1 00:00:00,800 --> 00:00:04,440 Speaker 1: Welcome to Noble Blood, a production of I Heart Radio 2 00:00:04,640 --> 00:00:08,480 Speaker 1: and Grim and Mild from Aaron Mankey listener discretion advised. 3 00:00:10,440 --> 00:00:14,160 Speaker 1: One quick note before we begin. Noble Blood is on Patreon. 4 00:00:14,320 --> 00:00:16,160 Speaker 1: If you want to support the show, you can go 5 00:00:16,280 --> 00:00:20,400 Speaker 1: to patreon dot com slash Noble Blood Tales. It's where 6 00:00:20,400 --> 00:00:24,120 Speaker 1: I upload scripts and bonus episodes like I watched period 7 00:00:24,200 --> 00:00:26,760 Speaker 1: Pieces with my friends once a month and talk about 8 00:00:26,800 --> 00:00:30,400 Speaker 1: everything they get right and wrong. 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But of horse, as always, the best 17 00:01:01,440 --> 00:01:04,240 Speaker 1: possible support is just that you're listening to the show, 18 00:01:04,400 --> 00:01:18,800 Speaker 1: So thank you so much. In a researcher was going 19 00:01:18,840 --> 00:01:23,280 Speaker 1: through the archives in the Royal Library in Copenhagen. He 20 00:01:23,400 --> 00:01:27,840 Speaker 1: was an anthropologist named Richard Peachman. But we don't actually 21 00:01:27,880 --> 00:01:31,120 Speaker 1: know specifically what he was looking for in the library 22 00:01:31,200 --> 00:01:33,920 Speaker 1: that day, but I think we can probably assume that 23 00:01:34,000 --> 00:01:37,440 Speaker 1: he had spent a long time in the dusty aisles 24 00:01:37,560 --> 00:01:43,080 Speaker 1: of the archives, hours, days, even weeks. His eyes were 25 00:01:43,120 --> 00:01:47,640 Speaker 1: probably going bleary from hours staring at narrow cursive script. 26 00:01:47,960 --> 00:01:51,560 Speaker 1: I imagine his hands slivered with paper cuts and his 27 00:01:51,680 --> 00:01:57,040 Speaker 1: mind wrecked with exhaustion, and then, perhaps snuck on the 28 00:01:57,040 --> 00:02:00,640 Speaker 1: bottom of a shelf or hidden with an a large ortfolio, 29 00:02:01,560 --> 00:02:07,040 Speaker 1: Richards saw something strange, something that looked unfamiliar and out 30 00:02:07,080 --> 00:02:12,240 Speaker 1: of place. The German anthropologist pulled the artifact from where 31 00:02:12,240 --> 00:02:16,240 Speaker 1: it had sat for decades, and he brushed the dust away. 32 00:02:16,680 --> 00:02:22,320 Speaker 1: It was twelve hundred pages, a document written halfway around 33 00:02:22,400 --> 00:02:25,720 Speaker 1: the world, meant for the King of Spain, and the 34 00:02:25,800 --> 00:02:30,040 Speaker 1: document had made a long and circuitous journey. It had 35 00:02:30,040 --> 00:02:35,880 Speaker 1: been stuck unseen within library collections, been bought and sold 36 00:02:35,919 --> 00:02:40,680 Speaker 1: and inherited, passed through the hands of historians and collectors 37 00:02:40,919 --> 00:02:44,960 Speaker 1: without anyone truly understanding what they were looking at until 38 00:02:45,080 --> 00:02:49,720 Speaker 1: it came here, the Royal Library in Copenhagen, of all places, 39 00:02:49,960 --> 00:02:55,639 Speaker 1: where a German anthropologist stumbled upon it nearly five centuries 40 00:02:55,680 --> 00:02:59,880 Speaker 1: after it had been written. The document, at nearly twelve 41 00:03:00,040 --> 00:03:03,720 Speaker 1: hundred pages long, is really more of a tone than 42 00:03:03,760 --> 00:03:07,320 Speaker 1: a document at all, and though