCA GARCILASO DE LA VEGA......................................................................................18
THE INCA GARCILASO DE LA VEGA.............................................................................19
SCOPE OF HIS WORKS.......................................................................................................19
GUAMÁN POMA DE AYALA....................................................................................................20
NEW CHRONICLE AND GOOD GOVERNMENT............................................................20
CONTENT OF THE NEW CHRONICLE AND GOOD GOVERNMENT.........................20
NEW CHRONICLE AND GOOD GOVERNMENT............................................................20
ACTIVITY.................................................................................................................................22
COLONIAL LITERATURE I..............................................................................................................25
HISTORICAL CULTURAL CONTEXT:.............................................................................26
GENERAL CHARACTERISTICS:.......................................................................................26
1. RENAISSANCE OR CLASSICAL PERIOD:...............................................................26
2. BAROQUE OR GONGORIAN PERIOD:.....................................................................26
3. NEOCLASSICAL OR FRENCHIZATION PERIOD:...................................................26
CLASSICAL PERIOD...........................................................................................................27
1.AMARYLYS..............................................................................................................................27
MAIN HYPOTHESES ABOUT THE PERSONALITY OF AMARILLIS..........................27
LITERARY REVIEW............................................................................................................27
2. FRIAR DIEGO DE HOJEDA (1570 - 1615)........................................................................29
THE CHRISTIADA (1611)...................................................................................................29
I SINNED, MY LORD, AND YOU SUFFER.......................................................................29
LITERARY REVIEW............................................................................................................29
THE NINTH WONDER........................................................................................................30
4. JUAN DEL VALLE CAVIEDES..........................................................................................30
LITERARY REVIEW............................................................................................................31
PLAYS...................................................................................................................................31
ACTIVITY.................................................................................................................................32
COLONIAL LITERATURE II.............................................................................................................34

3rd. Year -7- 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

FRENCHISED OR NEOCLASSICAL PERIOD..................................................................34

1. ALONSO CARRIÓ DE LA VANDERA “CONCOLORCORVO” (1715 - 1778)........34
2. PEDRO DE PERALTA BARNUEVO ROCHA AND BENAVIDES (1664 - 1743)....34
NEOCLASSISISM.................................................................................................................34
CHARACTERISTICS............................................................................................................34
QUECHUA LITERATURE IN THE COLONIAL PERIOD.......................................................35
COLONIAL QUECHUA THEATER....................................................................................35
OLLANTAY..........................................................................................................................35
TOPICS..................................................................................................................................35
FORMAL ASPECTS.............................................................................................................36
CHARACTERS......................................................................................................................36
ARGUMENT.........................................................................................................................37
OLLANTAY..........................................................................................................................37
QUECHUA LITERATURE IN THE REPUBLICAN PERIOD...........................................37
EMANCIPATION LITERATURE...................................................................................................37
CHARACTERISTICS............................................................................................................37
1.MARIANO MELGAR........................................................................................................37
THE YARAVI........................................................................................................................38
TO SILVA..............................................................................................................................39
YARAVI.................................................................................................................................39
YARAVI.................................................................................................................................40
YARAVI.................................................................................................................................40
THE WOMAN.......................................................................................................................40
CUSTOMS........................................................................................................................................43
CUSTOMS.............................................................................................................................43
CHARACTERISTICS............................................................................................................43
1. FELIPE PARDO Y ALIAGA (1806 - 1868).....................................................................43
LITERARY PRODUCTION..................................................................................................44
ACTIVITY.................................................................................................................................48
THE ROMANTICISM..................................................................................................................49
CONTEXT.............................................................................................................................50
CHARACTERISTICS............................................................................................................50
LYRIC....................................................................................................................................50
NARRATIVE.........................................................................................................................50
PLAYS...................................................................................................................................50
PERUVIAN TRADITIONS...................................................................................................50

3rd. Year -8- 1st. BIMESTER

 HIPÓLITO UNANUE SCHOOL Literature

MAIN TRADITIONS............................................................................................................51
TO THE CORNER TAKE OFF UNDERPANTS.................................................................51
THEATER..............................................................................................................................51
LYRIC....................................................................................................................................51
Characteristics........................................................................................................................52
ISSUE.....................................................................................................................................52
SECONDARY THEME.........................................................................................................52
STRUCTURE.........................................................................................................................52
(From Letters to an Angel )....................................................................................................52
PROPOSED QUESTIONS....................................................................................................52
A)

16. Inca literature is fundamentally anonymous

because:
A) It is collectivist
B) It is pantheistic
C) It has no known authors
D) It is unwritten
E) Lacks literary genres

17. Which God from Greek mythology can we

relate to the Sun god of Quechua literature?
A) Zeus Pubs
C) Cronus D) Phoebus Apollo
E) Poseidon

18. It is not characteristic of Quechua literature:

A) anonymity B) agrarianism
C) animism
D) class E) individualistic

19. What Quechua lyrical species is similar to hymns:

A) the urpi B) the aymoray
C) el haylli
D) the ayataqui E) the harawi

PREHISPANIC LITERATURE II

The language of the old empire was Runasimi, now known as Quechua or Quichua, that is, the Quechua that had become official with
the power of the Cusco empire. This expanding language coexisted with some local languages and displaced others, such as the case of
Aymara, in the Collao region; In turn, the Aymara had displaced the Puquina, from the ancient Tiahuanaco culture.

Under the government of the last Incas the Runasimi had reached a very high level of development. The expansion of the empire,
economic well-being, the national character of religious festivals, the importance given to history and poetry, determined the prosperity of
this language.

WRITING

READING

PERUVIAN PREHISPANIC LITERATURE

The fact that the cultures that inhabited the current Peruvian territory did not know writing makes it difficult to
understand this stage of our literary process. However, there is no doubt that the various peoples of Ancient Peru
practiced verbal creation, through the use of orality.

3rd. Year -9- 1st. BIMESTER

 HIPÓLITO UNANUE SCHOOL Literature

We have, thanks to the data provided by the chroniclers, quite extensive information regarding the Inca era. We
know that the Incas, in their process of imperial expansion, respected the culture of the majority of the defeated peoples.
In this way, sets of myths corresponding to various cultures have reached us, such as the Chimú, of which we know the
myth that tells of the arrival of its founder, Naylamp.

The most important collection of myths preserved in the Quechua language corresponds to the Huarochirí
region. At the beginning of the 17th century, the extirpator of idolatries Francisco de Ávila collected there from the mouths
of the indigenous people a set of mythical stories that we know under the title of Gods and Men of Huarochirí. There we
are told the history of the greatest divinities and the most outstanding heroes of that region near Lima. Despite having
been compiled in a late period, these myths are considered the most representative of the pre-Hispanic indigenous
mentality.

I. CHARACTERISTICS OF QUECHUA INCA LITERATURE

It is oral, collective, anonymous, agrarian, classist, pantheist.

II. OFFICIAL AND POPULAR LITERATURE

OFFICIAL POPULAR

- Made by the amautas. - Made by the Haravicus.

- Expression of the theocratic government of the - Expression of the communities or ayllus.
Incas. - It expressed the collective feelings in the
- Led by the imperial court and inspired by the planting, harvesting, family celebrations, etc.
amautas. - He haravicu transmitted these expressions
- expressed the religion and the big accompanied by music
events that revolved around the Inca.

III. EPIC GENRE IN INCA LITERATURE

All the myths, legends and songs that express collective beliefs, from ancient times, are part of the Quechua epic.
remote, when only darkness existed, until the appearance of the founders of towns and dynasties.
These stories, like the lyric, existed in an official and courtly form, aimed at establishing and perpetuating the epics of the empire and
the exploits of its emperors, and were recited on solemn occasions. There was also a popular epic story that expressed the beliefs of the
people, the origin of their gods or the resentment of the soldiers against the Inca law.

MYTHS, LEGENDS AND STORIES

Most chroniclers have used these sources to elaborate history, but myths and legends are also literary conceptions; Those that have come
down to us have been interpreted by writers from a different culture and in a language foreign to that of the people who created them.
Despite this, they retain their vernacular flavor.

A. MYTHS
They are stories of a sacred nature that express beliefs about the origin of things or an aspect of reality; The myths relating to the origin of
the Incas are well known, such as those of Manco Cápac and Mama Ocllo, or that of the Ayar brothers.

THE MYTH OF THE KON - TIKI

Kon - Tiki personifies a disembodied creative being who walked far and lightly; He shortened the path by lowering the
mountains and raising the valleys with solemn will and words, as if he were the son of the Sun.
He filled the Earth with men and women that he created and gave them everything they needed; But his children did not
know how to reciprocate the kindness of their creator, provoking the anger of Kon-Tiki, who as punishment turned that area
into immense sandbanks where it never rains and left only narrow rivers that dumped their sea waters. Pachacámac then
emerges, tutelary god of the coast, son of the Sun and the Moon, who forms new men and teaches them the work of irrigation to
cultivate the fields.
This is a coastal myth, which shows us the duality between a creator god alien to reality and a god who gives life by
teaching. A similarity is found with the biblical idea of original sin and expulsion from paradise. Many other legends were
woven around Kon-Tiki, which unfortunately have not reached us.

B. THE LEGEND

3rd. Year - 10 - 1st. BIMESTER

 HIPÓLITO UNANUE SCHOOL Literature

It is a popular narrative in which the presence of a fantastic or wonderful world predominates. They are stories from the past,
based on places, characters or actions that really existed, but that have undergone transformations when told and retold
through oral tradition.

THE LEGEND OF NAYLAMP

Naylamp, obeying the migratory spirit of his people, leaves the Mayan region in the company of his wife named Caterni and a large entourage,
made up of tunic weavers, preparers of colored creams to paint the skin, carrying musicians and people to your personal service. They raft
along the coasts of Central and South America until they reach Lambayeque, at the mouth of the Paquísllanga River, where they disembark; He
is dressed with feathers of tropical birds, smeared and colored according to his rank and lineage, and on a throne and litter, he and his wife
Caterni are led to the place chosen by Naymlpa for his future city.
The construction of the temple to the idol called Llampallec began and the population began agricultural work. Years passed and Naylamp
grew old, when he felt his death was close, he called his closest friends and ordered them that when he died, they would hide his body and tell
the population that he had given himself wings and flew to heaven. His sons went to populate the neighboring region and his successor Cium
was left in charge of the temple of Chot and the idol Llampallec.
This is the legend of the migration of Central American cultures to South America, a historical memory enriched by fantasy that tries to explain
the birth and development of the Chimú culture. It is the poem of peace, of brotherhood. The setting described in the legend coincides with that
of the kingdom of the Great Chimú, and in the variety of color and human features it has the profiles of the Mochicas.

THE MANUSCRIPTS OF HUAROCHIRÍ

FIRST SPANISH VERSION

The extirpator of idolatries and bookmarker of the Huarochirí manuscripts, Francisco de Ávila, wrote in eight
chapters, in 1608, a treatise and relationship of the errors, false gods and other superstitions and diabolical rites in which the
Indians of the provinces of Huarochirí, Mama and Chaclla and today they also live deceived with great loss of their souls.
Ávila himself indicates that this treaty was drafted based on reports obtained from:
“Reliable people who with particular diligence sought the truth of everything and even before God enlightened
them, they lived in the said errors and exercised their ceremonies .

IV. LYRICAL GENRE IN INCA LITERATURE

LYRICAL SPECIES

1. THE HAYLLI

It was a hymn intended to exalt gods and heroes and to dignify the work of the earth.

FIRST PRAYER TO THE MAKER

(Haylli - Sacred)

Tijsi Wiraqucha Root of being, Viracocha,

Qaylla Wiraqucha God always near,
Tukapu ajnupujuy Lord of clothing
Wiraqucha Dazzling
Kamaj, churaj. God who rules and preserves,
“Qhari kachun, Let him believe just by saying:
“Warmi kachun” “Be a man,
Ñispa rúraj, be a woman.”
Kamasqayki The being that you put
Churasqayki and you raised
Qasilla qhespilla May he live free
Kausamuchun. And without danger.
Maypin kanki? Where are you?
Jawapichu, Out of the world,
Ukhupichu, Inside the world,

3rd. Year - 11 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

Phuyupichu in the middle of the clouds

Llanthupichu? Or in the middle of the
Uyariway, shadows?
Listen to me,
Jay ñimúway. Answer to me,
Yurajyanay make it live
Pacha kama, For many days,
Ashka p'unchau kama Until the age at which
Kausachiway, Gray,
Marq'ariway Lift me up,
Jatarichiway; Take me in your arms
Sayküjtiyri And in my tiredness
Sh'askichíway Help me,
Maypi kaspapas, Wherever you are,
Wiraqucha. Father Viracocha.
(From fables and myths of the Incas, by Cristóbal de Molina)

2. THE HARAWI

It is love poetry, the song of love, of pure, delicate feeling, with its attitudes of joy, pain; in no

3rd. Year - 12 - 1st. BIMESTER

 HIPÓLITO UNANUE SCHOOL Literature

At that moment, Harawi admitted inappropriate or malicious expressions. According to the feeling it inspired, it took on
different names: Jaray Araki was the song of sad love; Kusi Harawi, of joys; Sumay Harawi, of beauty, etc.

HARAWI
From crying so much
a formed fountain
the juice of my pain
quenches others' thirst

3. AYMORAY

Collective singing during planting and harvest time.

Little shower, little shower. (3) He would even step on the thorns,
Look, don't get me wet, I have a even destroy the stones. Oh,
short blanket. ayayái, ayayái!
Hailstorm, hailstorm, don't hail me Little Shepherd:
because I have a small poncho. you go up the hill
Gale, gale, don't blow me, I'm and the condor stirs and stirs.
ragged. Oh, ayayái, ayayái!
Fun, fun, have fun. Shepherd:
You climb a little hill and the hawk
flutters and flutters.

4. HUACAN TAQUI

Pastoral song sung on dates dedicated to the multiplication of livestock.

PASTORAL

A llama would like his hair to be

gold, bright like the Sun; like strong
love, soft as the cloud, which the
dawn undoes. To make a quipu, in
which I would mark the moons that
pass, the flowers that die.
(huaccan taqui)

5. URPI

It means dove and is a love poem. Its origin is Quechua.

Little white dove (7) of the mountain ranges, lend me your pen for my memory.
The grass I grab is taken from the roots, the water I drink is taken from the pond.

3rd. Year - 13 - 1st. BIMESTER

 HIPÓLITO UNANUE SCHOOL Literature

6. CACHARPARI : Farewell song.

7. AYA TAQUI

Funeral song for someone's death. It was a joy that was sung in the face of painful events.

TO THE DEATH OF THE INCA ATAHUALPA

let's cry,
tears of blood, let's cry, with desperation, loudly, let's cry,
that he alone forever removed the light from his eyes.
We will no longer look at his forehead, we will no longer hear his voice, nor will his loving
gaze watch over his people.

V. DRAMATIC GENRE IN INCA LITERATURE

All chroniclers, scholars and researchers agree in their opinions on the existence of theater in the Inca era. Garcilaso de la
Vega, in his Royal Commentaries, explains that the Amautas also composed comedies and tragedies, which were performed on
festival days.

They did not lack the ability to compose comedies and tragedies that they performed in front of the Inca and the people on
holidays. The plots dealt with military victories, exploits of previous Incas and family or agricultural scenes.

Oral tradition has preserved the plot of many of these pieces. A beginning of theater was the Taquis, which were collective
dances that took place in the squares during religious and agricultural festivities. Dancers in masks and costumes performed
complicated steps to the beat of chants and hymns. According to the occasion, the content and the desired objective, the theater
was classified into:

1. THEMES AND CHARACTERS OF THE INCA THEATER

Both religion and exploits in combat and agricultural events were a source of inspiration for theater.

