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+The Project Gutenberg eBook of Apu Ollantay
+
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online at
+www.gutenberg.org. If you are not located in the United States, you
+will have to check the laws of the country where you are located before
+using this eBook.
+
+Title: Apu Ollantay
+
+Author: Anonymous
+
+Editor: Clements R. Markham
+
+Translator: Clements R. Markham
+
+Release Date: September 2, 2003 [eBook #9068]
+[Most recently updated: April 9, 2021]
+
+Language: English
+
+Character set encoding: UTF-8
+
+Produced by: John B. Hare and David Widger
+
+*** START OF THE PROJECT GUTENBERG EBOOK APU OLLANTAY ***
+
+
+
+
+Apu Ollantay
+
+A Drama of the Time of the Incas
+
+Sovereigns Of Peru
+
+About A.D. 1470
+
+
+Contents
+
+ INTRODUCTION
+ MS. TEXTS
+ ACTS AND SCENES
+ DRAMATIS PERSONAE
+
+ ACT I
+ SCENE 1
+ SCENE 2
+ SCENE 3
+ SCENE 4
+ SCENE 5
+
+ ACT II
+ SCENE 1
+ SCENE 2
+ SCENE 3
+
+ ACT III
+ SCENE 1
+ SCENE 2
+ SCENE 3
+ SCENE 4
+ SCENE 5
+ SCENE 6
+ SCENE 7
+
+ FOOTNOTES
+
+
+
+
+First Reduced To Writing By Dr. Valdez, Cuba Of Sicuani A.D. 1770
+
+The Original Manuscript Copied By Dr. Justo Pastor Justiniani
+
+This Justiniani Text Copied At Laris, In April 1863, By Clements R.
+Markham
+
+A Free Translation Into English By Sir Clements Markham, K.C.B. [1910]
+
+
+
+
+INTRODUCTION
+
+
+The drama was cultivated by the Incas, and dramatic performances were
+enacted before them. Garcilasso de la Vega, Molina, and Salcamayhua are
+the authorities who received and have recorded the information given by
+the Amautas respecting the Inca drama. Some of these dramas, and
+portions of others, were preserved in the memories of members of Inca
+and Amauta families. The Spanish priests, especially the Jesuits of
+Juli, soon discovered the dramatic aptitude of the people. Plays were
+composed and acted, under priestly auspices, which contained songs and
+other fragments of the ancient Inca drama. These plays were called
+‘Autos Sacramentales.’
+
+But complete Inca dramas were also preserved in the memories of members
+of the Amauta caste and, until the rebellion of 1781, they were acted.
+The drama of _Ollantay_ was first reduced to writing and arranged for
+acting by Dr. Don Antonio Valdez, the Cura of Tinto. It was acted
+before his friend José Gabriel Condorcanqui[1] in about 1775. Taking
+the name of his maternal ancestor, the Inca Tupac Amaru, the ill-fated
+Condorcanqui rose in rebellion, was defeated, taken, and put to death
+under torture, in the great square of Cuzco. In the monstrous sentence
+‘the representation of dramas as well as all other festivals which the
+Indians celebrate in memory of their Incas’ was prohibited.[2] This is
+a clear proof that before 1781 these Quichua dramas were acted.
+
+The original manuscript of Valdez was copied by his friend Don Justo
+Pastor Justiniani, and this copy was inherited by his son. There was
+another copy in the convent of San Domingo at Cuzco, but it is corrupt,
+and there are several omissions and mistakes of a copyist. Dr. Valdez
+died, at a very advanced age, in 1816. In 1853 the original manuscript
+was in the possession of his nephew and heir, Don Narciso Cuentas of
+Tinta.
+
+The Justiniani copy was, in 1853, in the possession of Dr. Don Pablo
+Justiniani, Cura of Laris, and son of Don Justo Pastor Justiniani. He
+is a descendant of the Incas.[3] In April 1853 I went to Laris, a
+secluded valley of the Andes, and made a careful copy of the drama of
+_Ollantay_. From this Justiniani text my first very faulty
+line-for-line translation was made in 1871, as well as the present free
+translation.
+
+The first printed notice of _Ollantay_ appeared in the _Museo Erudito_,
+Nos. 5 to 9, published at Cuzco in 1837, and edited by Don José
+Palacios. The next account of the drama, with extracts, was in the
+‘Antiguedades Peruanas,’ a work published in 1851 jointly by Dr. von
+Tschudi and Don Mariaiao Rivero of Arequipa. The complete text, from
+the copy in the convent of San Domingo at Cuzco, was first published at
+Vienna in 1853 by Dr. von Tschudi in his ‘Die Kechua Sprache. It was
+obtained for him by Dr. Ruggendas of Munich. The manuscript was a
+corrupt version, and in very bad condition, in parts illegible from
+damp. In 1868 Don José Barranca published a Spanish translation, from
+the Dominican text of von Tschudi. The learned Swiss naturalist, von
+Tschudi, published a revised edition of his translation at Vienna in
+1875, with a parallel German translation. In 1871 I printed the
+Justiniani text with a literal, line-for-line translation, but with
+many mistakes, since corrected; and in 1874, a Peruvian, Don José
+Fernandez Nodal, published the Quichua text with a Spanish translation.
+
+In 1878 Gavino Pacheco Zegarra published his version of _Ollantay_,
+with a free translation in French. His text is a manuscript of the
+drama which he found in his uncle’s library. Zegarra, as a native of
+Peru whose language was Quichua, had great advantages. He was a very
+severe, and often unfair, critic of his predecessors.
+
+The work of Zegarra is, however, exceedingly valuable. He was not only
+a Quichua scholar, but also accomplished and well read. His notes on
+special words and on the construction of sentences are often very
+interesting. But his conclusions respecting several passages which are
+in the Justiniani text, but not in the others, are certainly erroneous.
+Thus he entirely spoils the dialogue between the Uillac Uma and Piqui
+Chaqui by omitting the humorous part contained in the Justiniani text;
+and makes other similar omissions merely because the passages are not
+in his text. Zegarra gives a useful vocabulary at the end of all the
+words which occur in the drama.
+
+The great drawback to the study of Zegarra’s work is that he invented a
+number of letters to express the various modifications of sound as they
+appealed to his ear. No one else can use them, while they render the
+reading of his own works difficult and intolerably tiresome.
+
+The last publication of a text of _Ollantay_ was by the Rev. J. H.
+Gybbon Spilsbury, at Buenos Ayres in 1907, accompanied by Spanish,
+English, and French translations in parallel columns.
+
+There is truth in what Zegarra says, that the attempts to translate
+line for line, by von Tschudi and myself, ‘fail to convey a proper idea
+of the original drama to European readers, the result being alike
+contrary to the genius of the modern languages of Europe and to that of
+the Quichua language.’ Zegarra accordingly gives a very free
+translation in French.
+
+In the present translation I believe that I have always preserved the
+sense of the original, without necessarily binding myself to the words.
+The original is in octosyllabic lines. Songs and important speeches are
+in quatrains of octosyllabic lines, the first and last rhyming, and the
+second and third. I have endeavoured to keep to octosyllabic lines as
+far as possible, because they give a better idea of the original; and I
+have also tried to preserve the form of the songs and speeches.
+
+The drama opens towards the close of the reign of the Inca Pachacuti,
+the greatest of all the Incas, and the scene is laid at Cuzco or at
+Ollantay-tampu, in the valley of the Vilcamayu. The story turns on the
+love of a great chief, but not of the blood-royal, with a daughter of
+the Inca. This would not have been prohibited in former reigns, for the
+marriage of a sister by the sovereign or his heir, and the marriage of
+princesses only with princes of the blood-royal, were rules first
+introduced by Pachacuti.[4] His imperial power and greatness led him to
+endeavour to raise the royal family far above all others.
+
+The play opens with a dialogue between Ollantay and Piqui Chaqui, his
+page, a witty and humorous lad. Ollantay talks of his love for the
+Princess Cusi Coyllur, and wants Piqui Chaqui to take a message to her,
+while the page dwells on the danger of loving in such a quarter, and
+evades the question of taking a message. Then to them enters the Uillac
+Uma, or High Priest of the Sun, who remonstrates with Ollantay—a scene
+of great solemnity, and very effective.
+
+The next scene is in the Queen’s palace. Anahuarqui, the Queen, is
+discovered with the Princess Cusi Coyllur, who bitterly laments the
+absence of Ollantay. To them enters the Inca Pachacuti, quite ignorant
+that his daughter has not only married Ollantay in secret, but that she
+is actually with child by him. Her mother keeps her secret. The Inca
+indulges in extravagant expressions of love for his daughter. Then boys
+and girls enter dancing and singing a harvest song. Another very
+melancholy yarahui is sung; both capable of being turned by the
+Princess into presages of the fate of herself and her husband.
+
+In the third scene Ollantay prefers his suit to the Inca Pachacuti in
+octosyllabic quatrains, the first and last lines rhyming, and the
+second and third. His suit is rejected with scorn and contempt.
+Ollantay next appears on the heights above Cuzco. In a soliloquy he
+declares himself the implacable enemy of Cuzco and the Inca. Then Piqui
+Chaqui arrives with the news that the Queen’s palace is empty, and
+abandoned, and that Cusi Coyllur has quite disappeared; while search is
+being made for Ollantay. While they are together a song is sung behind
+some rocks, in praise of Cusi Coyllur’s beauty. Then the sound of
+clarions and people approaching is heard, and Ollantay and Piqui Chaqui
+take to flight. The next scene finds the Inca enraged at the escape of
+Ollantay, and ordering his general Rumi-ñaui to march at once, and make
+him prisoner. To them enters a _chasqui_, or messenger, bringing the
+news that Ollantay has collected a great army at Ollantay-tampu, and
+that the rebels have proclaimed him Inca.
+
+The second act opens with a grand scene in the hall of the
+fortress-palace of Ollantay-tampu. Ollantay is proclaimed Inca by the
+people, and he appoints the Mountain Chief, Urco Huaranca, general of
+his army. Urco Huaranca explains the dispositions he has made to oppose
+the army advancing from Cuzco, and his plan of defence. In the next
+scene Rumi-ñaui, as a fugitive in the mountains, describes his defeat
+and the complete success of the strategy of Ollantay and Urco Huaranca.
+His soliloquy is in the octosyllabic quatrains. The last scene of the
+second act is in the gardens of the Convent of Virgins of the Sun. A
+young girl is standing by a gate which opens on the street. This, as
+afterwards appears, is Yma Sumac, the daughter of Ollantay and Cusi
+Coyllur, aged ten, but ignorant of her parentage. To her enters Pitu
+Salla, an attendant, who chides her for being so fond of looking out at
+the gate. The conversation which follows shows that Yma Sumac detests
+the convent and refuses to take the vows. She also has heard the moans
+of some sufferer, and importunes Pitu Salla to tell her who it is. Yma
+Sumac goes as Mama Ccacca enters and cross examines Pitu Salla on her
+progress in persuading Yma Sumac to adopt convent life. This Mama
+Ccacca is one of the Matrons or _Mama Cuna_, and she is also the jailer
+of Cusi Coyllur.
+
+The third act opens with an amusing scene between the Uillac Uma and
+Piqui Chaqui, who meet in a street in Cuzco. Piqui Chaqui wants to get
+news, but to tell nothing, and in this he succeeds. The death of Inca
+Pachacuti is announced to him, and the accession of Tupac Yupanqui, and
+with this news he departs.
+
+Next there is an interview between the new Inca Tupac Yupanqui, the
+Uillac Uma, and the defeated general Rumi-ñaui, who promises to
+retrieve the former disaster and bring the rebels to Cuzco, dead or
+alive. It after wards appears that the scheme of Rumi-ñaui was one of
+treachery. He intended to conceal his troops in eaves and gorges near
+Ollantay-tampu ready to rush in, when a signal was made. Rumi-ñaui then
+cut and slashed his face, covered himself with mud, and appeared at the
+gates of Ollantay-tampu, declaring that he had received this treatment
+from the new Inca, and imploring protection.[5] Ollantay received him
+with the greatest kindness and hospitality. In a few days Ollantay and
+his people celebrated the _Raymi_ or great festival of the sun with
+much rejoicing and drinking. Rumi-ñaui pretended to join in the
+festivities, but when most of them were wrapped in drunken sleep, he
+opened the gates, let in his own men, and made them all prisoners.
+
+There is next another scene in the garden of the convent, in which Yma
+Sumac importunes Pitu Salla to tell her the secret of the prisoner.
+Pitu Salla at last yields and opens a stone door. Cusi Coyllur is
+discovered, fastened to a wall, and in a dying state. She had been
+imprisoned, by order of her father, Inca Pachacuti on the birth of Yma
+Sumac. She is restored with food and water, and the relationship is
+discovered when Cusi Coyllur hears the child’s name, for she had given
+it to her.
+
+Next the Inca Tupac Yupanqui is discovered in the great hall of his
+palace, seated on his _tiana_ or throne, with the Uillac Uma in
+attendance. To them enters a _chasqui_, or messenger, who describes the
+result of Rumi-ñaui’s treachery in octosyllabic quatrains. Rumi-ñaui
+himself enters and receives the thanks of his sovereign. Then the
+prisoners are brought in guarded-Ollantay, Hanco Huayllu, Urco
+Huaranca, and Piqui Chaqui. The Inca upbraids them for their treason.
+He then asks the Uillac Uma for his judgment. The High Priest
+recommends mercy. Rumi-ñaui advises immediate execution: The Inca seems
+to concur and they are ordered off, when suddenly the Inca cries
+‘Stop.’ He causes them all to be released, appoints Ollantay to the
+highest post in the empire next to himself, and Urco Huaranca to a high
+command. There are rejoicings, and in the midst of it all Yma Sumac
+forces her way into the hall, and throws herself at the Inca’s feet,
+entreating him to save her mother from death. The Inca hands over the
+matter to Ollantay, but this Yma Sumac will not have, and, the Uillac
+Uma intervening, the Inca consents to go with the child.
+
+The final scene is in the gardens of the convent. The Inca enters with
+Yma Sumac, followed by the whole strength of the company. Mama Ccacca
+is ordered to open the stone door and Cusi Coyllur is brought out. She
+proves to be the sister of the Inca and the wife of Ollantay. There are
+explanations, and all ends happily.
+
+Of the antiquity of the drama of Ollantay there is now no question.
+General Mitre wrote an elaborate paper on its authenticity, raising
+several points to prove that it was of modern origin. But every point
+he raised has been satisfactorily refuted. At the same time there are
+many other points, some of them referred to by Zegarra, which establish
+the antiquity of the drama beyond any doubt. The antiquity of the name
+Ollantay-tampu, applied to the fortress in memory of the drama, is
+proved by its use in the narratives of Molina (1560) and of
+Salcamayhua.
+
+An able review of the literature connected with the drama of Ollantay
+was written by Don E. Larrabure y Unanue, the present Vice-President of
+Peru, who considers that Ollantay would make a good acting play with
+magnificent scenic effects.
+
+
+
+
+MS. TEXTS.
+
+
+1. The original text of Valdez. In 1853 the property of Don Narciso
+Cuentas of Tinta, heir of Dr. Valdez.
+
+2. The Justiniani text. In 1853 at Laris. Copy of the Valdez text.
+
+3. Markham’s copy of the Justiniani text (printed 1871).
+
+4. Rosas copy of the Justiniani text.
+
+5. Copy in the convent of San Domingo at Cuzco (the Dominican text).
+
+6. Von Tschudi’s copy of the Dominican text (printed 1853).
+
+7. Text of Zegarra (printed 1878).
+
+8. Second text of von Tschudi.
+
+9. Text of Spilsbury.
+
+10. Text of Sahuaraura _penes_ Dr. Gonzalez de la Rosa.
+
+There is light thrown upon the name _Ollantay_ by the evidence taken
+during the journey of the Viceroy Toledo from Jauja to Cuzco, from
+November 1570 to March 1571. He wanted information respecting the
+origin of the Inca government, and 200 witnesses were examined, the
+parentage or lineage of each witness being recorded. Among these we
+find six witnesses of the _Antasayac ayllu. Sayac_ means a station or
+division, _Anta_is a small town near Cuzco. The names of the six _Anta_
+witnesses were,
+
+ANCAILLO; USCA; HUACRO; MANCOY; AUCA PURI; ULLANTAY;
+Besides ANTONIO PACROTRICA and PUNICU PAUCAR, Chiefs of _Anta_.
+
+We thus find that the name of _Ollantay_ belonged to _Anta_. Now the
+Incas were under great obligations to the chief of Anta, for that chief
+had rescued the eldest son of _Inca Rocca_ from the chief of
+_Ayamarca_, and had restored him to his father. For this great service
+the chief of _Anta_ was declared to be a noble of the highest rank and
+cousin to the Inca family. Moreover, the daughter of the _Anta_ chief
+was married to the _Inca Uira-cocha_, and was the mother of Pachacuti.
+Assuming, as seems probable, that _Ollantay_ was a son of the chief of
+Anta, he would be a cousin of the Inca, and of very high rank, though
+not an agnate of the reigning family. This, I take it, is what is
+intended. _Pachacuti_ desired to raise his family high above all
+others, and that, consequently, there should be no marriages with
+subjects even of the highest rank; and his excessive severity on the
+transgression of his rule by his daughter is thus explained.
+
+
+
+
+OLLANTAY
+
+
+
+
+ACTS AND SCENES
+
+
+ACT 1.
+
+Sc. 1.—Open space near Cuzco.
+Ollantay, Piqui Chaqui, Uillac Uma.
+
+Sc. 2.—Hall in the Colcampata.
+Anahuarqui, Cusi Coyllur, Inca Pachacuti, Boys and Girls, Singers.
+
+Sc. 3.—Hall in the Inca’s palace.
+Pachacuti, Rumi-ñaui, Ollantay.
+
+Sc. 4.—Height above Cuzco.
+Ollantay, Piqui Chaqui, Unseen Singer.
+
+Sc. 5.—Hall in the Inca’s palace.
+Pachacuti, Rumi-ñaui, and a Chasqui.
+
+ACT II.
+
+Sc. 1.—Ollantay-tampu Hall.
+Ollantay, Urco Huaranca, Hanco Huayllu, People and Soldiers.
+
+Sc. 2.—A wild place in the mountains.
+Rumi-ñaui’s soliloquy.
+
+Sc. 3.—Gardens of the Virgins.
+Yma Sumac, Pitu Salla, Mama Ccacca.
+
+ACT III.
+
+Sc. 1.—Pampa Maroni at Cuzco.
+Uillac Uma and Piqui Chaqui.
+
+Sc. 2.—Palace of Tupac Yupanqui.
+Tupac Yupanqui, Uillac Uma, Rumi-ñaui.
+
+Sc. 3.—Ollantay-tampu, Terrace.
+Rumi-ñaui, Ollantay, Guards.
+
+Sc. 4.—House of Virgins, Corridor.
+Yma Sumac, Pitu Salla.
+
+Sc. 5.—House of Virgins, Garden.
+Yma Sumac, Pitu Salla, Cusi Coyllur.
+
+Sc. 6.—Palace of Tupac Yupanqui.
+Tupac Yupanqui, Uillac Uma, a Chasqui, Rumi-ñaui, Ollantay, Urco
+Huaranca, Hanco Huayllu, Piqui Chaqui, Chiefs and Guards, then Yma
+Sumac.
+
+Sc. 7.—House of Virgins, Garden.
+All of Scene 6, and Mama Ccacca, Cusi Coyllur, Pitu Salla.
+
+SCENE
+
+In Cuzco and its environs, and Ollantay-tampu
+
+
+
+
+DRAMATIS PERSONAE
+
+
+APU OLLANTAY.—General of Anti-suyu, the eastern province of the empire.
+A young chief, but not of the blood-royal. His rank was that of a
+Tucuyricuo or Viceroy. The name occurs among the witnesses examined by
+order of the Viceroy Toledo, being one of the six of the Antasayac
+ayllu.
+
+PACHACUTI.—The Sovereign Inca.
+
+TUPAC YUPANQUI.—Sovereign. Inca, son and heir of Pachacuti.
+
+RUMI-ÑAUI.—A great chief, General of Colla-suyu. The word means
+‘Stone-eye.’
+
+UILLAC UMA.—High Priest of the Sun. The word Uma means head, and
+Uillac, a councillor and diviner.
+
+URCO HUARANCA.—A chief. The words mean ‘Mountain Chief.’ The word
+huaranca means 1000; hence, Chief of a Thousand.
+
+HANCO HUAYLLU AUQUI.—An old officer, of the blood-royal.
+
+PIQUI CHAQUI.—Page to Ollantay. The words mean ‘fleet-footed.’
+
+ANAHUARQUI.—The Ccoya or Queen, wife of Pachacuti.
+
+CUSI COYLLUR ÑUSTA.—A Princess, daughter of Pachacuti. The words mean
+‘the joyful star.’
+
+YMA SUMAC.—Daughter of Cusi Coyllur. The words mean ‘How beautiful.’
+
+PITU SALLA.—A girl, companion of Yma Sumac.
+
+CCACCA MAMA.—A matron of Virgins of the Sun. Jailer of Cusi Coyllur.
+
+Nobles, captains, soldiers, boys and girls dancing, singers,
+attendants, messengers or Chasqui.
+
+
+
+
+ACT I
+
+SCENE 1
+
+An open space near the junction of the two torrents of Cuzco, the
+Huatanay and Tullumayu or Rodadero, called Pumap Chupan, just outside
+the gardens of the Sun. The Temple of the Sun beyond the gardens, and
+the Sacsahuaman hill surmounted by the fortress, rising in the
+distance. The palace of Colcampata on the hillside.
+
+(Enter OLLANTAY L. [in a gilded tunic, breeches of llama sinews, usutas
+or shoes of llama hide, a red mantle of ccompi or fine cloth, and the
+chucu or head-dress of his rank, holding a battle-axe (champi) and club
+(macana)] and PIQUI CHAQUI coming up from the back R. [in a coarse
+brown tunic of auasca or llama cloth, girdle used as a sling, and chucu
+or head-dress of a Cuzqueño].)
+
+OLLANTAY.
+Where, young fleet-foot, hast thou been?
+Hast thou the starry Ñusta seen?
+
+PIQUI CHAQUI.
+The Sun forbids such sacrilege
+’Tis not for me to see the star.
+Dost thou, my master, fear no ill,
+Thine eyes upon the Inca’s child?
+
+OLLANTAY.
+In spite of all I swear to love
+That tender dove, that lovely star;
+My heart is as a lamb[6] with her,
+And ever will her presence seek.
+
+PIQUI CHAQUI.
+Such thoughts are prompted by Supay[7];
+That evil being possesses thee.
+All round are beauteous girls to choose
+Before old age, and weakness come.
+If the great Inca knew thy plot
+And what thou seekest to attain,
+Thy head would fall by his command,
+Thy body would be quickly burnt.
+
+OLLANTAY.
+Boy, do not dare to cross me thus.
+One more such word and thou shalt die.
+These hands will tear thee limb from limb,
+If still thy councils are so base.
+
+PIQUI CHAQUI.
+Well! treat thy servant as a dog,
+But do not night and day repeat,
+‘Piqui Chaqui! swift of foot!
+Go once more to seek the star.’
+
+OLLANTAY.
+Have I not already said
+That e’en if death’s fell scythe[8] was here,
+If mountains should oppose my path
+Like two fierce foes[9] who block the way,
+Yet will I fight all these combined
+And risk all else to gain my end,
+And whether it be life or death
+I’ll cast myself at Coyllur’s feet.
+
+PIQUI CHAQUI.
+But if Supay himself should come?
+
+OLLANTAY.
+I’d strike the evil spirit down.
+
+PIQUI CHAQUI.
+If thou shouldst only see his nose,
+Thou wouldst not speak as thou dost now.
+
+OLLANTAY.
+Now, Piqui Chaqui, speak the truth,
+Seek not evasion or deceit.
+Dost thou not already know,
+Of all the flowers in the field,
+Not one can equal my Princess?
+
+PIQUI CHAQUI.
+Still, my master, thou dost rave.
+I think I never saw thy love.
+Stay! was it her who yesterday
+Came forth with slow and faltering steps
+And sought a solitary[10] path[11]?
+If so, ’tis true she’s like the sun,
+The moon less beauteous than her face.[12]
+
+OLLANTAY.
+It surely was my dearest love.
+How beautiful, how bright is she
+This very moment thou must go
+And take my message to the Star.
+
+PIQUI CHAQUI.
+I dare not, master; in the day,
+I fear to pass the palace gate.
+With all the splendour of the court,
+I could not tell her from the rest.
+
+OLLANTAY.
+Didst thou not say thou sawest her?
+
+PIQUI CHAQUI.
+I said so, but it was not sense.
+A star can only shine at night
+Only at night could I be sure.
+
+OLLANTAY.
+Begone, thou lazy good-for-nought.
+The joyful star that I adore,
+If placed in presence of the Sun,
+Would shine as brightly as before.
+
+PIQUI CHAQUI.
+Lo! some person hither comes,
+Perhaps an old crone seeking alms;
+Yes! Look! he quite resembles one.
+Lot him the dangerous message take.
+Send it by him, O noble Chief!
+From me they would not hear the tale;
+Thy page is but a humble lad.
+
+(Enter the UILLAC UMA, or High Priest of the Sun, at the back, arms
+raised to the Sun. In a grey tunic and black mantle from the shoulders
+to the ground, a long knife in his belt, the undress chucu on his
+head.)
+
+UILLAC UMA.
+O giver of all warmth and light
+O Sun! I fall and worship thee.
+For thee the victims are prepared,
+A thousand llamas and their lambs
+Are ready for thy festal day.
+The sacred fire’ll lap their blood,
+In thy dread presence, mighty one,
+After long fast[13] thy victims fall.
+
+OLLANTAY.
+Who comes hither, Piqui Chaqui?
+Yes, ’tis the holy Uillac Uma;
+He brings his tools of augury.
+No puma[14] more astute and wise
+I hate that ancient conjurer
+Who prophesies of evil things,
+I feel the evils he foretells;
+’Tis he who ever brings ill-luck.
+
+PIQUI CHAQUI.
+Silence, master, do not speak,
+The old man doubly is informed;
+Fore-knowing every word you say,
+Already he has guessed it all.
+
+(He lies down on a bank.)
+
+
+OLLANTAY.
+(_aside_)
+He sees me. I must speak to him.
+
+(The Uillac Uma comes forward.)
+
+
+O Uillac Uma, Great High Priest,
+I bow before thee with respect
+May the skies be clear for thee,
+And brightest sunshine meet thine eyes.
+
+UILLAC UMA.
+Brave Ollantay! Princely one!
+May all the teeming land be thine;
+May thy far-reaching arm of might
+Reduce the wide-spread universe.
+
+OLLANTAY.
+Old man! thine aspect causes fear,
+Thy presence here some ill forebodes;
+All round thee dead men’s bones appear,
+Baskets, flowers, sacrifice.