it ended up in Denmark, 43 00:03:07,639 --> 00:03:10,480 Speaker 1: it actually had nothing to do with Denmark at all. 44 00:03:11,280 --> 00:03:15,919 Speaker 1: It's called El primier Nueva Coronica ibuen Gobierno, or the 45 00:03:16,000 --> 00:03:19,640 Speaker 1: First New Chronicle of Good Government, and it's one of 46 00:03:19,840 --> 00:03:24,360 Speaker 1: the most important historical tools we have for understanding the 47 00:03:24,400 --> 00:03:27,919 Speaker 1: culture of the Inca people in Peru and their lives 48 00:03:28,040 --> 00:03:33,720 Speaker 1: both before and during the occupation of the Spanish conquistadors. 49 00:03:34,360 --> 00:03:37,800 Speaker 1: Written by a man named Guaman Poma, the text is 50 00:03:38,000 --> 00:03:42,400 Speaker 1: at once funny and deadly serious. He wrote it as 51 00:03:42,400 --> 00:03:45,119 Speaker 1: a plead to the Spanish king so that he might 52 00:03:45,200 --> 00:03:48,760 Speaker 1: understand the harm that the colonists had been doing and 53 00:03:48,800 --> 00:03:51,920 Speaker 1: the abuses of power that the Catholic missionaries had been 54 00:03:51,960 --> 00:03:55,640 Speaker 1: doing in the name of their god. Poma's missive likely 55 00:03:55,920 --> 00:04:00,560 Speaker 1: never even reached his intended target, but now you years later, 56 00:04:00,880 --> 00:04:04,960 Speaker 1: we can read his message through time and understand what 57 00:04:05,040 --> 00:04:07,760 Speaker 1: he was saying in a way that King Philip never 58 00:04:07,800 --> 00:04:14,400 Speaker 1: would have understood. I'm Danish swartz and this is noble blood. 59 00:04:21,960 --> 00:04:26,520 Speaker 1: Francisco Pizarro was on the expedition that crossed the Isthmus 60 00:04:26,520 --> 00:04:30,359 Speaker 1: of Panama in the sixteenth century, making him one of 61 00:04:30,400 --> 00:04:34,560 Speaker 1: the first Europeans to ever see the Pacific Ocean. He 62 00:04:34,720 --> 00:04:38,720 Speaker 1: tried twice to invade and conquer Peru, and he succeeded 63 00:04:38,760 --> 00:04:42,560 Speaker 1: on his third attempt in the name of his native Spain. 64 00:04:43,240 --> 00:04:48,160 Speaker 1: There were two especially important factors working in Pizarro's favor, 65 00:04:48,480 --> 00:04:51,240 Speaker 1: a war of succession happening at the time within the 66 00:04:51,279 --> 00:04:56,200 Speaker 1: Inca Empire, and smallpox that the Europeans brought with them. 67 00:04:56,240 --> 00:05:00,680 Speaker 1: In fifty five, Pizarro built the now Spanish capital of 68 00:05:00,720 --> 00:05:05,280 Speaker 1: Peru at Lima, the center of his and Spain's imperial power, 69 00:05:05,600 --> 00:05:09,720 Speaker 1: in what was now a vice royalty. Possibly that very 70 00:05:09,839 --> 00:05:15,000 Speaker 1: same year, guamant Poma was born. On both sides of 71 00:05:15,080 --> 00:05:19,080 Speaker 1: his family tree, Pomo was noble. His mother was descended 72 00:05:19,120 --> 00:05:22,400 Speaker 1: from Inca royalty, and his father was royal through a 73 00:05:22,440 --> 00:05:26,760 Speaker 1: link to the dynasty that preceded the Incas. We don't 74 00:05:26,800 --> 00:05:30,560 Speaker 1: know exactly when Pomo was born, but we know that 75 00:05:30,600 --> 00:05:34,520 Speaker 1: he grew up in parallel with the Spanish invasion. His 76 00:05:34,720 --> 00:05:41,040 Speaker 1: nation was literally being reformed from under him politically and spiritually. 