Planting was an action celebrated with song and dance. When the corn or potatoes were planted, large choirs sang songs
of joy in which they praised the rain, the dawn, the Sun. These songs were accompanied with dances and stories to
perpetuate them throughout the community.

OLLANTAY, INCA OR COLONIAL?

We do not consider Ollantay a pre-Hispanic work and its corresponding study will be carried out with the works produced
in the 18th century, within colonial literature.

ACTIVITY
1. Myth that deals with the islands of the Pachacamac Sea:
4. Maximum God of the
Incas:
2. Myth about a couple leaving Lake Titicaca:
5. Mention two coastal myths:

3. Pre-Inca love poem has given rise to the modern one:

3rd. Year - 14 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

E) Urpi : solemn song

6. Mention two myths about the mountains:
9. Relate correctly:
YO. Ayataqui
II. Ollantay
III. myth of Vichama
8. The myth of Cavillaca and Wiracocha is compiled in the work:
a) Epic
b) Lyric
c) Dramatic
A) Ic - IIa - IIb B) Ib - IIc - IIIa
9. Mention four forms of pre-Hispanic lyric: C) Ic - IIb - IIIa D) Ia - IIb - IIIc
E) Ib - IIb - IIIc

10. Correctly relate:

YO. Love song
II. funeral song
10. The two types of poets in pre-Hispanic times were: III. religious song
to) Ayataqui
b) Huacaylle
c) Harawi
A) Ic - IIa - IIb B) Ic - IIb - IIIa
C) Ib - IIa - IIIc D) Ib - IIc - IIIa
1. Considered the national book of the Quichés, it is one of the E) Ia - IIb - IIIc
most original and religious pieces of Aboriginal thought:
A) Ollantay B) Rabinal Achí 11.
Harawis are songs:
C) Runaj Camaj D)Chilam Balam A) Religious B) Of war
E) Popol Vuh C) Of love D) Funerals
E) Lyrics
2. Quechua literature is forged:
A) Before the Spanish invasion 12.
Inca lyrical species that laments a funeral event:
B) During the Spanish invasion A) Harawi B) Aymoray
C) After the Spanish invasion C) Haylly
D) has no origin B) Ayataqui C) Huanca taqui
E) There is no Inca literature.
13. Characteristic of Inca literature which explains the existence
3. It is not characteristics of Inca literature:
of two types of poets: amautas and haravicus:
A) Oral B) Classist
A) Collectivism B) Pantheism
C) agrarian D) Anthropecentrist
C) Anonymity D) Orality
E) Cosmogonic
E) Classist

14.
4. Inca literature had an anonymous character the The cosmogonic character of Quechua literature is due to
because: :
A) This is how the literati preferred it.
A) Existence of two types of diffusers: amautas and
B) Inca collectivism did not allow individualism.
haravicus.
C) The authors were not known.
B) Form of community life without individual creators.
D) The author was lost in history
C) Direct link with nature due to agricultural activity.
E) It was an agreement of the literati
D) Variety or diversity of expressions based on
5. The existence of the haravicus and the amautas myths, legends or beliefs.
demonstrate the character of Inca literature E) Oral dissemination in the absence of writing.
A) Oral B) Anonymous
C) Class
D) agrarian E) Collective
15. Of the following propositions, is correct:
6. The legend of Manco Cápac and Mama Ocllo belongs to the I. In the Inca period the narrative genre predominated.
genre II. The haylli is a collective song that sings sadness
A) Epic B) Lyrical of defeat.
C) Dramatic III. Mariano Melgar relied on Harawi to compose
D) Narrative E) Expository their yaravíes.
A) I and II B)I and III
7. The myth of Pacaritampu is also called: C) II and III
A) The legend of Ima Súmac D) Only III AND) Only I
B) The legend of the Ayar brothers
C) He myth of Wiracocha 16. Relate:
D) He myth of Inkari I. Aymoray TO. Love
E) He myth of Pachacámac. II. Ayataqui b. Pain
III. Harawi c. Agricultural
8. Discard the incorrect relationship: IV. Haylli d. Joy
A) Harawi : Song of love
B) Haylle : Song of war and A) IA, IIC, IIIB, IVD B)ID, IIB, IIIA,
job IVC
C) Huacaylle : Song religious C) IC, IID, IIIA, IVB D)IC, IIB,
D) Ayataqui : Song Funeral IIIA, IVD

3rd. Year - 15 - 1st. BIMESTER

3rd. Year - 16 - 1st. BIMESTER
 HIPÓLITO UNANUE SCHOOL Literature

E) IB, IIA, IIIC, IVD

17. The ........ were Harawi cultivators, poets

popular lyric creators.
A) Amautas B) Haravicus
C)Pacarinas
D) Priests E) Gods

18. Inca poetry was linked to music and dance

and this is at the same time transmitted to the verse, imposing its meter.
At first it was used ................, meter according to the scale
initial pentatonic of music.
A) Huaycalle B) Llactaruna
C) Camaj D) Cachihua
E)Hararec

19. They were considered the creators of the Moral Code and
of the philosophical directions that governed social human life.
A) Haravicus B) Amautas
C) Mamaconas D) Yanacunas
E) Yanansi

20. In the Quechua epic, didactics had a function

teacher and manifested itself in the stories, fables, apologies and

A) Comedies B)Drama
C) Tragedy D) Moral maxims
E) Pacha Camaj

3rd. Year - 17 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

LITERATURE OF THE
CONQUEST
In the year 1532, a heterogeneous group of Spaniards arrived
for the first time at the confines of the most powerful Empire in America.
With 62 horsemen and 106 infantry soldiers under the command of
Francisco Pizarro. In a few months they took over the lands and, in less
than a decade, the Andean world was under the control of the Spanish.
The invaders, despite being few, had total technological
superiority and an incomparable strategic vision on their side.
The Incas were stripped of their glory and almost enslaved.

HISTORICAL CULTURAL CONTEXT:

- Capture of Atahualpa in Cajamarca, 1,532.

- Destruction of the Inca Empire.
- Violent imposition of new cultural elements:
religion, language, etc.
- War between Spanish conquerors.

IN SPAIN, THE RENAISSANCE

At the time of the conquest. Spain began to experience the splendor of

the Renaissance. The Renaissance was a true cultural revolution that
completely changed the mentality of men. The Renaissanceists, and
especially the humanists, focused their attention on the achievements of
man. In fact, Christopher Columbus's eventful voyage would not have
been possible years before, when men still did not believe that the Earth
was round and that it revolved around the Sun.

The humanists were great researchers, people open to knowing the truth
of other worlds and mentalities different from their own.

Furthermore, the Renaissanceists were concerned with

recovering the great works of the classical past (from ancient Greece and
Rome).

PERFORMANCES AND WORKS

The works that were developed at this time are mainly two: # the
Chronicles
# The couplets

THE CHRONICLES
Traditionally they are divided into three:
A. Mestizos:

- Garcilaso de la Vega : Actual comments of the Incas.

- Father Blas Valera : History of Ancient Peru.
- Cristóbal de Molina (El Cusqueño) : List of the fables and myths of the Incas.

B. Indians:
- Felipe Guamán Poma de Ayala. : New chronicle and good government of the Incas.
- Juan Santa Cruz Pachacuti : Relations of antiquities of the Incas.

C. Spanish people:
- Pedro Cieza de Leon :
- Pedro Betanzos : The lordship of the Incas, Chronicles of the civil wars.
- Miguel Cabello Balboa : Sum and narration of the Incas.
- Pedro Sarmiento of Gamboa : Antarctic Miscellany.
- Martin of Morúa Indian history.
: Genealogy of the Incas.

3rd. Year - 18 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

- Bernabe Cobo History of the New World.

It is part of the Hispanic

tradition.
It captures the events of
America.
The purpose was very
varied.
Includes letters,
administrative reports.

Written by men Written by They criticize the conquerors and praise the Empire.
that soldiers. They describe the Indian lands.
they came with They are not of Works based on testimonies.
Pizarro. great poetic
Pre- It tells the quality.
adventures of travel
In relation and
to impressions.
history.
Toledanos

They seek to know in depth the Inca

Empire.
Toledo

They justify the conquest by presenting

the Incas as cruel.
Post-Toledanos

They react to revalue the Inca Empire.

3rd. Year - 19 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

INCA GARCILASO DE LA VEGA

(1539 - 1616)

3rd. Year - 20 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

c Adventures of Hernando First part Second part

de Soto. c Related to the c Discovery of o
c Construction site of customs of the Spanish r
character Incas. insurrection. the
c moralizing.
Possibility of Christianizing the north c Confusing c Struggle the
of the continent. chronology. .
c return it part of the between .
Spanish Empire. conquerors.

THE INCA GARCILASO DE LA VEGA

He was born in Cuzco, on April 12, 1539. He was the son of the Spanish captain
Sebastián Garcilaso de la Vega and the Inca princess Isabel Chimpu Ocllo, granddaughter of
Did you know..?
Tupac Yupanqui, niece of Huayna Capac and cousin of Huáscar and Atahualpa. His father had Garcilaso has been pointed out as
arrived in 1534 and stayed to reinforce Francisco Pizarro and Diego de Almagro. The poet the first spiritual mestizo to appear
descended, then, from a noble Inca family and also from a prestigious Spanish branch from on the American intellectual scene.
Extremadura and of which the Petrarchan poet Garcilaso de la Vega was a part. He was But Garcilaso's mestizaje is not
baptized with the name Gómez Suárez de Figueroa. only a product of the blood union of
He would later change his name to Gómez Suárez de la Vega and finally to conquerors and aborigines; but
Garcilaso de la Vega. He is called “El Inca” to avoid confusion with the Spanish poet. rather it responds to the
He received a careful education from the races to which he belonged, so he sociopolitical spirit of its time,
mastered Quechua and Latin to perfection. receiving the double cultural
Faced with the crown's demand that Spaniards marry European women, Garcilaso influence of Indians and Spaniards.
witnessed the abandonment that his mother suffered and his father's new marriage to Mrs.
Luisa Martel de los Ríos and Lasso de Mendoza with whom he had two daughters. In 1559 his WHO WERE THE
father died, leaving, by will, property and money for his son to study in Spain; But, his condition GARCILASO MASTERS?
as a mestizo (illegitimate son) as well as his father's negative actions during the Civil Wars in The stories he heard in his parents'
the Viceroyalty of Peru, meant that he was denied the inheritance despite having traveled to house during the visit of the friends of
Spain to request it. the Spanish soldier and the Inca
princess were very important to
Disappointed by the court, he decided to return, but his uncle, Alonso de Vargas
Garcilaso de la Vega, the Inca. He
convinced him to stay. Thus, he began his extensive cultural training while helping his uncle in knew the value of the Spanish and
the administration of his assets. traditions of Incanto.
Upon the death of his benefactor, he decided to dedicate himself to a career in His mother taught him Quechua, his
arms. He fought against the rebellious Moors under the orders of Juan de Austria, where he uncle Cusi Huallpa, the history of his
reached the position of captain of His Majesty. ancestors, and his uncles, Juan
Pechuta and Chauca Rimachi, the
Later he began friendships with Jesuits and humanists who encouraged him to
other things about Tahuantinsuyo. For
pursue his literary career. his part, the father, who made sure
With the death of his aunt, he was able to take possession of the wealth of his late that he mastered Spanish, entrusted
uncle, who had adopted him, and dedicated himself to the countryside. the upbringing of his son to Juan de
But tired of this life, he moved to Córdoba, where he could dedicate himself to Alcobaza, who taught him grammar
writing his most famous works. Unfortunately, he did not publish his texts since he died in and Latin. Canon Juan de Cuellar
was in charge of perfecting his Latin
Córdoba on April 23, 1616.
and Captain Juan Silvestre was his
He was buried in a chapel that he himself had ordered built in the city cathedral. teacher of Spanish history.
SCOPE OF HIS WORKS

C Spanish translation of the Dialogues of Love (1589) written by León the Hebrew
in Italian. It is considered the best translation of

the dialogues. It deals with Neoplatonic philosophy, applying it to the nature, types and origins of love. His sympathy for these themes,
typical of a Renaissance humanist, is recognized.

C Genealogy of Garci Pérez de Vargas (1596), addressed to his descendants, to establish the relationship that united them to
Garcilaso himself.

C La Florida del Inca (1605), historical-novelesque account of the unfortunate expedition that Hernando de Soto led to the
Florida peninsula. It is based mainly on the testimony of Gonzalo Silvestre.

C Royal Commentaries of the Incas, definitive work of their maturity. It consists of two parts; the first (1609), consecrated

3rd. Year - 21 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

to the culture and history of the Inca past, and the second (1617), dedicated to the Conquest and the civil wars between
Spaniards.

ARGUMENT
THE REAL COMMENTS

FIRST PART

It deals with the history of pre-Inca and Inca Peru, until the times of Atahualpa. It freely interweaves the infernal history (that of the
culture
and indigenous civilization) with the external history (political and military) guided
by the succession of the Incas. It groups and separates multiple and varied issues
from the internal history of the empire, interrupting this to narrate the political and
military events of the successive Incas, the course of their conquests, and the
meticulous and picturesque relationship of the circumstances and personal
characters of each one. In its exhibition it includes culture and civilization, religion
and worship, social and political institutions, customs, technique, poetry, music,
basic general ideas or philosophy, monuments, material constructions for private or
public use, homes, roads, bridges, flora, fauna , metals and precious stones,
livestock and useful plants, etc. This content is of encyclopedic proportions and
characters. Although he kept in mind other chroniclers, especially the lost work of
Father Blas Valera, he tried to obtain information directly from the Inca survivors,
whose language he learned in the
childhood. It is important to recognize the controversial desire to rectify other chroniclers and the projection of one's own personality as a competent
author.
due to his insistent manifestation of linguistic mastery of Quechua and his dual Inca and Spanish origin.

SECOND PART

It was published with the title of General History of Peru, and not with that of Royal Commentaries, repeatedly and invariably used by
the author. It is a chronicle of the civil wars between the conquerors, which, due to their terrible characteristics and consequences, historically
overlap with what constitutes the process of the Conquest. The story of Atahualpa's cruelties against his brother Huáscar, barbarously annihilated
with his relatives, and the first references to the arrival of the Spanish, serves as a transition between the two great historical nuclei of the
Commentaries on the bloody civil wars between the last Incas , we move on to the no less violent ones in which the Spanish conquerors were
decimated. In this second part, the author's psychological motivation is important. Investigates, accumulates, classifies, evaluates and uses historical
materials as an interested witness to events, or as a relative, friend or enemy of the Crown due to adversaries who emerged in the course of such
events.
To the specifically historical, literary elements are added; expressive and well-defined and intentional portraits; frequent historical,
corroborating or defensive quotes, philosophical and moral reflections.

GUAMÁN POMA DE AYALA

NEW CHRONICLE AND GOOD GOVERNMENT

In the month of August 1908, the director of the Cottingen library, Dr. Richardo Pietschmann, found in the Royal Library of
Copenhagen the originals of a book titled Nueva Crónica y bon Gobierno composed by Don Felipe Guamán Poma de Ayala, Señor y
Príncipe .

CONTENT OF THE NEW CHRONICLE AND GOOD GOVERNMENT

This chronicle consists of two large books, divided into chapters or sections. Guamán Poma calls the first
part “New Chronicle” that is, new news about Peru from the pre-Inca era to the colony; and “Good Government”, thus naming
a project of laws or ordinances for the government of the Indians, since in those times those that contained the most just and
wise laws were called “book of good government”.