+All men when they see thy face
+Are filled with terror and alarm.
+What means it all? why comest thou?
+It wants some months before the least.
+Is it that the Inca is ill?
+Perchance hast thou some thought divined
+Which soon will turn to flowing blood.
+Why comest thou? the Sun’s great day,
+The Moon’s libations are not yet
+The moon has not yet nearly reached
+The solemn time for sacrifice.
+Uillac Uma. Why dost thou these questions put,
+In tones of anger and reproach?
+Am I, forsooth, thy humble slave?
+That I know all I’ll quickly prove.
+
+OLLANTAY.
+My beating heart is filled with dread,
+Beholding thee so suddenly;
+Perchance thy coming is a sign,
+Of evils overtaking me.
+
+UILLAC UMA.
+Fear not, Ollantay! not for that,
+The High Priest comes to thee this day.
+It is perhaps for love of thee,
+That, as a straw is blown by wind,
+A friend, this day, encounters thee.
+Speak to me as to a friend,
+Hide nothing from my scrutiny.
+This day I come to offer thee
+A last and most momentous choice
+’Tis nothing less than life or death.
+
+OLLANTAY.
+Then make thy words more clear to me,
+That I may understand the choice;
+Till now ’tis but a tangled skein,
+Unravel it that I may know.
+
+UILLAC UMA.
+’Tis well. Now listen, warlike. Chief:
+My science has enabled me,
+To learn and see all hidden things
+Unknown to other mortal men.
+My power will enable me
+To make of thee a greater prince.
+I brought thee up from tender years,
+And cherished thee with love and care
+I now would guide thee in the right,
+And ward off all that threatens thee.
+As chief of Anti-suyu now,
+The people venerate thy name;
+Thy Sovereign trusts and honours thee,
+E’en to sharing half his realm.
+From all the rest he chose thee out,
+And placed all power in thy hands;
+He made thy armies great and strong,
+And strengthened thee against thy foes
+How numerous soe’er they be,
+They have been hunted down by thee.
+Are these good reasons for thy wish,
+To wound thy Sovereign to the heart?
+His daughter is beloved by thee;
+Thy passion thou wouldst fain indulge,
+Lawless and forbidden though it be.
+I call upon thee, stop in time,
+Tear this folly from thy heart.
+If thy passion is immense,
+Still let honour hold its place.
+You reel, you stagger on the brink
+I’d snatch thee from the very edge.
+Thou knowest well it cannot be,
+The Inca never would consent.
+If thou didst e’en propose it now,
+He would be overcome with rage;
+From favoured prince and trusted chief,
+Thou wouldst descend to lowest rank.
+
+OLLANTAY.
+How is it that thou canst surely know
+What still is hidden in my heart?
+Her mother only knows my love,
+Yet thou revealest all to me.
+
+UILLAC UMA.
+I read thy secret on the moon,
+As if upon the Quipu knots;
+And what thou wouldst most surely hide,
+Is plain to me as all the rest.
+
+OLLANTAY.
+In my heart I had divined
+That thou wouldst search me through and through
+Thou knowest all, O Councillor,
+And wilt thou now desert thy son?
+
+UILLAC UMA.
+How oft we mortals heedless drink,
+A certain death from golden cup
+Recall to mind how ills befall,
+And that a stubborn heart ’s the cause.
+
+OLLANTAY.
+(_kneeling_).
+Plunge that dagger in my breast,
+Thou holdst it ready in thy belt;
+Cut out my sad and broken heart
+I ask the favour at thy feet.
+
+UILLAC UMA.
+(to Piqui Chaqui).
+Gather me that flower, boy.
+
+(Piqui Chaqui gives him a withered flower and lies down again,
+pretending to sleep.)
+
+
+(To Ollantay).
+Behold, it is quite dead and dry.
+Once more behold! e’en now it weeps,
+It weeps. The water flows from it.
+
+(Water flows out of the flower.)
+
+
+OLLANTAY.
+More easy for the barren rocks
+Or for sand to send forth water,
+Than that I should cease to love
+The fair princess, the joyful star.
+
+UILLAC UMA.
+Put a seed into the ground,
+It multiplies a hundredfold;
+The more thy crime shall grow and swell,
+The greater far thy sudden fall.
+
+OLLANTAY.
+Once for all, I now confess
+To thee, O great and mighty Priest;
+Now learn my fault. To thee I speak,
+Since thou hast torn it from my heart.
+The lasso to tie me is long,
+’Tis ready to twist round my throat
+Yet its threads are woven with gold,
+It avenges a brilliant crime.
+Cusi Coyllur e’en now is my wife,
+Already we’re bound and are one;
+My blood now runs in her veins,
+E’en now I am noble as she.
+Her mother has knowledge of all,
+The Queen can attest what I say;
+Let me tell all this to the King,
+I pray for thy help and advice.
+I will speak without fear and with force,
+He may perhaps give way to his rage
+Yet he may consider my youth,
+May remember the battles I’ve fought;
+The record is carved on my club.
+
+(Holds up his macana.)
+
+
+He may think of his enemies crushed,
+The thousands I’ve thrown at his feet.
+
+UILLAC UMA.
+Young Prince! thy words are too bold,
+Thou hast twisted the thread of thy fate—
+Beware, before ’tis too late;
+Disentangle and weave it afresh,
+Go alone to speak to the King,
+Alone bear the blow that you seek;
+Above all let thy words be but few,
+And say them with deepest respect;
+Be it life, be it death that you find,
+I will never forget thee, my son.
+
+(Walks up and exit.)
+
+
+OLLANTAY.
+Ollantay, thou art a man,
+No place in thy heart for fear;
+Cusi Coyllur, surround me with light.
+Piqui Chaqui, where art thou?
+
+PIQUI CHAQUI.
+(jumping up).
+I was asleep, my master,
+And dreaming of evil things.
+
+OLLANTAY.
+Of what?
+
+PIQUI CHAQUI.
+Of a fox with a rope round its neck.
+
+OLLANTAY.
+Sure enough, thou art the fox.
+
+PIQUI CHAQUI.
+It is true that my nose is growing finer,
+And my ears a good deal longer.
+
+OLLANTAY.
+Come, lead me to the Coyllur.
+
+PIQUI CHAQUI.
+It is still daylight.
+
+(Exeunt.)
+
+SCENE 2
+
+A great hall in the Colcampata, then the palace of the Queen or Ccoya
+Anahuarqui. In the centre of the back scene a doorway, and seen through
+it gardens with the snowy peak of Vilcanota in the distance. Walls
+covered with golden slabs. On either side of the doorway three
+recesses, with household gods in the shape of maize-cobs and llamas,
+and gold vases in them. On R. a golden tiana or throne. On L. two lower
+seats covered with cushions of fine woollen cloth.
+
+(ANAHUARQUI, the Queen or Ccoya (in blue chucu, white cotton bodice,
+and red mantle secured by a golden topu or pin, set with emeralds, and
+a blue skirt), and the princess CUSI COYLLUR (in a chucu, with feathers
+of the tunqui, white bodice and skirt, and grey mantle with topu, set
+with pearls) discovered seated.)
+
+ANAHUARQUI.
+Since when art thou feeling so sad,
+Cusi Coyllur! great Inti’s prunelle?[15]
+Since when hast thou lost all thy joy,
+Thy smile and thy once merry laugh?
+Tears of grief now pour down my face,
+As I watch and mourn over my child;
+Thy grief makes me ready to die.
+Thy union filled thee with joy,
+Already you’re really his wife.
+Is he not the man of thy choice?
+O daughter, devotedly loved,
+Why plunged in such terrible grief?
+
+(Cusi Coyllur has had her face hidden in the pillows. She now rises to
+her feet, throwing up her arms.)
+
+
+CUSI COYLLUR.
+O my mother! O most gracious Queen!
+How can my tears o’er cease to flow,
+How can my bitter sighs surcease,
+While the valiant Chief I worship
+For many days and sleepless nights,
+All heedless of my tender years,
+Seems quite to have forgotten me?
+He has turned his regard from his wife
+And no longer seeks for his love.
+O my mother! O most gracious Queen!
+O my husband so beloved!
+Since the day when I last saw my love
+The moon has been hidden from view;
+The sun shines no more as of old,
+In rising it rolls among mist;
+At night the stars are all dim,
+All nature seems sad and distressed
+The comet with fiery tail,
+Announces my sorrow and grief
+Surrounded by darkness and tears,
+Evil auguries fill me with fears.
+O my mother! O most gracious Queen!
+O my husband so beloved!
+
+ANAHUARQUI.
+Compose thyself and dry thine eyes,
+The King, thy father, has arrived.
+Thou lovest Ollantay, my child?
+
+(Enter the INCA PACHACUTI. On his head the mascapaycha, with the llautu
+or imperial fringe. A tunic of cotton embroidered with gold; on his
+breast the golden breastplate representing the sun, surrounded by the
+calendar of months. Round his waist the fourfold belt of tocapu. A
+crimson mantle of fine vicuna wool, fastened on his shoulders by golden
+puma’s heads. Shoes of cloth of gold. He sits down on the golden
+tiana.)
+
+INCA PACHACUTI.
+Cusi Coyllur! Star of joy,
+Most lovely of my progeny!
+Thou symbol of parental love—
+Thy lips are like the huayruru.[16]
+Rest upon thy father’s breast,
+Repose, my child, within mine arms.
+
+(Cusi Coyllur comes across. They embrace.)
+
+
+Unwind thyself, my precious one,
+A thread of gold within the woof.
+All my happiness rests upon thee,
+Thou art my greatest delight.
+Thine eyes are lovely and bright,
+As the rays of my father the Sun.
+When thy lips are moving to speak,
+When thine eyelids are raised with a smile,
+The wide world is fairly entranced.
+Thy breathing embalms the fresh air;
+Without thee thy father would pine,
+Life to him would be dreary and waste.
+He seeks for thy happiness, child,
+Thy welfare is ever his care.
+
+(Cusi Coyllur throws herself at his feet.)
+
+
+CUSI COYLLUR.
+O father, thy kindness to me
+I feel; and embracing thy knees
+All the grief of thy daughter will cease,
+At peace when protected by thee.
+
+PACHACUTI.
+How is this! my daughter before me
+On knees at my feet, and in tears?
+I fear some evil is near—
+Such emotion must needs be explained.
+
+CUSI COYLLUR.
+The star does weep before Inti,
+The limpid tears wash grief away.
+
+PACHACUTI.
+Rise, my beloved, my star,
+Thy place is on thy dear father’s knee.
+
+(Cusi Coyllur rises and sits on a stool by her father. An attendant
+approaches.)
+
+
+ATTENDANT.
+O King! thy servants come to please thee.
+
+PACHACUTI.
+Let them all enter.
+
+(Boys and girls enter dancing. After the dance they sing a harvest
+song.)
+
+
+Thou must not feed,
+O Tuyallay,[17]
+In Ñusta’s field,
+O Tuyallay.
+Thou must not rob,
+O Tuyallay,
+The harvest maize,
+O Tuyallay.
+The grains are white,
+O Tuyallay,
+So sweet for food,
+O Tuyallay.
+The fruit is sweet,
+O Tuyallay,
+The leaves are green
+O Tuyallay;
+But the trap is set,
+O Tuyallay.
+The lime is there,
+O Tuyallay.
+We’ll cut thy claws,
+O Tuyallay,
+To seize thee quick,
+O Tuyallay.
+Ask Piscaca,[18]
+O Tuyallay,
+Nailed on a branch,
+O Tuyallay.
+Where is her heart,
+O Tuyallay?
+Where her plumes,
+O Tuyallay?
+She is cut up,
+O Tuyallay,
+For stealing grain,
+O Tuyallay.
+See the fate,
+O Tuyallay,
+Of robber birds,
+O Tuyallay.
+
+PACHACUTI.
+Cusi Coyllur, remain thou here,
+Thy mother’s palace is thy home
+Fail not to amuse thyself,
+Surrounded by thy maiden friends.
+
+(Exeunt the Inca Pachacuti, the Ccoya Anahuarqui, and attendants.)
+
+
+CUSI COYLLUR.
+I should better like a sadder song.
+My dearest friends, the last you sang
+To me foreshadowed evil things;[19]
+You who sang it leave me now.
+
+(Exeunt boys and girls, except one girl who sings.)
+
+
+Two loving birds are in despair,[20]
+    They moan, they weep, they sigh;
+For snow has fallen on the pair,
+    To hollow tree they fly.
+
+But lo! one dove is left alone
+    And mourns her cruel fate;
+She makes a sad and piteous moan,
+    Alone without a mate.
+
+She fears her friend is dead and gone—
+    Confirmed in her belief,
+Her sorrow finds relief in song,
+    And thus she tells her grief.
+
+‘Sweet mate! Alas, where art thou now?
+    I miss thine eyes so bright,
+Thy feet upon the tender bough,
+    Thy breast so pure and bright.’
+
+She wanders forth from stone to stone,
+    She seeks her mate in vain;
+‘My love! my love!’ she makes her moan,
+    She falls, she dies in pain.
+
+
+CUSI COYLLUR.
+That yarahui is too sad,
+Leave me alone.
+
+(Exit the girl who sang the yarahui.)
+
+
+Now my tears can freely flow.
+
+SCENE 3
+
+Great hall in the palace of Pachacuti. The INCA, as before, discovered
+seated on a golden tiana L. Enter to him R. OLLANTAY and RUMI-ÑAUI.
+
+PACHACUTI.
+The time has arrived, O great Chiefs,
+To decide on the coming campaign.
+The spring is approaching us now,
+And our army must start for the war.
+To the province of Colla[21] we march—
+There is news of Chayanta’s[22] advance.
+The enemies muster in strength,
+They sharpen their arrows and spears.
+
+OLLANTAY.
+O King, that wild rabble untaught
+Can never resist thine array;
+Cuzco alone with its height
+Is a barrier that cannot be stormed.
+Twenty four thousand of mine,
+With their champis[23] selected with care,
+Impatiently wait for the sign,
+The sound of the beat of my drums,[24]
+The strains of my clarion and fife.
+
+PACHACUTI.
+Strive then to stir them to fight,
+Arouse them to join in the fray,
+Lest some should desire to yield,
+To escape the effusion of blood.
+
+RUMI-ÑAUI.
+The enemies gather in force,
+The Yuncas[25] are called to their aid;
+They have put on their garbs for the war,
+And have stopped up the principal roads.
+All this is to hide their defects—
+The men of Chayanta are base.
+We hear they’re destroying the roads,
+But we can force open the way;
+Our llamas are laden with food—
+We are ready to traverse the wilds.
+
+PACHACUTI.
+Are you really ready to start
+To punish those angry snakes?
+But first you must give them a chance
+To surrender, retiring in peace,
+So that blood may not flow without cause,
+That no deaths of my soldiers befall.
+
+OLLANTAY.
+I am ready to march with my men,
+Every detail prepared and in place,
+But alas! I am heavy with care,
+Almost mad with anxious suspense.
+
+PACHACUTI.
+Speak, Ollantay. Tell thy wish—
+’Tis granted, e’en my royal fringe.
+
+OLLANTAY.
+Hear me in secret, O King.
+
+PACHACUTI.
+(to Rumi-ñaui).
+Noble Chief of Colla, retire;
+Seek repose in thy house for a time.
+I will call thee before very long,
+Having need of thy valour and skill.
+
+RUMI-ÑAUI.
+With respect I obey thy command.
+
+(Exit Rumi-ñaui.)
+
+
+OLLANTAY.
+Thou knowest, O most gracious Lord,
+That I have served thee from a youth,
+Have worked with fortitude and truth,
+Thy treasured praise was my reward.[26]
+
+All dangers I have gladly met,
+For thee I always watched by night,
+For thee was forward in the fight,
+My forehead ever bathed in sweat.
+
+For thee I’ve been a savage foe,
+Urging my Antis[27] not to spare,
+But kill and fill the land with fear,
+And make the blood of conquered flow.
+
+My name is as a dreaded rope,[28]
+I’ve made the hardy Yuncas[29] yield,
+By me the fate of Chancas[30] sealed,
+They are thy thralls without a hope.
+
+’Twas I who struck the fatal blow,
+When warlike Huancavilca[31] rose,
+Disturbing thy august repose,
+And laid the mighty traitor low.
+
+Ollantay ever led the van,
+Wherever men were doomed to die;
+When stubborn foes were forced to fly,
+Ollantay ever was the man.
+
+Now every tribe bows down to thee—
+Some nations peacefully were led,
+Those that resist their blood is shed—
+But all, O King, was due to me.
+
+O Sovereign Inca, great and brave,
+Rewards I know were also mine,
+My gratitude and thanks are thine,
+To me the golden axe you gave.
+
+Inca! thou gavest me command
+And rule o’er all the Anti race,
+To me they ever yield with grace,
+And thine, great King, is all their land
+
+My deeds, my merits are thine own
+To thee alone my work is due.
+For one more favour I would sue,
+My faithful service—thy renown.
+
+(Ollantay kneels before the Inca.)
+
+
+Thy thrall: I bow to thy behest,
+Thy fiat now will seal my fate.
+O King, my services are great,
+I pray thee grant one last request.
+
+I ask for Cusi Coyllur’s hand
+If the Ñusta’s[32] love I’ve won.
+O King! you’ll have a faithful son,
+Fearless, well tried, at thy command.
+
+
+PACHACUTI.
+Ollantay, thou dost now presume.
+Thou art a subject, nothing more.
+Remember, bold one, who thou art,
+And learn to keep thy proper place.
+
+OLLANTAY.
+Strike me to the heart.
+
+PACHACUTI.
+’Tis for me to see to that,
+And not for thee to choose.
+Thy presumption is absurd. Be gone!
+
+(Ollantay rises and exit R.)
+
+SCENE 4
+
+A rocky height above Cuzco to the NE. Distant view of the city of Cuzco
+and of the Sacsahuaman hill, crowned by the fortress.
+
+(Enter OLLANTAY armed.)
+
+
+OLLANTAY.
+Alas, Ollantay! Ollantay!
+Thou master of so many lands,
+Insulted by him thou servedst well.
+O my thrice-beloved Coyllur,
+Thee too I shall lose for ever.
+O the void[33] within my heart,
+O my princess! O precious dove!
+Cuzco! O thou beautiful city!
+Henceforth behold thine enemy.
+I’ll bare thy breast to stab thy heart,
+And throw it as food for condors;
+Thy cruel Inca I will slay.
+I will call my men in thousands,
+The Antis will be assembled,
+Collected as with a lasso.
+All will be trained, all fully armed,
+I will guide them to Sacsahuaman.
+They will be as a cloud of curses,
+When flames rise to the heavens.
+Cuzco shall sleep on a bloody couch,
+The King shall perish in its fall;
+Then shall my insulter see
+How numerous are my followers.
+When thou, proud King, art at my feet,
+We then shall see if thou wilt say,
+‘Thou art too base for Coyllur’s hand.’
+Not then will I bow down and ask,
+For I, not thou, will be the King—
+Yet, until then, let prudence rule.
+
+(Enter PIQUI CHAQUI from back, R.)
+
+
+Piqui Chaqui, go back with speed,
+Tell the Princess I come to-night.
+
+PIQUI CHAQUI.
+I have only just come from there—
+The palace was deserted quite,
+No soul to tell me what had passed,
+Not even a dog[34] was there.
+All the doors were closed and fastened,
+Except the principal doorway,
+And that was left without a guard.
+
+OLLANTAY.
+And the servants?
+
+PIQUI CHAQUI.
+Even the mice had fled and gone,
+For nothing had been left to eat.
+Only an owl was brooding there,
+Uttering its cry of evil omen.
+
+OLLANTAY.
+Perhaps then her father has taken her,
+To hide her in his palace bounds.
+
+PIQUI CHAQUI.
+The Inca may have strangled her;
+Her mother too has disappeared.
+
+OLLANTAY.
+Did no one ask for me
+Before you went away?
+
+PIQUI CHAQUI.
+Near a thousand men are seeking
+For you, and all are enemies,
+Armed with their miserable clubs.
+
+OLLANTAY.
+If they all arose against me,
+With this arm I’d fight them all
+No one yet has beat this hand,
+Wielding the champi sharp and true.
+
+PIQUI CHAQUI.
+I too would like to give a stroke
+At least, if my enemy was unarmed.
+
+OLLANTAY.
+To whom?
+
+PIQUI CHAQUI.
+I mean that Urco Huaranca chief,
+Who lately was in search of thee.
+
+OLLANTAY.
+Perhaps the Inca sends him here
+If so my anger is aroused.
+
+PIQUI CHAQUI.
+Not from the King, I am assured,
+He cometh of his own accord
+And yet he is an ignoble man.
+
+OLLANTAY.
+He has left Cuzco, I believe;
+My own heart tells me it is so
+I’m sure that owl announces it.
+We’ll take to the hills, at once.
+
+PIQUI CHAQUI.
+But wilt thou abandon the Star?
+
+OLLANTAY.
+What can I do, alas!
+Since she has disappeared?
+Alas, my dove! my sweet princess.
+
+(Music heard among the rocks.)
+
+
+PIQUI CHAQUI.
+Listen to that yarahui,
+The sound comes from somewhere near.
+
+(They sit on rocks.)
+
+
+SONG
+
+In a moment I lost my beloved,
+    She was gone, and I never knew where;
+I sought her in fields and in woods,
+    Asking all if they’d seen the Coyllur.
+
+Her face was so lovely and fair,
+    They called her the beautiful Star.
+No one else can be taken for her,
+    With her beauty no girl can compare.
+
+Both the sun and the moon seem to shine,
+    Resplendent they shine from a height,
+Their rays to her beauty resign
+    Their brilliant light with delight.
+
+Her hair is a soft raven black,
+    Her tresses are bound with gold thread,
+They fall in long folds down her back,
+    And add charm to her beautiful head.
+
+Her eyelashes brighten her face,
+    Two rainbows less brilliant and fair,
+Her eyes full of mercy and grace,
+    With nought but two, suns can compare.
+
+The eyelids with arrows concealed,
+    Gaily shoot their rays into the heart
+They open, lo! beauty revealed,
+    Pierces through like a glittering dart.
+
+Her cheeks Achancara[35] on snow,
+    Her face more fair than the dawn,
+From her mouth the laughter doth flow,
+    Between pearls as bright as the morn.
+
+Smooth as crystal and spotlessly clear
+    Is her throat, like the corn in a sheaf
+Her bosoms, which scarcely appear,
+    Like flowers concealed by a leaf.
+
+Her beautiful hand is a sight,
+    As it rests from all dangers secure,
+Her fingers transparently white,
+    Like icicles spotless and pure.
+
+OLLANTAY.
+(_rising_).
+That singer, unseen and unknown,
+Has declared Coyllur’s beauty and grace;
+He should fly hence, where grief overwhelms.
+O Princess! O loveliest Star,
+I alone am the cause of thy death,
+I also should die with my love.
+
+PIQUI CHAQUI.
+Perhaps thy star has passed away,
+For the heavens are sombre and grey.
+
+OLLANTAY.
+When they know that their Chief has fled,
+My people will rise at my call,
+They will leave the tyrant in crowds
+And he will be nearly alone.
+
+PIQUI CHAQUI.
+Thou hast love and affection from men,
+For thy kindness endears thee to all,
+For thy hand’s always open with gifts,
+And is closely shut only to me.
+
+OLLANTAY.
+Of what hast thou need?
+
+PIQUI CHAQUI.
+What? the means to got this and that,
+To offer a gift to my girl,
+To let others see what I have,
+So that I may be held in esteem.
+
+OLLANTAY.
+Be as brave as thou art covetous,
+And all the world will fear thee.
+
+PIQUI CHAQUI.
+My face is not suited for that;
+Always gay and ready to laugh,
+My features are not shaped that way.
+To look brave! not becoming to me.
+What clarions sound on the hills?
+It quickly cometh near to us.
+
+(Both look out at different sides.)
+
+
+OLLANTAY.
+I doubt not those who seek me—come,
+Let us depart and quickly march.
+
+PIQUI CHAQUI.
+When flight is the word, I am here.
+
+(Exeunt.)
+
+SCENE 5
+
+The great hall of the palace of Pachacuti. The INCA, as before, seated
+on the tiana. Enter to him RUMI-ÑAUI.
+
+PACHACUTI.
+I ordered a search to be made,
+But Ollantay was not to be found.
+My rage I can scarcely control—
+Hast thou found this infamous wretch?
+
+RUMI-ÑAUI.
+His fear makes him hide from thy wrath.
+
+PACHACUTI.
+Take a thousand men fully armed,
+And at once commence the pursuit.
+
+RUMI-ÑAUI.
+Who can tell what direction to take?
+Three days have gone by since his flight,
+Perchance he’s concealed in some house,
+And till now he is there, safely hid.
+
+(Enter a chasqui or messenger with quipus.)
+
+
+Behold, O King, a messenger
+From Urubamba he has come.
+
+CHASQUI.
+I was ordered to come to my King,
+Swift as the wind, and behold me.
+
+PACHACUTI.
+What news bringest thou?
+
+CHASQUI.
+This quipu will tell thee, O King.
+
+PACHACUTI.
+Examine it, O Rumi-ñaui.
+
+RUMI-ÑAUI.
+Behold the llanta, and the knots[36]
+Announce the number of his men.
+
+PACHACUTI.
+(to Chasqui).
+And thou, what hast thou seen?
+
+CHASQUI.
+’Tis said that all the Anti host
+Received Ollantay with acclaim;
+Many have seen, and they recount,
+Ollantay wears the royal fringe.
+
+RUMI-ÑAUI.
+The quipu record says the same.
+
+PACHACUTI.
+Scarcely can I restrain my rage!
+Brave chief, commence thy march at once,
+Before the traitor gathers strength.
+If thy force is not enough,
+Add fifty thousand men of mine.
+Advance at once with lightning speed,
+And halt not till the foe is reached.
+
+RUMI-ÑAUI.
+To-morrow sees me on the route,
+I go to call the troops at once
+The rebels on the Colla road,
+I drive them flying down the rocks.
+Thine enemy I bring to thee,
+Dead or alive, Ollantay falls.
+Meanwhile, O Inca, mighty Lord,
+Rest and rely upon thy thrall.
+
+(Exeunt.)
+
+
+END OF ACT I.
+
+
+
+
+ACT II
+
+
+SCENE 1
+
+Ollantay-tampu. Hall of the fortress-palace. Back scene seven immense
+stone, slabs, resting on them a monolith right across. Above masonry.
+At sides masonry with recesses; in the R. centre a great doorway. A
+golden tiana against the central slab.
+
+(Enter OLLANTAY and URCO HUARANCA, both fully armed.)
+
+
+URCO HUARANCA.
+Ollantay, thou hast been proclaimed
+By all the Antis as their Lord.
+The women weep, as you will see—
+They lose their husbands and their sons,
+Ordered to the Chayanta war.