77 00:05:41,720 --> 00:05:45,000 Speaker 1: His older half brother became a priest and converted the 78 00:05:45,000 --> 00:05:49,719 Speaker 1: family to Christianity. It's through that connection that Poma, who 79 00:05:49,800 --> 00:05:54,520 Speaker 1: was a native speaker of the language Getua, learned Spanish 80 00:05:54,600 --> 00:05:58,200 Speaker 1: and also learned how to read and write. Poma became 81 00:05:58,320 --> 00:06:02,120 Speaker 1: something between a friend and an assistant to the Friar 82 00:06:02,360 --> 00:06:05,919 Speaker 1: Martin de Murua, a Spaniard who would end up writing 83 00:06:06,040 --> 00:06:10,640 Speaker 1: the first illustrated history of Peru. It's likely from his 84 00:06:10,760 --> 00:06:14,359 Speaker 1: time spent with Martin de Murua that Poma honed his 85 00:06:14,440 --> 00:06:18,600 Speaker 1: own skills as an artist, although he was never formally trained, 86 00:06:19,320 --> 00:06:23,680 Speaker 1: but Poma's ability to speak multiple languages served him in 87 00:06:23,760 --> 00:06:27,919 Speaker 1: adulthood when he began working as an administrator within the 88 00:06:28,000 --> 00:06:32,440 Speaker 1: government of the Vice Royalty, at least until he got 89 00:06:32,480 --> 00:06:37,560 Speaker 1: in political trouble. The details of the legal case are 90 00:06:37,680 --> 00:06:41,720 Speaker 1: a little difficult to parse out, but in fifteen ninety four, 91 00:06:42,120 --> 00:06:46,040 Speaker 1: Poma represented his family in a land dispute about a 92 00:06:46,120 --> 00:06:50,240 Speaker 1: claim on a parcel of land outside the town of Huamanga, 93 00:06:50,520 --> 00:06:54,400 Speaker 1: which would have been entitled to them given their noble lineage. 94 00:06:54,760 --> 00:06:59,520 Speaker 1: The case became a legal quagmire, lasting for six years, 95 00:07:00,080 --> 00:07:04,440 Speaker 1: coming back again and again with a verdict against Poma 96 00:07:04,480 --> 00:07:10,320 Speaker 1: and his family. Eventually, Poma was accused of either misrepresenting 97 00:07:10,640 --> 00:07:14,480 Speaker 1: or outright lying about his family's lineage in order to 98 00:07:14,560 --> 00:07:19,280 Speaker 1: take the land illegally. As punishment, he was sentenced to 99 00:07:19,520 --> 00:07:23,400 Speaker 1: two hundred lashes and two years of exile from the 100 00:07:23,440 --> 00:07:28,200 Speaker 1: town of Wamonga. The experience, both the ordeal of the 101 00:07:28,320 --> 00:07:33,920 Speaker 1: trial and the humiliating punishment affected Poma greatly. He felt 102 00:07:33,960 --> 00:07:37,880 Speaker 1: that he had suffered a tremendous injustice, and he began 103 00:07:38,080 --> 00:07:42,320 Speaker 1: working in his own way towards creating a more just world. 104 00:07:43,080 --> 00:07:47,920 Speaker 1: He started by helping represent other indigenous people in lawsuits, 105 00:07:48,200 --> 00:07:52,120 Speaker 1: and by traveling as a missionary with his Friar friend 106 00:07:52,200 --> 00:07:55,720 Speaker 1: Martine de Mura and helping to convert the native people 107 00:07:55,760 --> 00:08:00,600 Speaker 1: of the Andes. Around this time, Palma also began writing 108 00:08:00,680 --> 00:08:03,800 Speaker 1: his letter to the King of Spain, telling him the 109 00:08:03,880 --> 00:08:08,120 Speaker 1: story of his people and explaining what the Spanish invaders 110 00:08:08,120 --> 00:08:12,920 Speaker 1: had gotten right and what they had gotten very very wrong. 