NEW CHRONICLE AND GOOD GOVERNMENT

One of the most interesting aspects of Guamán Poma de Ayala's work is the description of the life cycle of the Incas. People,

3rd. Year - 22 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

according to their age and abilities, were classified into “streets” that the chronicler “visited” (describing). The version you are going to
read is modernized to make it easier to read.

3rd. Year - 23 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

FIRST VISIT with another lame man, the mute man with another mute man, the
dwarf with the dwarf woman, the crooked man with the crooked man,
This first street was called auca camayoc, which means
the cleft-nosed man with another cleft-nosed man, for the multitude of
“brave men.” They were men who were between twenty-five and fifty
the world.
years old and whom the Inca sent to war; The Auca Camayoc also
These people had their fields, houses and estates. Thus
populated the provinces; For this, the Inca gave them land, pastures
there was no need for asylum, hospitals or alms with this holy order.
and crops. He did this to have his kingdom safe and well cared for.
FIFTH VISIT

On this fifth street were the sayapayac (mandadores).

They were Indians between the ages of eighteen and twenty. They
acted as couriers: they carried messages from one town to another.

The sayapayac did not taste salt, chili, honey or vinegar.

They didn't eat sweets, meat or anything that had fat. They didn't
drink chicha either. As a great gift, they were treated to some mote
(cooked corn). And to dress, they only needed a T-shirt and a thick
blanket. And if they were children of noble and important people,
they were treated with greater demands.
SECOND VISIT
SIXTH VISIT
On this second street called puric macho (which means
“old man who walks”) we find old men of sixty years old. They On this sixth street were boys from twelve to eighteen
served on the farms; They brought firewood and straw and cleaned years old, who were called “mactacona.” They helped guard the
livestock and crops, hunted birds and served the main chiefs. They
the houses of the Inca or some major lord. They also served as
were educated in humility and obedience and were taught to serve
waiters, butchers, doormen and quipo camayoc (accountants). throughout this kingdom.
QVMTO GALLE STREET BASKET
THIRD VISIT

On this street is the so-called “rocto macho” (which

means “deaf old man”). They were people of eighty, one hundred and
even one hundred and fifty years old.
These said rocto males were so old, that they could only
eat and sleep; Those who could made ropes and blankets; others
looked after the houses of the poor and raised rabbits and ducks.
These old men were greatly feared, respected and obeyed
by everyone. They could whip boys and girls who misbehaved; They
gave everyone good advice and doctrines. They led by example. SEVENTH VISIT
Those who could took care of the maidens, the virgins In this seventh street were the so-called “tocllacoc
and the leading ladies. uamracuna” (which means “hunting boys”). They were between nine
and twelve years old. They dedicated themselves to hunting little
birds, using ties and garters. They made jerky with the meat. And
with the feathers they made fine fabrics and other gallantries for the
Inca and the main lords.

EIGHTH VISIT

On this street were children who were between five and

nine years old. They were called “pucllacoc uamracona” (playful
children). They served their parents as much as they could. Some
earned many whippings and slaps. These children made their younger
siblings play, rocked them in the crib and watched them.
FOURTH VISIT
NINTH VISIT
In this fourth street the sick, crippled, lame, maimed,
In this ninth street were the so-called “llullo llocac
crippled and mute. Those who could, worked helping others. For
uamracona”, which means “baby children”: they belonged to this
example, those who had eyes were used to look, those who had feet
street from the time they began to crawl until they were five years old.
walked, those who had hands weaved and served as grocers and quipo
They were of no use; On the contrary, others had to serve and care for
camayoc (accountants).
them.
Each one married his equal to multiply.

They married the blind man with another blind man, the lame man

3rd. Year - 24 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

so that they wouldn't fall, or get burned, or anything bad would

happen to them.

TENTH VISIT

On this tenth street were the so-called “uaua quirapicac”,

that is, “newly born babies in the cradle”. These children should be
cared for by their mother and not anyone else; Only their mother had
to give them milk.
In this street of cradle children the
general visit of the Indians ends where it is a good law and a work of
mercy and a good general visit.

ACTIVITY
1. How long was Guamán Poma's work lost?
9. Mention a Spanish chronicler:

2. Inca Garcilaso's true name:

10. Much of Garcilaso's work was based on the Jesuit father's
chronicle:

3. Inca Garcilaso died in:

4. Mother of Inca Garcilaso: 11. What characterizes

the work of Guamán Poma de
Ayala?

5. The best work of Inca Garcilaso:

12. Where was the New Crown and Good Government found
?

6. What are chronicles?

13. What does Guaman and Poma mean?

7. Mention two mestizo 14. The two parts of

8. Mention an indigenous 15. What was Garcilaso looking for when publishing his
chronicler: Royal Commentaries :

chroniclers: The Royal Commentaries

are:

3rd. Year - 25 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

16. Name five episodes of the Royal Commentaries: B) They were stanzas made up of eight-syllable
verses.
C) They were political compositions that denounced
the mistreatment of the Spanish.
D) In America they made known aspects of Inca life,
the exploits of the Conquest and the dominance of
Spanish power.
E) Its great representative was Juana de Saravia.

08. The second part of the Royal Commentaries received the

title of ........ and consists of 8 titles, in which the
Spanish conquests and civil wars.
A) The Florida of the Inca.
01. What is the prevailing feature in the Royal Commentaries? B) Conquest of Peru.
A) The image of the Inca era. C) South coast.
B) The jubilant exaltation of the Inca. D) Dialogues of Love.
C) The historical and objective reconstruction of the E) General history of Peru.
Inca.
D) The idealistic vision of the Inca. 09. Check the correct ones:
E) The recusal of the Conquest. I. Pedro Cieza de León: Chronicle of Peru.
II. Felipe Guamán Poma de Ayala: Indian
02. The first part of the Royal Commentaries of the Incas by chronicler
Inca Garcilaso deals with: III. Alonso Carrió de la Vandera: The Cristiada
A) The life of Inca Garcilaso de la Vega. A) Only I B) Only II - III
B) The Spanish conquest of the Inca empire. C) Only I - III D) Only I - II
C) The conquests of the Incas. E) I - II - III
D) The idolatry, life and customs of the Indians of
Peru. 10. Relate authors and works:
E) The origins of Peru. 1. Cieza de León.
2. Guamán Poma de Ayala.
03. Indicate the work that was translated by Inca Garcilaso de 3. Diego de Hojeda.
la Vega: 4. The Cristiada.
A) The Iliad 5. Chronicle of Peru.
B) The Araucanian 6. New chronicle and good government.
C) Love Dialogues A) 1-6; 2-5; 3-4 B) 1-5; 2-5; 3-4
D) The Divine Comedy C) 2-6; 3-4; 1-5 D) 1-5; 2-6; 3-4
E) The Real Comments E) 1-4; 2-5; 3-5

04. The following text refers to: 11. “Above all, it represents the emergence of the Peruvian
“The Conquest will live mainly on the captains and soldiers who soul. It embodies the fusion, the embrace of the two races that
chanted them in tents and in battles, and who applied them to formed the new spirit of Peru. As he himself said: he had
all the events of their lives.” elements of both: loyalty and religiosity, Spanish chivalric
A)The couplets B) The minstrels sentiment and patriotism, gravity and tenderness, shyness and
C) The romances D) The Haravicus love for the land of his Indian ancestor." (Raúl Porras
E)The chronicles Barrenechea) The text refers to:
A) Miguel de Unamuno
05. Does not correspond to Inca Garcilaso de la Vega: B) Ricardo Palma
A) Be the first spiritual Peruvian. C) Riva Aguero
B) It belonged to the indigenous chroniclers. D) Inca Garcilaso de la Vega
C) He had a tendency not to veil history. E) NA
D) His work Real Comments has two parts.
E) He wrote La Florida del Inca. 12. The translation made by the Inca Garcilaso de la Vega of
the Jew Judá Abarbanel, called León the Hebrew, has as its
06. He was characterized by relating his works to drawings: title:
A) Blas Valera A) The Florida of the Inca
B) Guamán Poma de Ayala B) Dialogues of Love.
C) Inca Garcilaso de la Vega C) Genealogy of Garci Perez
D) Sarmiento of Gamboa D) General History of Peru
E) Cieza de Leon E) Real Comments

07. The chronicles:

A) They were born in America to recount the
exploits of the conquerors.

3rd. Year - 26 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature
13. Spanish chronicler (pre-Toledan) who arrived in Peru in the
middle of which is from the land of Peru.
civil war between the conquerors. In 1548 he took part in the A) Juan de Betanzos
battle of Jaquijahuana and its main chronicles were B) Pedro de Cieza de León
Lordship of the Incas and Civil Wars: C) Guamán Poma de Ayala
A) Juan de Betanzos D) Garcilaso de la Vega
E) Christopher Columbus

B) Francisco de Xerez C) Polo de Ondegardo D) Pedro

Cieza de León E) Sarmiento de Gamboa.

14. During the first years of domination, the Spanish cultivated a narrative form called:
A) Novel B) Drama
C) Chronicle D) Essay
E) Tale

15. Which of the following chroniclers is mestizo?

A) Juan de Betanzos
B) Pedro Blas Valera
C) Pedro Cieza de León
D) Felipe Guamán Poma de Ayala
E) Titu Cusi Yupanqui

16. Work in which he reconstructs the history of the Inca empire with marked sentimentality and a lot of nostalgia:
A) Ollantay
B) Chronicle of Peru
C) The Royal Commentaries of the Incas
D) New Chronicle and good government of the Incas.
E) The lordship of the Incas.

17. One of these chroniclers is indigenous: A) Cristóbal de Molina

B) Sarmiento of Gamboa
C) Pedro Cieza de León
D) Garcilaso de la Vega, the Inca.
E) Felipe Guamán Poma de Ayala.

18. Narrative lyrical compositions emerged in the 13th century in Spain, inspired by the Cantares de Gesta.
A) Couplets
B) Song of Songs
C) Romances
D) Myths
E) Legends

19. Work that narrates the adventures of the expedition that Hernando de Soto directed:
A) History of Peru.
B) Relations of antiquities of the Incas.
C) Antarctic miscellany.
D) The Florida of the Inca.
E) Sum and narration of the Incas.

20. To which chronicler does the following text belong:

"In ancient times they say that the land and provinces of Piru were dark and that there was no light or day in it and that at this time there
were certain people in it who had a certain lord who commanded them and to whom they were subject to the name of These people and
the man who commanded them do not remember and in these times when this land was all night they say that it came out of a lagoon

3rd. Year - 27 - 1st. BIMESTER

 COLONIAL LITERATURE I
3rd. Year - 28 - 1st. BIMESTER
HIPÓLITO UNANUE SCHOOL Literature

The colonial system, imposed in America for three centuries after the Discovery, dominated economic, social, political and artistic life.
During this period, an economy of dependency was consolidated based on the extraction and exploitation of metals such as gold and
silver, and on the import of products manufactured in the metropolis. The work was based on an oppressive structure, in which black
people brought from Africa were enslaved and the natives were subjected to harsh treatment, to guarantee cheap labor. The political and
legal institutions were very rigid.

On the other hand, in Europe and Spain there was a time of change. Large cities began to emerge and the monarchy reigned
as a political entity. An ideological and religious shift was also in sight. This development required searching for new trade routes, which
motivated the beginning of expeditions and culminated in the events of the discovery of America.

THE LITERATURE OF THE COLONY includes from the end of the 19th century. XVI to the S. XVIII, time within which the
Viceroyalty was established and developed, as well as the crisis of said system.

HISTORICAL CULTURAL CONTEXT:

- Establishment of the Viceroyalty: Political dependence and

powerful cultural influence.
- Establishment of the Tribunal of the Holy Office and the Holy
Inquisition.
- Political power was strictly managed by Spaniards.
Creoles and mestizos were relegated.
- Creation of the National University of San Marcos (1
557).
- Arrival of the first printing press, 1584.
- Fights for independence.

GENERAL CHARACTERISTICS:

In the development of colonial literature we can distinguish three periods:

1. RENAISSANCE OR CLASSICAL PERIOD:

It covers the 16th century and the first half of the 17th century. The influence of the Hispanic poets Garcilaso de la Vega and
Fray Luis de León is evident in him. The figures of Don Diego Dávalos y Figueroa stand out, who wrote an epic poem titled
“Miscelánea Austral”, Father Diego de Hojeda who wrote a long poem called “La Cristiada”, and an enigmatic anonymous
poetess known as “Amarilis” who composed a beautiful poem dedicated to Lope de Vega titled “Epístola a Belardo”.

2. BAROQUE OR GONGORIAN PERIOD:

It reaches the second half of the 17th century and the beginning of the 18th century. The influence of the Spanish poet Luis de
Góngora y Argote is evident. During this period, Juan de Espinoza Medrano, “El Lunarejo”, a mestizo clergyman from Cuzco
who wrote a study titled “Apologetic in favor of Don Luis de Góngora” stands out; Luis Antonio de Oviedo, Count of la Granja,
who composed a poem called “Life of Santa Rosa de Santa María”; and, the most important, Juan del Valle Caviedes, satirical
poet who made “The Tooth of Parnassus” known.

3. NEOCLASSICAL OR FRENCHIZATION PERIOD:

Also called the period of French influence, it occupies much of the 18th century. The most characteristic representatives are
Pedro Peralta Barnuevo, a prolific author called “Doctor Ocean” for the erudition and versatility of his genius. Within his vast
work, “Lima founded” is considered.

Concolorcorvo also stands out, a pseudonym that hides Antonio Carrió de la Vandera, who wrote a book

of travel stories titled “The Guide of Blind Walkers.”

This time - the end of the 18th century - is the pre-revolutionary stage and there is concern in our environment for political
thought and, likewise, a new ideological concept emerges, a feeling for the land. This trend is represented by Don Pablo de
Olavide, precursor of our independence, and some writers grouped in the “Sociedad Amantes del País” such as José

3rd. Year - 29 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

Baquijano y Carrillo and Hipólito Unanue who edited the magazine “Mercurio Peruano”.

CLASSICAL PERIOD

The classic stage of colonial literature in Peru was marked by the preponderance of the chronicle in the 16th century, and the
lyrical and epic production in the 17th century, consolidating Spanish power in Peru and the emergence of a relatively autonomous
cultural life. , especially around the viceregal court.

This new cultural life of the Viceroyalty intensified when groups appeared that met to verse or comment on other people's
verses.

They are characterized by the marked influence of Spanish Renaissance literature, the works of Garcilaso and Fray Luis de
León reached America, where they found many followers.

1.AMARYLYS
MAIN HYPOTHESES ABOUT THE PERSONALITY OF AMARILLIS

' Mendiburo treated her under the name Isabel de Figueroa.

' La Barrera, like Menéndez Pelayo, arrives at the assertion that Amarilis was Mrs. María Alvarado.
' Asenjo Barbien, maintained the thesis that Amaryllis was fiction by Lope, who covered up under that name that of
Martha de Nevares, the poet's last lover.
' Millé points out that Lope himself is the author of Amaryllis and the Epistle.
' De la Riva Agüero adds the presumption that it could be María de la Serna, or Tello de Sotomayor, or Arias
Dávila; since they are surnames that correspond to the founders and encomenderos of Huánuco, winners of Girón in
Jauja.
' Ricardo Palma, in the prologue to Flor de Academias, slips some doubt about her femininity.
' Luis Alberto Sánchez, points out that Amarilis was a woman who represents in the panoramic study of our
literature, the present of women.