+When will there be a final stop
+To distant wars? Year after year
+They send us all to far-off lands,
+Where blood is made to flow like rain.
+The King himself is well supplied
+With coca and all kinds of food.
+What cares he that his people starve?
+Crossing the wilds our llamas die,
+Our feet are wounded by the thorns,
+And if we would not die of thirst
+We carry water on our backs.
+
+OLLANTAY.
+Gallant friends! Ye hear those words,
+Ye listen to the mountain chief.
+Filled with compassion for my men,
+I thus, with sore and heavy heart,
+Have spoken to the cruel king:
+‘The Anti-suyu must have rest;
+All her best men shan’t die for thee,
+By battle, fire, and disease—
+They die in numbers terrible.
+How many men have ne’er returned,
+How many chiefs have met their death
+For enterprises far away?’
+For this I left the Inca’s court,[37]
+Saying that we must rest in peace;
+Lot none of us forsake our hearths,
+And if the Inca still persists,
+Proclaim with him a mortal feud.
+
+(Enter HANCO HUAYLLU, several chiefs, and a great crowd of soldiers and
+people.)
+
+
+PEOPLE.
+Long live our king, Ollantay
+Bring forth the standard and the fringe,
+Invest him with the crimson fringe
+In Tampu now the Inca reigns,
+He rises like the star of day.
+
+(The chiefs, soldiers, and people range them selves round. Ollantay is
+seated on the tiana by Hanco Huayllu, an aged Auqui or Prince.)
+
+
+HANCO HUAYLLU.
+Receive from me the royal fringe,
+’Tis given by the people’s will.
+Uilcanota[38] is a distant land,
+Yet, even now, her people come
+To range themselves beneath thy law.
+
+(Ollantay is invested with the fringe. He rises.)
+
+
+OLLANTAY.
+Urco Huaranca, thee I name
+Of Anti-suyu Chief and Lord;
+Receive the arrows and the plume,
+
+(Gives them.)
+
+
+Henceforth thou art our general.
+
+PEOPLE.
+Long life to the Mountain Chief.
+
+OLLANTAY.
+Hanco Huayllu,[39] of all my lords
+Thou art most venerable and wise,
+Being kin to the august High Priest,
+It is my wish that thou shouldst give
+The ring unto the Mountain Chief.
+
+(Urco Huaranca kneels, and Hanco Huayllu addresses him.)
+
+
+HANCO HUAYLLU.
+This ring around thy finger’s placed
+That thou mayst feel, and ne’er forget,
+That when in fight thou art engaged,
+Clemency becomes a hero chief.
+
+URCO HUARANCA.
+A thousand times, illustrious king,
+I bless thee for thy trust in me.
+
+HANCO HUAYLLU.
+Behold the valiant Mountain Chief,
+Now fully armed from head to foot,
+And bristling like the quiscahuan,[40]
+Accoutred as becomes a knight.
+
+(Turning to Urco Huaranca.)
+
+
+Ne’er let thine enemies take thee in rear
+Man of the Puna,[41] it ne’er can be said
+You fled or trembled as a reed.
+
+URCO HUARANCA.
+Hear me, warriors of the Andes!
+Already we have a valiant king,
+It might be he will be attacked;
+’Tis said th’ old Inca sends a force,
+The men of Cuzco now advance.
+We have not a single day to lose;
+Call from the heights our Puna men,
+Prepare their arms without delay,
+Make Tampu strong with rampart walls,
+No outlet leave without a guard;
+On hill slopes gather pois’nous herbs
+To shoot our arrows, carrying death.
+
+OLLANTAY.
+(to Urco Huaranca).
+Select the chiefs!
+Fix all the posts for different tribes;
+Our foes keep marching without sleep—
+Contrive to check them by surprise.
+The compi[42] ruse may cause their flight.
+
+URCO HUARANCA.
+Thirty thousand brave Antis are here,
+Amongst them no weakling is found;
+Apu Maruti,[43] the mighty in war,
+From high Uilcapampa[44] will come,
+On steep Tinquiqueru[45] he’ll stand
+To march when the signal appears;
+On the opposite side of the stream
+Prince Chara[46] has mustered his force;
+In the gorge Charamuni[47] I post
+Ten thousand armed Antis on watch;
+Another such force is in wait
+On the left, in the vale of Pachar.[48]
+We are ready to meet our foes,
+We await them with resolute calm;
+They will march in their confident pride
+Until their retreat is cut off,
+Then the trumpet of war shall resound,
+From the mountains the stones shall pour down,
+Great blocks will be hurled from above.
+The Huancas[49] are crushed or dispersed,
+Then the knife shall do its fell work,
+All will perish by blows from our hands,
+Our arrows will follow their flight.
+
+PEOPLE and SOLDIERS.
+It is well! It is very well!
+
+(Cheers and martial music.)
+
+
+(Exeunt.)
+
+SCENE 2
+
+A wild place the mountains. Distant view of Ollantay-tampu.
+
+(Enter Rumi-ñaui, torn and ragged, and covered with blood, with two
+attendants.)
+
+RUMI-ÑAUI.
+Ah! Rumi-ñaui—Rumi-ñaui,[50]
+Thou art a fated rolling stone,[51]
+Escaped indeed, but quite alone,
+And this is now thy _yarahui_.
+
+Ollantay posted on the height,
+Thou couldst not either fight or see,
+Thy men did quickly fall or flee;
+No room was there to move or fight.
+
+Thou knowest now thy heart did beat
+And flutter like a butterfly;
+Thy skill thou couldst not then apply,
+No course was left thee but retreat.
+
+They had recourse to a surprise,
+Our warriors immolated quite.
+Ah! that alone could turn thee white—
+From shame like that, canst e’er arise?
+
+By thousands did thy warriors fall,
+I hardly could alone escape,
+With open mouth fell death did gape,
+A great disaster did befall.
+
+Holding that traitor to be brave,
+I sought to meet him face to face—
+Rushing to seek him with my mace,
+I nearly found a warrior’s grave.
+
+My army then was near the hill,
+When suddenly the massive stones
+Came crashing down, with cries and moans,
+While clarions sounded loud and shrill.
+
+A rain of stones both great and small
+Down on the crowd of warriors crashed,
+On every side destruction flashed,
+Thy heart the slaughter did appal.
+
+Like a strong flood the blood did flow,
+Inundating the ravine;
+So sad a sight thou ne’er hast seen—
+No man survived to strike a blow.
+
+O thou who art by this disgraced,
+What figure canst thou ever show
+Before the king, who seeks to know
+The truth, which must be faced?
+
+’Tis better far myself to kill,
+Or losing every scrap of hope,
+To hang my body with this rope.
+
+(Takes a sling off his cap—going.)
+
+
+Yet may it not be useful still?
+
+(Turns again.)
+
+
+When bold Ollantay’s end has come.[52]
+
+(Exit.)
+
+SCENE 3
+
+A garden in the house of the Virgins of the Sun. Chilca shrubs and
+mulli trees (Schinus Molle) with panicles of red berries. The walls of
+the house at the back, with a door. A gate (L.) opening on the street.
+
+(YMA SUMAC discovered at the gate looking out. To her enters (R.) PITU
+SALLA. Both dressed in white with golden belts.)
+
+PITU SALLA.
+Yma Sumac, do not approach
+So near that gate, and so often;
+It might arouse the Mother’s wrath.
+Thy name, which is so dear to me,
+Will surely pass from mouth to mouth.
+Honour shall be shown to chosen ones,[53]
+Who wish to close the outer gate.
+Amuse thyself within the walls,
+And no one then can say a word.
+Think well what you can find within—
+It gives you all you can desire,
+Of dresses, gold, and dainty food.
+Thou art beloved by every one,
+E’en Virgins of the royal blood.
+The Mothers love to carry thee,
+They give thee kisses and caress—
+You they prefer to all the rest.
+What more could any one desire,
+Than always to remain with them,
+Destined to be servant of the Sun?
+In contemplating Him there’s peace.
+
+YMA SUMAC.
+Pitu Salla, ever you repeat
+The same thing and the same advice;
+I will open to thee my whole heart,
+And say exactly what I think.
+Know that to me this court and house
+Are insupportable—no less;
+The place oppresses—frightens me—
+Each day I curse my destiny.
+The faces of all the Mama Cuna
+Fill me with hatred and disgust,
+And from the place they make me sit,
+Nothing else is visible.
+Around me there is nothing bright,
+All are weeping and ne’er cease
+If I could ever have my way,
+No person should remain within.
+I see the people pass outside,
+Laughing as they walk along.
+The reason it is plain to see—
+They are not mewed and cloistered here.
+Is it because I have no mother,
+That I am kept a prisoner?
+Or is it I’m a rich novice?
+Then from to-day I would be poor.
+Last night I could not get to sleep,
+I wandered down a garden walk;
+In the dead silence of the night,
+I heard one mourn. A bitter cry,
+As one who sought and prayed for death.
+On every side I looked about,
+My hair almost on end with fright,
+Trembling, I cried, ‘Who canst thou be?’
+Then the voice murmured these sad words:
+‘O Sun, release me from this place!’
+And this, amidst such sighs and groans!
+I searched about, but nothing found—
+The grass was rustling in the wind.
+I joined my tears to that sad sound,
+My heart was torn with trembling fear.
+When now the recollection comes,
+I’m filled with sorrow and with dread.
+You know now why I hate this place.
+Speak no more, my dearest friend,
+Of reasons for remaining here.
+
+PITU SALLA.
+At least go in. The Mother may appear.
+
+
+YMA SUMAC.
+But pleasant is the light of day.
+
+(Exit, R.)
+
+
+(Enter MAMA CCACCA, L., in grey with black edges and belt.)
+
+
+MAMA CCACCA.
+Pitu Salla, hast thou spoken
+All I told thee to that child?
+
+PITU SALLA.
+I have said all to her.
+
+MAMA CCACCA.
+And she, does she answer freely?
+
+PITU SALLA.
+She has wept and asked for pity,
+Refusing to comply at all.
+She will not take the virgin’s oath.
+
+MAMA CCACCA.
+And this in spite of thy advice?
+
+PITU SALLA.
+I showed her the dress she will wear,
+Telling her misfortune would befall
+If she refused to be a chosen one—
+That she would ever be an outcast,
+And for us a child accursed.
+
+MAMA CCACCA.
+What can she imagine,
+Wretched child of an unknown father,
+A maid without a mother,
+Just a fluttering butterfly?
+Tell her plainly, very plainly,
+That these walls offer her a home,
+Suited for outcasts such as she,
+And here no light is seen.
+
+(Exit, L.)
+
+
+PITU SALLA.
+Ay, my Sumac! Yma Sumac!
+These walls will be cruel indeed,
+To hide thy surpassing beauty.
+
+(Glancing to where Mama Ccacca went out.)
+
+
+What a serpent! What a puma!
+
+
+
+
+ACT III
+
+SCENE 1
+
+The Pampa Moroni, a street in Cuzco. Enter RUMI-ÑAUI (L.)[54] in a long
+black cloak with a train, and PIQUI CHAQUI (R.), meeting each other.
+
+RUMI-ÑAUI.
+Whence, Piqui Chaqui, comest thou?
+Dost thou here seek Ollantay’s fate?
+
+PIQUI CHAQUI.
+Cuzco, great lord, is my birthplace;
+I hasten back unto my home.
+I care not more to pass my days
+In dismal and profound ravines.
+
+RUMI-ÑAUI.
+Tell me, Ollantay—what does he?
+
+PIQUI CHAQUI.
+He is busy now entangling
+An already entangled skein.
+
+RUMI-ÑAUI.
+What skein?
+
+PIQUI CHAQUI.
+Should you not give me some present
+If you want me to talk to you.
+
+RUMI-ÑAUI.
+With a stick will I give thee blows,
+With a rope I will hang thee.
+
+PIQUI CHAQUI.
+O, do not frighten me!
+
+RUMI-ÑAUI.
+Speak then.
+
+PIQUI CHAQUI.
+Ollantay. Is it Ollantay?
+I can remember no more.
+
+RUMI-ÑAUI.
+Piqui Chaqui! Take care!
+
+PIQUI CHAQUI.
+But you will not listen!
+I am turning blind,
+My ears are getting deaf,
+My grandmother is dead,
+My mother is left alone.
+
+RUMI-ÑAUI.
+Where is Ollantay? Tell me.
+
+PIQUI CHAQUI.
+I am in want of bread,
+And the Paccays[55] are not ripe.
+I have a long journey to-day—
+The desert is very far off.
+
+RUMI-ÑAUI.
+If you continue to vex me
+I will take your life.
+
+PIQUI CHAQUI.
+Ollantay, is it? He is at work.
+Ollantay! He is building a wall,
+With very small stones indeed;
+They are brought by little dwarfs—
+So small that to be a man’s size
+They have to climb on each other’s backs.
+But tell me, O friend of the King,[56]
+Why art thou in such long clothes,
+Trailing like the wings of a sick bird[57]—
+As they are black it is better.
+
+RUMI-ÑAUI.
+Hast thou not seen already
+That Cuzco is plunged in grief?
+The great Inca Pachacuti[58] is dead,
+All the people are in mourning,
+Every soul is shedding tears.
+
+PIQUI CHAQUI.
+Who, then, succeeds to the place
+Which Pachacuti has left vacant?
+If Tupac Yupanqui succeeds,
+That Prince is the youngest
+There are some others older.[59]
+
+RUMI-ÑAUI.
+All Cuzco has elected him,
+For the late king chose him,
+Giving him the royal fringe;
+We could elect no other.
+
+PIQUI CHAQUI.
+I hasten to bring my bed here.[60]
+
+(Exit running.)
+
+SCENE 2
+
+Great hall of the palace of Tupac Yupanqui. The INCA seated on golden
+tiana (C.).
+
+(Enter the HIGH PRIEST or UILLAC UMA, with priests and chosen Virgins
+of the Sun. The INCA dressed as his father. Uillac Uma in full dress,
+wearing the huampar chucu. Virgins in white with gold belts and
+diadems. They range themselves by the throne (L.). Then enter RUMI-ÑAUI
+and a crowd of chiefs, all in full dress, ranging themselves by the
+throne (R.).)
+
+TUPAC YUPANQUI.
+This day, O Councillors and Chiefs,
+Let all receive my benison;
+You Holy Virgins of the Sun[61]
+Receive our father’s tenderest care.
+The realm, rejoicing, hails me king;
+From deep recesses of my heart
+I swear to seek the good of all.
+
+UILLAC UMA.
+To-day the smoke of many beasts
+Ascends on high towards the sun,
+The Deity with joy accepts
+The sacrifice of prayer and praise.
+We found in ashes of the birds
+Our only Inca, King, and Lord,
+In the great llama sacrifice;
+All there beheld an eagle’s form,
+We opened it for augury,
+But lo! the heart and entrails gone.
+The eagle Anti-suyu means—
+To thy allegiance they return.
+
+(Bowing to the Inca.)
+
+
+Thus I, thy augur, prophesy.
+
+(Acclamation.) (Exeunt all but Uillac Uma and Rumi-ñaui.)
+
+
+TUPAC YUPANQUI.
+(turning to Rumi-ñaui).
+Behold the Hanan-suyu Chief
+Who let the enemy escape,
+Who led to almost certain death
+So many thousands of my men.
+
+RUMI-ÑAUI.
+Before his death thy father knew
+Disaster had befallen me;
+’Tis true, O King, it was my fault,
+Like a stone[62] I gave my orders,
+And volleying stones soon beat me down;
+It was with stones I had to fight,
+And in the end they crushed my men.
+Oh! grant me, Lord, a single chance,
+Give perfect freedom to my plans,
+Myself will to the fortress march,
+And I will leave it desolate.
+
+TUPAC YUPANQUI.
+For thee to strive with all thy might,
+For thee thine honour to regain,
+For thou shalt ne’er command my men
+Unless thy worthiness is proved.
+
+UILLAC UMA.
+Not many days shall pass, O King,
+E’er all the Antis are subdued.
+I’ve seen it in the quipu roll,
+Haste! Haste! thou Rumi Tunqui. [63]
+
+(Exeunt.)
+
+SCENE 3
+
+The great terrace entrance to Ollantay-tampu. On R. a long masonry wall
+with recesses at intervals. At back a great entrance doorway. On L.
+terraces descend, with view of valley and mountains.
+
+(Guards discovered at entrance doorway. To them enter RUMI-ÑAUI in
+rags, his face cut and slashed with wounds, and covered with blood.)
+
+RUMI-ÑAUI.
+Will no one here have pity on me?
+
+ONE OF THE GUARDS.
+Who art thou, man?
+Who has ill-treated thee?
+Thou comest in a frightful state,
+Covered with blood and gaping wounds.
+
+RUMI-ÑAUI.
+Go quickly to thy king and say
+That one he loves has come to him.
+
+
+ONE OF THE GUARDS.
+Thy name?
+
+RUMI-ÑAUI.
+There is no need to give a name.
+
+
+ONE OF THE GUARDS.
+Wait here.
+
+(Exit one of the guards.)
+
+
+(Enter OLLANTAY with guards, R. front.)
+
+
+RUMI-ÑAUI.
+A thousand times I thee salute,
+Ollantay, great and puissant king!
+Have pity on a fugitive
+Who seeks a refuge here with thee.
+
+OLLANTAY.
+Who art thou, man? Approach nearer.
+Who has thus ill-treated thee?
+Were such deep and fearful wounds
+Caused by a fall, or what mishap?
+
+RUMI-ÑAUI.
+Thou knowest me, O mighty chief.
+I am that stone that fell down once,
+But now I fall before thy feet;
+O Inca! mercy! Raise me up!
+
+(Kneels.)
+
+
+OLLANTAY.
+Art thou the noble Rumi-ñaui,
+Great Chief and Lord of Hanan-suyu?
+
+RUMI-ÑAUI.
+Yes, I was that well-known Chief—
+A bleeding fugitive to-day.
+Ollantay. Rise, comrade mine. Let us embrace.
+
+(Rises.)
+
+
+Who has dared to treat thee thus,
+And who has brought thee here to me
+Within my fortress, on my hearth?
+
+(To attendants.)
+
+
+Bring new clothes for my oldest friend.
+
+(Exit an attendant.)
+
+
+How is it that thou art alone?
+Camest thou not fearing death?
+
+RUMI-ÑAUI.
+A new king reigns in Cuzco now—
+Tupac Yupanqui is installed.
+Against the universal wish,
+He rose upon a wave of blood;
+Safety he sees in headless trunks,
+The sunchu[64] and the nucchu[65] red
+Are sent to all he would destroy.
+Doubtless you have not forgot
+That I was Hanan-suyu’s Chief.
+Yupanqui ordered me to come;
+Arrived, I came before the king,
+And as he has a cruel heart,
+He had me wounded as you see;
+And now thou knowest, king and friend,
+How this new Inca treated me.
+
+OLLANTAY.
+Grieve not, old friend Rumi-ñaui,
+Thy wounds before all must be cured;
+I see in thee th’ avenging knife,
+To use against the tyrant’s heart.
+At Tampu now we celebrate
+The Sun’s great Raymi festival;
+On that day all who love my name,
+Throughout my realms hold festival.
+
+RUMI-ÑAUI.
+Those three days of festival
+To me will be a time of joy,
+Perhaps I may be healed by then,
+So that my heart may pleasure seek.
+
+OLLANTAY.
+It will be so. For three whole nights
+We drink and feast, to praise the Sun,
+The better to cast all care aside
+We shall be shut in Tampu fort.
+
+RUMI-ÑAUI.
+The youths, as is their wont, will find
+Their great delight in those three nights,
+Then will they rest from all their toils,
+And carry off the willing girls.
+
+SCENE 4
+
+A corridor in the palace of Chosen Virgins.
+
+(Enter YMA SUMAC and PITU SALLA.)
+
+
+YMA SUMAC.
+Pitu Salla, beloved friend,
+How long wilt thou conceal from me
+The secret that I long to know?
+Think, dearest, of my anxious heart,
+How I shall be in constant grief
+Until you tell the truth to me.
+Within these hard and cruel bounds
+Does some one suffer for my sins?
+My sweet companion, do not hide
+From me, who ’tis that mourns and weeps
+Somewhere within the garden walls.
+How is it she is so concealed
+That I can never find the place?
+
+PITU SALLA.
+My Sumac, now I’ll tell thee all—
+Only concerning what you hear,
+And still more surely what you see,
+You must be dumb as any stone;
+And you too must be well prepared
+For a most sad heart-rending sight—
+’Twill make thee weep for many days.
+
+YMA SUMAC.
+I will not tell a living soul
+What you divulge. But tell me all,
+I’ll shut it closely in my heart.
+
+SCENE 5
+
+A secluded part of the gardens of the Virgins, (L.) flowers, (R.) a
+thicket of mulli[66] and chilca,[67] concealing a stone door.
+
+(PITU SALLA and YMA SUMAC.)
+
+
+PITU SALLA.
+In this garden is a door of stone,
+But wait until the Mothers sleep,
+The night comes on. Wait here for me.
+
+(Exit.)
+
+
+(Yma Sumac reclines on a bank and sleeps.
+Night comes on, Yma Sumac awakes.)
+
+
+YMA SUMAC.
+A thousand strange presentiments
+Crowd on me now, I scarce know what—
+Perhaps I shall see that mournful one
+Whose fate already breaks my heart.
+
+(Pitu Salla returns with a cup of water, a small covered vase
+containing food, and a torch which she gives to Yma Sumac. She leads
+Yma Sumac through bushes to the stone door, fixes the torch, presses
+something, and the door swings round.)
+
+
+(CUSI COYLLUR is discovered senseless, extended on the ground, a snake
+twining itself round her waist.)
+
+
+PITU SALLA.
+Behold the princess for whom you seek.
+Well! is thy heart now satisfied?
+
+YMA SUMAC.
+Oh, my friend, what do I behold?
+Is it a corpse that I must see?
+Oh, horror! A dungeon for the dead!
+
+(She faints.)
+
+
+PITU SALLA.
+What misfortune has now arrived?
+O my Sumac, my dearest love,
+O come to thyself without delay!
+Arouse thee. Arise, my lovely flower.
+
+(Yma Sumac revives.)
+
+
+Fear not, my dove, my lovely friend,
+’Tis not a corpse. The princess lives,
+Unhappy, forlorn, she lingers here.
+
+YMA SUMAC.
+Is she, then, still a living being?
+
+PITU SALLA.
+Approach nearer, and you can help.
+She lives indeed. Look. Watch her now.
+Give me the water and the food.
+
+(To Cusi Coyllur, while helping her to sit up.)
+
+
+O fair princess, I bring thee food
+And cooling water to refresh.
+Try to sit up. I come with help.
+
+YMA SUMAC.
+Who art thou, my sweetest dove?
+Why art thou shut in such a place?
+
+PITU SALLA.
+Take a little food, we pray.
+Perchance without it, you may die.
+
+CUSI COYLLUR.
+How happy am I now to see,
+After these long and dismal years,
+The new and lovely face of one
+Who comes with thee and gives me joy.
+
+YMA SUMAC.
+O my princess, my sister dear,
+Sweet bird, with bosom of pure gold,
+What crime can they accuse thee of,
+That they can make thee suffer thus?
+What cruel fate has placed thee here
+With death on watch in serpent’s form?
+
+CUSI COYLLUR.
+O charming child, the seed of love,
+Sweet flower for my broken heart,
+I have been thrust in this abyss.
+I once was joined to a man
+As pupil is part of the eye;
+But alas! has he forgotten me?
+The King know not that we were joined
+By such indissoluble bonds,
+And when he came to ask my hand,
+That King dismissed him in a rage,
+And cruelly confined me here.
+Many years have passed since then,
+Yet, as you see, I’m still alive;
+No single soul have I beheld
+For all those sad and dismal years,
+Nor have I found relief nor hope.
+But who art thou, my dear, my love,
+So young, so fresh, so pitiful?
+
+YMA SUMAC.
+I too, like thee, am full of grief,
+For long I’ve wished to see and love,
+My poor forlorn and sad princess.
+No father, no mother are mine,
+And there are none to care for me.
+
+CUSI COYLLUR.
+What age art thou?
+
+YMA SUMAC.
+I ought to number many years,
+For I detest this dreadful house,
+And as it is a dreary place,
+The time in it seems very long.
+
+PITU SALLA.
+She ought to number just ten years
+According to the account I’ve kept.
+
+CUSI COYLLUR.
+And what is thy name?
+
+YMA SUMAC.
+They call me Yma Sumac now,
+But to give it me is a mistake.
+
+CUSI COYLLUR.
+O my daughter! O my lost love,
+Come to thy mother’s yearning heart.
+
+(Embraces Yma Sumac.)
+
+
+Thou art all my happiness,
+My daughter, come, O come to me;
+This joy quite inundates my soul,
+It is the name I gave to thee.
+
+YMA SUMAC.
+O my mother, to find thee thus!
+We must be parted never more.
+Do not abandon me in grief.
+To whom can I turn to free thee,
+To whom can I appeal for right?
+
+PITU SALLA.
+Make no noise, my dearest friend.
+To find us thus would ruin me.
+Let us go. I fear the Mothers.
+
+YMA SUMAC.
+(to Cusi Coyllur).
+Suffer a short time longer here,
+Until I come to take thee hence,
+Patience for a few more days.
+Alas! my mother dear! I go,
+But full of love, to seek for help.
+
+(Exeunt closing the stone door, all but Cusi Coyllur. They extinguish
+the torch.)
+
+SCENE 6
+
+Great hall in the palace of Tupac Yupanqui.
+
+(The INCA discovered seated on the tiana. To him enter the UILLAC UMA,
+in full dress.)
+
+
+TUPAC YUPANQUI.
+I greet thee, great and noble Priest!
+Hast thou no news of Rumi-ñaui.
+
+UILLAC UMA.
+Last night, with guards, I wandered out
+On heights towards Uilcanuta.
+Far off I saw a crowd in chains,
+No doubt the Anti prisoners,v For they are all defeated quite.
+The cacti[68] on the mountains smoke,
+E’en now the fortress is in flames.
+
+TUPAC YUPANQUI.
+And Ollantay, is he taken?
+Perhaps—I hope his life is saved.
+
+UILLAC UMA.
+Ollantay was among the flames,
+’Tis said that no one has escaped.
+
+TUPAC YUPANQUI.
+The Sun, my Father, is my shield,
+I am my father’s chosen child.
+We must subdue the rebel host,
+For that I am appointed here.
+
+(Enter a CHASQUI with a quipu in his hand.)
+
+
+THE CHASQUI.
+This morning at the dawn of day,
+Rumi-ñaui despatched this quipu.
+
+TUPAC YUPANQUI.
+(to the Uillac Uma).
+See what it says.
+
+UILLAC UMA.