111 00:08:15,600 --> 00:08:19,160 Speaker 1: During his travels with Martin de Marua, Poma was helping 112 00:08:19,280 --> 00:08:24,000 Speaker 1: him with his chronicles by providing some illustrations. But we 113 00:08:24,080 --> 00:08:27,440 Speaker 1: know from Poma's own writings that even though he valued 114 00:08:27,520 --> 00:08:31,560 Speaker 1: having access to the Friars library, he had a miserable 115 00:08:31,680 --> 00:08:35,199 Speaker 1: time doing that work. I imagine it's much the same 116 00:08:35,280 --> 00:08:38,880 Speaker 1: for any creative person trying to work on an independent 117 00:08:38,920 --> 00:08:42,200 Speaker 1: project when their boss is demanding that they spend their 118 00:08:42,240 --> 00:08:45,640 Speaker 1: creative energy on something that they the boss will get 119 00:08:45,679 --> 00:08:50,319 Speaker 1: all the credit for El premier Nueva Coronica ibwen Gobierno 120 00:08:50,440 --> 00:08:53,680 Speaker 1: took nearly a decade and a half. For Guaman Poma, 121 00:08:54,160 --> 00:08:58,440 Speaker 1: it was started in six hundred and likely wasn't fully 122 00:08:58,480 --> 00:09:03,680 Speaker 1: completed until sixteen fifteen, and boy, oh boy, is it 123 00:09:03,840 --> 00:09:09,000 Speaker 1: a real tone. The open letter contains one thousand, one 124 00:09:09,080 --> 00:09:13,360 Speaker 1: hundred and eighty nine pages and three hundred and nine 125 00:09:13,559 --> 00:09:16,440 Speaker 1: eight drawings that were done in black and white in 126 00:09:16,480 --> 00:09:20,120 Speaker 1: a simple style that would lend itself well to mass printing. 127 00:09:20,760 --> 00:09:25,000 Speaker 1: The text, too, is formatted with the conventions of type setting. 128 00:09:25,520 --> 00:09:29,080 Speaker 1: Poma had imagined that after King Philip the Third of 129 00:09:29,160 --> 00:09:32,880 Speaker 1: Spain read it, he would want the Nueba Coronica widely 130 00:09:32,960 --> 00:09:38,800 Speaker 1: distribute it. Now, let's take a brief detour to talk 131 00:09:38,880 --> 00:09:43,600 Speaker 1: about King Philip the Third of Spain. The historian J. H. 132 00:09:43,679 --> 00:09:48,760 Speaker 1: Elliott gives us a particularly colorful quote, describing the monarch 133 00:09:48,920 --> 00:09:54,319 Speaker 1: as quote a pallid, anonymous creature whose only virtue appeared 134 00:09:54,440 --> 00:09:58,480 Speaker 1: to reside in a total absence of vice. I will 135 00:09:58,520 --> 00:10:02,560 Speaker 1: say King phil looks weren't his fault. He was a 136 00:10:02,559 --> 00:10:06,880 Speaker 1: Hapsburg and he fulfills all of the stereotypes of inbreeding 137 00:10:06,920 --> 00:10:09,920 Speaker 1: that go along with it. His father had been the 138 00:10:09,960 --> 00:10:14,160 Speaker 1: son of two first cousins, and he married his own niece, 139 00:10:14,520 --> 00:10:20,280 Speaker 1: who also had cousin parents, and surprise, surprise, our Philip 140 00:10:20,360 --> 00:10:24,280 Speaker 1: the third would also marry a first cousin, though once removed, 141 00:10:24,600 --> 00:10:27,880 Speaker 1: at this point the family tree was resembling more of 142 00:10:27,880 --> 00:10:32,360 Speaker 1: a tumbleweed. Ultimately, Philip the Third's grandson would be the 143 00:10:32,600 --> 00:10:36,640 Speaker 1: end of the Spanish Hapsburg line. That grandson would be 144 00:10:36,840 --> 00:10:41,800 Speaker 1: deeply unwell in basically every regard and unable to procreate. 