LITERARY REVIEW

The Epistle of Amaryllis....... In her lines she demonstrates a very feminine sensitivity, great mastery of classical verses that demonstrate
erudition, a refined education and sublime lovemaking feeling. The accent he uses is typical of a love more divine than human.

Augusto Tamayo Vargas finds a rebellion between Clarisa (Discourse in Praise of Poetry) and Amarilis, both of whom use Renaissance
mythological terms; The presence of Ovid is also found in both poems, then the hidden tone typical of a special class that could be that
of some nun and finally both poems centralize the beloved, the poet, whom they address with expressions of a sublime, ideal language. ,
which goes beyond life.

After the appearance of the Discourse in Praise of Poetry (1608) comes a time of silence, until Amaryllis appears (1621), both seem to
have their roots in the convent, since the culture seen in their lines could only be be from a nun, since women at that time did not reach
that level of education.

The possibility that a single poet wrote the two poems continues, as does doubt about the identity of Amaryllis.

The Epistle is written in 19 stanzas called silvas; The first eighteen stanzas are made up of eighteen verses

3rd. Year - 30 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

heptasyllables and hendecasyllables, and the last stanza is made up of eleven lines.

The content is autobiographical, as if he wanted to leave his identity between the lines, giving signs and
names of his origin.
I want, then, to begin to realize my parents and country and my state so that you know who loves you and
who writes to you.

His grandparents, possibly conquerors of America, are among the founders of Huánuco. She has lived in
Lima since her childhood with her sister Belisa, both orphans. Belisa will get married while she enters the
convent to live in clean celibacy.

We were two sisters of noble parents, who left us in early death, not yet stripped of childish
cloths.
Heaven and an aunt that we had, made up for the loneliness of our luck.

The platonic love that she manifests for Belardo is crowned by the most beautiful lyrical expression of the Viceroyalty, which due to the
delicacy of the expression is thought to be the product of a feminine soul.

BIOGRAPHY
To this day Amarilis's biography is an enigma, and there is doubt as to whether she was really a Peruvian woman, a
Spanish lady or Lope de Vega himself, using the pseudonym and personality of Amarilis.
Many scholars have investigated his personality, each having a different opinion; Thus Asejo Barbieri, a Spaniard,
maintains that Amarilis was the pseudonym used by Doña Martha de Nevares, a friend of Lope de Vega. Menéndez
Pelayo believes that Amarilis was a highly educated Huanuqueña lady named María de Alvarado.
Luis Alberto Sánchez and Riva Agüero think it could have been María Tello de Lara y Arévalo Espinoza. Don Ricardo
Palma and Ventura García Calderón created confusion when they maintained that Amarilis was a man and not a lady.
Guillermo Lohman Villena, researcher of Peruvian culture, supports the hypothesis that the true identity of Amarilis would
be María de Rojas y Garay, a Huanuqueña lady who resided in the city of Lima. In 1621, Lope de Vega published his work
La Filomena in Spain, where he inserted the Epistle of Amarilis to Belardo, a free-form poetic letter addressed from Peru
by Amarilis, a poetess who claims to be a descendant of the founders of Huánuco.
The truth is that whoever Amaryllis was, she is one of the highest lyrical expressions of our colonial literature.

Without a doubt, she is the most enlightened representative of poetry in Peruvian classicism, in the first half of the 17th century. The
identity of this writer who signed her poetry with the pseudonym Amarilis has not yet been determined: Luis Alberto Sánchez maintains
that her name was María Tello de Lara (daughter of founders of Huánuco), Marcelino Menéndez y Pelayo indicates that her name was
María de Alvarado Although there are some indications, it cannot be said that she was religious. What we know about her, we know from
her work, which shows a solid education, a severe religious training and a vast culture.
In 1621, Lope de Vega in his work. Filomena picked up Amaryllis's poem and later praised her with fiery finesse.

EPISTLE TO BELARDO
YO. Gender Lyrical
II. :Species Epistle
: Structure
III. The Epistle to Belardo consists of 335 verses distributed in 19 stanzas, of which 18 are
:
of 18 verses and the last of only eleven.
IV. Issue : Taken as a whole, the Epistle of Amaryllis to Belardo results in an autobiography of Amaryllis,
who declares his surrendered love to Lope de Vega (platonic love, characteristics of the time), after praising him saying that they should
call him “Miracle.” He states that, since the death of his father, he lives with his younger sister Belisa, with “sweet muses bowed” and “in
clean celibacy.” He also refers to the exploits of his ancestors, founders of the city of Huánuco - his homeland -, which he calls the
“Barbarian Frontier.” But he warns that he sends his “firsts” from Lima.
Amarilis nuances her amorous gallantries with touches of the landscape and history of Peru, and sprinkles it with measured erudition.
She asks her “Belardo” to write some verses to the Virgin Dorotea, whom she and her sister venerate. Finally, after begging him to
accept the offering of his soul and his love, he tells her:

3rd. Year - 31 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

“But if I seemed daring to you,

at least look surrendered,
what unequal ends
Love makes them equal with its strength.”

2. FRIAR DIEGO DE HOJEDA

(1570 - 1615)
The first poetic sample that we know of him dates back to 1595, and is a “song” for the Arauco Domado de Oña. In January
1606, he attended and contributed to the founding of the Recoleta de Dominicos convent in Lima, where he confined himself to write his
famous poem La Cristiada, dedicated to the viceroy Marquis of Montesclaros, who came to Peru in 1608.

THE CHRISTIADA (1611)

Dedicated to the viceroy Marquis of Montesclaros, it is based on the Latin poem Arte poética by the Italian humanist Marcos Jerónimo
Vida (1480 - 1556). It is one of the highest examples of Castilian epic poetry and is about the passion and death of Jesus Christ. It
consists of 12 songs, of hendecasyllabic verses, grouped in real octaves.
It is a religious work, an epic poem of Christian religiosity. The first edition appeared in 1611, in Seville.
The Cristiada is the poem that best identifies Christians. It has a certain touch of oratory and religious prose; In the verses, a lyrical
spontaneity and simplicity emerges to describe steps taken by the Crucified.

I SINNED, MY LORD, AND YOU SUFFER

I am little, my Lord, and you suffer; I The wound is added to the wounds, and sores
committed the crimes and you pay for upon sores are renewed, and the backs,
them; If I committed them, what do you severely beaten, the more blows they suffer,
deserve, who thus offends you with bloody the more torments they experience; The
sores? More willing, you, my God, offer excessive forces of the fierce ones get out of
yourself; You become intoxicated with the control the more they are fed up; and neither
love of man; and so, because it serves as an the blood of God satisfies them, nor does
excuse, you want to bear the penalty of his seeing God remain silent make them afraid.
guilt.
They raise their hard, tireless arms, and they
For on the Lord's limbs, naked and girded wield the strong whip through the air, and
with thick bruises, crude blows are daring, more and more inexorable, they roar
delivered again, the wounds once again with fury, with bravery they moan: they break
unequal: sharp whips with natural armed God's blameless members, and the whips print
points multiply, which tear and penetrate on his flesh, and they spill his blood. , blood
vividly the flesh to the transparent bone. worthy of illustrious honor and divine worship.

The blood boils and runs quickly, it bathes Fray Diego de Hojeda
the body of God and stains the ground, and
the earth consecrated with it dares to
compete with the sky itself; It is partly
liquid, partly curdled, and everything
causes horror and gives comfort; horror,
seeing that this luck comes out comforting,
because God for my life

3. JUAN ESPINOZA MEDRANO

“THE LUNAREJO”
(1629 - 1688)
LITERARY REVIEW

Apology in favor of Don Luis de Góngora, Prince of the lyric poets of Spain, against Manuel de Faria y Sousa, Portuguese
knight.

3rd. Year - 32 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

The ninth wonder.

The prodigal son.
Love your own death.
The Apologetic was published for the first time in Lima in 1662. The second edition was also made in Lima in 1694, six years after the
death of its author, under the title Apologetic in favor of D. Luis de Góngora, Prince of the Lyric Poets of Spain, against Manuel de Faria
y Sousa, Portuguese knight, a work that he dedicates to His Excellency. S. Don Luis Méndez de Haro, Duke Count of Olivares. Its author
was Dr. Juan Espinosa Medrano, rector priest of the Cathedral Church of the city of Cusco. With this long title appears one of the best
works of its time, which earns it the nickname “Fénix Criollo”, “Doctor Sublime”, “Harpón Indiano”, etc.

The richness of its language, the multitude of images, the qualities that characterize Culteranism and the features that demonstrate its
value are overwhelming.

The Apologetic in favor of Don Luis de Góngora is made up of an introduction and twelve chapters or sections. This work is written in
prose in the cultera style, where the author shows himself to be a great connoisseur of classical cultures and an expert in the use of
grammar to explain the poetry of Góngora, who repeatedly uses the hyperbaton. Espinosa tells us: "The words are what divinize and
lend effectiveness to the matter, what is important is to notice that this placement called Hipérbaton is genuine, this Castilian
transposition demonstrates their beauty."

Espinosa Medrano uses polished, elegant language, without affectation calling for ridicule; He points out Farias' criticisms and refutes
them regarding the use of metaphor, hyperbaton, etc. The defense is excellent, not only in terms of it but also in terms of the author's
own expression, who crowns with his exposition one of the best works of the 17th century.

Mario Vargas Llosa, on the occasion of receiving the Prince of Asturias award, referred to Espinosa Medrano saying: “El Lunarejo
became one of the most cultured and refined intellectuals of his time, a writer whose robust and biting prose, with ample breathing and
daring images, multicolored, labyrinthine, founded that Baroque tradition in Hispanic America.”

THE NINTH WONDER

It was published in Madrid in 1695, seven years after the author's death. It was performed by the Royal Chaplain Dr. Agustín Cortes de
la Cruz. It is a collection of 30 sermons and panegyrics by El Lunarejo, delivered on various occasions from the pulpits of the different
temples of Cusco. The name The Ninth Wonder is chosen by his disciples due to the exceptional quality, both in substance and form, of
the sermons delivered over twenty-nine years in various Catholic institutions (Cuzco Cathedral, San Antonio de Abad Seminary School,
etc.) , cataloged as a marvel of literary art.
Loving your own death is a tragicomedy of a profane nature; It was found by the Jesuit father Rubén Vargas Ugarte. The source of
inspiration is in the Bible in the Book of Judges. It is about the invasion of the armies of the king of Canaan, Jabin, into the territories of
Israel.

4. JUAN DEL VALLE CAVIEDES

Suffering from a serious illness, Juan del Valle Caviedes had to be in frequent contact with doctors, whom he blamed for never fully
recovering. Because of this, he took great dislike and suspicion towards them and made them victims of his most sarcastic and cruel
poems.

TENTHS
(Conversation that a doctor had with death,
being sick to death)

3rd. Year - 33 - 1st. BIMESTER

 HIPÓLITO UNANUE SCHOOL Literature

The whole world is witness,

Death of my heart
that you have not been right
to crash like that with me;
notice that I am your friend
and what about your one-eyed shots
In me you have the successes:
excuse me for leaving,
that for each month of life
I will give you thirty-one dead.

Death, if the farmers

they always leave something to sow,
how do you want to exhaust
the seed of doctors?
We give you greater fruits,
Well, with purges and with oils
we give your sickle matters
1 so that you fill your barns,

and for each doctor you

take
2

R
LITERARY REVIEW
Caviedes' central work is Diente del Parnassus. It circulated widely in the hands of regulars
readers, friends of the poet, but it was never printed during his lifetime. In 1852 (160 years after his death) the writer Juan María
Gutiérrez studied the work of the “Poeta de la Ribera” and tried to publish some poems, continuing in that enterprise Don Ricardo Palma,
who managed to make some publications of the Diente del Parnaso in the Lima Magazine. Caviedes' satirical production was completed
in The Documents of Colonel Odriozola, in 1873, thanks to the private collection of manuscripts of José Manuel Valdez. Luis Alberto
Sánchez finds in Caviedes' work some constant motivating themes such as: his feelings, the street and joy, doctors and resentment, love
and death, God and melancholy. Doctors and women have a special place in his production, some for the soul and others for the body,
especially the doctors of the late 18th century, whom he has described with cruel profiles. It seems that Caviedes suffered some ailment
and medicine failed to cure it, which motivated the poet's angry protest against the doctors whom he calls in different ways: “Rayos en
Buchea”, “Graduated Murderers”, “Poison with a glove”, etc.

The influence of readings of the work of Quevedo and even Góngora, with his sonnets Polifemo and Soledades, can be seen in
Caviedes' production.

PLAYS

' SONNETS :
- Fourteen definitions of love.
- Definition of death.
- A big-nosed lawyer.
- Remedy to be rich.

' ROMANCES

3rd. Year - 34 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

- Response to death.
- The marriage of Pedro de Utrilla.
- TO Machuca, for his appointment of Doctor of the Inquisition.
- TO my upcoming death.

RELIGIOUS ODES
- Lamentations about thelife in sin.
- TO Crucified Christ.

ACTIVITY
1. The three stages of Colonial Literature: 12. Mention the work that represents the religious epic in
the Colony:

13. Where was Amaryllis apparently from?

2. Assumed name of Amaryllis:

14. What is an epistle?

3. Amaryllis' work was published in:

15. What is Baroque?

4. To whom did you send your poem
Amaryllis?

Nicknamed the Lunarejo:

6. Nicknamed Poet of the

Riverside: 01. Identify and point out the author of the following verses:
“The devil takes this, / the disorder that is noticeable cannot be
stopped if Saint Paul; / the farm is bankrupt. / And, either I
7. Literary genre of Epistle to Belardo: don't know what I'm talking about, or this idiotic government /
of the country is a cemetery. / This one wants a ministry.”
A) Juan del Valle and Caviedes
B) Ricardo Palma
8. The two stages of the baroque in Peru were: C) Mariano Melgar
D) Felipe Pardo and Aliaga
E) Jose Santos Chocano

05. Juan del Valle Caviedes was called:

A) He Criollo Phoenix
9. Colonial precursor of Costumbrismo: B) He Sublime Doctor
C) He Poet of the Ribera
D) He Doctor Ocean
E) Concolocorvo

06. He wrote The Lazaillo of the Walking Blind

10. Satirical poet known for his dislike of doctors:
A) Pedro de Peralta Barnuevo
B) Alonso Carrió de la Vandera
C) Diego de Ojeda
D) Espinosa Medrano
11. Author of Apologetics in favor of Don Luis de Góngora:
E) Pedro Cieza de León

3rd. Year - 35 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

07. Does not correspond to Epistle to Belardo: A) Juan del Valle Caviedes
A) It is critical in Silvas. B) Sor Juana Ines De La Cruz
B) It belongs to the lyrical genre. C) Miguel de Cervantes
D) Inca Garcilaso de la Vega
C) Is a letter. E) The dentist
D) Use hendecasyllabic and heptasyllabic
verses. 15. The Epistle to Belardo is a work dedicated to:
E) It has 28 stanzas. A) an anonymous
B) Lope de Vega
08. Writer of colonial literature that preludes the C) Garcilaso de la Vega
Creole customs: D) Don Juan Tenorio
E) NA
A) Juan del Valle and Caviedes.
B) Juan Espinosa Medrano
C) Pedro de Peralta Barnuevo
D) Amaryllis
E) Diego de Hojeda

09. He represented the religious epic in the Colony:

A) Diego de Ojeda
B) Amaryllis
C) Juan del Valle Caviedes
D) Espinosa Medrano
E) Alonso Carrió de la Vandera

10. Epistle to Belardo was published in:

A) The Arcadia
B) The Dorothy
C) The Filomena
D) spiritual romance
E) The silly lady

11. Corresponds to the Gongorian stage:

A) Caviedes - Espinosa Medrano
B) Amaryllis - Caviedes
C) Thorny Medrano - Amaryllis
D) Peter of Peralta - Espinosa Medrano
E) Carrió de la Vandera - Diego de Ojeda

12. Relate:
1. He imposed Gongorism in Peru.
2. Great satirist of the time.
3. Astronomer, mathematician, great scholar.
4. His poetry is considered the first in the
Colony.
5. Pedro de Peralta Barnuevo.
6. Juan Espinosa Medrano
7. Juan del Valle and Caviedes.
8. Diego de Ojeda
TO) 1-7; 2-6; 3-5; 4-6 B)1-6; 2-7; 3-5; 4-8
9. 1-6; 2-5; 3-7; 4-8 D)1-6; 2-8; 3-7; 4-5
10. 1-8; 2-7; 3-5; 4-6

13. Amaryllis is a ...... how Hojeda is ..........

A) Colonial epic - Colonial lyric
B) Epistle to Belardo - The Cristiada
C) Apologetic in favor of Don Luis de Góngora -
The ninth wonder.
D) Speech in praise of poetry - Tooth of
Parnassus.
E) NA

14. Tooth of Parnassus is the work of:

3rd. Year - 36 - 1st. BIMESTER

 HIPÓLITO UNANUE SCHOOL Literature

COLONIAL LITERATURE II
FRENCHISED OR NEOCLASSICAL PERIOD

1. ALONSO CARRIÓ DE LA VANDERA “CONCOLORCORVO” (1715 - 1778)

He came from Spain at a very early age. In 1773, under the pseudonym Concolorcorvo, he published his satirical work El
Lazarillo de Ciegos Caminantes.
El Lazarillo de Ciegos Caminantes is a travel book (from Montevideo to Lima), published between 1775 and 1776; Composed of
two parts, a prologue and an appendix. This work obeys the guidelines of the picaresque novel. It reveals aspects of all kinds, focused
from linguistic points of view; They vary from rhetoric, printing prose, everyday sparkle and even the details of traditions and customs.
The author of Lazarillo reflects readings and predominances of authors such as Cervantes, Gracián, Lope, Virgilio, Ovidio, Feijoo and
especially Quevedo. All of these sources and quotes almost come from these pens.