+This knot, coloured burnt ahuarancu,
+Tells us that Tampu too is burnt;
+This triple knot to which is hung
+Another which is quintuple,
+In all of quintuples are three,
+Denotes that Anti-suyu’s thine,
+Its ruler prisoner of war.
+
+TUPAC YUPANQUI.
+(to the Chasqui).
+And thou. Where wert thou?
+
+THE CHASQUI.
+Sole King and Lord! Child of the Sun!
+I am the first to bring the news,
+That thou mayst trample on the foe,
+And in thine anger drink their blood.
+
+TUPAC YUPANQUI.
+Did I not reiterate commands
+To spare and not to shed their blood—
+Not anger but pity is my rule.
+
+THE CHASQUI.
+O Lord, we have not shed their blood;
+They were all captured in the night,
+Unable to resist our force.
+
+TUPAC YUPANQUI.
+Recount to me in full detail
+The circumstances of the war.
+
+THE CHASQUI.
+For a signal thy warriors wait.
+The nights passed at Tinquiqueru,[69]
+Concealed in the cavern below,
+Yanahuara[70] men joining us late.
+
+We waited within the large cave,
+Thy men always ready to fight,
+Behind foliage well out of sight,
+Thy warriors patient and brave.
+
+But for three long days and dark nights,
+No food for the zealous and bold;
+Feeling hungry, thirsty, and cold,
+We waited and watched for the lights.[71]
+
+Rumi-ñaui sent orders at length,
+When the Raymi[72] they carelessly keep,
+And all of them drunk or asleep,
+We were then to rush on with our strength.
+
+Word came to surprise our foes,
+Rumi-ñaui had opened the gate,
+As cautious and silent as fate—
+We were masters with none to oppose.
+
+Those rebels fell into the trap,
+The arrows came on them like rain,
+Most died in their sleep without pain,
+Not knowing their fatal mishap.
+
+Ollantay, still trusting, was ta’en,
+The same Urco Huaranca befell;
+Hanco Huayllu is captive as well,
+We thy rebels in fetters detain.
+
+The Antis by thousands are slain,
+A fearful example is made,
+They are beaten, crushed, and betrayed,
+Their women in sorrow and pain.
+
+TUPAC YUPANQUI.
+As witness of what has occurred,
+On Vilcamayu’s storied banks,
+No doubt thou hast told me the truth.
+It was a well designed attack.
+
+(Enter RUMI-ÑAUI followed by several chiefs.)
+
+
+RUMI-ÑAUI.
+Great Inca, I kneel at thy feet,
+This time You will hear my report,
+I beseech thee to deign to restore
+The trust that I forfeited once.
+
+(Kneels.)
+
+
+TUPAC YUPANQUI.
+Rise, great Chief, receive my regard,
+I accept thy great service with joy;
+Thou didst cast o’er the waters thy net,
+And hast captured a marvellous fish.
+
+RUMI-ÑAUI.
+Our enemies perished in crowds,
+Their chiefs were captured and bound,
+Overwhelmed by my terrible force,
+Like a rook detached from the heights.
+
+TUPAC YUPANQUI.
+Was much blood shed in the assault?
+
+RUMI-ÑAUI.
+No, Lord, not a drop has been shed,
+To thine orders I strictly adhered.
+Those Antis were strangled in sleep,
+But the fort is entirely razed.
+
+TUPAC YUPANQUI.
+Where are the rebels?
+
+RUMI-ÑAUI.
+They are waiting with agonised fear,
+For their fate, to perish by cords.
+The people are sending up cries,
+Demanding their deaths without fail.
+Their women are now in their midst,
+The children raise hideous cries;
+It is well that thine order should pass
+To finish their traitorous lives.
+
+TUPAC YUPANQUI.
+It must be so without any doubt,
+That the orphans may not be alone,
+Let all perish, not sparing one,
+Thus Cuzco recovers her peace,
+Let the traitors be brought before me.
+In my presence the sentence they’ll hear.
+
+(Exit Rumi-ñaui, and re-enter followed by guards in charge of OLLANTAY,
+URCO HUARANCA, and HANCO HAUYLLU, bound and blindfold, followed by
+guards with PIQUI CHAQUI bound.)
+
+
+TUPAC YUPANQUI.
+Take the bands off the eyes of those men.
+And now, Ollantay, where art thou?
+And where art thou, O Mountain Chief?
+Soon thou wilt roll down from the heights.
+
+(To the soldiers who bring in Piqui Chaqui.)
+
+
+Whom have we here?
+
+PIQUI CHAQUI.
+Many fleas in the Yuncas abound,
+And torment the people full sore,
+With boiling water they are killed,
+And I, poor flea,[73] must also die.
+
+TUPAC YUPANQUI.
+Tell me, Hanco Huayllu, tell me,
+Why art thou Ollantay’s man?
+Did not my father honour thee?
+Did he not grant thy requests?
+Did he ever have a secret from thee?
+Speak also, you, the other rebels,
+Ollantay and the Mountain Chief.
+
+OLLANTAY.
+O father, we have nought to say,
+Our crimes are overwhelming us.
+
+TUPAC YUPANQUI.
+(to the Uillac Uma).
+Pronounce their sentence, great High Priest.
+
+UILLAC UMA.
+The light that fills me from the Sun
+Brings mercy and pardon to my heart.
+
+TUPAC YUPANQUI.
+Now thy sentence, Rumi-ñaui.
+
+RUMI-ÑAUI.
+For crimes enormous such as these
+Death should ever be the doom
+It is the only way, O King!
+To warn all others from such guilt.
+To stout tocarpus[74] they should be
+Secured and bound with toughest rope,
+Then should the warriors freely shoot
+Their arrows until death is caused.
+
+PIQUI CHAQUI.
+Must it be that evermore
+The Antis must all perish thus?
+Alas! then let the branches burn
+What pouring out of blood is here.[75]
+
+RUMI-ÑAUI.
+Silence, rash man, nor dare to speak,
+
+(General lamentation outside.)
+
+
+Having been rolled just like a stone,
+My heart has now become a stone.[76]
+
+TUPAC YUPANQUI.
+Know that tocarpus are prepared.
+Remove those traitors from my sight,
+Let them all perish, and at once.
+
+RUMI-ÑAUI.
+Take these three men without delay
+To the dreaded execution stakes;
+Secure them with unyielding ropes,
+And hurl them from the lofty rocks.
+
+TUPAC YUPANQUI.
+Stop! Cast off their bonds.
+
+(The guards unbind them. They all kneel.)
+
+
+(To Ollantay, kneeling).
+Rise from thy knees; come to my side.
+
+(Rises.)
+
+
+Now thou hast seen death very near,
+You that have shown ingratitude,
+Learn how mercy flows from my heart;
+I will raise thee higher than before.
+Thou wert Chief of Anti-suyu,
+Now see how far my love will go;
+I make thee Chief in permanence.
+Receive this plume as general,
+This arrow[77] emblem of command.[78]
+
+TUPAC YUPANQUI.
+(to the Uillac Uma).
+Thou mighty Pontiff of the Sun,
+Robe him in the regal dress.
+Raise up the others from their knees,
+And free them from the doom of death.
+
+(Urco Huaranca, Hanco Huayllu, and Piqui Chaqui rise, the latter
+looking much relieved. The Uillac Uma places the robe on Ollantay’s
+shoulders.)
+
+
+UILLAC UMA.
+Ollantay, learn to recognise
+Tupac Yupanqui’s generous mind;
+From this day forth be thou his friend,
+And bless his magnanimity.
+This ring contains my potent charm,
+For this I place it on thy hand.
+
+(Gives him a ring, or bracelet.)
+
+
+This mace receive, ’tis from the king,
+
+(Gives him a mace (champi).)
+
+
+It is his gracious gift to thee.
+
+OLLANTAY.
+With tears I shall nearly consume
+That mace thus presented to me;
+I am tenfold the great Inca’s slave,
+In this world no equal is found,
+My heart’s fibres his latchets shall be;
+From this moment my body and soul
+To his service alone shall belong.
+
+TUPAC YUPANQUI.
+Now, Mountain Chief! come near to me,
+Ollantay is given the arrow and plume,
+Though to me he gave fury and war.
+Notwithstanding all that has passed
+He continues the Andean chief,
+And will lead his rebels to peace;
+Thee also I choose for the plume;
+From this day thou art a great chief,
+And never forget in thy thoughts,
+I saved thee from death and disgrace.
+
+URCO HUARANCA.
+Great King and most merciful Lord,
+But now, expecting my death,
+I am ever thy most faithful slave.
+
+(Uillac Uma gives him the plume and arrow.)
+
+
+UILLAC UMA.
+O Urco, the Inca has made
+A great and a powerful chief,
+And grants thee with marvellous grace
+The arrow and also the plume.
+
+RUMI-ÑAUI.
+Illustrious King, I venture to ask,
+Will Anti-suyu have two chiefs.
+
+TUPAC YUPANQUI.
+There will not be two, O Rumi-ñaui
+The Mountain Chief will rule the Antis;
+In Cuzco Ollantay will reign—
+As Viceroy deputed by me
+His duties will call him to act
+As ruler throughout the whole realm.
+
+OLLANTAY.
+O King! thou dost raise me too high,
+A man without service or claim;
+I am thy obedient slave—
+Mayst thou live for a thousand years.
+
+TUPAC YUPANQUI.
+The mascapaycha now bring forth,
+And to it the llautu attach.
+Uillac Uma, adorn him with these,
+And proclaim his state to the world.
+Yes, Ollantay shall stand in my place,
+Raised up like the star of the morn,
+For Colla this month I shall start;
+All preparations are made.
+In Cuzco Ollantay will stay,
+My Ranti[79] and Viceroy and friend.
+
+OLLANTAY.
+I would fain, O magnanimous King,
+Follow thee in the Chayanta war;
+Thou knowest my love for such work.
+Peaceful Cuzco is not to my taste,
+I prefer to be thy Canari,[80]
+To march in the van of thy force,
+And not to be left in the rear.
+
+TUPAC YUPANQUI.
+Thou shouldst find the wife of thy choice,
+And with her reign happily here
+In Cuzco; repose without care;
+Rest here while I’m absent in war.
+
+OLLANTAY.
+Great King, thy sorrowful slave
+Already had chosen a wife.
+
+TUPAC YUPANQUI.
+How is it I know not of this?
+It should be reported to me.
+I will load her with suitable gifts;
+Why was this concealed from my eyes?
+
+OLLANTAY.
+In Cuzco itself disappeared
+That sweet and adorable dove;
+One day she did rest in my arms,
+And the next no more to be seen.
+In grief I made search far and near,
+Earth seemed to have swallowed her up,
+To have buried her far from my sight;
+O such, mighty King, is my grief.
+
+TUPAC YUPANQUI.
+Ollantay! afflict not thyself,
+For now thou must take up thy place
+Without turning thy eyes from thy work.
+
+(To Uillac Uma.)
+
+
+High priest, obey my command.
+
+(The Uillac Uma goes to the wings (R.) and addresses the people
+outside.)
+
+
+UILLAC UMA.
+O people, hear what I say:
+The Inca, our King and our Lord,
+Thus declares his imperial will:
+Ollantay shall reign in his place.
+
+PEOPLE outside.
+Ollantay Ranti! Ollantay Ranti!
+
+(Shouts and acclamations.)
+
+
+TUPAC YUPANQUI.
+(to Rumi-ñaui and other chiefs.)
+You also render him homage.
+
+RUMI-ÑAUI.
+Prince Ollantay! Incap Ranti!
+Thy promotion gives me joy.
+All the Antis now released,
+Return rejoicing to their homes.
+
+(He and all the Chiefs bow to Ollantay.)
+
+
+GUARDS WITHOUT.
+You cannot pass. Go back! go back!
+Voice without. Why, is this a festive day?
+Let me pass. I must see the king;
+I pray you do not stop me,
+Do not drive me from the door;
+If you stop me I shall die.
+Have a care. You will kill me.
+
+TUPAC YUPANQUI.
+What noise is that without?
+
+GUARD.
+It is a young girl who comes weeping
+And insists upon seeing the king.
+
+TUPAC YUPANQUI.
+Let her come in.
+
+(Enter Yma Sumac.)
+
+
+YMA SUMAC.
+Which is the Inca, my lord,
+That I may kneel down at his feet?
+
+UILLAC UMA.
+Who art thou, charming maid?
+Behold the King.
+
+(Yma Sumac throws herself at the King’s feet.)
+
+
+YMA SUMAC.
+O my King! be thou my father,
+Snatch from evil thy poor servant.
+Extend thy royal hand to me.
+O merciful child of the Sun,
+My mother is dying at this hour
+In a foul and loathsome cave;
+She is killed in cruel martyrdom—
+Alas! she is bathed in her own blood.
+
+TUPAC YUPANQUI.
+What inhumanity, poor child!
+Ollantay, take this case in hand.
+
+OLLANTAY.
+Young maiden, take me quickly there;
+We will see who it is that suffers.
+
+YMA SUMAC.
+No, sir. Not so. It is the King himself
+Should go with me.
+Perhaps he may recognise her;
+
+(To Ollantay.)
+
+
+For you, I know not who you are.
+O King, arise, do not delay,
+I fear my mother breathes her last,
+At least may be in mortal pain;
+O Inca! Father! grant my prayer.
+
+UILLAC UMA.
+Illustrious King, thou wilt consent;
+Let us all seek this luckless one—
+Thou canst release from cruel bonds.
+Lot us go, O King!
+
+TUPAC YUPANQUI.
+(rising).
+Come all! Come all!
+In midst of reconciliations
+This young maid assaults my heart.
+
+(Exeunt.)
+
+SCENE 7
+
+The garden in the palace of Virgins of the Sun (same scene as Act III,
+Scene 5). Stone door more visible.
+
+(Enter the INCA TUPAC YUPANQUI with YMA SUMAC, OLLANTAY, UILLAC UMA and
+RUMI nAUI; URCO HUARANCA, HANCO HUAYLLU and PIQUI CHAQUI in the
+background.)
+
+TUPAC YUPANQUI.
+But this is the Aclla Huasi;[81]
+My child, art thou not mistaken?
+Where is thy imprisoned mother?
+
+YMA SUMAC.
+In a dungeon within these bounds
+My mother has suffered for years,
+Perhaps even now she is dead.
+
+(She points to the stone door.)
+
+
+TUPAC YUPANQUI.
+What door is this?
+
+(Enter MAMA CCACCA and PITU SALLA. Mama Ccacca kneels and kisses the
+Inca’s hand.)
+
+
+MAMA CCACCA.
+Is it a dream or reality,
+That I behold my sovereign?
+Tupac Yupanqui. Open that door.
+
+(Mama Ccacca opens the door.)
+
+
+(CUSI COYLLUR discovered chained and fainting, with a puma and a snake,
+one on each side of her.)
+
+
+YMA SUMAC.
+O my mother, I feared to find
+That you had already passed away;
+Pitu Salla! Haste. Bring water.
+Perhaps my dove may still revive.
+
+(Exit Pitu Salla.)
+
+
+TUPAC YUPANQUI.
+What horrid cavern do I see?
+Who is this woman? what means it?
+What cruel wretch thus tortures her?
+What means that chain bound around her?
+Mama Ccacca, come near to me
+What hast thou to say to this?v Is it the effect of malice
+That this poor creature lingers here?
+
+MAMA CCACCA.
+It was thy father’s dread command;
+A punishment for lawless love.
+
+TUPAC YUPANQUI.
+Begone! begone! harder than rock.[82]
+Turn out that puma and the snake,[83]
+Break down that door of carved stone.
+(To Mama Ccacca.)
+Let me not see thy face again.
+A woman living as a bat;
+This child has brought it all to light.
+
+(Enter Pitu Salla with water. She sprinkles it over Cusi Coyllur, who
+revives.)
+
+
+CUSI COYLLUR.
+Where am I? who are these people?
+Yma Sumac, my beloved child,
+Come to me, my most precious dove.
+Who are all these men before me?
+
+(She begins to faint again and is restored by water.)
+
+
+YMA SUMAC.
+Fear not, my mother, ’tis the King;
+The King himself comes to see you.
+The great Yupanqui is now here.
+Speak to him. Awake from thy trance.
+
+TUPAC YUPANQUI.
+My heart is torn and sorrowful
+At sight of so much misery.
+Who art thou, my poor sufferer?
+Child, tell me now thy mother’s name?
+
+YMA SUMAC.
+Father! Inca! Clement Prince!
+Have those cruel bonds removed.
+
+UILLAC UMA.
+It is for me to remove them,
+And to relieve this sore distress.
+
+(Cuts the rope fastening Cusi Coyllur to the wall.)
+
+
+OLLANTAY.
+(to Yma Sumac).
+What is thy mother’s name?
+
+YMA SUMAC.
+Her name was once Cusi Coyllur,
+But it seems a mistake. Her joy
+Was gone when she was prisoned here.
+
+OLLANTAY.
+O renowned King, great Yupanqui,
+In her you see my long lost wife.
+
+(Prostrates himself before the Inca.)
+
+
+TUPAC YUPANQUI.
+It all appears a dream to me.
+The ‘Star’! my sister![84] and thy wife.
+O sister! what newly found joy.
+O Cusi Coyllur, my sister,
+Come here to me, and embrace me,
+Now thou art delivered from woe.
+
+(Music.)
+
+
+Thou hast found thy loving brother;
+Joy calms the anguish of my heart.
+
+(Embraces Cusi Coyllur.)
+
+
+CUSI COYLLUR.
+Alas! my brother, now you know
+The cruel tortures I endured
+During those years of agony;
+Thy compassion now has saved me.
+
+TUPAC YUPANQUI.
+Who art thou, dove, that hast suffered?
+For what sin were you prisoned here?
+Thou mightest have lost thy reason.
+Thy face is worn, thy beauty gone,
+Thy looks as one risen from death.
+
+OLLANTAY.
+Cusi Coyllur, I had lost thee,
+Thou wast quite hidden from my sight,
+But thou art brought again to life—
+Thy father should have killed us both.
+My whole heart is torn with sorrow.
+Star of joy, where is now thy joy?
+Where now thy beauty as a star?
+Art thou under thy father’s curse?
+
+CUSI COYLLUR.
+Ollantay, for ten dreary years
+That dungeon has kept us apart;
+But now, united for new life,
+Some happiness may yet be ours.
+Yupanqui makes joy succeed grief,
+He may well count[85] for many years.
+
+UILLAC UMA.
+Bring new robes to dress the princess.
+
+(They put on her royal robes. The High Priest kisses her hand.)
+
+
+TUPAC YUPANQUI.
+Ollantay, behold thy royal wife,
+Honour and cherish her henceforth.
+And thou, Yma Sumac, come to me,
+I enlace you in the thread of love;
+Thou art the pure essence of Coyllur.
+
+(Embraces her.)
+
+
+OLLANTAY.
+Thou art our protector, great King,
+Thy noble hands disperse our grief;
+Thou art our faith and only hope—
+Thou workest by virtue’s force.
+
+TUPAC YUPANQUI.
+Thy wife is now in thy arms;
+All sorrow now should disappear,
+Joy, new born, shall take its place.
+
+(Acclamations from the Chiefs, and Piqui Chaqui. Music: huancars
+(drums), pincullus (flutes), and pututus (clarions).)
+
+
+
+
+FOOTNOTES:
+
+
+1 (return) [ INCA-PACHACUTI | TUPAC YUPANQUI
+| INCA HUAYNA CCAPAC | MANCO INCA | TUPAC AMARU | JUANA ÑUSTA = DIEGO
+CONDORCANQUI | FELIPE CONDORCANQUI | PEDRO CONDORCANQUI | MIGUEL
+CONDORCANQUI | JOSÉ GABRIEL CONDORCANQUI (TUPAC AMARU)]
+
+2 (return) [ ‘Sentencia pronunciada en el Cuzco por el Visitador Don
+José Antonio de Areche, contra José Gabriel Tupac Amaru.’ In Coleccion
+de obras y documentos de Don Pedro de Angelis, vol. V. (Buenos Ayres,
+1836- 7).]
+
+3 (return) [ INCA PACHACUTI. | TUPAC YUPANQUI | HUAYNA CCAPAC | MANCO
+INCA | MARIA TUPAC USCA = PEDRO ORTIZ DE ORUE
+| CATALINA ORTIZ =LUIS JUSTINIANI | LUIS JUSTINIANI | LUIS JUSTINIANI
+| NICOLO JUSTINIANI | JUSTO PASTOR JUSTINIANI | Dr. PABLO POLICARPO
+JUSTINIANI(Cura of Laris)]
+
+4 (return) [ The wives of the Incas were called _ccoya_. The ccoya of
+the second Inca was a daughter of the chief of _Sanoc_. The third Inca
+married a daughter of the chief of Oma, the fourth married a girl of
+_Tacucaray_, the wife of the fifth was a daughter of a _Cuzco_ chief.
+The sixth Inca married a daughter of the chief of _Huayllacan_, the
+seventh married a daughter of the chief of Ayamarca, and the eighth
+went to _Anta_ for a wife. This Anta lady was the mother of Pachacuti.
+The wife of Pachacuti, named _Anahuarqui_, was a daughter of the chief
+of _Choco_. There was no rule about marrying sisters when Pachacuti
+succeeded. He introduced it by making his son Tupac Yupanqui marry his
+daughter Mama Ocllo, but this was quite unprecedented. The
+transgression of a rule which he had just made may account for his
+extreme severity.]
+
+5 (return) [ A bust, on an earthen vase, was presented to Don Antonio
+Maria Alvarez, the political chief of Cuzco, in 1837, by an Indian who
+declared that it had been handed down in his family from time
+immemorial, as a likeness of the general, Rumi-ñaui, who plays an
+important part in this drama of Ollantay. The person represented must
+have been a general, from the ornament on the forehead, called
+mascapaycha, and there are wounds cut on the face.—Museo Erudito, No.
+B.]
+
+6 (return) [ _Chita_ is the lamb of the llama. A lamb of two or three
+months was a favourite pet in the time of the Incas. It followed its
+mistress, adorned with a little bell and ribbons.]
+
+7 (return) [ Supay, an evil spirit, according to some authorities.]
+
+8 (return) [ Ichuna, a sickle or scythe. The expression has been cited
+by General Mitre and others as an argument that the drama is modern,
+because this is a metaphor confined to the old world. But ichuna was in
+use, in Quichua, in this sense, before the Spaniards came. The word is
+from Ichu, grass.]
+
+9 (return) [ The Peruvians personified a mountain as two spirits, good
+and evil. In writing poetically of a mountain opposing, it would be
+referred to in the persons of its genii or spirits, and spoken of as
+two foes, not one.]
+
+10 (return) [ Rurun, desert, solitude.]
+
+11 (return) [ Tasquiy, to march; tasquina, promenade, path.]
+
+12 (return) [ Cusi Coyllur, while daylight lasted, was, in the eyes of
+Piqui Chaqui, like the sun. A change takes place at twilight, and at
+night she is like the moon.]
+
+13 (return) [ Fasting was a preparation for all great religious
+ceremonies. Victims for sacrifice underwent a previous fast, which was
+looked upon in the fight of purification before being offered to the
+Deity.]
+
+14 (return) [ They gave the attributes we usually assign to the fox to
+the puma.]
+
+15 (return) [ Intip llirpun, ‘apple of the sun’s eye.’ There is no
+English equivalent that is suitable.]
+
+16 (return) [ Huayruru is the seed of a thorny bush, erythrina rubra,
+of a bright red colour. Zegarra has coral as the equivalent for
+huayruru.]
+
+17 (return) [ The tuya (coccoborus chrysogaster) is a small finch, and
+tuyallay means ‘my little tuya.’]
+
+18 (return) [ The piscaca is a much larger bird than the tuya. These
+piscacas (coccoborus torridus) are nailed to trees as a warning to
+other birds. They are black, with white breasts.]
+
+19 (return) [ In the tuya she sees her husband Ollantay, while the poor
+princess herself is the forbidden grain.]
+
+20 (return) [ This is a yarahui or mournful elegy, of which there are
+so many in the Quichua language. The singers of them were known as
+yarahuec.]
+
+21 (return) [ Colla-suyu, the basin of lake Titicaca.]
+
+22 (return) [ Chayanta, a tribe in the montana south of the Collas.]
+
+23 (return) [ Champi, a one-handed battle-axe.]
+
+24 (return) [ Huancar, a drum; pututu, fife.]
+
+25 (return) [ Yunca, inhabitant of warm valley. Here it refers to the
+wild tribes of the montana.]
+
+26 (return) [ In the original Quichua, Ollantay makes his appeal to the
+Inca in quatrains of octosyllabic verses, the first line rhyming with
+the last, and the second with the third. Garcilasso de la Vega and
+others testify to the proficiency of the Incas in this form of
+composition.]
+
+27 (return) [ Ollantay was Viceroy of Anti-suyu.]
+
+28 (return) [ Chahuar, a rope of aloe fibre. A curb or restraint.]
+
+29 (return) [ Raprancutan cuchurcani: literally, ‘I have clipped their
+wings.’ Rapra, a wing.]
+
+30 (return) [ The powerful nation of Chancas, with their chief,
+Huancavilca, inhabited the great valley of Andahuaylas and were
+formidable rivals of the Incas. But they were subdued by Pachacuti long
+before Ollantay can have been born. An allowable dramatic anachronism.]
+
+31 (return) [ Huancavilca was chief of the powerful nation of Chancas.]
+
+32 (return) [ Ñusta, Princess.]
+
+33 (return) [ Pisipachiyqui, to suffer from the void caused by absence.
+Pisipay, to regret the absence of, to miss any one.]
+
+34 (return) [ The Dominican text has misi, a cat, instead of allco, a
+dog. Von Tschudi thought that misi was a word of Spanish origin.
+Zegarra says that it is not. Before the Spaniards came, there was a
+small wild cat in the Andes called misi-puna. But the Justiniani text
+has allco, a dog.]
+
+35 (return) [ Achancara, a begonia. A red flower in the neighbourhood
+of Cuzco, according to Zegarra. One variety is red and white.]
+
+36 (return) [ The llanta is the main rope of the quipu, about a yard
+long. The small cords of llama wool, of various colours, denoting
+different subjects, each with various kinds of knots, recording
+numbers.]
+
+37 (return) [ This, as we have seen, was not the reason why Ollantay
+fled from Cuzco; but, from a leader’s point of view, it was an
+excellent reason to give to the people of Anti-suyu. The great wars of
+the Incas were, to some extent, a heavy drain upon the people, but the
+recruiting was managed with such skill, and was so equally divided
+among a number of provinces, that it was not much felt.]
+
+38 (return) [ The snowy mountain far to the south, in sight from Cuzco.
+Uilca, sacred; unuta, water. Here is the source of the river Uilcamayu,
+which flows by Ollantay-tampu.]
+
+39 (return) [ The aged Hanco Huayllu as Auqui, or Prince of the Blood,
+and relation of the High Priest, gave eclat to these ceremonies.]