145 00:10:42,240 --> 00:10:47,400 Speaker 1: His autopsy would memorably observe that upon death quote, his 146 00:10:47,559 --> 00:10:51,439 Speaker 1: heart was the size of a peppercorn, his lungs corroded, 147 00:10:51,800 --> 00:10:56,599 Speaker 1: his intestines rotten and gangrenus. He had a single testicle 148 00:10:56,880 --> 00:10:59,839 Speaker 1: black as coal, and his head was full of water. 149 00:11:00,760 --> 00:11:04,360 Speaker 1: But that nightmare child was still years away. During Philip 150 00:11:04,440 --> 00:11:08,439 Speaker 1: the third reign, during which the biological potency of the 151 00:11:08,480 --> 00:11:13,280 Speaker 1: Habsburgs and the power of Spain were both in decline, 152 00:11:14,080 --> 00:11:17,840 Speaker 1: Though Philip did rule over the imperialistic boom of the 153 00:11:17,880 --> 00:11:22,440 Speaker 1: Spanish Empire, and he did lead a few successful early campaigns. 154 00:11:22,480 --> 00:11:26,440 Speaker 1: In the Thirty Years War, economic trouble would prove to 155 00:11:26,520 --> 00:11:30,600 Speaker 1: be impossible to shake, and Spain's time as a global 156 00:11:30,679 --> 00:11:34,600 Speaker 1: superpower would soon be drawing to a close. But for 157 00:11:34,640 --> 00:11:39,120 Speaker 1: the time being, Spain was ruling over Peru, and guaman 158 00:11:39,200 --> 00:11:42,920 Speaker 1: Poma wanted to create a document that would serve both 159 00:11:42,960 --> 00:11:46,240 Speaker 1: as a history of the Andean civilization that had been 160 00:11:46,240 --> 00:11:50,440 Speaker 1: swallowed by the Spanish conquistadors, and also to explain the 161 00:11:50,559 --> 00:11:54,360 Speaker 1: damage that Europeans were doing in the king's name and 162 00:11:54,520 --> 00:11:58,360 Speaker 1: in the name of the Church. Guaman Poma was Christian, 163 00:11:58,520 --> 00:12:00,520 Speaker 1: which meant that he was all to a ware of 164 00:12:00,559 --> 00:12:04,719 Speaker 1: the rampant abuses of power among missionaries and those in 165 00:12:04,880 --> 00:12:09,439 Speaker 1: positions of power. The first two thirds of the thousand 166 00:12:09,480 --> 00:12:12,880 Speaker 1: plus paged home are an attempt to teach King Philip 167 00:12:12,920 --> 00:12:17,960 Speaker 1: the Third that the Andean civilizations were complex, sophisticated, and 168 00:12:18,120 --> 00:12:21,880 Speaker 1: elegant in their structures. The last start of the document, 169 00:12:22,040 --> 00:12:25,520 Speaker 1: titled gwen Gobierno, would then explain how all of that 170 00:12:25,720 --> 00:12:31,480 Speaker 1: was destroyed by the Spanish. The Nuebo Chronica is structurally 171 00:12:31,679 --> 00:12:37,120 Speaker 1: and incredibly ambitious and complex document that blends a number 172 00:12:37,200 --> 00:12:41,400 Speaker 1: of literary genres and styles of art, to say nothing 173 00:12:41,520 --> 00:12:45,040 Speaker 1: of the way that it jumps between Spanish, Latin, and 174 00:12:45,160 --> 00:12:49,600 Speaker 1: two languages of native Andean people, Quechua and Aymara. The 175 00:12:49,720 --> 00:12:54,640 Speaker 1: drawings are composed using European rules of representation and space, 176 00:12:54,960 --> 00:12:57,480 Speaker 1: but with the sort of lines that evoke the way 177 00:12:57,520 --> 00:13:02,319 Speaker 1: Inca decoration is done with abs wracked geometric shapes. The 178 00:13:02,400 --> 00:13:07,040 Speaker 1: purpose of those juxtaposed styles wasn't to be slapped ash. 179 00:13:07,240 --> 00:13:10,520 Speaker 1: It was to make a clear evocative point