2. PEDRO DE PERALTA BARNUEVO ROCHA AND BENAVIDES (1664 - 1743)

WORKS: His literary and scientific work is extensive, but for educational reasons it can be grouped into:

' Praises, panegyrics and courtly poems. Literary compositions for festivities, religious or social
such as marriages, duels, arrival of viceroys, consecration of a new cardinal, consecrations, autos de fe, etc.

' Dramatic Works: Inspired by historical episodes of the ancient world, many of them in the style of theater
French. He also writes satirical scenes and customs. Among them we have: Triumphs of Love and Power, Rodoguna,
Affections overcome Forces.

' History of Esaña Vindicated: With this work I wanted to exalt the greatness of Spain and correct errors
regarding history. It was planned to be published in four volumes, but only the first was published, where a
geographical description of the peninsula is made.

' Lima Founded: It was published in the printing press of Francisco Sobrino, in 1732, dedicated to the then viceroy
Marquis of Castelfuerte. It is an epic poem with ten songs, 1138 real octaves and a total of 9464 hendecasyllable
verses. It begins with Pizarro's narration on the Isla del Gallo and ends with the founding of Lima. Within the poem, the
author names the most important characters of the colony, exalting Hispanic American values.

NEOCLASSISISM
It was a movement that emerged in France, around the middle of the 17th century, spreading from there to Spain and the rest
of Europe. As an artistic movement it had a much greater influence than the Baroque on the cultural life of its time and chronologically it
also covers the 18th century.
Politically it is framed in what is known as Enlightened Despotism, which replaced in certain terms the monarchical absolutism of
previous centuries. The end of the Thirty Years' War opened the way to effective political hegemony of France over Europe, at the cost of
Spanish decline. Culturally, Neoclassicism develops within two global movements: The Age of Enlightenment, the name by which the
18th century is known, due to the great cultural advances that were made in all fields of knowledge and Encyclopedism, a return to the
search rational knowledge Rationalism, logical consequence of neoclassical thought.

CHARACTERISTICS
' He advocated a radical return to the classics and Greco-Latins.

3rd. Year - 37 - 1st. BIMESTER

 HIPÓLITO UNANUE SCHOOL Literature

'''' Emphasis is placed on the rational and academic.

Literature becomes critical, didactic - moral.
Prevalence of scholars, philosophers, orators and playwrights.
Regarding style and technique, in order to avoid all artifice and baroque exaggeration, he resorted to an
elegant simplicity.

LITERARY REPRESENTATIVES
TO. ' ' IN ENGLAND:
Daniel De Foe: Robinson Crusoe Jonathan Swift: Gulliver's Travels.

IN SPAIN:
History and Novel: Enrique Flores, Sacred Spain Essay: Fray Benito de Feijoo, Universal Critical Theater.
b.
Lyrical: Manuel José Quintana, El Pelayo.
'
Fable: Tomás de Iriarte, “The Flutist Donkey”
'''''
Félix María de Samaniego: “The Milkmaid”
Theatre: Leandro Fernández de Moratín, The Yes of the Girls.

c.
IN FRANCE
' Pierre Corneille, The Comic Illusion
' Jean Racine, Andromana
' Jean de la Fontaine, Tales and Fables
' Jean Baptiste Poquelín (Moliere) The Avarus

d. IN PERU
' Pedro Peralta Barnuevo, Lima founded.

QUECHUA LITERATURE IN THE COLONIAL PERIOD

In the colonial era, the Quechua language continued to be used in verbal creation. Spanish priests wrote prayers and plays in
Quechua to make Catholic doctrine known to the native population. On the other hand, indigenous peasants continued to cultivate their
traditional forms of oral poetry and spread their stories and myths, incorporating in them some elements of the new dominant Spanish
culture. But the most interesting phenomenon is the colonial Quechua theater.

COLONIAL QUECHUA THEATER

For a fairly long period of time, approximately from the middle of the 17th century until the rebellion of Túpac Amaru II, various
authors wrote dramatic works in the Quechua language, but following the models of the Spanish theater of the Golden Age (comedy,
auto sacramental). . The identity of most of these authors is unknown, except for the works Abduction of Proserpina and Dream of
Endymión and the Prodigal Son, whose author is Juan Espinosa Medrano, known as “El Lunarejo”. The works of colonial Quechua
theater that have come down to us are Abduction of Proserpina and Dream of Endymión. To the prodigal son, The richest poor man (by
Gabriel Centeno de Osma), Usca Páucar (these four with religious themes), Ollantay (the most outstanding work of colonial Quechua
theater) and Tragedy of the end of Atahualpa.

OLLANTAY
It has not been possible to establish with complete certainty the date on which this work was written. In the past, many thought
that it was a work from pre-Hispanic times. Currently, specialists consider that it is a colonial work, although it may have been inspired by
pre-Hispanic legends. There is no doubt that, although written in Quechua, the work follows the models of the Spanish comedy of the
Golden Age. Most specialists are inclined to consider that it is a work from the 18th century. It is said that the play was performed before
Túpac Amaru shortly before his rebellion. The identity of the author has not been established with certainty, although Father Antonio de
Valdez has been mentioned in particular. As there is still no agreement between specialists, it can be considered an anonymous work.

TOPICS
OR Power: two forms of exercise of power are presented in the work. The first, authoritarian and implacable,
represented by Pachacutec, provokes a rebellion and the departure of one of the best servants of the empire. The
second, embodied by Túpac Yupanqui, a magnanimous and generous Inca, knows how to be more flexible and use

3rd. Year - 38 - 1st. BIMESTER

 HIPÓLITO UNANUE SCHOOL Literature

forgiveness to overcome internal conflicts and recover a valuable servant.

OR Love, which moves Ollantay to transgress social barriers and confront imperial power.

FORMAL ASPECTS

c Gender : Dramatic
c Species: Drama
c Structure : It consists of 3 acts
The work is written in verse, trying to imitate the characteristics of the Spanish poetic language of the Golden Age
(predominance of the octosyllable and assonant rhyme).

CHARACTERS

' Ollantay : Lord of Antisuyo, brave warrior who has managed to rise socially thanks
to his military victories.
' Pachacútec : Inflexible and authoritarian Inca, who cannot allow social barriers to be
transgressed.
' Cusy Coyllur : Daughter of the Inca Pachacutec.
' Tupac Yupanqui: Son and heir of Pachacutec. Inca merciful and just.
' Coya : Princess's mother.
' Orcco Huaranca: General of Ollantay.
' Piqui Chaqui : Funny servant, who accompanies the protagonist.
' Huilca Huma : High priest.
' Ima Sumac : Daughter of Cusi Coyllur and Ollantay.
' Rumiñahui : General of Pachacutec. Cunning general who manages to capture
' Pitusalla Ollantay.
: Jailer.

3rd. Year - 39 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

ARGUMENT
OLLANTAY

Ollantay is one of the best generals of the Inca Pachacutec,

who in reward for his triumphs has named him governor of Antisuyo.
Ollantay is a victorious warrior, but he does not belong to the high Inca
aristocracy. However, he has fallen in love with a daughter of the Inca,
Princess Cusi Coyllur, whom he has even secretly married. Advised by
the high priest Huillac Umo, in an interview alone with Pachacutec, he
reminds him of the great services he has rendered him and asks for the
hand of Cusi Coyllur in reward. Pachacutec is outraged by the claims of
a man of inferior social origin and angrily rejects the request. Pachacútec
decides to punish the lovers and orders Cusi Coyllur to be locked up in a
dungeon in the Aclla Huasi. Ollantay manages to avoid punishment by fleeing to Antisuyo, where he manages to organize a
great rebellion against the authority of the Inca. The fight between the rebels and the Inca troops lasted for many years. The
Inca Pachacutec dies and is succeeded by his son Túpac Yupanqui. Rumi Ñahui, general of the Inca troops, then plans to
capture Ollantay, and makes him believe that he has fallen from grace and has abandoned the Inca cause. He gains Ollantay's
trust and, taking advantage of the opportunity of a party, manages to get his troops into Ollantay's fortress and capture him
along with his lieutenants.
Ollantay is brought before Túpac Yupanqui and when it seems that he is going to be executed, the Inca spares his life and
even gives him new positions. Ima Súmac then appears on the scene, daughter of Cusi Coyllur and Ollantay, born when her
mother was in prison and her father was fighting in the Antisuyo. Ima Súmac asks the Inca for the freedom of her
imprisoned mother. In the Aclla Huasi, Ollantay recognizes his wife and Túpac Yupanqui his sister. The work culminates
with the happy reunion of the spouses thanks to the generosity of Túpac Yupanqui.

QUECHUA LITERATURE IN THE REPUBLICAN PERIOD

The indigenous people continue to this day creating oral literature in the Quechua language (and also in Aymara or the different native
languages of the Amazon). A diversity of texts has been collected throughout the 20th century. Myths, like those of Inkarri; stories and
poems from the different regions of Peru. Likewise, in the festivities of many towns in our mountains, dramatic performances linked to
the Spanish conquest and especially the death of Atahualpa are staged. Also many authors (such as, for example, José María
Arguedas) have written and write poetry in Quechua or in bilingual Quechua-Spanish versions.

1. Ollantay main theme:

6. Daughter of Ollanta and Cusi Coyllur:

2. Ollantay literary genre:

7. Inca who forgives Ollanta:

3. Ollantay protagonists:

8. Ollanta's enemy general:

4. The three theses on the origin of Ollantay are:

9. What does Rumi Ñahui mean?

Ollantay literary species: 10. What does Ima Sumac mean?

3rd. Year - 40 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

B) The birth of Ima Súmac

C) The dialogue between Ollanta and Piqui Chaqui
D) With the confrontation between Rumi Ñahui and
Orcco Waranka
11. Author of Lima founded E) The laments of Cusi Coyllur
:
08. The work seeks to highlight:
A) The power of Ollantay
12. Nickname of Pedro Peralta: B) Love
C) The wars
D) The power of the rulers
E) The Fidelity
13. Why is the Ollantay located in the Colonial Quechua
Theater? 09. Mark True (T) or False (F), regarding the work
Ollantay:
A) The main theme is love ( )
B) It is located in the colonial period( )
C) Ollantay ends tragically ( )
D) Pachacútec represents authoritarianism ( )
E) Rumi Ñahui betrays Ollanta ( )

14. Language in which Ollantay was 10. Correctly relate character and characteristic:
created: A) Piqui Chaqui ( )High priest
B) Ollantay ( Magnanimous spirit
C) Tupac Yupanqui ( )dazzling star
15. Funny character in Ollantay: D) Cusy Coyllur ( )Funny and ironic
E) Wilca Umo ( ) Andicolous colossus

3rd. Year - 41 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

01. In Ollantay, why does Inca Pachacutec reject 17. The Hispanist thesis on the origin of the drama
categorically Ollantay's marriage claim with Kusi Ollantay
Coyllur? it's based on:
A) Because she is already engaged to marry A) The absence of Christian elements.
another nobleman. B) The utilization of theQuechua.
B) Because Ollantay had already kidnapped the C) The presence of thefunny.
princess without her permission. D) The division of the work into three acts.
C) Because Ollantay was of plebeian origin and it E) More than one.
was enough for him to have ascended to
privileged nobility.
D) Because the Inca had already realized
Ollantay's intentions to overthrow him.
E) Because the princess was the only daughter,
therefore heir to the throne.

02. The Ollantay drama was performed for the first time
Time in:
A) The Museum of the Nation.
B) The raising of arms of Túpac Amaru.
C) The arrival of the first Viceroy to Peru.
D) The rebellion of Mateo Pumacahua.
E) NA

03. The context of the work Ollantay occurs between the

reigns of:
A) Pachacútec - Viracocha
B) Pachacutec - Túpac Yupanqui
C) Inca Rock - Pachacutec
D) Inca Rock - Túpac Yupanqui
E) Huascar - Atahualpa

06. Point out what is incorrect regarding the Ollantay

work:
A) There is talk of two Incas
B) Species: drama
C) One setting is the Inca palace
D) Ima Súmac is the daughter of Ollantay
E) Rumi Ñahui is the funny one in the play

07. The work begins with:

A) The appearance of Pachacutec
11. The drama “Ollantay” consists of ....... acts
A) 1 B) 2
C) 3
D) 4 E) 5

12. Character who in the drama “Ollantay” plays the role

of rogue:
A) Ruminahui B) Orc Huaranca
C) Ima - Sumac D) Piqui - Chaqui
E) Pachcútec.

13. Discard the incorrect relationship:

A) Ollantay: General of Pachacútec
B) Orc Huaranca: Lieutenant of Pachacútec
C) Piqui Chaqui: Raised from Ollantay
D) Huillca Uma: Imperial Priest
E) Pitu Salla: Nurse of Ima Súmac

14. The drama “Ollantay” has as its outcome:

A) Pachacutec's forgiveness of Ollanta
B) The death of Cusi Coyllur
C) The wedding between Ollanta and Cusi Coyllur
D) Ollanta's forgiveness for Túpac Yupanqui
E) The death of Ollanta

16. In Ollantay, who is the funny character and which one

Is it the predominant theme?
A) Inca Pachautec - love
B) Orc Huarancca - betrayal
C) Rumi Ñahui - faith
D) Piqui Chaqui - the power
E) Cusi Koyllur - love

3rd. Year - 42 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

EMANCIPATION LITERATURE

Mariano Melgar

In the second half of the 18th century, with the penetration of Encyclopedism, a new period for humanity begins, the revolutionary ideas
of Voltaire, Rousseau and Montesquieu spread in all directions. In Spain, the Church is weakened following the expulsion of the Jesuits,
and new generations rebel against the yoke of oppression.