+
+40 (return) [ Quiscahuan. anything full of thorns.]
+
+41 (return) [ Puna, the loftier parts of the Andes.]
+
+42 (return) [ Compi, cloth or a cloak. This was an expression of the
+ancient Peruvians, perhaps equivalent to our ‘hoodwinking.’]
+
+43 (return) [ Apu Maruti was the head of the ayllu of the Inca Yahuar
+Huaccac, grandfather of Pachacuti. It was called the ayllu Aucaylli
+Panaca.—Mesa, Anales del Cuzco, quoted by Zegarra.]
+
+44 (return) [ Uilcapampa, mass of mountains between the Uilcamayu and
+Apurimac.]
+
+45 (return) [ Tinqui Queru, between Urupampa and Tampu. The word means
+‘two vases coupled.’ Here are two rounded hills connected by a saddle,
+three and a half miles from Tampu.]
+
+46 (return) [ Chara, was another descendant of Yahuar Huaccac.]
+
+47 (return) [ A ravine on the right bank of the Vilcamayu.]
+
+48 (return) [ Pachar is on the left bank of the Vilcamayu opposite
+Ollantay-tampu, with which it is connected by a rope bridge.]
+
+49 (return) [ Huancas, natives of the valley of Jauja—Inca recruits.]
+
+50 (return) [ Like Ollantay in his appeal to the Inca, Rumi-ñaui, in
+the original Quichua, has recourse to octosyllabic quatrains, the first
+and last lines rhyming, and the second and third.]
+
+51 (return) [ Rumi, a stone.]
+
+52 (return) [ Clearly, from Rumi-ñaui’s own account, the strategy of
+Urco Huaranca had been a complete and brilliant success.]
+
+53 (return) [ Aclla Cuna, the selected ones, the Virgins of the Sun.
+They were under the supervision of so called Mothers—Mama Cuna. The
+novices were not obliged to take the oaths at the end of their
+novitiate.]
+
+54 (return) [ Rumi-ñaui is the interlocutor in the Justiniani text, in
+the Dominican text, and in the text of Spilsbury. Yet Zegarra would
+substitute the Uillac Uma or High Priest for Rumi-ñaui. His argument is
+that the interlocutor was of the blood-royal, and that the High Priest
+was always of the blood-royal, while Rumi-ñaui was not. But the text
+does not say that the interlocutor was of the royal blood. Zegarra also
+says that the interlocutor wore a black cloak with a long train, and
+that this was the dress of the High Priest. But it was not the dress of
+the High Priest as described by the best authorities. It was probably
+the general mourning dress. The threats addressed to Piqui Chaqui were
+likely enough to come from a soldier, but not from the High Priest as
+he is portrayed in this drama.]
+
+55 (return) [ Paccay (mimosa incana), a tree with large pods, having a
+snow-white woolly substance round the seeds, with sweet juice.]
+
+56 (return) [ The Zegarra and Spilsbury texts have Ccan Incacri, which
+Zegarra translates, ‘relation of the Inca, of the royal family.’
+Spilsbury is more correct. He has ‘partisan of the Inca.’ The more
+authentic Justiniani text has Ccan Pana. The particle ri is one of
+emphasis or repetition. It does not mean a relation.]
+
+57 (return) [ The Zegarra and Spilsbury texts have hualpa, a game bird.
+The Justiniani text has anca, an eagle, which is the correct reading.]
+
+58 (return) [ The Inca Pachacuti does not appear to advantage in the
+drama. But he was the greatest man of his dynasty, indeed the greatest
+that the red race has produced. He was a hero in his youth, a most able
+administrator in mature age. As a very old man some needless cruelties
+are reported of him which annoyed his son.]
+
+59 (return) [ The eldest son was Amaru Tupac. He was passed over by his
+father with his own consent, and was ever faithful to his younger
+brother. He was an able general.]
+
+60 (return) [ This was exactly what Piqui Chaqui was sent to Cuzco to
+find out. The expression Apumusac pununayta, ‘I go to fetch my bed,’ is
+one of joy at any fortunate event, in Quichua.]
+
+61 (return) [ Intic Huamin Caccunan (Intic Huarminca Caycuna, correct),
+‘Ye women of the Sun.’ Zegarra thought, on the authority of Garcilasso
+de la Vega, that these could not be select Virgins of the Sun, because
+the virgins were never allowed outside their convent, and not even
+women might enter. He is clearly wrong. Much higher authorities than
+Garcilasso, as regards this point, especially Valera, tell us that the
+virgins were treated with the greatest honour and respect. They took
+part in great receptions and festivals, and when they passed along the
+streets they had a guard of honour.]
+
+62 (return) [ Rumi. He keeps playing upon his name.]
+
+63 (return) [ Again playing upon the name of Rumi-ñaui. The High Priest
+calls for haste, so he substitutes Tunqui for naui (eye), the tunqui
+(Rupicola Peruviana) being one of the most beautiful birds in the
+forests.]
+
+64 (return) [ Sunchu, a very large composita with a yellow flower,
+growing round Cuzco. It was one of those which were used on sacred
+festivals.]
+
+65 (return) [ Nucchu is a salvia, also considered sacred. A red flower.
+Perhaps these flowers were sent as a summons from the Inca, but I have
+not seen the custom mentioned elsewhere.]
+
+66 (return) [ Schineus Molle, a tree with pinnate leaves, and panicles
+of red berries, well known in the Mediterranean countries, into which
+it was introduced from Peru. Called by the English ‘pepper tree.’]
+
+67 (return) [ Several bushes are called chilca in Peru. Eupatorium
+chilca (R. P.), baccharis scandens, and molina latifolia. Stereoxylon
+pendulum is called puna chilca.]
+
+68 (return) [ A kind of cactus, of which they make needles, grows
+abundantly on the mountains round Ollantay-tampu. It is called
+ahuarancu. They set fire to the cacti as a war signal. Zegarra calls it
+a thistle. The word in the Justiniani text is ahuarancu.]
+
+69 (return) [ Tinqui Queru, between Urupampa and Tampu. The word means
+‘two vases coupled.’ Here are two rounded hills connected by a saddle,
+three and a half miles from Tampu. (Taken from FN#45.)]
+
+70 (return) [ Yanahuara, a ravine near Urubamba, where some of the
+troops of Rumi-ñaui had been posted.]
+
+71 (return) [ Signal lights.]
+
+72 (return) [ Ccapac Raymi, the great festival of the Sun. December
+22.]
+
+73 (return) [ Piqui Chaqui is literally ‘flea foot.’ He is punning on
+his name.]
+
+74 (return) [ Tocarpu, a pole or stake used at executions. Condemned
+prisoners were fastened to a tocarpu before being hurled over a
+precipice.]
+
+75 (return) [ Piqui Chaqui had an inkling that the Inca had expressed
+dislike at the shedding of blood. He ventured to say these words in the
+faint hope that they might remind the Inca of this dislike.]
+
+76 (return) [ Rumi-ñaui at it again: for ever ringing changes on his
+name rumi, a stone.]
+
+77 (return) [ The plume and the arrow were the insignia of a general.]
+
+78 (return) [ Rather a staggerer for Rumi-ñaui! Perhaps, too, the
+change is too sudden, and infringes the probabilities. Tupac Yupanqui
+may have thought that his father had been unjust and that there were
+excuses. It is known that the young Inca was indignant at some other
+cruelties of his father. As a magnanimous warrior he may have despised
+the treacherous methods of Rumi-ñaui. He may have valued Ollantay’s
+known valour and ability, and have been loth to lose his services. All
+these considerations may have influenced him more or less. The rebels
+were the best men he had.]
+
+79 (return) [ Ranti, a deputy.]
+
+80 (return) [ Canari, a warlike tribe of Indians, in the south part of
+the kingdom of Quito. They were first conquered by Tupac Yupanqui, and
+they became devoted to him.]
+
+81 (return) [ Aclla, chosen; Huasi, house: palace of the Virgins of the
+sun.]
+
+82 (return) [ Ccacca means a rock.]
+
+83 (return) [ My former translation, and those of Barranca and Tschudi,
+treated puma and amaru (snake) as epithets applied to Mama Ccacca.
+Zegarra considers that the puma and snake were intended to be actually
+in the dungeon, and I believe he is right. The puma would not have hurt
+his fellow-prisoner. Unpleasant animals were occasionally put into the
+prisons of criminals. The Incas kept pumas as pets.]
+
+84 (return) [ The early Incas never married their sisters or relations.
+Pachacuti’s mother was daughter of the chief of Anta. His wife,
+Anahuarqui, was no relation. But the wife of Tupac Yupanqui was his
+sister Mama Ocllo.]
+
+85 (return) [ A play upon the word yupanqui, which means literally,
+‘you will count.’ The word was a title of the Incas, meaning, ‘you will
+count as virtuous, brave,’ &c.]
+
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK APU OLLANTAY ***
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+<div style='text-align:center; font-size:1.2em; font-weight:bold;'>The Project Gutenberg eBook of Apu Ollantay</div>
+<div style='display:block; margin:1em 0'>
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online
+at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
+are not located in the United States, you will have to check the laws of the
+country where you are located before using this eBook.
+</div>
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Apu Ollantay</div>
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Anonymous</div>
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Editor: Clements R. Markham</div>
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Translator: Clements R. Markham</div>
+<div style='display:block;margin:1em 0'>Release Date: September 2, 2003 [eBook #9068]<br />
+[Most recently updated: April 9, 2021]</div>
+<div style='display:block;margin:1em 0'>Language: English</div>
+<div style='display:block;margin:1em 0'>Character set encoding: UTF-8</div>
+<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: John B. Hare and David Widger</div>
+<div style='margin-top:2em;margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK APU OLLANTAY ***</div>
+
+<h1>Apu Ollantay</h1>
+
+<h2 class="no-break">A Drama of the Time of the Incas</h2>
+
+<h3>
+Sovereigns Of Peru<br /><br /><br />
+About A.D. 1470</h3>
+
+<hr />
+
+<h2>Contents</h2>
+
+<table summary="" style="">
+
+<tr>
+<td> <a href="#pref01">INTRODUCTION</a></td>
+</tr>
+
+<tr>
+<td> <a href="#pref02">MS. TEXTS</a></td>
+</tr>
+
+<tr>
+<td> <a href="#pref03">ACTS AND SCENES</a></td>
+</tr>
+
+<tr>
+<td> <a href="#pref04">DRAMATIS PERSONAE</a><br /><br /></td>
+</tr>
+
+<tr>
+<td> <a href="#act01"><b>ACT I</b></a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene01">SCENE 1</a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene02">SCENE 2</a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene03">SCENE 3</a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene04">SCENE 4</a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene05">SCENE 5</a><br /><br /></td>
+</tr>
+
+<tr>
+<td> <a href="#act02"><b>ACT II</b></a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene06">SCENE 1</a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene07">SCENE 2</a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene08">SCENE 3</a><br /><br /></td>
+</tr>
+
+<tr>
+<td> <a href="#act03"><b>ACT III</b></a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene09">SCENE 1</a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene10">SCENE 2</a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene11">SCENE 3</a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene12">SCENE 4</a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene13">SCENE 5</a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene14">SCENE 6</a></td>
+</tr>
+
+<tr>
+<td> <a href="#scene15">SCENE 7</a><br /><br /></td>
+</tr>
+
+<tr>
+<td> <a href="#foot01">FOOTNOTES</a><br /><br /></td>
+</tr>
+
+</table>
+
+<p class="center">
+First Reduced To Writing By Dr. Valdez, Cuba Of Sicuani A.D. 1770
+</p>
+
+<p class="center">
+The Original Manuscript Copied By Dr. Justo Pastor Justiniani
+</p>
+
+<p class="center">
+This Justiniani Text Copied At Laris, In April 1863, By Clements R. Markham
+</p>
+
+<p class="center">
+A Free Translation Into English By Sir Clements Markham, K.C.B. [1910]
+</p>
+
+<hr />
+
+<div class="chapter">
+
+<h2><a name="pref01"></a>INTRODUCTION</h2>
+
+<p>
+The drama was cultivated by the Incas, and dramatic performances were enacted
+before them. Garcilasso de la Vega, Molina, and Salcamayhua are the authorities
+who received and have recorded the information given by the Amautas respecting
+the Inca drama. Some of these dramas, and portions of others, were preserved in
+the memories of members of Inca and Amauta families. The Spanish priests,
+especially the Jesuits of Juli, soon discovered the dramatic aptitude of the
+people. Plays were composed and acted, under priestly auspices, which contained
+songs and other fragments of the ancient Inca drama. These plays were called
+&lsquo;Autos Sacramentales.&rsquo;
+</p>
+
+<p>
+But complete Inca dramas were also preserved in the memories of members of the
+Amauta caste and, until the rebellion of 1781, they were acted. The drama of
+<i>Ollantay</i> was first reduced to writing and arranged for acting by Dr. Don
+Antonio Valdez, the Cura of Tinto. It was acted before his friend José Gabriel
+Condorcanqui<a href="#linknote-1" name="linknoteref-1" id="linknoteref-1">[1]</a>
+in about 1775. Taking the name of his maternal ancestor, the Inca Tupac Amaru,
+the ill-fated Condorcanqui rose in rebellion, was defeated, taken, and put to
+death under torture, in the great square of Cuzco. In the monstrous sentence
+&lsquo;the representation of dramas as well as all other festivals which the
+Indians celebrate in memory of their Incas&rsquo; was prohibited.<a href="#linknote-2" name="linknoteref-2" id="linknoteref-2">[2]</a>
+This is a clear proof that before 1781 these Quichua dramas were acted.
+</p>
+
+<p>
+The original manuscript of Valdez was copied by his friend Don Justo Pastor
+Justiniani, and this copy was inherited by his son. There was another copy in
+the convent of San Domingo at Cuzco, but it is corrupt, and there are several
+omissions and mistakes of a copyist. Dr. Valdez died, at a very advanced age,
+in 1816. In 1853 the original manuscript was in the possession of his nephew
+and heir, Don Narciso Cuentas of Tinta.
+</p>
+
+<p>
+The Justiniani copy was, in 1853, in the possession of Dr. Don Pablo
+Justiniani, Cura of Laris, and son of Don Justo Pastor Justiniani. He is a
+descendant of the Incas.<a href="#linknote-3" name="linknoteref-3" id="linknoteref-3">[3]</a>
+In April 1853 I went to Laris, a secluded valley of the Andes, and made a
+careful copy of the drama of <i>Ollantay</i>. From this Justiniani text my
+first very faulty line-for-line translation was made in 1871, as well as the
+present free translation.
+</p>
+
+<p>
+The first printed notice of <i>Ollantay</i> appeared in the <i>Museo Erudito</i>, Nos. 5 to
+9, published at Cuzco in 1837, and edited by Don José Palacios. The next
+account of the drama, with extracts, was in the &lsquo;Antiguedades
+Peruanas,&rsquo; a work published in 1851 jointly by Dr. von Tschudi and Don
+Mariaiao Rivero of Arequipa. The complete text, from the copy in the convent of
+San Domingo at Cuzco, was first published at Vienna in 1853 by Dr. von Tschudi
+in his &lsquo;Die Kechua Sprache. It was obtained for him by Dr. Ruggendas of
+Munich. The manuscript was a corrupt version, and in very bad condition, in
+parts illegible from damp. In 1868 Don José Barranca published a Spanish
+translation, from the Dominican text of von Tschudi. The learned Swiss
+naturalist, von Tschudi, published a revised edition of his translation at
+Vienna in 1875, with a parallel German translation. In 1871 I printed the
+Justiniani text with a literal, line-for-line translation, but with many
+mistakes, since corrected; and in 1874, a Peruvian, Don José Fernandez Nodal,
+published the Quichua text with a Spanish translation.
+</p>
+
+<p>
+In 1878 Gavino Pacheco Zegarra published his version of <i>Ollantay</i>, with a free
+translation in French. His text is a manuscript of the drama which he found in
+his uncle&rsquo;s library. Zegarra, as a native of Peru whose language was
+Quichua, had great advantages. He was a very severe, and often unfair, critic
+of his predecessors.
+</p>
+
+<p>
+The work of Zegarra is, however, exceedingly valuable. He was not only a
+Quichua scholar, but also accomplished and well read. His notes on special
+words and on the construction of sentences are often very interesting. But his
+conclusions respecting several passages which are in the Justiniani text, but
+not in the others, are certainly erroneous. Thus he entirely spoils the
+dialogue between the Uillac Uma and Piqui Chaqui by omitting the humorous part
+contained in the Justiniani text; and makes other similar omissions merely
+because the passages are not in his text. Zegarra gives a useful vocabulary at
+the end of all the words which occur in the drama.
+</p>
+
+<p>
+The great drawback to the study of Zegarra&rsquo;s work is that he invented a
+number of letters to express the various modifications of sound as they
+appealed to his ear. No one else can use them, while they render the reading of
+his own works difficult and intolerably tiresome.
+</p>
+
+<p>
+The last publication of a text of <i>Ollantay</i> was by the Rev. J. H. Gybbon
+Spilsbury, at Buenos Ayres in 1907, accompanied by Spanish, English, and French
+translations in parallel columns.
+</p>
+
+<p>
+There is truth in what Zegarra says, that the attempts to translate line for
+line, by von Tschudi and myself, &lsquo;fail to convey a proper idea of the
+original drama to European readers, the result being alike contrary to the
+genius of the modern languages of Europe and to that of the Quichua
+language.&rsquo; Zegarra accordingly gives a very free translation in French.
+</p>
+
+<p>
+In the present translation I believe that I have always preserved the sense of
+the original, without necessarily binding myself to the words. The original is
+in octosyllabic lines. Songs and important speeches are in quatrains of
+octosyllabic lines, the first and last rhyming, and the second and third. I
+have endeavoured to keep to octosyllabic lines as far as possible, because they
+give a better idea of the original; and I have also tried to preserve the form
+of the songs and speeches.
+</p>
+
+<p>
+The drama opens towards the close of the reign of the Inca Pachacuti, the
+greatest of all the Incas, and the scene is laid at Cuzco or at Ollantay-tampu,
+in the valley of the Vilcamayu. The story turns on the love of a great chief,
+but not of the blood-royal, with a daughter of the Inca. This would not have
+been prohibited in former reigns, for the marriage of a sister by the sovereign
+or his heir, and the marriage of princesses only with princes of the
+blood-royal, were rules first introduced by Pachacuti.<a href="#linknote-4"
+name="linknoteref-4" id="linknoteref-4">[4]</a> His imperial power and
+greatness led him to endeavour to raise the royal family far above all others.
+</p>
+
+<p>
+The play opens with a dialogue between Ollantay and Piqui Chaqui, his page, a
+witty and humorous lad. Ollantay talks of his love for the Princess Cusi
+Coyllur, and wants Piqui Chaqui to take a message to her, while the page dwells
+on the danger of loving in such a quarter, and evades the question of taking a
+message. Then to them enters the Uillac Uma, or High Priest of the Sun, who
+remonstrates with Ollantay&mdash;a scene of great solemnity, and very
+effective.
+</p>
+
+<p>
+The next scene is in the Queen&rsquo;s palace. Anahuarqui, the Queen, is
+discovered with the Princess Cusi Coyllur, who bitterly laments the absence of
+Ollantay. To them enters the Inca Pachacuti, quite ignorant that his daughter
+has not only married Ollantay in secret, but that she is actually with child by
+him. Her mother keeps her secret. The Inca indulges in extravagant expressions
+of love for his daughter. Then boys and girls enter dancing and singing a
+harvest song. Another very melancholy yarahui is sung; both capable of being
+turned by the Princess into presages of the fate of herself and her husband.
+</p>
+
+<p>
+In the third scene Ollantay prefers his suit to the Inca Pachacuti in
+octosyllabic quatrains, the first and last lines rhyming, and the second and
+third. His suit is rejected with scorn and contempt. Ollantay next appears on
+the heights above Cuzco. In a soliloquy he declares himself the implacable
+enemy of Cuzco and the Inca. Then Piqui Chaqui arrives with the news that the
+Queen&rsquo;s palace is empty, and abandoned, and that Cusi Coyllur has quite
+disappeared; while search is being made for Ollantay. While they are together a
+song is sung behind some rocks, in praise of Cusi Coyllur&rsquo;s beauty. Then
+the sound of clarions and people approaching is heard, and Ollantay and Piqui
+Chaqui take to flight. The next scene finds the Inca enraged at the escape of
+Ollantay, and ordering his general Rumi-ñaui to march at once, and make him
+prisoner. To them enters a <i>chasqui</i>, or messenger, bringing the news that
+Ollantay has collected a great army at Ollantay-tampu, and that the rebels have
+proclaimed him Inca.
+</p>
+
+<p>
+The second act opens with a grand scene in the hall of the fortress-palace of
+Ollantay-tampu. Ollantay is proclaimed Inca by the people, and he appoints the
+Mountain Chief, Urco Huaranca, general of his army. Urco Huaranca explains the
+dispositions he has made to oppose the army advancing from Cuzco, and his plan
+of defence. In the next scene Rumi-ñaui, as a fugitive in the mountains,
+describes his defeat and the complete success of the strategy of Ollantay and
+Urco Huaranca. His soliloquy is in the octosyllabic quatrains. The last scene
+of the second act is in the gardens of the Convent of Virgins of the Sun. A
+young girl is standing by a gate which opens on the street. This, as afterwards
+appears, is Yma Sumac, the daughter of Ollantay and Cusi Coyllur, aged ten, but
+ignorant of her parentage. To her enters Pitu Salla, an attendant, who chides
+her for being so fond of looking out at the gate. The conversation which
+follows shows that Yma Sumac detests the convent and refuses to take the vows.
+She also has heard the moans of some sufferer, and importunes Pitu Salla to
+tell her who it is. Yma Sumac goes as Mama Ccacca enters and cross examines
+Pitu Salla on her progress in persuading Yma Sumac to adopt convent life. This
+Mama Ccacca is one of the Matrons or <i>Mama Cuna</i>, and she is also the jailer of
+Cusi Coyllur.
+</p>
+
+<p>
+The third act opens with an amusing scene between the Uillac Uma and Piqui
+Chaqui, who meet in a street in Cuzco. Piqui Chaqui wants to get news, but to
+tell nothing, and in this he succeeds. The death of Inca Pachacuti is announced
+to him, and the accession of Tupac Yupanqui, and with this news he departs.
+</p>
+
+<p>
+Next there is an interview between the new Inca Tupac Yupanqui, the Uillac Uma,
+and the defeated general Rumi-ñaui, who promises to retrieve the former
+disaster and bring the rebels to Cuzco, dead or alive. It after wards appears
+that the scheme of Rumi-ñaui was one of treachery. He intended to conceal his
+troops in eaves and gorges near Ollantay-tampu ready to rush in, when a signal
+was made. Rumi-ñaui then cut and slashed his face, covered himself with mud,
+and appeared at the gates of Ollantay-tampu, declaring that he had received
+this treatment from the new Inca, and imploring protection.<a
+href="#linknote-5" name="linknoteref-5" id="linknoteref-5">[5]</a> Ollantay
+received him with the greatest kindness and hospitality. In a few days Ollantay
+and his people celebrated the <i>Raymi</i> or great festival of the sun with much
+rejoicing and drinking. Rumi-ñaui pretended to join in the festivities, but
+when most of them were wrapped in drunken sleep, he opened the gates, let in
+his own men, and made them all prisoners.
+</p>
+
+<p>
+There is next another scene in the garden of the convent, in which Yma Sumac
+importunes Pitu Salla to tell her the secret of the prisoner. Pitu Salla at
+last yields and opens a stone door. Cusi Coyllur is discovered, fastened to a
+wall, and in a dying state. She had been imprisoned, by order of her father,
+Inca Pachacuti on the birth of Yma Sumac. She is restored with food and water,
+and the relationship is discovered when Cusi Coyllur hears the child&rsquo;s
+name, for she had given it to her.
+</p>
+
+<p>
+Next the Inca Tupac Yupanqui is discovered in the great hall of his palace,
+seated on his <i>tiana</i> or throne, with the Uillac Uma in attendance. To them
+enters a <i>chasqui</i>, or messenger, who describes the result of Rumi-ñaui&rsquo;s
+treachery in octosyllabic quatrains. Rumi-ñaui himself enters and receives the
+thanks of his sovereign. Then the prisoners are brought in guarded-Ollantay,
+Hanco Huayllu, Urco Huaranca, and Piqui Chaqui. The Inca upbraids them for
+their treason. He then asks the Uillac Uma for his judgment. The High Priest
+recommends mercy. Rumi-ñaui advises immediate execution: The Inca seems to
+concur and they are ordered off, when suddenly the Inca cries
+&lsquo;Stop.&rsquo; He causes them all to be released, appoints Ollantay to the
+highest post in the empire next to himself, and Urco Huaranca to a high
+command. There are rejoicings, and in the midst of it all Yma Sumac forces her
+way into the hall, and throws herself at the Inca&rsquo;s feet, entreating him
+to save her mother from death. The Inca hands over the matter to Ollantay, but
+this Yma Sumac will not have, and, the Uillac Uma intervening, the Inca
+consents to go with the child.
+</p>
+
+<p>
+The final scene is in the gardens of the convent. The Inca enters with Yma
+Sumac, followed by the whole strength of the company. Mama Ccacca is ordered to
+open the stone door and Cusi Coyllur is brought out. She proves to be the
+sister of the Inca and the wife of Ollantay. There are explanations, and all
+ends happily.
+</p>
+
+<p>
+Of the antiquity of the drama of Ollantay there is now no question. General
+Mitre wrote an elaborate paper on its authenticity, raising several points to
+prove that it was of modern origin. But every point he raised has been
+satisfactorily refuted. At the same time there are many other points, some of
+them referred to by Zegarra, which establish the antiquity of the drama beyond
+any doubt. The antiquity of the name Ollantay-tampu, applied to the fortress in
+memory of the drama, is proved by its use in the narratives of Molina (1560)
+and of Salcamayhua.
+</p>
+
+<p>
+An able review of the literature connected with the drama of Ollantay was
+written by Don E. Larrabure y Unanue, the present Vice-President of Peru, who
+considers that Ollantay would make a good acting play with magnificent scenic
+effects.
+</p>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2><a name="pref02"></a>MS. TEXTS.</h2>
+
+<p>
+1. The original text of Valdez. In 1853 the property of Don Narciso Cuentas of
+Tinta, heir of Dr. Valdez.
+</p>
+
+<p>
+2. The Justiniani text. In 1853 at Laris. Copy of the Valdez text.
+</p>
+
+<p>
+3. Markham&rsquo;s copy of the Justiniani text (printed 1871).
+</p>
+
+<p>
+4. Rosas copy of the Justiniani text.
+</p>
+
+<p>
+5. Copy in the convent of San Domingo at Cuzco (the Dominican text).