about the 180 00:13:10,559 --> 00:13:16,040 Speaker 1: emerging and crashing of these two cultures, like tectonic plates 181 00:13:16,080 --> 00:13:20,319 Speaker 1: meeting and creating fissures in the earth. Take, for instance, 182 00:13:20,520 --> 00:13:23,360 Speaker 1: one of the illustrations of a map done in the 183 00:13:23,480 --> 00:13:25,800 Speaker 1: style of the ones that were done in Europe in 184 00:13:25,840 --> 00:13:28,839 Speaker 1: the sixteenth century. You can sort of picture it right, 185 00:13:28,960 --> 00:13:32,120 Speaker 1: with Europe at the center of the map, the seas vast, 186 00:13:32,320 --> 00:13:37,400 Speaker 1: and with fantastical monsters like dragons and unicorns along the edges. 187 00:13:37,880 --> 00:13:40,840 Speaker 1: Poma's map has all of that too, but he has 188 00:13:40,920 --> 00:13:43,800 Speaker 1: Peru at the center of the world, and the map 189 00:13:43,880 --> 00:13:48,400 Speaker 1: is centered not on Lima, the capital of colonial Peru, 190 00:13:48,600 --> 00:13:52,640 Speaker 1: but on Kuzco, the capital of the Inca Empire. The 191 00:13:52,679 --> 00:13:55,360 Speaker 1: top of the map has the coats of arms of 192 00:13:55,440 --> 00:14:00,200 Speaker 1: the Pope and the Spanish Kingdom. But above that, even fire, 193 00:14:00,440 --> 00:14:04,000 Speaker 1: are the deities of the Inca, the moon goddess and 194 00:14:04,080 --> 00:14:08,560 Speaker 1: the sun god Inti. It's fascinating, but there is sort 195 00:14:08,600 --> 00:14:11,000 Speaker 1: of a challenge when the message is meant to be 196 00:14:11,120 --> 00:14:16,520 Speaker 1: filtered through both Inca and Spanish understanding of symbols. Almost 197 00:14:16,800 --> 00:14:19,640 Speaker 1: no one in the sixteen hundreds would have been able 198 00:14:19,680 --> 00:14:23,120 Speaker 1: to understand the full meaning of what Guaman Palma was 199 00:14:23,160 --> 00:14:27,080 Speaker 1: trying to communicate, and almost no one would know all 200 00:14:27,120 --> 00:14:29,960 Speaker 1: of the languages that would be required to read the 201 00:14:30,000 --> 00:14:34,880 Speaker 1: whole book. But by speaking the Spaniards is language both 202 00:14:35,040 --> 00:14:38,520 Speaker 1: literally and in terms of the layout of the drawings 203 00:14:38,560 --> 00:14:42,240 Speaker 1: and structures of the essays. Guaman Poma was using a 204 00:14:42,280 --> 00:14:46,960 Speaker 1: tool that's fairly common in debate, meeting someone at their 205 00:14:47,080 --> 00:14:50,240 Speaker 1: level in order to persuade them of something. He was 206 00:14:50,360 --> 00:14:54,640 Speaker 1: acknowledging the basic premises of the Spanish worldview in order 207 00:14:54,680 --> 00:15:00,160 Speaker 1: to point out their hypocrisies. It's a persuasive strategy, and 208 00:15:00,320 --> 00:15:05,880 Speaker 1: Poma also uses another strategy humor. His book. Once you 209 00:15:06,040 --> 00:15:10,680 Speaker 1: understand the symbols is very funny. One of the drawings 210 00:15:10,920 --> 00:15:15,720 Speaker 1: is basically a political cartoon in it, and Inca asks 211 00:15:16,000 --> 00:15:20,960 Speaker 1: what the Spanish eat? The response gold. But the book 212 00:15:21,000 --> 00:15:25,360 Speaker 1: is also a tremendously serious work of scholarship, and it's 213 00:15:25,400 --> 00:15:29,520 Speaker 1: important to our academic understanding of what pre colonial Incan 214 00:15:29,640 --> 00:15:33,440 Speaker 1: life was like. Even though