These airs of freedom reach our America, in which both well-prepared Creoles and mestizos were grouped, who not only could
occupy high positions due to the fact of not being Spanish, but also witnessed the injustices of the system, which is why which
demonstrate their discontent in small and large rebellions.

In 1780 José Gabriel Condorcanqui revolted and in 1871 José Baquijano y Carrillo delivered his Eulogy (with double intention) on the
occasion of the assumption of power by Viceroy Jáurequi. These first demonstrations were soon supported by a wide publication,
mostly anonymous, of leaflets calling for insurrection; Many copies and pages circulated in Lima, Arequipa, Cuzco and many other
cities.
The new generations of intellectuals and scholars helped with their pens to break the oppression of Spain; Clandestine cenacles are
organized, there is discussion and plotting.

The Lovers of the Country Society was formed, and from the university chair to the popular square the breaking of vassalage was
advocated, feeling the strong support of the Church that did not hesitate to use the priestly pulpit to support the cause of the people.
Peruvian literature was born and manifested itself in its poets, journalists, and speakers.

The hegemonic literature is neoclassical, present for example in the pages of Mercurio Peruano (1791 - 1795) and in the Gospel in
Triumph by Pablo de Olavide.

CHARACTERISTICS

' Clandestine propaganda through the activity of Lima Creoles.

' Peruvian patriotism emerges with a sense of solidarity and unification of its entire history.
' Odes, songs, pamphlets and epigrams are used as a means of expression. They revive the
couplets loaded with the new spirit.
' In the aspect of style, poetics and precept: the literature of Emancipation is under the
canons of Neoclassicism (as a remnant of colonial literature), however, the first Romanticism is also
glimpsed.
' Regarding the content perspective: it is a literature in which Americanism prevails
very easily. (Definition of own in more American than national terms).
' The themes: the homeland, the revolution, the Indian, freedom and the landscape.
1.MARIANO MELGAR

The sweet moment has arrived when Arequipa is happy. Already on my soil the

3rd. Year - 37 - 1st. BIMESTER

 HIPÓLITO UNANUE SCHOOL Literature

ferocious despotism dissipates; Now you can shout with full mouth: may the country
live, may freedom receive, may our Nation triumph.

Mariano Melgar represents in the literature of our country the precursor of Romanticism with a mestizo accent; and marks the
beginning of authentic Peruvian poetry. In his literary work we can appreciate two moments; in the first, the neoclassical spirit motivates
its productions; write praise using hendecasyllable triplets; The influence of the readings of Virgil and Ovid can be seen in them with a
sweet and poetic lament.

Near the wide sea, and my brokenness in tears melted the sad chest;
I already grieved, I already moaned, I already cried so much...
Why, then, to see myself satisfied, did I come to make my pains more acute? and hurt the
broken heart again?

Then it will go from the elegy to the Yaraví, it will be the same anguished romantic breath, wrapped within the Quechua forms with the
language of ancient Harawi. It uses tetrasyllable verses from Quechua lyrical poetry, combining tetrasyllables with pentasyllables and
trisyllables, sometimes resulting in eight-syllable Yaravíes and sometimes seven-syllables.

My glory was my firmness in time, and today its vile inconstancy makes me think Love,
Love, I do not want my dedication to last outside, outside baseness I do not want more
Love.

In other Yaravíes he intersperses octysyllables (four plus four) with trisyllables that break the rhythm with a melodic force similar to the
Quechua lament.

Dead, I you will mourn the error of having lost a fine soul;
And even dead, this miserable living being that you tyrannize today will know how to
take revenge.

THE YARAVI

It comes from harawi, poetry or singing in Quechua that expresses suffering love; That is to say, it is the song of nostalgia,
anguish, the lament of thwarted love. The Melgarian Yaraví takes up this theme to express the inconstant love, the pain due to the
absence of the beloved, the tribulations of the poetic self that with a torn accent expresses its anguish for the loved one.

Mariano Melgar collects the indigenous emotion but covers it in new forms due to his humanistic training, because he is not an
Indian but an American Creole; In it he renews the popular accent. Mariano Melgar is the assimilator and culminator of an entire process
that will give definitive shape to the Yaraví. His poetry is linked to one tradition and initiates another, that of the mestizo Yaraví, in which
forms learned from popular poetry and cultured poetry come together.

There are approximately ten Yaravíes that remain from Melgar, because the best part of his work has been lost, since his

3rd. Year - 38 - 1st. BIMESTER

 HIPÓLITO UNANUE SCHOOL Literature

Sister Josefa burned it at the direction of her confessor, who considered it unedifying because it was sensual and skeptical. In the
popular tradition there are many of his poems and some of his verses are repeated in all places, since Melgar represents nationalism in
romantic poetry, and his love for the land, his popular roots, his ideals of freedom make him a clear representative of mestizo poetry,
fusing Greco-Latin sentiment with Quechua lament.

TO SILVA

All of Melgar's love poetry develops around the love of a woman, Silvia or María Santos Corrales, although it is not known if Silvia knew
about this love; The poet dreamed of his beloved and she constitutes the focus of his poetry. As an anecdote, it is known that the soldier
who sentenced Melgar to death was called Manuel de Amat and he was the one who married Silvia (María Santos Corrales) in 1819,
four years after the poet's death. Naturally, they were unaware of this fact.

The whole world may well conspire against my sweet love and my tenderness, and the
infamous hatred and harsh tyranny of all its rigor against my loving each other.

Melgar was a true romantic in his life and in his work, even long before Romanticism arrived in our country. José Carlos Mariátegui
maintains that Melgar is the precursor of Romanticism. It is also the emancipatory voice. He is the first indigenous romantic of Peruvian
literature of all time. Poet martyr or poet of a single theme, Melgar broke his life for the sake of the country. He wove a loving, vital and
triggering legend, linked by the disaffection of Silvia, his tormented muse, who, perhaps, turned him into an unloved poet. Melgar's
poetic work can be classified as philosophical, civic, laudatory poetry (which brings together waves, elegies, sonnets, octaves, rhymes,
tenth glosses), fables, epigrams and translations.

PLAYS
elegies Five dedicated to his love for Silvia.
Odes To the Count of orida (com Baquíjano and Carrillo), Ode to freedom, Ode to
either.
Vi , Ode to
Sonnets loneliness,
To Ode
Silvia, The the
Fables Woman.to The axes, L parrots and the fox, domestic birds. The donkey
The stonemason
cuckold.
Yaravíes and the donkey
Ten dedicated to S Fragments
Translations
of Las that in Melgar's version illius and, especially, Ovid's Love Remedies,
considered until now as title art of forgetting, printed in Arequipa in 1833 and
best translation of Ovid's text, who is also
author of The Art of Loving.

ARAVI
My little pigeon returns,

Go back to your sweet nest

Come back, I can't
anymore
Living without your love.
No one has to love you
My little pigeon is back.
As I have loved you,
Go back to your sweet
You are deceiving yourself if you try
nest.
Find finer love.
There will be other nests of gold.
Look there are hunters
But not like mine:
that with evil desire
For you my chest poured
They will put you in their
His first moans,
networks
Come back my little dove. Come back to
Attractive mortals;
your sweet nest.
And when they have
captured you

3rd. Year - 39 - 1st. BIMESTER

 You know well that I always Love, love I don't want,
In your love absorbed, I don't want to love anymore.
I never touched your feathers,
Nor have I forgotten your divine dawn;
If someone else can touch them YARAVI
And dispel its shine,
I will try to forget you,
Save your best garment,
And I will die under the weight
Come to the safe haven.
Of my misfortunes;
But don't think that heaven
Come back, my little dove,
Stop making you feel
Go back to your sweet nest. His righteous wrath

Why, tell me, do you walk away? When I am dead, you will cry
Why with impious hatred The mistake of having lost
You leave a loving owner A fine soul;
For looking for cliffs? And even dead he will know how to take
So you want to abandon revenge
Your seat so old? This miserable living
Why does he have to love you like that? That today you tyrannize.
The wounded heart?
At all hours my shadow
Come back, my little dove, It will fill with a thousand horrors
Your fantasy;
Go back to your sweet nest. And it will end your tastes
Don't think that he has entered The melancholic specter
Here's another little bird: From my ashes.
No, my little dove,
Nobody touches this place. THE WOMAN
Yours is my entire chest
Yours is this will; The woman was not born to be loved,
And for you alone I cry
Because it is elusive, because it is false
With loving sighs.
and because it is changeable;
And because she is beautiful, weak,
Come back, my little dove
miserable,
Go back to your sweet nest. She was not born to be hated.

YARAVI She was not born to be subjugated,

Because he has an indomitable character;
I put all my affection on an ungrateful And then prudence in her is never feasible
woman; She was not born to be obeyed.
And she inconstantly came to forget me.
If that's how it is, if that's how it is Because she is skinny she can't be single,
A sincere affection, Because she is unfaithful she cannot be
Love, love, I don't want to, married,
I don't want to love anymore. Because it is changeable, it is not easy for
it to want well.
We swear to be I hers and she mine:
I complied, and she didn't remember If it is not, then, to love or be loved,
anymore. Single or married, subject or first,
Greater, greater falsehood The woman was not born at all.
I will never find hope,
Love, love I don't want
I don't want to love anymore.

My glory was once his firmness;

And today your vile inconstancy makes me
sad.
Out, out baseness

May my dedication last,

3rd. Year - 40 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

TO) Epic B) Narrative

ACTIVITY C) Theatrical d) Epistolary
AND) essayistic
1. Nickname of Mariano Melgar:

04. Of the publications, which contributed best to the

political independence?
2. Literary genres that Mariano Melgar cultivated: A) Royal Convictory of San Carlos.
B) Ode to the victory of Junín.
C) The bag
D) The Peruvian Mercury
3. Precursor of Romanticism: E) The Country Lovers Society.

05. The Letter to the Spanish Americans was written by:

4. What is a yaravi? A) Mariano Melgar
B) Juan Pablo Vizcardo y Guzmán
C) José Baquíjano y Carrillo
D) José Joaquín Olmedo
E) Francisco Miranda
5. What types of poetry does Melgar's Yaraví fuse?
06. Indicate the author who mainly developed the
epistolary genre:
A) Mariano Melgar
6. Melgar's poetic muse was: B) Joaquin Olmedo
C) Hipolito Unanue
D) Toribio Rodríguez de Mendoza
E) Juan Pablo Vizcardo y Guzmán
7. Themes that appear in Melgar's poetry:
07. Mariano Melgar is known as:
A) Paolo Rossi
B) The Lord of Satire
C) “The Pure Poet
8. Mention four characteristics of the Yaravíes of Melgar: D) The Martyr Poet
E) The Peruvian Horace

08. Melgar, ideologically, had ideas:

9. How does Melgar die? A) Conservative B) Republicans
C) Libertarian D) Monarchical
E) Anarchists

10. Ovid's work translated by Melgar: 09. Mariano Melgar for his life and work represents:
A) The martyrdom of the romantic poet.
B) The selfless dedication to the ideals of the
country.
C) The prototype of the new American man.
01. The literature of Emancipation is located in:
D) The poet martyr of Emancipation.
A) Renaissance B) Baroque
E) To the upright intellectual of republican life.
C) Neoclassicism D) Perromanticism
E) Romanticism
10. Indicate the correct statement regarding Melgar:
A) Precursor of Romanticism
02. Regarding Emancipation Literature it is
B) His muses were: Laura de Noves and Ismena
TRUE:
Torres.
A) Sánchez Carrión: Praise for Jauregui.
C) Melgar immolated himself in Umachiri due to
B) Baquíjano and Carrillo: “The Solitaire of
disappointment in love.
Sayán”
D) His academic training was spontaneous and
C) Joaquín Olmedo: Paolo Rossi
incomplete.
D) Vizcardo y Guzmán: He wrote at the request
E) The poet's ideal of emancipation is expressed,
of Bolívar.
E) Mariano Melgar: Poet and martyr

03. During the Emancipation era he stood out,

mainly, the literary form:

3rd. Year - 41 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

mainly, in their yaravíes. 19. Indicate the correct alternative in relation to the
yaravíes:
11. Within Melgar's literary production, the A) Mestizo composition that is based on the
The political aspect is reflected, basically in: A) Odes Quechua haylli.
and fables B) Poetry that belongs exclusively to pre-Hispanic
B) Sonnets and epistles poetry.
C) Rhymes and translations C) Artistic, melancholic, tender expression, and,
D) Yaravíes and sonnets mainly, verses of high art.
E) Epistles and odes D) Hybrid cultural manifestation with Hispanic theme
and Quechua form.
12. Indicate the correct alternative of Melgar's works: E) Mestizo poetry that has its origins in popular
A) Sonnets - yaravíes - comedies - skits Harawi.
B) Translations - odes - madrigals - dramas
C) Elegies - odes - sonnets - yaravíes 20. They are elements of pre-Hispanic harawi present in
D) Fables - odes - satires - eclogues the yaravi:
E) Epigrams - elegies - odes - Yaravíes A) Minor art meter and feeling of pain and nostalgia.
B) Consonant rhyme and verses of greater art.
13. Melar wrote except: C) The didactic desire and the exaltation of the
A) Odes B) Fables landscape.
C) Yaravíes D) The love theme and the patriotic feeling.
D) Dramas E) Elegies E) Use of figures as comparisons and metaphors.

14. It is a translation by Melgar: 21. Melgar, in his yaravíes:

A) From the Song of Songs A) Immortalize the name of Silvia.
B) The Aeneid B) It uses verses of major art exclusively.
C) Love Dialogues C) Create a mestizo lyrical species.
D) It reflects the love theme and the Inca tone.
D) Love Remedies
E) Romanticism begins in Peru.
E) Epods

15. It does not correspond to a Melgar fable:

A) The cats
B) The stonemason and the donkey
C) The Nightingale and the Coachman
D) The tortoise and the hare
E) The horned ass

16. Why is Melgar considered a precursor of

Romanticism?
A) For the ease of describing the landscape.
B) Because of his loving tendency.
C) For his fables.
D) Because it avoids rhetoric.
E) Because it uses critical poetry.

17. The innovative features of Melgar's poetry for

His time was the fusion of elements: A) Sentimental
and popular
B) Scholars and liberals
C) Classic and traditional
D) Improvised and didactic
E) Neoclassical and baroque.

18. The name of Silvia, second and most important

muse of Melgar, truly belongs to: A) María de los
Santos Corrales
B) Ismena Torres
C) Isabel Freyre
D) Manuela Paredes
E) María Rojas y Garay

3rd. Year - 42 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

CUSTOMS

CUSTOMS

He joins the trend that attempts to reflect regional customs both in literature and in other artistic disciplines.
Spanish Costumbrismo appears taking into account the local color, the picturesque, as a moral and educational predominance. This
Costumbrismo is what happens to Peru, continuing with a “literary colonialism” as José Carlos Mariátegui calls it.
Costumbrismo was born with the Republic, in a disorderly and unstable period; Our costumbrista writers present both the
frustrations of the rising middle class (Manuel Ascencio Segura) and the declining upper class (Felipe Pardo y Aliaga). The wars for
Independence had exposed Peru to the ideologies of industrial capitalism and liberal ideas. The contrast between these ideas and
the social and economic realities of 19th century Peru creates an imbalance between hopes and realities.
Costumbrista literature describes a transitional society, since colonial molds and customs still existed in the upper classes; but
independence had given rise to conflicts resulting from social inequalities

CHARACTERISTICS

' Attachment to immediate reality, perceives its epidermal strata.