+</p>
+
+<p>
+6. Von Tschudi&rsquo;s copy of the Dominican text (printed 1853).
+</p>
+
+<p>
+7. Text of Zegarra (printed 1878).
+</p>
+
+<p>
+8. Second text of von Tschudi.
+</p>
+
+<p>
+9. Text of Spilsbury.
+</p>
+
+<p>
+10. Text of Sahuaraura <i>penes</i> Dr. Gonzalez de la Rosa.
+</p>
+
+<p class="p2">
+There is light thrown upon the name <i>Ollantay</i> by the evidence taken during the
+journey of the Viceroy Toledo from Jauja to Cuzco, from November 1570 to March
+1571. He wanted information respecting the origin of the Inca government, and
+200 witnesses were examined, the parentage or lineage of each witness being
+recorded. Among these we find six witnesses of the <i>Antasayac ayllu. Sayac</i> means
+a station or division, <i>Anta</i>is a small town near Cuzco. The names of the six
+<i>Anta</i> witnesses were,
+</p>
+
+<p class="letter">
+ANCAILLO; USCA; HUACRO; MANCOY; AUCA PURI; ULLANTAY;<br />
+Besides ANTONIO PACROTRICA and PUNICU PAUCAR, Chiefs of <i>Anta</i>.
+</p>
+
+<p>
+We thus find that the name of <i>Ollantay</i> belonged to <i>Anta</i>. Now the Incas were
+under great obligations to the chief of Anta, for that chief had rescued the
+eldest son of <i>Inca Rocca</i> from the chief of <i>Ayamarca</i>, and had restored him to
+his father. For this great service the chief of <i>Anta</i> was declared to be a noble
+of the highest rank and cousin to the Inca family. Moreover, the daughter of
+the <i>Anta</i> chief was married to the <i>Inca Uira-cocha</i>, and was the mother of
+Pachacuti. Assuming, as seems probable, that <i>Ollantay</i> was a son of the chief of
+Anta, he would be a cousin of the Inca, and of very high rank, though not an
+agnate of the reigning family. This, I take it, is what is intended. <i>Pachacuti</i>
+desired to raise his family high above all others, and that, consequently,
+there should be no marriages with subjects even of the highest rank; and his
+excessive severity on the transgression of his rule by his daughter is thus
+explained.
+</p>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2>OLLANTAY</h2>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2><a name="pref03"></a>ACTS AND SCENES</h2>
+
+<p>
+ACT 1.
+</p>
+
+<p>
+Sc. 1.&mdash;Open space near Cuzco.<br />
+Ollantay, Piqui Chaqui, Uillac Uma.
+</p>
+
+<p>
+Sc. 2.&mdash;Hall in the Colcampata.<br />
+Anahuarqui, Cusi Coyllur, Inca Pachacuti, Boys and Girls, Singers.
+</p>
+
+<p>
+Sc. 3.&mdash;Hall in the Inca&rsquo;s palace.<br />
+Pachacuti, Rumi-ñaui, Ollantay.
+</p>
+
+<p>
+Sc. 4.&mdash;Height above Cuzco.<br />
+Ollantay, Piqui Chaqui, Unseen Singer.
+</p>
+
+<p>
+Sc. 5.&mdash;Hall in the Inca&rsquo;s palace.<br />
+Pachacuti, Rumi-ñaui, and a Chasqui.
+</p>
+
+<p class="p2">
+ACT II.
+</p>
+
+<p>
+Sc. 1.&mdash;Ollantay-tampu Hall.<br />
+Ollantay, Urco Huaranca, Hanco Huayllu, People and Soldiers.
+</p>
+
+<p>
+Sc. 2.&mdash;A wild place in the mountains.<br />
+Rumi-ñaui&rsquo;s soliloquy.
+</p>
+
+<p>
+Sc. 3.&mdash;Gardens of the Virgins.<br />
+Yma Sumac, Pitu Salla, Mama Ccacca.
+</p>
+
+<p class="p2">
+ACT III.
+</p>
+
+<p>
+Sc. 1.&mdash;Pampa Maroni at Cuzco.<br />
+Uillac Uma and Piqui Chaqui.
+</p>
+
+<p>
+Sc. 2.&mdash;Palace of Tupac Yupanqui.<br />
+Tupac Yupanqui, Uillac Uma, Rumi-ñaui.
+</p>
+
+<p>
+Sc. 3.&mdash;Ollantay-tampu, Terrace.<br />
+Rumi-ñaui, Ollantay, Guards.
+</p>
+
+<p>
+Sc. 4.&mdash;House of Virgins, Corridor.<br />
+Yma Sumac, Pitu Salla.
+</p>
+
+<p>
+Sc. 5.&mdash;House of Virgins, Garden.<br />
+Yma Sumac, Pitu Salla, Cusi Coyllur.
+</p>
+
+<p>
+Sc. 6.&mdash;Palace of Tupac Yupanqui.<br />
+Tupac Yupanqui, Uillac Uma, a Chasqui, Rumi-ñaui, Ollantay, Urco Huaranca,
+Hanco Huayllu, Piqui Chaqui, Chiefs and Guards, then Yma Sumac.
+</p>
+
+<p>
+Sc. 7.&mdash;House of Virgins, Garden.<br />
+All of Scene 6, and Mama Ccacca, Cusi Coyllur, Pitu Salla.
+</p>
+
+<p class="center">
+SCENE
+</p>
+
+<p class="center">
+In Cuzco and its environs, and Ollantay-tampu
+</p>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2><a name="pref04"></a>DRAMATIS PERSONAE</h2>
+
+<p>
+APU OLLANTAY.&mdash;General of Anti-suyu, the eastern province of the empire. A
+young chief, but not of the blood-royal. His rank was that of a Tucuyricuo or
+Viceroy. The name occurs among the witnesses examined by order of the Viceroy
+Toledo, being one of the six of the Antasayac ayllu.
+</p>
+
+<p>
+PACHACUTI.&mdash;The Sovereign Inca.
+</p>
+
+<p>
+TUPAC YUPANQUI.&mdash;Sovereign. Inca, son and heir of Pachacuti.
+</p>
+
+<p>
+RUMI-ÑAUI.&mdash;A great chief, General of Colla-suyu. The word means
+&lsquo;Stone-eye.&rsquo;
+</p>
+
+<p>
+UILLAC UMA.&mdash;High Priest of the Sun. The word Uma means head, and Uillac,
+a councillor and diviner.
+</p>
+
+<p>
+URCO HUARANCA.&mdash;A chief. The words mean &lsquo;Mountain Chief.&rsquo; The
+word huaranca means 1000; hence, Chief of a Thousand.
+</p>
+
+<p>
+HANCO HUAYLLU AUQUI.&mdash;An old officer, of the blood-royal.
+</p>
+
+<p>
+PIQUI CHAQUI.&mdash;Page to Ollantay. The words mean
+&lsquo;fleet-footed.&rsquo;
+</p>
+
+<p>
+ANAHUARQUI.&mdash;The Ccoya or Queen, wife of Pachacuti.
+</p>
+
+<p>
+CUSI COYLLUR ÑUSTA.&mdash;A Princess, daughter of Pachacuti. The words mean
+&lsquo;the joyful star.&rsquo;
+</p>
+
+<p>
+YMA SUMAC.&mdash;Daughter of Cusi Coyllur. The words mean &lsquo;How
+beautiful.&rsquo;
+</p>
+
+<p>
+PITU SALLA.&mdash;A girl, companion of Yma Sumac.
+</p>
+
+<p>
+CCACCA MAMA.&mdash;A matron of Virgins of the Sun. Jailer of Cusi Coyllur.
+</p>
+
+<p>
+Nobles, captains, soldiers, boys and girls dancing, singers, attendants,
+messengers or Chasqui.
+</p>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2><a name="act01"></a>ACT I</h2>
+
+<h3><a name="scene01"></a>SCENE 1</h3>
+
+<p>
+An open space near the junction of the two torrents of Cuzco, the Huatanay
+and Tullumayu or Rodadero, called Pumap Chupan, just outside the gardens
+of the Sun. The Temple of the Sun beyond the gardens, and the Sacsahuaman
+hill surmounted by the fortress, rising in the distance. The palace of
+Colcampata on the hillside.
+</p>
+
+<p>
+(Enter OLLANTAY L. [in a gilded tunic, breeches of llama sinews, usutas or
+shoes of llama hide, a red mantle of ccompi or fine cloth, and the chucu
+or head-dress of his rank, holding a battle-axe (champi) and club
+(macana)] and PIQUI CHAQUI coming up from the back R. [in a coarse brown
+tunic of auasca or llama cloth, girdle used as a sling, and chucu or
+head-dress of a Cuzqueño].)
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Where, young fleet-foot, hast thou been?<br/>
+Hast thou the starry Ñusta seen?
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+The Sun forbids such sacrilege<br/>
+&rsquo;Tis not for me to see the star.<br/>
+Dost thou, my master, fear no ill,<br/>
+Thine eyes upon the Inca&rsquo;s child?
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+In spite of all I swear to love<br/>
+That tender dove, that lovely star;<br/>
+My heart is as a lamb<a href="#linknote-6" name="linknoteref-6" id="linknoteref-6">[6]</a> with her,<br/>
+And ever will her presence seek.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Such thoughts are prompted by Supay<a href="#linknote-7" name="linknoteref-7" id="linknoteref-7">[7]</a>;<br/>
+That evil being possesses thee.<br/>
+All round are beauteous girls to choose<br/>
+Before old age, and weakness come.<br/>
+If the great Inca knew thy plot<br/>
+And what thou seekest to attain,<br/>
+Thy head would fall by his command,<br/>
+Thy body would be quickly burnt.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Boy, do not dare to cross me thus.<br/>
+One more such word and thou shalt die.<br/>
+These hands will tear thee limb from limb,<br/>
+If still thy councils are so base.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Well! treat thy servant as a dog,<br/>
+But do not night and day repeat,<br/>
+&lsquo;Piqui Chaqui! swift of foot!<br/>
+Go once more to seek the star.&rsquo;
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Have I not already said<br/>
+That e&rsquo;en if death&rsquo;s fell scythe<a href="#linknote-8" name="linknoteref-8" id="linknoteref-8">[8]</a> was here,<br/>
+If mountains should oppose my path<br/>
+Like two fierce foes<a href="#linknote-9" name="linknoteref-9" id="linknoteref-9">[9]</a> who block the way,<br/>
+Yet will I fight all these combined<br/>
+And risk all else to gain my end,<br/>
+And whether it be life or death<br/>
+I&rsquo;ll cast myself at Coyllur&rsquo;s feet.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+But if Supay himself should come?
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+I&rsquo;d strike the evil spirit down.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+If thou shouldst only see his nose,<br/>
+Thou wouldst not speak as thou dost now.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Now, Piqui Chaqui, speak the truth,<br/>
+Seek not evasion or deceit.<br/>
+Dost thou not already know,<br/>
+Of all the flowers in the field,<br/>
+Not one can equal my Princess?
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Still, my master, thou dost rave.<br/>
+I think I never saw thy love.<br/>
+Stay! was it her who yesterday<br/>
+Came forth with slow and faltering steps<br/>
+And sought a solitary<a href="#linknote-10" name="linknoteref-10" id="linknoteref-10">[10]</a> path<a href="#linknote-11" name="linknoteref-11" id="linknoteref-11">[11]</a>?<br/>
+If so, &rsquo;tis true she&rsquo;s like the sun,<br/>
+The moon less beauteous than her face.<a href="#linknote-12" name="linknoteref-12" id="linknoteref-12">[12]</a>
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+It surely was my dearest love.<br/>
+How beautiful, how bright is she<br/>
+This very moment thou must go<br/>
+And take my message to the Star.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+I dare not, master; in the day,<br/>
+I fear to pass the palace gate.<br/>
+With all the splendour of the court,<br/>
+I could not tell her from the rest.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Didst thou not say thou sawest her?
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+I said so, but it was not sense.<br/>
+A star can only shine at night<br/>
+Only at night could I be sure.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Begone, thou lazy good-for-nought.<br/>
+The joyful star that I adore,<br/>
+If placed in presence of the Sun,<br/>
+Would shine as brightly as before.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Lo! some person hither comes,<br/>
+Perhaps an old crone seeking alms;<br/>
+Yes! Look! he quite resembles one.<br/>
+Lot him the dangerous message take.<br/>
+Send it by him, O noble Chief!<br/>
+From me they would not hear the tale;<br/>
+Thy page is but a humble lad.
+</p>
+
+<p class="drama">
+(Enter the UILLAC UMA, or High Priest of the Sun, at the back, arms
+raised to the Sun. In a grey tunic and black mantle from the shoulders
+to the ground, a long knife in his belt, the undress chucu on his head.)
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+O giver of all warmth and light<br/>
+O Sun! I fall and worship thee.<br/>
+For thee the victims are prepared,<br/>
+A thousand llamas and their lambs<br/>
+Are ready for thy festal day.<br/>
+The sacred fire&rsquo;ll lap their blood,<br/>
+In thy dread presence, mighty one,<br/>
+After long fast<a href="#linknote-13" name="linknoteref-13" id="linknoteref-13">[13]</a> thy victims fall.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Who comes hither, Piqui Chaqui?<br/>
+Yes, &rsquo;tis the holy Uillac Uma;<br/>
+He brings his tools of augury.<br/>
+No puma<a href="#linknote-14" name="linknoteref-14" id="linknoteref-14">[14]</a> more astute and wise<br/>
+I hate that ancient conjurer<br/>
+Who prophesies of evil things,<br/>
+I feel the evils he foretells;<br/>
+&rsquo;Tis he who ever brings ill-luck.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Silence, master, do not speak,<br/>
+The old man doubly is informed;<br/>
+Fore-knowing every word you say,<br/>
+Already he has guessed it all.
+</p>
+
+<p class="center">
+(He lies down on a bank.)
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+(<i>aside</i>)<br/>
+He sees me. I must speak to him.
+</p>
+
+<p class="center">
+(The Uillac Uma comes forward.)
+</p>
+
+<p class="drama">
+O Uillac Uma, Great High Priest,<br/>
+I bow before thee with respect<br/>
+May the skies be clear for thee,<br/>
+And brightest sunshine meet thine eyes.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+Brave Ollantay! Princely one!<br/>
+May all the teeming land be thine;<br/>
+May thy far-reaching arm of might<br/>
+Reduce the wide-spread universe.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Old man! thine aspect causes fear,<br/>
+Thy presence here some ill forebodes;<br/>
+All round thee dead men&rsquo;s bones appear,<br/>
+Baskets, flowers, sacrifice.<br/>
+All men when they see thy face<br/>
+Are filled with terror and alarm.<br/>
+What means it all? why comest thou?<br/>
+It wants some months before the least.<br/>
+Is it that the Inca is ill?<br/>
+Perchance hast thou some thought divined<br/>
+Which soon will turn to flowing blood.<br/>
+Why comest thou? the Sun&rsquo;s great day,<br/>
+The Moon&rsquo;s libations are not yet<br/>
+The moon has not yet nearly reached<br/>
+The solemn time for sacrifice.<br/>
+Uillac Uma. Why dost thou these questions put,<br/>
+In tones of anger and reproach?<br/>
+Am I, forsooth, thy humble slave?<br/>
+That I know all I&rsquo;ll quickly prove.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+My beating heart is filled with dread,<br/>
+Beholding thee so suddenly;<br/>
+Perchance thy coming is a sign,<br/>
+Of evils overtaking me.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+Fear not, Ollantay! not for that,<br/>
+The High Priest comes to thee this day.<br/>
+It is perhaps for love of thee,<br/>
+That, as a straw is blown by wind,<br/>
+A friend, this day, encounters thee.<br/>
+Speak to me as to a friend,<br/>
+Hide nothing from my scrutiny.<br/>
+This day I come to offer thee<br/>
+A last and most momentous choice<br/>
+&rsquo;Tis nothing less than life or death.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Then make thy words more clear to me,<br/>
+That I may understand the choice;<br/>
+Till now &rsquo;tis but a tangled skein,<br/>
+Unravel it that I may know.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+&rsquo;Tis well. Now listen, warlike. Chief:<br/>
+My science has enabled me,<br/>
+To learn and see all hidden things<br/>
+Unknown to other mortal men.<br/>
+My power will enable me<br/>
+To make of thee a greater prince.<br/>
+I brought thee up from tender years,<br/>
+And cherished thee with love and care<br/>
+I now would guide thee in the right,<br/>
+And ward off all that threatens thee.<br/>
+As chief of Anti-suyu now,<br/>
+The people venerate thy name;<br/>
+Thy Sovereign trusts and honours thee,<br/>
+E&rsquo;en to sharing half his realm.<br/>
+From all the rest he chose thee out,<br/>
+And placed all power in thy hands;<br/>
+He made thy armies great and strong,<br/>
+And strengthened thee against thy foes<br/>
+How numerous soe&rsquo;er they be,<br/>
+They have been hunted down by thee.<br/>
+Are these good reasons for thy wish,<br/>
+To wound thy Sovereign to the heart?<br/>
+His daughter is beloved by thee;<br/>
+Thy passion thou wouldst fain indulge,<br/>
+Lawless and forbidden though it be.<br/>
+I call upon thee, stop in time,<br/>
+Tear this folly from thy heart.<br/>
+If thy passion is immense,<br/>
+Still let honour hold its place.<br/>
+You reel, you stagger on the brink<br/>
+I&rsquo;d snatch thee from the very edge.<br/>
+Thou knowest well it cannot be,<br/>
+The Inca never would consent.<br/>
+If thou didst e&rsquo;en propose it now,<br/>
+He would be overcome with rage;<br/>
+From favoured prince and trusted chief,<br/>
+Thou wouldst descend to lowest rank.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+How is it that thou canst surely know<br/>
+What still is hidden in my heart?<br/>
+Her mother only knows my love,<br/>
+Yet thou revealest all to me.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+I read thy secret on the moon,<br/>
+As if upon the Quipu knots;<br/>
+And what thou wouldst most surely hide,<br/>
+Is plain to me as all the rest.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+In my heart I had divined<br/>
+That thou wouldst search me through and through<br/>
+Thou knowest all, O Councillor,<br/>
+And wilt thou now desert thy son?
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+How oft we mortals heedless drink,<br/>
+A certain death from golden cup<br/>
+Recall to mind how ills befall,<br/>
+And that a stubborn heart &rsquo;s the cause.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+(<i>kneeling</i>).<br/>
+Plunge that dagger in my breast,<br/>
+Thou holdst it ready in thy belt;<br/>
+Cut out my sad and broken heart<br/>
+I ask the favour at thy feet.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+(to Piqui Chaqui).<br/>
+Gather me that flower, boy.
+</p>
+
+<p class="center">
+(Piqui Chaqui gives him a withered flower and lies down again,
+pretending to sleep.)
+</p>
+
+<p class="drama">
+(To Ollantay).<br/>
+Behold, it is quite dead and dry.<br/>
+Once more behold! e&rsquo;en now it weeps,<br/>
+It weeps. The water flows from it.
+</p>
+
+<p class="center">
+(Water flows out of the flower.)
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+More easy for the barren rocks<br/>
+Or for sand to send forth water,<br/>
+Than that I should cease to love<br/>
+The fair princess, the joyful star.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+Put a seed into the ground,<br/>
+It multiplies a hundredfold;<br/>
+The more thy crime shall grow and swell,<br/>
+The greater far thy sudden fall.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Once for all, I now confess<br/>
+To thee, O great and mighty Priest;<br/>
+Now learn my fault. To thee I speak,<br/>
+Since thou hast torn it from my heart.<br/>
+The lasso to tie me is long,<br/>
+&rsquo;Tis ready to twist round my throat<br/>
+Yet its threads are woven with gold,<br/>
+It avenges a brilliant crime.<br/>
+Cusi Coyllur e&rsquo;en now is my wife,<br/>
+Already we&rsquo;re bound and are one;<br/>
+My blood now runs in her veins,<br/>
+E&rsquo;en now I am noble as she.<br/>
+Her mother has knowledge of all,<br/>
+The Queen can attest what I say;<br/>
+Let me tell all this to the King,<br/>
+I pray for thy help and advice.<br/>
+I will speak without fear and with force,<br/>
+He may perhaps give way to his rage<br/>
+Yet he may consider my youth,<br/>
+May remember the battles I&rsquo;ve fought;<br/>
+The record is carved on my club.
+</p>
+
+<p class="center">
+(Holds up his macana.)
+</p>
+
+<p class="drama">
+He may think of his enemies crushed,<br/>
+The thousands I&rsquo;ve thrown at his feet.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+Young Prince! thy words are too bold,<br/>
+Thou hast twisted the thread of thy fate&mdash;<br/>
+Beware, before &rsquo;tis too late;<br/>
+Disentangle and weave it afresh,<br/>
+Go alone to speak to the King,<br/>
+Alone bear the blow that you seek;<br/>
+Above all let thy words be but few,<br/>
+And say them with deepest respect;<br/>
+Be it life, be it death that you find,<br/>
+I will never forget thee, my son.
+</p>
+
+<p class="right">
+(Walks up and exit.)
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Ollantay, thou art a man,<br/>
+No place in thy heart for fear;<br/>
+Cusi Coyllur, surround me with light.<br/>
+Piqui Chaqui, where art thou?
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+(jumping up).<br/>
+I was asleep, my master,<br/>
+And dreaming of evil things.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Of what?
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Of a fox with a rope round its neck.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Sure enough, thou art the fox.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+It is true that my nose is growing finer,<br/>
+And my ears a good deal longer.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Come, lead me to the Coyllur.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+It is still daylight.
+</p>
+
+<p class="right">
+(Exeunt.)
+</p>
+
+<h3><a name="scene02"></a>SCENE 2</h3>
+
+<p>
+A great hall in the Colcampata, then the palace of the Queen or Ccoya
+Anahuarqui. In the centre of the back scene a doorway, and seen through it
+gardens with the snowy peak of Vilcanota in the distance. Walls covered
+with golden slabs. On either side of the doorway three recesses, with
+household gods in the shape of maize-cobs and llamas, and gold vases in
+them. On R. a golden tiana or throne. On L. two lower seats covered with
+cushions of fine woollen cloth.
+</p>
+
+<p>
+(ANAHUARQUI, the Queen or Ccoya (in blue chucu, white cotton bodice, and
+red mantle secured by a golden topu or pin, set with emeralds, and a blue
+skirt), and the princess CUSI COYLLUR (in a chucu, with feathers of the
+tunqui, white bodice and skirt, and grey mantle with topu, set with
+pearls) discovered seated.)
+</p>
+
+<p class="drama">
+ANAHUARQUI.<br/>
+Since when art thou feeling so sad,<br/>
+Cusi Coyllur! great Inti&rsquo;s prunelle?<a href="#linknote-15"
+name="linknoteref-15" id="linknoteref-15">[15]</a><br/>
+Since when hast thou lost all thy joy,<br/>
+Thy smile and thy once merry laugh?<br/>
+Tears of grief now pour down my face,<br/>
+As I watch and mourn over my child;<br/>
+Thy grief makes me ready to die.<br/>
+Thy union filled thee with joy,<br/>
+Already you&rsquo;re really his wife.<br/>
+Is he not the man of thy choice?<br/>
+O daughter, devotedly loved,<br/>
+Why plunged in such terrible grief?
+</p>
+
+<p class="center">
+(Cusi Coyllur has had her face hidden in the pillows. She now rises to
+her feet, throwing up her arms.)
+</p>
+
+<p class="drama">
+CUSI COYLLUR.<br/>
+O my mother! O most gracious Queen!<br/>
+How can my tears o&rsquo;er cease to flow,<br/>
+How can my bitter sighs surcease,<br/>
+While the valiant Chief I worship<br/>
+For many days and sleepless nights,<br/>
+All heedless of my tender years,<br/>
+Seems quite to have forgotten me?<br/>
+He has turned his regard from his wife<br/>
+And no longer seeks for his love.<br/>
+O my mother! O most gracious Queen!<br/>
+O my husband so beloved!<br/>
+Since the day when I last saw my love<br/>
+The moon has been hidden from view;<br/>
+The sun shines no more as of old,<br/>
+In rising it rolls among mist;<br/>
+At night the stars are all dim,<br/>
+All nature seems sad and distressed<br/>
+The comet with fiery tail,<br/>
+Announces my sorrow and grief<br/>
+Surrounded by darkness and tears,<br/>
+Evil auguries fill me with fears.<br/>
+O my mother! O most gracious Queen!<br/>
+O my husband so beloved!
+</p>
+
+<p class="drama">
+ANAHUARQUI.<br/>
+Compose thyself and dry thine eyes,<br/>
+The King, thy father, has arrived.<br/>
+Thou lovest Ollantay, my child?
+</p>
+
+<p class="drama">
+(Enter the INCA PACHACUTI. On his head the mascapaycha, with the llautu
+or imperial fringe. A tunic of cotton embroidered with gold; on his
+breast the golden breastplate representing the sun, surrounded by the
+calendar of months. Round his waist the fourfold belt of tocapu. A
+crimson mantle of fine vicuna wool, fastened on his shoulders by golden
+puma&rsquo;s heads. Shoes of cloth of gold. He sits down on the golden tiana.)
+</p>
+
+<p class="drama">
+INCA PACHACUTI.<br/>
+Cusi Coyllur! Star of joy,<br/>
+Most lovely of my progeny!<br/>
+Thou symbol of parental love&mdash;<br/>
+Thy lips are like the huayruru.<a href="#linknote-16" name="linknoteref-16" id="linknoteref-16">[16]</a><br/>
+Rest upon thy father&rsquo;s breast,<br/>
+Repose, my child, within mine arms.
+</p>
+
+<p class="center">
+(Cusi Coyllur comes across. They embrace.)
+</p>
+
+<p class="drama">
+Unwind thyself, my precious one,<br/>
+A thread of gold within the woof.<br/>
+All my happiness rests upon thee,<br/>
+Thou art my greatest delight.<br/>
+Thine eyes are lovely and bright,<br/>
+As the rays of my father the Sun.<br/>
+When thy lips are moving to speak,<br/>
+When thine eyelids are raised with a smile,<br/>
+The wide world is fairly entranced.<br/>
+Thy breathing embalms the fresh air;<br/>
+Without thee thy father would pine,<br/>
+Life to him would be dreary and waste.<br/>
+He seeks for thy happiness, child,<br/>
+Thy welfare is ever his care.
+</p>
+
+<p class="center">
+(Cusi Coyllur throws herself at his feet.)
+</p>
+
+<p class="drama">
+CUSI COYLLUR.<br/>
+O father, thy kindness to me<br/>
+I feel; and embracing thy knees<br/>
+All the grief of thy daughter will cease,<br/>
+At peace when protected by thee.<br/>
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+How is this! my daughter before me<br/>
+On knees at my feet, and in tears?<br/>
+I fear some evil is near&mdash;<br/>
+Such emotion must needs be explained.