Guaman Poma was writing a 215 00:15:33,600 --> 00:15:37,560 Speaker 1: generation after Spanish arrival, and even though he had never 216 00:15:37,640 --> 00:15:41,120 Speaker 1: really known life before they came to Peru, he is 217 00:15:41,160 --> 00:15:46,760 Speaker 1: an invaluable source. The Inca had had an advanced recording system, 218 00:15:46,800 --> 00:15:51,560 Speaker 1: it was written using knots on chords, but researchers still 219 00:15:51,640 --> 00:15:56,720 Speaker 1: struggle to fully translate it. Guaman Poma's writing, even if 220 00:15:56,720 --> 00:16:00,800 Speaker 1: it isn't exactly firsthand, is still an essential guide to 221 00:16:01,040 --> 00:16:05,640 Speaker 1: pre colonial Inca culture. Some of that cultural information is 222 00:16:05,800 --> 00:16:10,840 Speaker 1: incredibly basic. One of Poma's illustrations shows that both men 223 00:16:11,080 --> 00:16:14,840 Speaker 1: and women were planting potatoes. We learned from that about 224 00:16:14,920 --> 00:16:18,080 Speaker 1: their division of labor and that the planting season was 225 00:16:18,160 --> 00:16:23,120 Speaker 1: in December, and he's also giving us important history. One 226 00:16:23,280 --> 00:16:27,160 Speaker 1: illustration that depicts the beheading of the Inca leader Sapa 227 00:16:27,200 --> 00:16:30,720 Speaker 1: Inca Atualpa, who defeated his brother in civil war to 228 00:16:30,840 --> 00:16:33,720 Speaker 1: claim the throne to the Inca Empire after the death 229 00:16:33,760 --> 00:16:37,360 Speaker 1: of their father, but who was later than captured by Pizarro. 230 00:16:37,960 --> 00:16:42,600 Speaker 1: Though Atahualpa converted to Christianity and a ransom was raised 231 00:16:42,640 --> 00:16:47,760 Speaker 1: for his release, the Spaniards still executed him. Poma's drawing 232 00:16:47,960 --> 00:16:52,520 Speaker 1: shows Atahualpa tied it to a flat table held down 233 00:16:52,760 --> 00:16:57,240 Speaker 1: by multiple European men. A Spanish soldier holds a knife 234 00:16:57,520 --> 00:17:00,440 Speaker 1: at the leader's neck, with a mallet in his other hand, 235 00:17:00,800 --> 00:17:05,639 Speaker 1: ready to strike a fatal blow. Atahualpa clutches across in 236 00:17:05,720 --> 00:17:10,360 Speaker 1: his hands. Below are the words and Ian nobles lament 237 00:17:10,560 --> 00:17:15,080 Speaker 1: the killing of their innocent lord. It was a clear 238 00:17:15,240 --> 00:17:20,560 Speaker 1: indictment of the cruelty of the Spanish conquistadors, but unfortunately 239 00:17:21,080 --> 00:17:26,040 Speaker 1: Poma's message likely never reached King Philip of Spain. The 240 00:17:26,119 --> 00:17:29,879 Speaker 1: book would have circulated among the court in Lima before 241 00:17:30,160 --> 00:17:34,359 Speaker 1: traveling to Spain, but it ended up forgotten somewhere in 242 00:17:34,400 --> 00:17:38,760 Speaker 1: a collection of rare documents that was eventually traded or 243 00:17:38,920 --> 00:17:44,359 Speaker 1: gifted to the library in Copenhagen. But still Guaman Poma's 244 00:17:44,400 --> 00:17:50,440 Speaker 1: message reached us. We now know the stories and structures 245 00:17:50,520 --> 00:17:54,320 Speaker 1: of the Inca before the Spanish arrived. We can see 246 00:17:54,400 --> 00:17:59,120 Speaker 1: the depictions of what the Spanish did. Guaman Poma did 247 00:17:59,600 --> 00:18:03,160 Speaker 1: tell his story to the Western world. We just received 248 00:18:03,200 --> 00:18:13,199 Speaker 