' Descriptive capacity of types and customs.
'Satirical tendency, either as a mockery or as a weapon of ideological and political struggle.
'Realistic and pamphleteering tone.
'Judgmental obsession, from a moralizing attitude.
'Customs are shown, preferably from the city.
'His means of expression were theater, satirical poetry and journalism. Within the theater, fundamentally, festive comedy.

REPRESENTATIVES
! Manuel Ascencio Segura
! Felipe Pardo and Aliaga

1. FELIPE PARDO Y ALIAGA (1806 - 1868)

3rd. Year - 43 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

Don Felipe Pardo y Aliaga was born in Lima, on June 11, 1806. His parents were Don Manuel Pardo and Doña Mariana de Aliaga. His
father belonged to the group of viceregal officials, opposed to the independence of Peru; For this reason, when this is declared, the
Pardo and Aliaga family embarks for Spain. In 1828, having finished his education, he decided to return to Peru; It was the government
of Marshal Gamarra, who had overthrown the Mar. Upon arriving he wrote his Ode of a Peruvian upon returning to his homeland, a
poem in which he praises freedom. On August 6, 1829, he premiered his work Fruits of Education, in which he censured the zamacueca
dance as licentious and against morality. When Salaverry returns to power he appoints ambassador to Bolivia. He also occupies
diplomatic missions in Spain and Chile. Upon returning to Peru, he tried to restore the national theater
and continued his fruitful work, publishing “El Espejo de mi Tierra”, inserting numerous articles and
stories there such as that of Niño Goyito. His work is copious and varied. At the end of his days he is
blind and paralyzed, but he continues to create, dictating his notes to his daughter Paca. He died on
December 24, 1868.

LITERARY PRODUCTION
COMEDIES
'Fruits of education (1828). It is a criticism of liberal customs. He attacks the zamacueca
dance for considering its movements as sinful. (An English gentleman breaks his
marriage engagement because he discovers his girlfriend dancing zamacueca).
' Don Leocadio and the anniversary of Ayacucho (1833). He criticizes the liberal customs of
the young republic. It makes a balance with colonial aristocratic customs.
'An orphan in Chorrillos (1833). Its characters are typical of the time. Pardo praises
aristocratic manners and customs.

CUSTOMS ARTICLES
Published in The Mirror of My Land (1840 - 1859), a newspaper of customs that promoted a sharp controversy. His criticism is
political and social against institutions and characters of the time, but full of biting and satirical spark. Highlights: “A Journey”.

SATIRICAL LETTERS AND POEMS

The Nose (1834), The Boss (1835), Bullfight, The Minister and the Aspirant. What a handsome boy.

SATIRICAL POETRY
The Political Constitution, The Lima Carnival.
Felipe Pardo's style is balanced and reveals reflection and measurement in concepts. In 1840, Pardo published a journalistic
prospectus, The Mirror of My Land, studied with skill by Alberto Tauro. This was a newspaper that tried to correct customs and
adopt good European taste. There it informatively stores the tables of customs. Mosaics of data and funny criticism that criticize
or question the behavior of the representatives of the political sphere of those days. In the same issue of El Espejo de Mi Tierra,
the classic and anthologized customary story is included: “Un Viaje”, whose protagonist is Niño Goyito, a perimeter boy or a man
with bibs.

3rd. Year - 44 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

A TRIP

The boy Goyito is on a trip. The boy Goyito is going to turn fifty-two years old; When he came out of his mother's womb they called him Goyito boy,
now they call him Goyito boy. There are many people who go to the pantheon as they came out of their mother's womb.
This Goyito boy everywhere is a good-sized Don Gregorio, receiving letters from Chile for three years, in which they warn of an old woman forced to
settle some business matters that some debtor from an interesting family would answer these letters. To make this trip, then, sir, matter
concluded. The boy Goyito goes to Chile. The news spreads throughout the family, conversations and chores to all the servants, cares and
devotions to all the convents.
Look for seamstresses, tailors here, there. Mother Transverberation of the Holy Spirit took care of some sweets; When Mary, in grace, made a portion
of them, a reclusive nun sent a scapular as a gift: Father Florencio de San Pedro ran with the sherbets. Don Gregorio called capingo what we call
cape, jackets, pants for different seasons or climate. In short, there was a whole expedition by Bonaparte to Egypt.
Six months were consumed in the preparations, Don Gregorio's little sisters, the youngest of whom was his baptismal godmother, who were going
through pain due to this very forced trip, took all the necessary measures at the drop of a hat. Oh my GOD! What a conflict! The ship will be
good or bad, said the little sisters; How great to embark on a shoe; Finally, he practices his reconnaissance and returns saying: the ship is good
and that Don Goyito will go safely on a ship belonging to the royal beloved. The farewell is going on all over Lima, so are you leaving us? Don
Gregorio offers himself at everyone's disposal, his eyes bathe in tears on each arm, he entrusts himself to God.
The day of departure arrives; What a noise! What a joke! Trunks, drawers, mattresses in the hallway. Everything finally comes out. Don Gregorio
marches in a large family caravan. The unhappy little sisters do not remove the handkerchief from their eyes; The same thing happens to the
traveler, the soponcios, general hugs worsen. Goodbye my little sisters! Goodbye Goyito from my heart! May the soul of my mother Chombita
carry you well. This trip has been one of eternal memory. It was like the Christian era, like the Hijra, or like the founding of Rome, of the
Nabonassar era.
This is how our grandparents traveled, many of the generation still preserve the type of the times of Viceroy Avilés. But revolutions make man, and
the unhappy since childhood have had them as an atmosphere, the short benefit of even a great locomotive happiness. Health or any other
circumstance recommends a trip, ticket? Four letters in print saying goodbye to friends, with this absence. My sweet conversations with the
public, which will correspond to my friendly farewell, prepare your trips as calmly as you want, talk about the opera, dance zamacueca with a
flat heel. In short, take advantage of all these, and pray to God to give me fresh wind, a friendly captain, a good table and a quick environment.

2.MANUEL ASCENSIO SEGURA (1805 - 1871)

The work of Manuel Ascensio Segura has a comic temperament with a colorful tendency of national paintings, without
transcendence, without criticism, like a happy reproduction of the society in which he lived.

The middle class finds its best exponent in him. The characters that inhabit his works are the public employee, the old
neighborhood gossip, the girl looking for a boyfriend, the preachers and all the characters of the daily life of a Creole
neighborhood, with their characteristic language that mixes slang with popular sayings. .

Festive poetry and comedy can be observed in his work. Festive, circumstantial and journalistic poetry is filled with popular
expressions in which it warns of a hidden campaign against poetic erudition, using words and expressions such as
“guasaquio”, “Dale zamba!” “Malaya!” etc

“ ...Whether this is a poem or not

I don't care three radishes,
nor let the horseflies bite me,
until he made me an apostema.”

The genre in which Segura stands out the most is comedy, being the maximum representative of theater in its costumbrista
stage.
AMONG HIS MAIN WORKS WE HAVE

'Sergeant Canuto, where he captures a popular sentiment, introducing us to the boastful soldier, the pretentious soldier that
Jacobita portrays as a fool.
' Ña Catita is the Lima character who spends her time “arranging” marriages.
'The three widows, ostentation, domestic intrigues, with a funny and fresh Creole, popular language and sweet and tender
human sentiment.
'No one can blame me, it's a comedy in three acts, as an appetizer; Pepita's sparkling dialogue emerges that uses the
phrases of the Lima boys of that time.
'The skirt and the mantle, released in 1841, is the expression of the situations of the moment; He censures ministers and
laughs at bureaucracy. It bears that name because of the use of the traditional dress of the Lima women, the famous
“Tapadas”.

3rd. Year - 45 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

of skirt and cloak.

' Lances de Amancaes, offers us a typical Creole painting at the festival of
San Juan.

BIOGRAPH
Y

He was born in Lima on June 23, 1805, son of a Spanish soldier. He

entered the royalist army as a cadet in 1824, and continued until 1841, when he left the
army with the rank of sergeant major. That same year he founded the newspaper La
Bolsa, where he published traditional articles. He held public positions such as the
secretary of the Prefecture of Piura in 1849 and a deputation for Loreto in 1860. He
founded the satirical weekly El Moscón in Piura, where he displayed his pleasant, Creole,
traditional language, full of popular expressions and voices, becoming a teacher of the
new generations. He was present at the literary gatherings of his time but shuns applause and admiring expressions. For health reasons
he leaves public administration, writing in retirement Ña Catita, Lances de Amancaes, La Saya and el Manto. He died on September 17,

LITERARY PRODUCTION

POETRY
'To the girls, sextillas addressed to prudish girls.
'La Pelimuertada, with a lot of lyrical character adorned with twists and Creole grace, loose lyrics published in newspapers.

SAINETES
'Lances of Amancaes
'The cacharpari
'Two for one

COMEDIES
'Sergeant Canuto
'Blasco Núñez de Vela
'Love and politics
'The skirt and the mantle
'Ña Catita
' Panchita

NEWSPAPER ARTICLES
' The carnivals
' The streets of Lima
'A walk to the bridge

3rd. Year - 46 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

ARGUMENT

ÑA CATITA

The husband and wife Don Jesús and Doña Rufina have a daughter named
Juliana, all candor and sweetness, who corresponds the loves of Don
Manuel, a poor young man with no future.
Doña Rufina intends to marry her daughter to Don Alejo, a gentleman of Don
Juan legend and a lot of money, but whom Juliana detests. Faced with
this resistance, the mother resorts to the matchmaking arts of Ña Catita,
who using a thousand tricks convinces Juliana to accept Don Alejo.
Ignoring the protests of Don Jesús and the lamentations of Don Manuel,
the engagement is sealed, when Don Juan, an old friend of the family,
appears, bringing a letter from Cusco for Don Alejo sent by his wife.
Ruifina faints from fear and cries from misfortune. Ña Catita is thrown onto the
street, Juliana and Manuel ensure their marriage and Don Jesús forgives
Rufina.

Manuel : For God's sake, don't break my Catita : Cathay! These are the fashions
head anymore, lady! that foreigners from France and California
Catita : Oh, that my luck would be different bring to us! honor is preserved.
if my Idefonsa lived! Let them kill themselves, son, if life gets Catita : Therefore, it is not that in the
Manuel : (Aside) This old woman shows them stuck; may it benefit them well; house where that person lives there are no
signs of not leaving me in seven hours! There, in short, they make up for it, entrances or exits; and she looks old; and
Catita : That's why I don't leave my because the devil will take what is rightfully virtuous, and very collected...
memory for a moment, and I would like you his; But for us, God willing, the pot doesn't Manuel : Dear.
to see me as a loving mother. Talk to me, snore like that. Catita : You will have it like the nuns, I am
then, with confidence..................... So listen: has even Don Jesús declared not offering you my house, because like a
What do you have? What troubles you? himself against you? thief I am fleeing from the owner who
You do not answer! I don't believe it. charges me the rent.
Manuel : Eternal God! Manuel : Believe it. Not half a quarter of an It's a lot of work to be poor!
I have nothing, ma'am! hour ago, hearing him speak left me with It's been three months now that I don't
Catita : Catita, my name is son. the word in my mouth. know a room; and to help with costs, to a
Manuel : Damn the time I came here! Catita : Look how it is! If everyone here man who paid me my alms quarter, who
Catita : And why? has you, Manongo, cócora, because it is, was employed in the Savings Banks. You
Manuel : Everyone makes me son, a lot of story that there is worse half know, where they charge, they've made
uncomfortable (...) chórcholas. the story that it was from the cob, and
Catita : Julianita's love But look, if I were you, I'd give them a hard without further ado they've left it to the poor
It is what suffocates you; But look, I advise time. guy to catch flies. So I don't know where
you not to be scared by shadows. Manuel : But in what way? he got it from so that this guy doesn't put
Don't you die for her? Catita : Run away me before a judge. Oh, how shameful such
And isn't she crazy about you? Let the dove fly. a thing was for me! I, who have never had
What else do you want? Oh! You have not understood me? a note in my conduct, suffer that
The rest is trompe l'oeil. Manuel : Yes. Manuel : You didn't cry!
Manuel : And your mother Ña Catita? Catita : There is no other shorter line. Catita : If my knees go limp just thinking
And his father, who I believed was the only Manuel : I like it. Very good idea! Catita : about it, my God!
person in the world who extended a Well, son, let's get to work; and do not Manuel : You almost drowned.
protective hand to me, who treats me like a strike in vain, because if you strike they will Catita : They would put me in jail, or
black man and who avoids speaking to me trick you.
alone...? Manuel : Then it will be good if I agree with
Catita : (Aside) I'm glad for the news. her as soon as possible.
Manuel : Aren't those reasons enough to Catita : That's it. Things get done walking.
take my pistols and shoot me? ? Manuel : Well, I'm going.
Catita : Jesus! Catita : ah! I did not remember.
Manuel : Life is already hateful to me! Manuel : What were you saying?
Catita : Hail Mary Most Pure! Catita : What does it matter not to give
You leave me, Manongo, absorbed. way yet until I give the rule, because there
Die without confession! is a certain inconvenience that I cannot tell
ÑA CATITA you now. The term will not be long.
(Fragment of act III) Tomorrow, if that suits you.
Manuel : Yes
What a diabolical temptation! (...)! Kill Catita : Well, my son, good cheer, and off
yourself for your hand! to the streets with the post. If you want, I
Manuel : It's worse to burst into anger. will speak tonight to a woman I know in
Catita : Do you want to imitate Judas? Malambo, so that she can stay there until
Manuel : Death does not surprise me; It's the parish priest marries you.
a dream, nothing more. Manuel : I will put it, Ña Catita, where its

3rd. Year - 47 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

they will snore.............

Manuel : Shut up.
C atita : Oh, my Pancho, if you would
resurrect now and see your wife...!
Manuel : Hey! Enough of the anxiety,
everything will be fine.
C atita : Be it as God wills! That must
have suited me!