+</p>
+
+<p class="drama">
+CUSI COYLLUR.<br/>
+The star does weep before Inti,<br/>
+The limpid tears wash grief away.<br/>
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+Rise, my beloved, my star,<br/>
+Thy place is on thy dear father&rsquo;s knee.
+</p>
+
+<p class="center">
+(Cusi Coyllur rises and sits on a stool by her father. An attendant
+approaches.)
+</p>
+
+<p class="drama">
+ATTENDANT.<br/>
+O King! thy servants come to please thee.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+Let them all enter.
+</p>
+
+<p class="center">
+(Boys and girls enter dancing. After the dance they sing a harvest song.)
+</p>
+
+<p class="drama">
+Thou must not feed,<br/>
+O Tuyallay,<a href="#linknote-17" name="linknoteref-17" id="linknoteref-17">[17]</a><br/>
+In Ñusta&rsquo;s field,<br/>
+O Tuyallay.<br/>
+Thou must not rob,<br/>
+O Tuyallay,<br/>
+The harvest maize,<br/>
+O Tuyallay.<br/>
+The grains are white,<br/>
+O Tuyallay,<br/>
+So sweet for food,<br/>
+O Tuyallay.<br/>
+The fruit is sweet,<br/>
+O Tuyallay,<br/>
+The leaves are green<br/>
+O Tuyallay;<br/>
+But the trap is set,<br/>
+O Tuyallay.<br/>
+The lime is there,<br/>
+O Tuyallay.<br/>
+We&rsquo;ll cut thy claws,<br/>
+O Tuyallay,<br/>
+To seize thee quick,<br/>
+O Tuyallay.<br/>
+Ask Piscaca,<a href="#linknote-18" name="linknoteref-18" id="linknoteref-18">[18]</a><br/>
+O Tuyallay,<br/>
+Nailed on a branch,<br/>
+O Tuyallay.<br/>
+Where is her heart,<br/>
+O Tuyallay?<br/>
+Where her plumes,<br/>
+O Tuyallay?<br/>
+She is cut up,<br/>
+O Tuyallay,<br/>
+For stealing grain,<br/>
+O Tuyallay.<br/>
+See the fate,<br/>
+O Tuyallay,<br/>
+Of robber birds,<br/>
+O Tuyallay.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+Cusi Coyllur, remain thou here,<br/>
+Thy mother&rsquo;s palace is thy home<br/>
+Fail not to amuse thyself,<br/>
+Surrounded by thy maiden friends.
+</p>
+
+<p class="right">
+(Exeunt the Inca Pachacuti, the Ccoya Anahuarqui, and attendants.)
+</p>
+
+<p class="drama">
+CUSI COYLLUR.<br/>
+I should better like a sadder song.<br/>
+My dearest friends, the last you sang<br/>
+To me foreshadowed evil things;<a href="#linknote-19" name="linknoteref-19" id="linknoteref-19">[19]</a><br/>
+You who sang it leave me now.
+</p>
+
+<p class="right">
+(Exeunt boys and girls, except one girl who sings.)
+</p>
+
+<p class="drama">
+Two loving birds are in despair,<a href="#linknote-20" name="linknoteref-20" id="linknoteref-20">[20]</a><br/>
+    They moan, they weep, they sigh;<br/>
+For snow has fallen on the pair,<br/>
+    To hollow tree they fly.<br/>
+<br/>
+But lo! one dove is left alone<br/>
+    And mourns her cruel fate;<br/>
+She makes a sad and piteous moan,<br/>
+    Alone without a mate.<br/>
+<br/>
+She fears her friend is dead and gone&mdash;<br/>
+    Confirmed in her belief,<br/>
+Her sorrow finds relief in song,<br/>
+    And thus she tells her grief.<br/>
+<br/>
+&lsquo;Sweet mate! Alas, where art thou now?<br/>
+    I miss thine eyes so bright,<br/>
+Thy feet upon the tender bough,<br/>
+    Thy breast so pure and bright.&rsquo;<br/>
+<br/>
+She wanders forth from stone to stone,<br/>
+    She seeks her mate in vain;<br/>
+&lsquo;My love! my love!&rsquo; she makes her moan,<br/>
+    She falls, she dies in pain.<br/>
+</p>
+
+<p class="drama">
+CUSI COYLLUR.<br/>
+That yarahui is too sad,<br/>
+Leave me alone.
+</p>
+
+<p class="right">
+(Exit the girl who sang the yarahui.)
+</p>
+
+<p class="drama">
+Now my tears can freely flow.
+</p>
+
+<h3><a name="scene03"></a>SCENE 3</h3>
+
+<p>
+Great hall in the palace of Pachacuti. The INCA, as before, discovered
+seated on a golden tiana L. Enter to him R. OLLANTAY and RUMI-ÑAUI.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+The time has arrived, O great Chiefs,<br/>
+To decide on the coming campaign.<br/>
+The spring is approaching us now,<br/>
+And our army must start for the war.<br/>
+To the province of Colla<a href="#linknote-21" name="linknoteref-21" id="linknoteref-21">[21]</a> we march&mdash;<br/>
+There is news of Chayanta&rsquo;s<a href="#linknote-22" name="linknoteref-22" id="linknoteref-22">[22]</a> advance.<br/>
+The enemies muster in strength,<br/>
+They sharpen their arrows and spears.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+O King, that wild rabble untaught<br/>
+Can never resist thine array;<br/>
+Cuzco alone with its height<br/>
+Is a barrier that cannot be stormed.<br/>
+Twenty four thousand of mine,<br/>
+With their champis<a href="#linknote-23" name="linknoteref-23" id="linknoteref-23">[23]</a> selected with care,<br/>
+Impatiently wait for the sign,<br/>
+The sound of the beat of my drums,<a href="#linknote-24" name="linknoteref-24" id="linknoteref-24">[24]</a><br/>
+The strains of my clarion and fife.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+Strive then to stir them to fight,<br/>
+Arouse them to join in the fray,<br/>
+Lest some should desire to yield,<br/>
+To escape the effusion of blood.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+The enemies gather in force,<br/>
+The Yuncas<a href="#linknote-25" name="linknoteref-25" id="linknoteref-25">[25]</a> are called to their aid;<br/>
+They have put on their garbs for the war,<br/>
+And have stopped up the principal roads.<br/>
+All this is to hide their defects&mdash;<br/>
+The men of Chayanta are base.<br/>
+We hear they&rsquo;re destroying the roads,<br/>
+But we can force open the way;<br/>
+Our llamas are laden with food&mdash;<br/>
+We are ready to traverse the wilds.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+Are you really ready to start<br/>
+To punish those angry snakes?<br/>
+But first you must give them a chance<br/>
+To surrender, retiring in peace,<br/>
+So that blood may not flow without cause,<br/>
+That no deaths of my soldiers befall.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+I am ready to march with my men,<br/>
+Every detail prepared and in place,<br/>
+But alas! I am heavy with care,<br/>
+Almost mad with anxious suspense.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+Speak, Ollantay. Tell thy wish&mdash;<br/>
+&rsquo;Tis granted, e&rsquo;en my royal fringe.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Hear me in secret, O King.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+(to Rumi-ñaui).<br/>
+Noble Chief of Colla, retire;<br/>
+Seek repose in thy house for a time.<br/>
+I will call thee before very long,<br/>
+Having need of thy valour and skill.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+With respect I obey thy command.
+</p>
+
+<p class="right">
+(Exit Rumi-ñaui.)
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Thou knowest, O most gracious Lord,<br/>
+That I have served thee from a youth,<br/>
+Have worked with fortitude and truth,<br/>
+Thy treasured praise was my reward.<a href="#linknote-26" name="linknoteref-26" id="linknoteref-26">[26]</a><br/>
+<br/>
+All dangers I have gladly met,<br/>
+For thee I always watched by night,<br/>
+For thee was forward in the fight,<br/>
+My forehead ever bathed in sweat.<br/>
+<br/>
+For thee I&rsquo;ve been a savage foe,<br/>
+Urging my Antis<a href="#linknote-27" name="linknoteref-27" id="linknoteref-27">[27]</a> not to spare,<br/>
+But kill and fill the land with fear,<br/>
+And make the blood of conquered flow.<br/>
+<br/>
+My name is as a dreaded rope,<a href="#linknote-28" name="linknoteref-28" id="linknoteref-28">[28]</a><br/>
+I&rsquo;ve made the hardy Yuncas<a href="#linknote-29" name="linknoteref-29" id="linknoteref-29">[29]</a> yield,<br/>
+By me the fate of Chancas<a href="#linknote-30" name="linknoteref-30" id="linknoteref-30">[30]</a> sealed,<br/>
+They are thy thralls without a hope.<br/>
+<br/>
+&rsquo;Twas I who struck the fatal blow,<br/>
+When warlike Huancavilca<a href="#linknote-31" name="linknoteref-31" id="linknoteref-31">[31]</a> rose,<br/>
+Disturbing thy august repose,<br/>
+And laid the mighty traitor low.<br/>
+<br/>
+Ollantay ever led the van,<br/>
+Wherever men were doomed to die;<br/>
+When stubborn foes were forced to fly,<br/>
+Ollantay ever was the man.<br/>
+<br/>
+Now every tribe bows down to thee&mdash;<br/>
+Some nations peacefully were led,<br/>
+Those that resist their blood is shed&mdash;<br/>
+But all, O King, was due to me.<br/>
+<br/>
+O Sovereign Inca, great and brave,<br/>
+Rewards I know were also mine,<br/>
+My gratitude and thanks are thine,<br/>
+To me the golden axe you gave.<br/>
+<br/>
+Inca! thou gavest me command<br/>
+And rule o&rsquo;er all the Anti race,<br/>
+To me they ever yield with grace,<br/>
+And thine, great King, is all their land<br/>
+<br/>
+My deeds, my merits are thine own<br/>
+To thee alone my work is due.<br/>
+For one more favour I would sue,<br/>
+My faithful service&mdash;thy renown.
+</p>
+
+<p class="center">
+(Ollantay kneels before the Inca.)
+</p>
+
+<p class="drama">
+Thy thrall: I bow to thy behest,<br/>
+Thy fiat now will seal my fate.<br/>
+O King, my services are great,<br/>
+I pray thee grant one last request.<br/>
+<br/>
+I ask for Cusi Coyllur&rsquo;s hand<br/>
+If the Ñusta&rsquo;s<a href="#linknote-32" name="linknoteref-32" id="linknoteref-32">[32]</a> love I&rsquo;ve won.<br/>
+O King! you&rsquo;ll have a faithful son,<br/>
+Fearless, well tried, at thy command.<br/>
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+Ollantay, thou dost now presume.<br/>
+Thou art a subject, nothing more.<br/>
+Remember, bold one, who thou art,<br/>
+And learn to keep thy proper place.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Strike me to the heart.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+&rsquo;Tis for me to see to that,<br/>
+And not for thee to choose.<br/>
+Thy presumption is absurd.
+Be gone!
+</p>
+
+<p class="right">
+(Ollantay rises and exit R.)
+</p>
+
+<h3><a name="scene04"></a>SCENE 4</h3>
+
+<p>
+A rocky height above Cuzco to the NE. Distant view of the city of Cuzco
+and of the Sacsahuaman hill, crowned by the fortress.
+</p>
+
+<p class="center">
+(Enter OLLANTAY armed.)
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Alas, Ollantay! Ollantay!<br/>
+Thou master of so many lands,<br/>
+Insulted by him thou servedst well.<br/>
+O my thrice-beloved Coyllur,<br/>
+Thee too I shall lose for ever.<br/>
+O the void<a href="#linknote-33" name="linknoteref-33" id="linknoteref-33">[33]</a> within my heart,<br/>
+O my princess! O precious dove!<br/>
+Cuzco! O thou beautiful city!<br/>
+Henceforth behold thine enemy.<br/>
+I&rsquo;ll bare thy breast to stab thy heart,<br/>
+And throw it as food for condors;<br/>
+Thy cruel Inca I will slay.<br/>
+I will call my men in thousands,<br/>
+The Antis will be assembled,<br/>
+Collected as with a lasso.<br/>
+All will be trained, all fully armed,<br/>
+I will guide them to Sacsahuaman.<br/>
+They will be as a cloud of curses,<br/>
+When flames rise to the heavens.<br/>
+Cuzco shall sleep on a bloody couch,<br/>
+The King shall perish in its fall;<br/>
+Then shall my insulter see<br/>
+How numerous are my followers.<br/>
+When thou, proud King, art at my feet,<br/>
+We then shall see if thou wilt say,<br/>
+&lsquo;Thou art too base for Coyllur&rsquo;s hand.&rsquo;<br/>
+Not then will I bow down and ask,<br/>
+For I, not thou, will be the King&mdash;<br/>
+Yet, until then, let prudence rule.
+</p>
+
+<p class="center">
+(Enter PIQUI CHAQUI from back, R.)
+</p>
+
+<p class="drama">
+Piqui Chaqui, go back with speed,<br/>
+Tell the Princess I come to-night.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+I have only just come from there&mdash;<br/>
+The palace was deserted quite,<br/>
+No soul to tell me what had passed,<br/>
+Not even a dog<a href="#linknote-34" name="linknoteref-34" id="linknoteref-34">[34]</a> was there.<br/>
+All the doors were closed and fastened,<br/>
+Except the principal doorway,<br/>
+And that was left without a guard.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+And the servants?
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Even the mice had fled and gone,<br/>
+For nothing had been left to eat.<br/>
+Only an owl was brooding there,<br/>
+Uttering its cry of evil omen.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Perhaps then her father has taken her,<br/>
+To hide her in his palace bounds.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+The Inca may have strangled her;<br/>
+Her mother too has disappeared.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Did no one ask for me<br/>
+Before you went away?
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Near a thousand men are seeking<br/>
+For you, and all are enemies,<br/>
+Armed with their miserable clubs.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+If they all arose against me,<br/>
+With this arm I&rsquo;d fight them all<br/>
+No one yet has beat this hand,<br/>
+Wielding the champi sharp and true.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+I too would like to give a stroke<br/>
+At least, if my enemy was unarmed.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+To whom?
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+I mean that Urco Huaranca chief,<br/>
+Who lately was in search of thee.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Perhaps the Inca sends him here<br/>
+If so my anger is aroused.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Not from the King, I am assured,<br/>
+He cometh of his own accord<br/>
+And yet he is an ignoble man.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+He has left Cuzco, I believe;<br/>
+My own heart tells me it is so<br/>
+I&rsquo;m sure that owl announces it.<br/>
+We&rsquo;ll take to the hills, at once.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+But wilt thou abandon the Star?
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+What can I do, alas!<br/>
+Since she has disappeared?<br/>
+Alas, my dove! my sweet princess.
+</p>
+
+<p class="center">
+(Music heard among the rocks.)
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Listen to that yarahui,<br/>
+The sound comes from somewhere near.
+</p>
+
+<p class="right">
+(They sit on rocks.)
+</p>
+
+<p class="drama">
+SONG
+</p>
+
+<p class="drama">
+In a moment I lost my beloved,<br/>
+    She was gone, and I never knew where;<br/>
+I sought her in fields and in woods,<br/>
+    Asking all if they&rsquo;d seen the Coyllur.<br/>
+<br/>
+Her face was so lovely and fair,<br/>
+    They called her the beautiful Star.<br/>
+No one else can be taken for her,<br/>
+    With her beauty no girl can compare.<br/>
+<br/>
+Both the sun and the moon seem to shine,<br/>
+    Resplendent they shine from a height,<br/>
+Their rays to her beauty resign<br/>
+    Their brilliant light with delight.<br/>
+<br/>
+Her hair is a soft raven black,<br/>
+    Her tresses are bound with gold thread,<br/>
+They fall in long folds down her back,<br/>
+    And add charm to her beautiful head.<br/>
+<br/>
+Her eyelashes brighten her face,<br/>
+    Two rainbows less brilliant and fair,<br/>
+Her eyes full of mercy and grace,<br/>
+    With nought but two, suns can compare.<br/>
+<br/>
+The eyelids with arrows concealed,<br/>
+    Gaily shoot their rays into the heart<br/>
+They open, lo! beauty revealed,<br/>
+    Pierces through like a glittering dart.<br/>
+<br/>
+Her cheeks Achancara<a href="#linknote-35" name="linknoteref-35" id="linknoteref-35">[35]</a> on snow,<br/>
+    Her face more fair than the dawn,<br/>
+From her mouth the laughter doth flow,<br/>
+    Between pearls as bright as the morn.<br/>
+<br/>
+Smooth as crystal and spotlessly clear<br/>
+    Is her throat, like the corn in a sheaf<br/>
+Her bosoms, which scarcely appear,<br/>
+    Like flowers concealed by a leaf.<br/>
+<br/>
+Her beautiful hand is a sight,<br/>
+    As it rests from all dangers secure,<br/>
+Her fingers transparently white,<br/>
+    Like icicles spotless and pure.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+(<i>rising</i>).<br/>
+That singer, unseen and unknown,<br/>
+Has declared Coyllur&rsquo;s beauty and grace;<br/>
+He should fly hence, where grief overwhelms.<br/>
+O Princess! O loveliest Star,<br/>
+I alone am the cause of thy death,<br/>
+I also should die with my love.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Perhaps thy star has passed away,<br/>
+For the heavens are sombre and grey.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+When they know that their Chief has fled,<br/>
+My people will rise at my call,<br/>
+They will leave the tyrant in crowds<br/>
+And he will be nearly alone.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Thou hast love and affection from men,<br/>
+For thy kindness endears thee to all,<br/>
+For thy hand&rsquo;s always open with gifts,<br/>
+And is closely shut only to me.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Of what hast thou need?
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+What? the means to got this and that,<br/>
+To offer a gift to my girl,<br/>
+To let others see what I have,<br/>
+So that I may be held in esteem.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Be as brave as thou art covetous,<br/>
+And all the world will fear thee.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+My face is not suited for that;<br/>
+Always gay and ready to laugh,<br/>
+My features are not shaped that way.<br/>
+To look brave! not becoming to me.<br/>
+What clarions sound on the hills?<br/>
+It quickly cometh near to us.
+</p>
+
+<p class="center">
+(Both look out at different sides.)
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+I doubt not those who seek me&mdash;come,<br/>
+Let us depart and quickly march.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+When flight is the word, I am here.
+</p>
+
+<p class="right">
+(Exeunt.)
+</p>
+
+<h3><a name="scene05"></a>SCENE 5</h3>
+
+<p>
+The great hall of the palace of Pachacuti. The INCA, as before, seated on
+the tiana. Enter to him RUMI-ÑAUI.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+I ordered a search to be made,<br/>
+But Ollantay was not to be found.<br/>
+My rage I can scarcely control&mdash;<br/>
+Hast thou found this infamous wretch?
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+His fear makes him hide from thy wrath.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+Take a thousand men fully armed,<br/>
+And at once commence the pursuit.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Who can tell what direction to take?<br/>
+Three days have gone by since his flight,<br/>
+Perchance he&rsquo;s concealed in some house,<br/>
+And till now he is there, safely hid.
+</p>
+
+<p class="center">
+(Enter a chasqui or messenger with quipus.)
+</p>
+
+<p class="drama">
+Behold, O King, a messenger<br/>
+From Urubamba he has come.
+</p>
+
+<p class="drama">
+CHASQUI.<br/>
+I was ordered to come to my King,<br/>
+Swift as the wind, and behold me.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+What news bringest thou?
+</p>
+
+<p class="drama">
+CHASQUI.<br/>
+This quipu will tell thee, O King.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+Examine it, O Rumi-ñaui.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Behold the llanta, and the knots<a href="#linknote-36" name="linknoteref-36" id="linknoteref-36">[36]</a><br/>
+Announce the number of his men.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+(to Chasqui).<br/>
+And thou, what hast thou seen?
+</p>
+
+<p class="drama">
+CHASQUI.<br/>
+&rsquo;Tis said that all the Anti host<br/>
+Received Ollantay with acclaim;<br/>
+Many have seen, and they recount,<br/>
+Ollantay wears the royal fringe.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+The quipu record says the same.
+</p>
+
+<p class="drama">
+PACHACUTI.<br/>
+Scarcely can I restrain my rage!<br/>
+Brave chief, commence thy march at once,<br/>
+Before the traitor gathers strength.<br/>
+If thy force is not enough,<br/>
+Add fifty thousand men of mine.<br/>
+Advance at once with lightning speed,<br/>
+And halt not till the foe is reached.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+To-morrow sees me on the route,<br/>
+I go to call the troops at once<br/>
+The rebels on the Colla road,<br/>
+I drive them flying down the rocks.<br/>
+Thine enemy I bring to thee,<br/>
+Dead or alive, Ollantay falls.<br/>
+Meanwhile, O Inca, mighty Lord,<br/>
+Rest and rely upon thy thrall.
+</p>
+
+<p class="right">
+(Exeunt.)
+</p>
+
+<p class="center">
+END OF ACT I.
+</p>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2><a name="act02"></a>ACT II</h2>
+
+<h3><a name="scene06"></a>SCENE 1</h3>
+
+<p>
+Ollantay-tampu. Hall of the fortress-palace. Back scene seven immense stone,
+slabs, resting on them a monolith right across. Above masonry. At sides masonry
+with recesses; in the R. centre a great doorway. A golden tiana against the
+central slab.
+</p>
+
+<p class="center">
+(Enter OLLANTAY and URCO HUARANCA, both fully armed.)
+</p>
+
+<p class="drama">
+URCO HUARANCA.<br/>
+Ollantay, thou hast been proclaimed<br/>
+By all the Antis as their Lord.<br/>
+The women weep, as you will see&mdash;<br/>
+They lose their husbands and their sons,<br/>
+Ordered to the Chayanta war.<br/>
+When will there be a final stop<br/>
+To distant wars? Year after year<br/>
+They send us all to far-off lands,<br/>
+Where blood is made to flow like rain.<br/>
+The King himself is well supplied<br/>
+With coca and all kinds of food.<br/>
+What cares he that his people starve?<br/>
+Crossing the wilds our llamas die,<br/>
+Our feet are wounded by the thorns,<br/>
+And if we would not die of thirst<br/>
+We carry water on our backs.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Gallant friends! Ye hear those words,<br/>
+Ye listen to the mountain chief.<br/>
+Filled with compassion for my men,<br/>
+I thus, with sore and heavy heart,<br/>
+Have spoken to the cruel king:<br/>
+&lsquo;The Anti-suyu must have rest;<br/>
+All her best men shan&rsquo;t die for thee,<br/>
+By battle, fire, and disease&mdash;<br/>
+They die in numbers terrible.<br/>
+How many men have ne&rsquo;er returned,<br/>
+How many chiefs have met their death<br/>
+For enterprises far away?&rsquo;<br/>
+For this I left the Inca&rsquo;s court,<a href="#linknote-37" name="linknoteref-37" id="linknoteref-37">[37]</a><br/>
+Saying that we must rest in peace;<br/>
+Lot none of us forsake our hearths,<br/>
+And if the Inca still persists,<br/>
+Proclaim with him a mortal feud.
+</p>
+
+<p class="center">
+(Enter HANCO HUAYLLU, several chiefs, and a great crowd of soldiers and 
+people.)
+</p>
+
+<p class="drama">
+PEOPLE.<br/>
+Long live our king, Ollantay<br/>
+Bring forth the standard and the fringe,<br/>
+Invest him with the crimson fringe<br/>
+In Tampu now the Inca reigns,<br/>
+He rises like the star of day.
+</p>
+
+<p class="right">
+(The chiefs, soldiers, and people range them selves round. Ollantay is
+seated on the tiana by Hanco Huayllu, an aged Auqui or Prince.)
+</p>
+
+<p class="drama">
+HANCO HUAYLLU.<br/>
+Receive from me the royal fringe,<br/>
+&rsquo;Tis given by the people&rsquo;s will.<br/>
+Uilcanota<a href="#linknote-38" name="linknoteref-38" id="linknoteref-38">[38]</a> is a distant land,<br/>
+Yet, even now, her people come<br/>
+To range themselves beneath thy law.
+</p>
+
+<p class="center">
+(Ollantay is invested with the fringe. He rises.)
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Urco Huaranca, thee I name<br/>
+Of Anti-suyu Chief and Lord;<br/>
+Receive the arrows and the plume,
+</p>
+
+<p class="center">
+(Gives them.)
+</p>
+
+<p class="drama">
+Henceforth thou art our general.
+</p>
+
+<p class="drama">
+PEOPLE.<br/>
+Long life to the Mountain Chief.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Hanco Huayllu,<a href="#linknote-39" name="linknoteref-39" id="linknoteref-39">[39]</a> of all my lords<br/>
+Thou art most venerable and wise,<br/>
+Being kin to the august High Priest,<br/>
+It is my wish that thou shouldst give<br/>
+The ring unto the Mountain Chief.
+</p>
+
+<p class="center">
+(Urco Huaranca kneels, and Hanco Huayllu addresses him.)
+</p>
+
+<p class="drama">
+HANCO HUAYLLU.<br/>
+This ring around thy finger&rsquo;s placed<br/>
+That thou mayst feel, and ne&rsquo;er forget,<br/>
+That when in fight thou art engaged,<br/>
+Clemency becomes a hero chief.
+</p>
+
+<p class="drama">
+URCO HUARANCA.<br/>
+A thousand times, illustrious king,<br/>
+I bless thee for thy trust in me.
+</p>
+
+<p class="drama">
+HANCO HUAYLLU.<br/>
+Behold the valiant Mountain Chief,<br/>
+Now fully armed from head to foot,<br/>
+And bristling like the quiscahuan,<a href="#linknote-40" name="linknoteref-40" id="linknoteref-40">[40]</a><br/>
+Accoutred as becomes a knight.
+</p>
+
+<p class="center">
+(Turning to Urco Huaranca.)
+</p>
+
+<p class="drama">
+Ne&rsquo;er let thine enemies take thee in rear<br/>
+Man of the Puna,<a href="#linknote-41" name="linknoteref-41" id="linknoteref-41">[41]</a> it ne&rsquo;er can be said<br/>
+You fled or trembled as a reed.
+</p>
+
+<p class="drama">
+URCO HUARANCA.<br/>
+Hear me, warriors of the Andes!<br/>
+Already we have a valiant king,<br/>
+It might be he will be attacked;<br/>
+&rsquo;Tis said th&rsquo; old Inca sends a force,<br/>
+The men of Cuzco now advance.<br/>
+We have not a single day to lose;<br/>
+Call from the heights our Puna men,<br/>
+Prepare their arms without delay,<br/>
+Make Tampu strong with rampart walls,<br/>
+No outlet leave without a guard;<br/>
+On hill slopes gather pois&rsquo;nous herbs<br/>
+To shoot our arrows, carrying death.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+(to Urco Huaranca).<br/>
+Select the chiefs!<br/>
+Fix all the posts for different tribes;<br/>
+Our foes keep marching without sleep&mdash;<br/>
+Contrive to check them by surprise.<br/>
+The compi<a href="#linknote-42" name="linknoteref-42" id="linknoteref-42">[42]</a> ruse may cause their flight.