1: it a few hundred years late. That's the story of 249 00:18:13,280 --> 00:18:16,880 Speaker 1: Guaman Poma and the Nuebo Coronica. But keep listening after 250 00:18:16,920 --> 00:18:19,760 Speaker 1: a brief sponsor break to hear a little bit more 251 00:18:19,840 --> 00:18:31,320 Speaker 1: about the symbolism. In one of his drawings, there's a 252 00:18:31,400 --> 00:18:35,800 Speaker 1: notion in Inca culture that towns are divided both physically 253 00:18:35,920 --> 00:18:40,199 Speaker 1: and socially into two halves. There's the lower half and 254 00:18:40,400 --> 00:18:44,400 Speaker 1: the upper half, known as Huren and Hannan. Those halves 255 00:18:44,480 --> 00:18:48,639 Speaker 1: are symbolically associated with left and right. In one of 256 00:18:48,680 --> 00:18:52,440 Speaker 1: guaman Poma's drawings, the Pope is standing on the left 257 00:18:52,480 --> 00:18:55,199 Speaker 1: hand side of the page, with the King of Spain 258 00:18:55,400 --> 00:18:59,680 Speaker 1: kneeling on the right. That was fairly confusing to me. 259 00:19:00,200 --> 00:19:04,280 Speaker 1: The left side is considered the lower side, and Guaman 260 00:19:04,359 --> 00:19:07,760 Speaker 1: Poma would have always believed that the church is higher 261 00:19:07,800 --> 00:19:10,800 Speaker 1: than the king. The king would have believed that too, 262 00:19:11,080 --> 00:19:13,840 Speaker 1: and in the drawing the king is kneeling, So why 263 00:19:13,880 --> 00:19:17,360 Speaker 1: would the pope be on the left, Well, he is 264 00:19:17,520 --> 00:19:21,520 Speaker 1: on the left the reader's left, But if you were 265 00:19:21,600 --> 00:19:25,159 Speaker 1: in the picture looking out, the Pope is standing on 266 00:19:25,280 --> 00:19:29,640 Speaker 1: the right with the king kneeling to his left. It's 267 00:19:29,680 --> 00:19:33,400 Speaker 1: another little element that needs to be decoded, and it's 268 00:19:33,440 --> 00:19:37,679 Speaker 1: also a little inadvertent reminder that sometimes we need to 269 00:19:37,920 --> 00:19:42,320 Speaker 1: change our perspectives around. There's another little easter egg in 270 00:19:42,359 --> 00:19:47,080 Speaker 1: the drawing. Guaman Poma put himself in the drawing small 271 00:19:47,280 --> 00:19:50,320 Speaker 1: as a figure smaller than the king and kneeling down 272 00:19:50,400 --> 00:19:53,600 Speaker 1: below him. But if you're looking at it from the 273 00:19:53,720 --> 00:19:59,600 Speaker 1: drawings perspective, Guaman Poma drew himself in the king's superior 274 00:19:59,640 --> 00:20:15,240 Speaker 1: position shan to the King's right. Noble Blood is a 275 00:20:15,280 --> 00:20:18,400 Speaker 1: production of I Heart Radio and Grim and Mild from 276 00:20:18,400 --> 00:20:23,320 Speaker 1: Aaron Mankey. Noble Blood is hosted by me Danishwartz. Additional 277 00:20:23,400 --> 00:20:28,000 Speaker 1: writing and researching done by Hannah Johnston, hannah's Wick, Mirra Hayward, 278 00:20:28,119 --> 00:20:31,800 Speaker 1: Courtney Sunder, and Laurie Goodman. The show is produced by 279 00:20:31,840 --> 00:20:36,879 Speaker 1: rema Il Kali, with supervising producer Josh Thane and executive 280 00:20:36,920 --> 00:20:41,160 Speaker 1: producers Aaron Mankey, Alex Williams, and Matt Frederick. For more 281 00:20:41,200 --> 00:20:44,920 Speaker 1: podcasts from I Heart Radio, visit the I Heart Radio app, 282 00:20:45,200 --> 00:20:48,320 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.