ACTIVIT
1. Author of A
Journey:
Y
D) A
n
a
rt
i
c
l
e
a
b
o
u
t
c
u
s
t
o
m
s
t
h
a
t
s
a
r
c
a
s
ti
c
a
ll
y
p
o
rt
r
a
y
s
t
h
e
t
y
p
i
c
a

3rd. Year - 48 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

l
L
i
m
a
n
a
ti
v
e
,
a
g
o
o
d
b
o
y
a
n
d
a
f
o
p
.
E) A
2. First work of Costumbrismo: n
e
s
s
a
y
t
h
a
t
e
x
p
l
o
r
e
s
t
h
e
s
o
c
i
a
l
s
it
u
a
ti
o

3rd. Year - 49 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

n
o
f
L
i
m
a
a
t
t
h
e
b
e
g
i
n
n
i
n
g
o
f
t
h
e
R
e
p
u
b
li
c

02. These are works by Felipe Pardo y Aliaga, “The Lord of

Satire”:
3. Protagonist of A Journey: A) Fruits of education, La Pelimuertada.
B) The Saya or the Mantle, To the Girls.
C) The walk of Amancaes, Sergeant Canuto
D) The saint of Panchita, One Hundred Years of
4. Costumbrismo comes from: Perdulary Life.
E) A trip, Fruits of Education

03. Popular comedy of manners in which a pimp appears in the

5. The two aspects of Costumbrismo: style of La Celestina; but, appropriate to the Lima
society of that time, specifically the middle class: A)
Sergeant Canuto
B) Ña Catita
C) The Dead-Haired
D) A trip
6. Nicknamed Father of the Peruvian E) Fruits of the Education
Theater: 04. He symbolizes the popular aspect of Costumbrismo and his
work was characterized by vindicating the customs of
the beginning of the Republic: A) Bécquer B) Unamuno
7. Costumbrismo coincides with the stage of the republic known C) Melgar D) Segura
as: F) Espinosa Medrano

05. The expression “not even Bonaparte's expedition to Egypt

had so many preparations” corresponds to the work: A)
8. Ña Catita's main theme: Sergeant Canuto B) The Three Widows
C) Ña Catita
D) Yaravíes
E) A trip

3rd. Year - 50 - 1st. BIMESTER

9. Called La Celestina Peruana:
HIPÓLITO UNANUE SCHOOL Literature

10. The best 07. The father

work of of Peruvian
Costumbrismo: theater is:
A) Fel
ipe Pardo and
Aliaga
B) Ma
01. A trip, by nuel Ascensio
Felipe Pardo y Segura
Aliaga is: C) Ju
A) A an del Valle
Caviedes
satirica
l
comed
y that
criticiz
es
boastf
ul
military
men.
B) A
satire of political
institutions.
C) A
comed
y that
caricat
ures
the
typical
middle
-class
Lima
native,
indecis
ive
and
overpr
otecte
d.
06. Among the
precursors of
Creoleism we
have:
A) Maria
no Melgar
B) Amar
yllis
C) Fray
Diego de Hojeda
D) Juan
Espinosa
Medrano
E) Juan
del Valle and
Caviedes

3rd. Year - 51 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

D) Ricardo Palma B) He cultivated festive verse and articles of customs.

E) Mariano Melgar C) He created customs with a Creole tendency.
D) His manners were motivated by a desire for severe
08. The customs article is:
A) A small chronicle. criticism.
B) A composition in free verse. E) His paintings of customs are presented with
C) A song of deed dynamism and agile dialogue.
4. A romantic legend
5. A stanza similar to the Yaravi.
16. The movement with which republican literature begins is:
09. Writer, son of a rich Spaniard, studied in Spain and A) Modernism
wrote a satire of the Peruvian upper class: B) He Romanticism
A) Pardo and Aliaga
C) He Realism
B) Safe
C) Palm D) He Customs
D) Melgar E) He Symbolism
E) Peralta - Barnuevo
17. It is not characteristic of Costumbrismo
10. During the time of Costumbrismo, ......... represented
A) It captures habits, customs, popular types
he
creolism, and ......... anti-creolism B) Criticism of the vices of the republican system
A) Ricardo Palma - F. Pardo and Aliaga C) One of its representatives is Manuel Prado
B) Manuel Ascencio Segura - Felipe Pardo y Aliaga D) It is the first republican movement
C) José Santos Chocano - Manuel González Prada E) “Sergeant Canuto” is one of his works.
D) Felipe Pardo y Aliaga - Manuel Ascencio Segura
E) Ricardo Palma - Clorinda Matto 18. Regarding Felipe Pardo and Aliaga, point out what is
false:
11. Costumbrista work in which the author criticizes the A) He descends from an important colonial family.
popular dance of the zamacueca: B) His family moved to Spain after Independence.
A) Fruits of education C) Criticize national life.
B) Ña Catita
D) One of his works is “Fruits of Education”
C) The Three Widows
E) He developed a Creole literature.
D) Sergeant Canute
E) An orphan in Chorrillos
19. Maximum representative of popular or Creole
12. Which of the following works does not belong to Manuel Costumbrismo:
Ascencio Segura? A) Melgar B) Peralta C) Pardo and Aliaga
A) Ña Catita D) Safe E) Chocano
B) Sergeant Canuto
C) The Saya and the Mantle 20. “Ña Catita”, “El Sargento Canuto”, “La Saya y el Manto”, are
D) The Saint of Panchita some of his works:
E) Fruits of Education TO M. Brown B) F. Pardo and
) M.A. Safe
C) Aliaga
d) Gonzalez Prada
13. Literary current whose representatives used colloquial E) AC Salaverry
language, popular sayings, Peruvianism:
A) Customs
B) Realism
C) Modernism
D) Avant-garde
E) Symbolism

14. Character from Spanish literature who is the antecedent of Ña Catita:

A) Beatriz
B) Celestina
C) Girlfriend
D) Aldonza Lorenzo
E) Dulcinea del Toboso

15. Expression that does not correspond to Manuel Ascencio

Safe:
A) He wrote traditional theater
THE ROMANTICISM
Romanticism was a movement that revolutionized culture in the Western world when capitalism enlisted its powers in
Europe. It was born as a historical necessity for those societies, but its influence was very great.
Soon, by way of “cultural updating”, in different parts of the world, they began to imitate the masters of Romanticism.

3rd. Year - 52 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

One of those points was Peru. Forms, expressions, themes, sayings, it was a whole new attitude of the Peruvian poets
imitating the French, German and Spanish romantics.
The romantic movement of Peru was born in the mid-19th century. Ricardo Palma indicated the date of 1848. It was a
movement of great activity and individual challenge, it is a pity that it was far from our reality and served to give in to the
criollos who, living and governing in Peru, had their minds and feelings abroad.
CONTEXT
- Rise of the bourgeoisie by guano exploitation
- Government of Ramón Castilla
- “Falacous Prosperity”
- Battle of May 2, 1866
CHARACTERISTICS
- Detachment from the national
- Hispafil
- Limeñista
- Without effervescence of European Romanticism
- It mainly highlights a sentimental romanticism (Salaverry)
REPRESENTATIVES
LYRIC
- Carlos Augusto Salaverry “Letters to an Angel”
- Manuel Nicolás Corpancho “Poetic Essays”
- José Arnaldo Márquez “Lost Notes”
- Clemente Althaus “Patriotic and religious poems”
- Juan de Arona “Sonnets and sparks”
NARRATIVE
- Luis Benjamín Cisneros “Edgardo or a young man from my management”
- Abelardo Gamarra “Behind the cross the devil”

RICARDO PALMA SORIANO

(Lima 1833 - Lima 1919)
He was of humble economic condition, he began his literary life writing romantic verses: Pasionarias, Armonías, doing
artistic journalism in the pages of “El Diablo” and premiering theatrical pieces such as: The executioner's sister, death
and freedom (1815) and Rodil (1582).
As a consul he traveled through Europe and the United States. In 1866, a supporter of José Gálvez, he participated in
the combat of Dos de Mayo; Upon his return he entered the revolution in favor of Balta as private secretary and senator
for Loreto.
In the battle of Miraflores, the Chileans burned his house and very valuable personal library. During the occupation he
lived off correspondence with foreign newspapers, especially the Buenos Aires press.
Iglesias and Lavalle proposed to him to rebuild the library, for his work Palma obtained the nickname of The Beggar
Librarian. He died in 1919.
PLAYS
Palma cultivated various literary genres and undertook historical and philological works.
- Historical works: Criticized for being carried away by fantasy: Annals of the Inquisition of Lima, Monteagudo and
Sánchez Carrión.
- Philological and linguistic works: Defends the speech and lexicon of Latin America: Neologisms and
Americanisms (lexicography)
- Dramatic works: In his youth he wrote numerous dramatic works, of a romantic nature, Rodil is preserved.
- Lyrical works: He assiduously cultivated poetry, especially of the burlesque and satirical type. Much of his work is
gathers in poetry.
- Narrative works: The most important is, without a doubt, the Peruvian Traditions.
PERUVIAN TRADITIONS
Narrative genre
Species : Traditional
Around 43 stories
Concept of tradition:
Tradition, as a type of narrative genre, has existed since ancient times and consists of communicating orally or in writing
the customs - social, economic, religious, educational, cultural - of a social group or people. This is not the tradition
cultivated by Ricardo Palma, nor legend, nor story, nor novel, nor history; It is a verbal - literary creation of our great
writer and consists of:
Tradition is an expressive form of the narrative genre that takes anecdotes, characters and historical themes as a
pretext to create, based on fiction and humor, verbal realities of great artistic and literary quality. By affirming the
expressive character of tradition, one is inducing the conscious way of making literature. It is not told for the sake of
telling, it is told knowing how to say it and for this the Peruvian linguistic reality is undoubtedly good, which in the

3rd. Year - 53 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

Quechua substrate has an incalculable humorous intensity. Add to this the speaking of Lima Spanish and you have a
wonderful product called Peruvian tradition .
MAIN TRADITIONS
- The scorpion of Fray Gómez (best American story)
- Fray Martín's mice
- The father duck
- The achirana of the inca
- Pride of the chief
- The three motives of the hearer
- The Inca chess players
- Santa Rosa mosquitoes
- History of a little cannon
- Don Dimas of the earwig
- The verbatim
- Take off your pants in the corner
TO THE CORNER TAKE OFF UNDERPANTS
Bishop Chávez de la Rosa was rector of a convent in Arequipa. One day he had to fill in for an absent teacher and
dedicated himself to remembering some Latin with the students; He proposed a question: quid est oratio!, but no student
knew how to answer him. Annoyed, the priest ordered everyone to go, take off your pants in the corner! That's how it
happened until he asked the smallest guy in the class. The boy mocked the priest, delaying an answer he didn't know.
The angry priest also ordered him to take off his pants in the corner, but as the boy left, grumbling something under his
breath, the priest insisted on behalf of the one who was murmuring. Then the boy proposed a question to the teacher:
How many times is Dominues Vubis Cum repeated in the mass? And no matter how much the priest tried to remember,
he couldn't do it; Then the boy also sent him to the corner, take off his pants! The ridicule of the students was total. The
priest had no choice but to forgive everyone the proposed punishment and left completely ashamed.
Some time later, the priest returned to his native Spain and took the mischievous little boy as a pupil, there he carefully
educated him so that years later he would return to Peru converted into an erudite intellectual: Don Francisco Javier de
Luna Pizarro, president of the first Assembly. Constituent Assembly of Peru.
CARLOS AUGUSTO SALAVERRY
Piura 1830 - Paris 1891
“The Singer of the Graves”
“The Chira Nightingale”

He was the son of the soldier Don Felipe Santiago de Salaverry and Doña Vicente Ramírez (concubine of the general).
When his father was shot, he left for Chile heading into exile, along with his widow and a brother; He embraced the
career of arms and enlisted for the battle of Yungay. He was a diplomat in the USA, England, France and Italy. He
returned to Peru in 1878. He died in Paris in 1891.
PLAYS
THEATER
- Arthur
- Atahualpa
- The beautiful ideal
- love and gold
LYRIC
- Dawns and flashes
- Diamonds and pearls
- Mysteries of a tomb
- Letters to an angel
LETTERS TO AN ANGEL
(1871)
"Remember me"

3rd. Year - 54 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

Characteristics
• Melancholia
• Nostalgia
• Dedicated toIsmenatowers
• Influence ofBecquer,Leopardi, Heine, Espronceda
ISSUE
The nostalgic memory of a lost love
SECONDARY THEME
• Loneliness
• The heartbreak
STRUCTURE
• Use of hendecasyllables and heptasyllables
• Stay
"Remember me"
Well, my memory assaults your memory, now
despite yourself for my love you sigh, and even
The very environment that you breathe repeats to you!
love!
Oh! when I see on your deserted beach, with
my sadness and my pain alone, the coming and going
incessant of the waves I will remember you;
when you see a solitary bird cross the
space in dying flight, looking for a

(From Letters to an
nest between the sea and the sky, remember me! Angel )

PROPOSED QUESTIONS

3rd. Year - 55 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

01. One of the representatives of Peruvian Romanticism D) Collects themes from the Andean oral tradition
is: E) Point out episodes of the national reality
A) Mariano Melgar
B) Garcilaso de la Vega
C) Clement Althaus 10. It is considered a characteristic element of the
D) Manuel González Prada Peruvian Traditions of Palma, except one: A) The
E) Felipe Pardo and Aliaga romantic legend
B) Orality
02. The first novel and author of Peruvian Romanticism C) The fable
is:
A) Peruvian traditions by Ricardo Palma D) The humor
B) Julia by Luis Benjamín Cisneros E) The painting or manners
C) Father Horan by Narciso Arestegui
D) The Crusader Poet by Manuel Nicolás 11. A very characteristic feature of Palma's style is:
Corpancho A) The realism
E) The beautiful ideal of Carlos Augusto Salaverry B) The prosecution
03. The work that would begin Peruvian Romanticism, C) The satirical
The Crusader Poet, published in 1851, is by: D) Fiction
A) Carlos Augusto Salaverry E) The scientific
B) Luis Benjamin Cisneros
C) Narciso Arestegui 12. The Peruvian Traditions, by Ricardo Palma, is
D) Manuel Nicolás Corpancho characterized by:
E) Arnaldo Marquez A) Objectivity and criticism
04. In Remember me, Carlos Augusto Salaverry B) Idealism and reflection
reconstructs in an evocative tone: C) Nostalgia and pessimism
A) A maritime landscape D) Didacticism and morality
B) tropical nature E) Orality and humor
C) A sepulchral painting
D) A desolate park 13. Peruvian Traditions is a narrative genre that
E) Sea waves combines features of:
05. Representative poem by the romantic author Carlos A) The romantic legend and the traditional
Augusto Salaverry: painting
A) Triolet B) Tradition and the traditional painting
B) Rondel C) History and folk tale
C) To Silvia D) The story and the fictional tradition
D) Shadows and circles E) The romantic story and legend
E) Remember me!
06. When you see a solitary bird crossing the space in 14. Among Ricardo Palma's historical works are:
dying flight, looking for a nest between the sea and A) Lexicographic papers
the sky, remember me!: B) Neologism and Americanism
A) Ricardo Palma C) Annals of the Inquisition of Lima
B) Luis Benjamin Cisneros D) Peruvian traditions
C) Garios Augusto Salaverry E) Rodil
D) Manuel González Prada
E) Manuel Nicolás Corpancho
15. A basic characteristic in the work of Ricardo Palma
07. Peruvian traditions, by Ricardo Palma, is is:
fundamentally characterized by: A) History
A) Develop the love theme B) Moral
B) The intense dramatic work C) Atmosphere
C) Its belonging to the 18th century D) Orality
D) Its connection with history E) Creole
E) The denial of the satirical style
16. Palma collected some Peruvianisms in his work:
08. The narrative genre with features of romantic legend A) An orphan in Chorrillos
and a picture of customs that appeared in Peru B) Dawns and flashes
around 1851 is called: C) Peruvian ballads
A) Tradition B) Chronicle C) History D) Lowercase
D) Chronology E) Anecdote E) Lexicographic slips
17. Criticism and judgmental obsession is nourished by
09. Ricardo Palma in his work Peruvian Traditions is the an attitude:
author who: A) Artistic
A) Collect only historical facts B) Religious
B) It collects the historical fact and nuances it C) Cosmopolitan
with the D) Republican
fiction E) Moralizing

C) Invent the themes of his ancestors 18. Poetic stanza preferred by the poetry of Felipe
Pardo y Aliaga:

3rd. Year - 56 - 1st. BIMESTER

HIPÓLITO UNANUE SCHOOL Literature

A) The sonnet
B) The lyre
C) The letter
D) The royal octave
E) The leaflet
19. Latin comedian who influenced the works of Felipe
Pardo and Aliaga:
A) Cecilio
B) Terence
C) Traccio
D) Plautus
E) Verronio
20. Characteristic character of Fruits of Education with
a thunderous and bald appearance:
A) Sempronio
B) Simon
C) Goyito
D) Bernadette
E) Juliana

3rd. Year - 57 - 1st. BIMESTER