+</p>
+
+<p class="drama">
+URCO HUARANCA.<br/>
+Thirty thousand brave Antis are here,<br/>
+Amongst them no weakling is found;<br/>
+Apu Maruti,<a href="#linknote-43" name="linknoteref-43" id="linknoteref-43">[43]</a> the mighty in war,<br/>
+From high Uilcapampa<a href="#linknote-44" name="linknoteref-44" id="linknoteref-44">[44]</a> will come,<br/>
+On steep Tinquiqueru<a href="#linknote-45" name="linknoteref-45" id="linknoteref-45">[45]</a> he&rsquo;ll stand<br/>
+To march when the signal appears;<br/>
+On the opposite side of the stream<br/>
+Prince Chara<a href="#linknote-46" name="linknoteref-46" id="linknoteref-46">[46]</a> has mustered his force;<br/>
+In the gorge Charamuni<a href="#linknote-47" name="linknoteref-47" id="linknoteref-47">[47]</a> I post<br/>
+Ten thousand armed Antis on watch;<br/>
+Another such force is in wait<br/>
+On the left, in the vale of Pachar.<a href="#linknote-48" name="linknoteref-48" id="linknoteref-48">[48]</a><br/>
+We are ready to meet our foes,<br/>
+We await them with resolute calm;<br/>
+They will march in their confident pride<br/>
+Until their retreat is cut off,<br/>
+Then the trumpet of war shall resound,<br/>
+From the mountains the stones shall pour down,<br/>
+Great blocks will be hurled from above.<br/>
+The Huancas<a href="#linknote-49" name="linknoteref-49" id="linknoteref-49">[49]</a> are crushed or dispersed,<br/>
+Then the knife shall do its fell work,<br/>
+All will perish by blows from our hands,<br/>
+Our arrows will follow their flight.
+</p>
+
+<p class="drama">
+PEOPLE and SOLDIERS.<br/>
+It is well! It is very well!
+</p>
+
+<p class="center">
+(Cheers and martial music.)
+</p>
+
+<p class="right">
+(Exeunt.)
+</p>
+
+<h3><a name="scene07"></a>SCENE 2</h3>
+
+<p>
+A wild place the mountains. Distant view of Ollantay-tampu.
+</p>
+
+<p>
+(Enter Rumi-ñaui, torn and ragged, and covered with blood, with two
+attendants.)
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Ah! Rumi-ñaui&mdash;Rumi-ñaui,<a href="#linknote-50" name="linknoteref-50" id="linknoteref-50">[50]</a><br/>
+Thou art a fated rolling stone,<a href="#linknote-51" name="linknoteref-51" id="linknoteref-51">[51]</a><br/>
+Escaped indeed, but quite alone,<br/>
+And this is now thy <i>yarahui</i>.<br/>
+<br/>
+Ollantay posted on the height,<br/>
+Thou couldst not either fight or see,<br/>
+Thy men did quickly fall or flee;<br/>
+No room was there to move or fight.<br/>
+<br/>
+Thou knowest now thy heart did beat<br/>
+And flutter like a butterfly;<br/>
+Thy skill thou couldst not then apply,<br/>
+No course was left thee but retreat.<br/>
+<br/>
+They had recourse to a surprise,<br/>
+Our warriors immolated quite.<br/>
+Ah! that alone could turn thee white&mdash;<br/>
+From shame like that, canst e&rsquo;er arise?<br/>
+<br/>
+By thousands did thy warriors fall,<br/>
+I hardly could alone escape,<br/>
+With open mouth fell death did gape,<br/>
+A great disaster did befall.<br/>
+<br/>
+Holding that traitor to be brave,<br/>
+I sought to meet him face to face&mdash;<br/>
+Rushing to seek him with my mace,<br/>
+I nearly found a warrior&rsquo;s grave.<br/>
+<br/>
+My army then was near the hill,<br/>
+When suddenly the massive stones<br/>
+Came crashing down, with cries and moans,<br/>
+While clarions sounded loud and shrill.<br/>
+<br/>
+A rain of stones both great and small<br/>
+Down on the crowd of warriors crashed,<br/>
+On every side destruction flashed,<br/>
+Thy heart the slaughter did appal.<br/>
+<br/>
+Like a strong flood the blood did flow,<br/>
+Inundating the ravine;<br/>
+So sad a sight thou ne&rsquo;er hast seen&mdash;<br/>
+No man survived to strike a blow.<br/>
+<br/>
+O thou who art by this disgraced,<br/>
+What figure canst thou ever show<br/>
+Before the king, who seeks to know<br/>
+The truth, which must be faced?<br/>
+<br/>
+&rsquo;Tis better far myself to kill,<br/>
+Or losing every scrap of hope,<br/>
+To hang my body with this rope.
+</p>
+
+<p class="center">
+(Takes a sling off his cap&mdash;going.)
+</p>
+
+<p class="drama">
+Yet may it not be useful still?
+</p>
+
+<p class="center">
+(Turns again.)
+</p>
+
+<p class="drama">
+When bold Ollantay&rsquo;s end has come.<a href="#linknote-52" name="linknoteref-52" id="linknoteref-52">[52]</a>
+</p>
+
+<p class="right">
+(Exit.)
+</p>
+
+<h3><a name="scene08"></a>SCENE 3</h3>
+
+<p>
+A garden in the house of the Virgins of the Sun. Chilca shrubs and mulli
+trees (Schinus Molle) with panicles of red berries. The walls of the house
+at the back, with a door. A gate (L.) opening on the street.
+</p>
+
+<p>
+(YMA SUMAC discovered at the gate looking out. To her enters (R.) PITU
+SALLA. Both dressed in white with golden belts.)
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+Yma Sumac, do not approach<br/>
+So near that gate, and so often;<br/>
+It might arouse the Mother&rsquo;s wrath.<br/>
+Thy name, which is so dear to me,<br/>
+Will surely pass from mouth to mouth.<br/>
+Honour shall be shown to chosen ones,<a href="#linknote-53" name="linknoteref-53" id="linknoteref-53">[53]</a><br/>
+Who wish to close the outer gate.<br/>
+Amuse thyself within the walls,<br/>
+And no one then can say a word.<br/>
+Think well what you can find within&mdash;<br/>
+It gives you all you can desire,<br/>
+Of dresses, gold, and dainty food.<br/>
+Thou art beloved by every one,<br/>
+E&rsquo;en Virgins of the royal blood.<br/>
+The Mothers love to carry thee,<br/>
+They give thee kisses and caress&mdash;<br/>
+You they prefer to all the rest.<br/>
+What more could any one desire,<br/>
+Than always to remain with them,<br/>
+Destined to be servant of the Sun?<br/>
+In contemplating Him there&rsquo;s peace.
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+Pitu Salla, ever you repeat<br/>
+The same thing and the same advice;<br/>
+I will open to thee my whole heart,<br/>
+And say exactly what I think.<br/>
+Know that to me this court and house<br/>
+Are insupportable&mdash;no less;<br/>
+The place oppresses&mdash;frightens me&mdash;<br/>
+Each day I curse my destiny.<br/>
+The faces of all the Mama Cuna<br/>
+Fill me with hatred and disgust,<br/>
+And from the place they make me sit,<br/>
+Nothing else is visible.<br/>
+Around me there is nothing bright,<br/>
+All are weeping and ne&rsquo;er cease<br/>
+If I could ever have my way,<br/>
+No person should remain within.<br/>
+I see the people pass outside,<br/>
+Laughing as they walk along.<br/>
+The reason it is plain to see&mdash;<br/>
+They are not mewed and cloistered here.<br/>
+Is it because I have no mother,<br/>
+That I am kept a prisoner?<br/>
+Or is it I&rsquo;m a rich novice?<br/>
+Then from to-day I would be poor.<br/>
+Last night I could not get to sleep,<br/>
+I wandered down a garden walk;<br/>
+In the dead silence of the night,<br/>
+I heard one mourn. A bitter cry,<br/>
+As one who sought and prayed for death.<br/>
+On every side I looked about,<br/>
+My hair almost on end with fright,<br/>
+Trembling, I cried, &lsquo;Who canst thou be?&rsquo;<br/>
+Then the voice murmured these sad words:<br/>
+&lsquo;O Sun, release me from this place!&rsquo;<br/>
+And this, amidst such sighs and groans!<br/>
+I searched about, but nothing found&mdash;<br/>
+The grass was rustling in the wind.<br/>
+I joined my tears to that sad sound,<br/>
+My heart was torn with trembling fear.<br/>
+When now the recollection comes,<br/>
+I&rsquo;m filled with sorrow and with dread.<br/>
+You know now why I hate this place.<br/>
+Speak no more, my dearest friend,<br/>
+Of reasons for remaining here.
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+At least go in. The Mother may appear.<br/>
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+But pleasant is the light of day.
+</p>
+
+<p class="right">
+(Exit, R.)
+</p>
+
+<p class="center">
+(Enter MAMA CCACCA, L., in grey with black edges and belt.)
+</p>
+
+<p class="drama">
+MAMA CCACCA.<br/>
+Pitu Salla, hast thou spoken<br/>
+All I told thee to that child?
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+I have said all to her.
+</p>
+
+<p class="drama">
+MAMA CCACCA.<br/>
+And she, does she answer freely?
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+She has wept and asked for pity,<br/>
+Refusing to comply at all.<br/>
+She will not take the virgin&rsquo;s oath.
+</p>
+
+<p class="drama">
+MAMA CCACCA.<br/>
+And this in spite of thy advice?
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+I showed her the dress she will wear,<br/>
+Telling her misfortune would befall<br/>
+If she refused to be a chosen one&mdash;<br/>
+That she would ever be an outcast,<br/>
+And for us a child accursed.
+</p>
+
+<p class="drama">
+MAMA CCACCA.<br/>
+What can she imagine,<br/>
+Wretched child of an unknown father,<br/>
+A maid without a mother,<br/>
+Just a fluttering butterfly?<br/>
+Tell her plainly, very plainly,<br/>
+That these walls offer her a home,<br/>
+Suited for outcasts such as she,<br/>
+And here no light is seen.
+</p>
+
+<p class="right">
+(Exit, L.)
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+Ay, my Sumac! Yma Sumac!<br/>
+These walls will be cruel indeed,<br/>
+To hide thy surpassing beauty.
+</p>
+
+<p class="center">
+(Glancing to where Mama Ccacca went out.)
+</p>
+
+<p class="drama">
+What a serpent! What a puma!
+</p>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2><a name="act03"></a>ACT III</h2>
+
+<h3><a name="scene09"></a>SCENE 1</h3>
+
+<p>
+The Pampa Moroni, a street in Cuzco. Enter RUMI-ÑAUI (L.)<a
+href="#linknote-54" name="linknoteref-54" id="linknoteref-54">[54]</a> in
+a long black cloak with a train, and PIQUI CHAQUI (R.), meeting each
+other.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Whence, Piqui Chaqui, comest thou?<br/>
+Dost thou here seek Ollantay&rsquo;s fate?
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Cuzco, great lord, is my birthplace;<br/>
+I hasten back unto my home.<br/>
+I care not more to pass my days<br/>
+In dismal and profound ravines.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Tell me, Ollantay&mdash;what does he?
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+He is busy now entangling<br/>
+An already entangled skein.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+What skein?
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Should you not give me some present<br/>
+If you want me to talk to you.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+With a stick will I give thee blows,<br/>
+With a rope I will hang thee.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+O, do not frighten me!
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Speak then.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Ollantay. Is it Ollantay?<br/>
+I can remember no more.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Piqui Chaqui! Take care!
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+But you will not listen!<br/>
+I am turning blind,<br/>
+My ears are getting deaf,<br/>
+My grandmother is dead,<br/>
+My mother is left alone.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Where is Ollantay? Tell me.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+I am in want of bread,<br/>
+And the Paccays<a href="#linknote-55" name="linknoteref-55" id="linknoteref-55">[55]</a> are not ripe.<br/>
+I have a long journey to-day&mdash;<br/>
+The desert is very far off.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+If you continue to vex me<br/>
+I will take your life.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Ollantay, is it? He is at work.<br/>
+Ollantay! He is building a wall,<br/>
+With very small stones indeed;<br/>
+They are brought by little dwarfs&mdash;<br/>
+So small that to be a man&rsquo;s size<br/>
+They have to climb on each other&rsquo;s backs.<br/>
+But tell me, O friend of the King,<a href="#linknote-56" name="linknoteref-56" id="linknoteref-56">[56]</a><br/>
+Why art thou in such long clothes,<br/>
+Trailing like the wings of a sick bird<a href="#linknote-57" name="linknoteref-57" id="linknoteref-57">[57]</a>&mdash;<br/>
+As they are black it is better.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Hast thou not seen already<br/>
+That Cuzco is plunged in grief?<br/>
+The great Inca Pachacuti<a href="#linknote-58" name="linknoteref-58" id="linknoteref-58">[58]</a> is dead,<br/>
+All the people are in mourning,<br/>
+Every soul is shedding tears.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Who, then, succeeds to the place<br/>
+Which Pachacuti has left vacant?<br/>
+If Tupac Yupanqui succeeds,<br/>
+That Prince is the youngest<br/>
+There are some others older.<a href="#linknote-59" name="linknoteref-59" id="linknoteref-59">[59]</a>
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+All Cuzco has elected him,<br/>
+For the late king chose him,<br/>
+Giving him the royal fringe;<br/>
+We could elect no other.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+I hasten to bring my bed here.<a href="#linknote-60" name="linknoteref-60" id="linknoteref-60">[60]</a>
+</p>
+
+<p class="right">
+(Exit running.)
+</p>
+
+<h3><a name="scene10"></a>SCENE 2</h3>
+
+<p>
+Great hall of the palace of Tupac Yupanqui. The INCA seated on golden
+tiana (C.).
+</p>
+
+<p>
+(Enter the HIGH PRIEST or UILLAC UMA, with priests and chosen Virgins of
+the Sun. The INCA dressed as his father. Uillac Uma in full dress, wearing
+the huampar chucu. Virgins in white with gold belts and diadems. They
+range themselves by the throne (L.). Then enter RUMI-ÑAUI and a crowd of
+chiefs, all in full dress, ranging themselves by the throne (R.).)
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+This day, O Councillors and Chiefs,<br/>
+Let all receive my benison;<br/>
+You Holy Virgins of the Sun<a href="#linknote-61" name="linknoteref-61" id="linknoteref-61">[61]</a><br/>
+Receive our father&rsquo;s tenderest care.<br/>
+The realm, rejoicing, hails me king;<br/>
+From deep recesses of my heart<br/>
+I swear to seek the good of all.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+To-day the smoke of many beasts<br/>
+Ascends on high towards the sun,<br/>
+The Deity with joy accepts<br/>
+The sacrifice of prayer and praise.<br/>
+We found in ashes of the birds<br/>
+Our only Inca, King, and Lord,<br/>
+In the great llama sacrifice;<br/>
+All there beheld an eagle&rsquo;s form,<br/>
+We opened it for augury,<br/>
+But lo! the heart and entrails gone.<br/>
+The eagle Anti-suyu means&mdash;<br/>
+To thy allegiance they return.
+</p>
+
+<p class="center">
+(Bowing to the Inca.)
+</p>
+
+<p class="drama">
+Thus I, thy augur, prophesy.
+</p>
+
+<p class="right">
+(Acclamation.) (Exeunt all but Uillac Uma and Rumi-ñaui.)
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+(turning to Rumi-ñaui).<br/>
+Behold the Hanan-suyu Chief<br/>
+Who let the enemy escape,<br/>
+Who led to almost certain death<br/>
+So many thousands of my men.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Before his death thy father knew<br/>
+Disaster had befallen me;<br/>
+&rsquo;Tis true, O King, it was my fault,<br/>
+Like a stone<a href="#linknote-62" name="linknoteref-62" id="linknoteref-62">[62]</a> I gave my orders,<br/>
+And volleying stones soon beat me down;<br/>
+It was with stones I had to fight,<br/>
+And in the end they crushed my men.<br/>
+Oh! grant me, Lord, a single chance,<br/>
+Give perfect freedom to my plans,<br/>
+Myself will to the fortress march,<br/>
+And I will leave it desolate.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+For thee to strive with all thy might,<br/>
+For thee thine honour to regain,<br/>
+For thou shalt ne&rsquo;er command my men<br/>
+Unless thy worthiness is proved.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+Not many days shall pass, O King,<br/>
+E&rsquo;er all the Antis are subdued.<br/>
+I&rsquo;ve seen it in the quipu roll,<br/>
+Haste! Haste! thou Rumi Tunqui. <a href="#linknote-63" name="linknoteref-63" id="linknoteref-63">[63]</a>
+</p>
+
+<p class="right">
+(Exeunt.)
+</p>
+
+<h3><a name="scene11"></a>SCENE 3</h3>
+
+<p>
+The great terrace entrance to Ollantay-tampu. On R. a long masonry wall
+with recesses at intervals. At back a great entrance doorway. On L.
+terraces descend, with view of valley and mountains.
+</p>
+
+<p>
+(Guards discovered at entrance doorway. To them enter RUMI-ÑAUI in rags,
+his face cut and slashed with wounds, and covered with blood.)
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Will no one here have pity on me?
+</p>
+
+<p class="drama">
+ONE OF THE GUARDS.<br/>
+Who art thou, man?<br/>
+Who has ill-treated thee?<br/>
+Thou comest in a frightful state,<br/>
+Covered with blood and gaping wounds.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Go quickly to thy king and say<br/>
+That one he loves has come to him.<br/>
+</p>
+
+<p class="drama">
+ONE OF THE GUARDS.<br/>
+Thy name?
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+There is no need to give a name.<br/>
+</p>
+
+<p class="drama">
+ONE OF THE GUARDS.<br/>
+Wait here.
+</p>
+
+<p class="right">
+(Exit one of the guards.)
+</p>
+
+<p class="center">
+(Enter OLLANTAY with guards, R. front.)
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+A thousand times I thee salute,<br/>
+Ollantay, great and puissant king!<br/>
+Have pity on a fugitive<br/>
+Who seeks a refuge here with thee.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Who art thou, man? Approach nearer.<br/>
+Who has thus ill-treated thee?<br/>
+Were such deep and fearful wounds<br/>
+Caused by a fall, or what mishap?
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Thou knowest me, O mighty chief.<br/>
+I am that stone that fell down once,<br/>
+But now I fall before thy feet;<br/>
+O Inca! mercy! Raise me up!
+</p>
+
+<p class="center">
+(Kneels.)
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Art thou the noble Rumi-ñaui,<br/>
+Great Chief and Lord of Hanan-suyu?
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Yes, I was that well-known Chief&mdash;<br/>
+A bleeding fugitive to-day.<br/>
+Ollantay. Rise, comrade mine. Let us embrace.
+</p>
+
+<p class="center">
+(Rises.)
+</p>
+
+<p class="drama">
+Who has dared to treat thee thus,<br/>
+And who has brought thee here to me<br/>
+Within my fortress, on my hearth?
+</p>
+
+<p class="center">
+(To attendants.)
+</p>
+
+<p class="drama">
+Bring new clothes for my oldest friend.
+</p>
+
+<p class="right">
+(Exit an attendant.)
+</p>
+
+<p class="drama">
+How is it that thou art alone?<br/>
+Camest thou not fearing death?
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+A new king reigns in Cuzco now&mdash;<br/>
+Tupac Yupanqui is installed.<br/>
+Against the universal wish,<br/>
+He rose upon a wave of blood;<br/>
+Safety he sees in headless trunks,<br/>
+The sunchu<a href="#linknote-64" name="linknoteref-64" id="linknoteref-64">[64]</a> and the nucchu<a href="#linknote-65" name="linknoteref-65" id="linknoteref-65">[65]</a> red<br/>
+Are sent to all he would destroy.<br/>
+Doubtless you have not forgot<br/>
+That I was Hanan-suyu&rsquo;s Chief.<br/>
+Yupanqui ordered me to come;<br/>
+Arrived, I came before the king,<br/>
+And as he has a cruel heart,<br/>
+He had me wounded as you see;<br/>
+And now thou knowest, king and friend,<br/>
+How this new Inca treated me.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Grieve not, old friend Rumi-ñaui,<br/>
+Thy wounds before all must be cured;<br/>
+I see in thee th&rsquo; avenging knife,<br/>
+To use against the tyrant&rsquo;s heart.<br/>
+At Tampu now we celebrate<br/>
+The Sun&rsquo;s great Raymi festival;<br/>
+On that day all who love my name,<br/>
+Throughout my realms hold festival.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Those three days of festival<br/>
+To me will be a time of joy,<br/>
+Perhaps I may be healed by then,<br/>
+So that my heart may pleasure seek.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+It will be so. For three whole nights<br/>
+We drink and feast, to praise the Sun,<br/>
+The better to cast all care aside<br/>
+We shall be shut in Tampu fort.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+The youths, as is their wont, will find<br/>
+Their great delight in those three nights,<br/>
+Then will they rest from all their toils,<br/>
+And carry off the willing girls.
+</p>
+
+<h3><a name="scene12"></a>SCENE 4</h3>
+
+<p>
+A corridor in the palace of Chosen Virgins.
+</p>
+
+<p class="center">
+(Enter YMA SUMAC and PITU SALLA.)
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+Pitu Salla, beloved friend,<br/>
+How long wilt thou conceal from me<br/>
+The secret that I long to know?<br/>
+Think, dearest, of my anxious heart,<br/>
+How I shall be in constant grief<br/>
+Until you tell the truth to me.<br/>
+Within these hard and cruel bounds<br/>
+Does some one suffer for my sins?<br/>
+My sweet companion, do not hide<br/>
+From me, who &rsquo;tis that mourns and weeps<br/>
+Somewhere within the garden walls.<br/>
+How is it she is so concealed<br/>
+That I can never find the place?
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+My Sumac, now I&rsquo;ll tell thee all&mdash;<br/>
+Only concerning what you hear,<br/>
+And still more surely what you see,<br/>
+You must be dumb as any stone;<br/>
+And you too must be well prepared<br/>
+For a most sad heart-rending sight&mdash;<br/>
+&rsquo;Twill make thee weep for many days.
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+I will not tell a living soul<br/>
+What you divulge. But tell me all,<br/>
+I&rsquo;ll shut it closely in my heart.
+</p>
+
+<h3><a name="scene13"></a>SCENE 5</h3>
+
+<p>
+A secluded part of the gardens of the Virgins, (L.) flowers, (R.) a
+thicket of mulli<a href="#linknote-66" name="linknoteref-66" id="linknoteref-66">[66]</a> and chilca,<a href="#linknote-67" name="linknoteref-67" id="linknoteref-67">[67]</a> concealing a stone
+door.
+</p>
+
+<p class="center">
+(PITU SALLA and YMA SUMAC.)
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+In this garden is a door of stone,<br/>
+But wait until the Mothers sleep,<br/>
+The night comes on. Wait here for me.
+</p>
+
+<p class="right">
+(Exit.)
+</p>
+
+<p class="center">
+(Yma Sumac reclines on a bank and sleeps.<br/>
+Night comes on, Yma Sumac awakes.)
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+A thousand strange presentiments<br/>
+Crowd on me now, I scarce know what&mdash;<br/>
+Perhaps I shall see that mournful one<br/>
+Whose fate already breaks my heart.
+</p>
+
+<p class="center">
+(Pitu Salla returns with a cup of water, a small covered vase containing
+food, and a torch which she gives to Yma Sumac. She leads Yma Sumac
+through bushes to the stone door, fixes the torch, presses something, and
+the door swings round.)
+</p>
+
+<p class="center">
+(CUSI COYLLUR is discovered senseless, extended on the ground, a snake
+twining itself round her waist.)
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+Behold the princess for whom you seek.<br/>
+Well! is thy heart now satisfied?
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+Oh, my friend, what do I behold?<br/>
+Is it a corpse that I must see?<br/>
+Oh, horror! A dungeon for the dead!
+</p>
+
+<p class="center">
+(She faints.)
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+What misfortune has now arrived?<br/>
+O my Sumac, my dearest love,<br/>
+O come to thyself without delay!<br/>
+Arouse thee. Arise, my lovely flower.
+</p>
+
+<p class="center">
+(Yma Sumac revives.)
+</p>
+
+<p class="drama">
+Fear not, my dove, my lovely friend,<br/>
+&rsquo;Tis not a corpse. The princess lives,<br/>
+Unhappy, forlorn, she lingers here.
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+Is she, then, still a living being?
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+Approach nearer, and you can help.<br/>
+She lives indeed. Look. Watch her now.<br/>
+Give me the water and the food.
+</p>
+
+<p class="center">
+(To Cusi Coyllur, while helping her to sit up.)
+</p>
+
+<p class="drama">
+O fair princess, I bring thee food<br/>
+And cooling water to refresh.<br/>
+Try to sit up. I come with help.
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+Who art thou, my sweetest dove?<br/>
+Why art thou shut in such a place?
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+Take a little food, we pray.<br/>
+Perchance without it, you may die.
+</p>
+
+<p class="drama">
+CUSI COYLLUR.<br/>
+How happy am I now to see,<br/>
+After these long and dismal years,<br/>
+The new and lovely face of one<br/>
+Who comes with thee and gives me joy.
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+O my princess, my sister dear,<br/>
+Sweet bird, with bosom of pure gold,<br/>
+What crime can they accuse thee of,<br/>
+That they can make thee suffer thus?<br/>
+What cruel fate has placed thee here<br/>
+With death on watch in serpent&rsquo;s form?
+</p>
+
+<p class="drama">
+CUSI COYLLUR.<br/>
+O charming child, the seed of love,<br/>
+Sweet flower for my broken heart,<br/>
+I have been thrust in this abyss.<br/>
+I once was joined to a man<br/>
+As pupil is part of the eye;<br/>
+But alas! has he forgotten me?<br/>
+The King know not that we were joined<br/>
+By such indissoluble bonds,<br/>
+And when he came to ask my hand,<br/>
+That King dismissed him in a rage,<br/>
+And cruelly confined me here.<br/>
+Many years have passed since then,<br/>
+Yet, as you see, I&rsquo;m still alive;<br/>
+No single soul have I beheld<br/>
+For all those sad and dismal years,<br/>
+Nor have I found relief nor hope.<br/>
+But who art thou, my dear, my love,<br/>
+So young, so fresh, so pitiful?
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+I too, like thee, am full of grief,<br/>
+For long I&rsquo;ve wished to see and love,<br/>
+My poor forlorn and sad princess.<br/>
+No father, no mother are mine,<br/>
+And there are none to care for me.
+</p>
+
+<p class="drama">
+CUSI COYLLUR.<br/>
+What age art thou?
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+I ought to number many years,<br/>
+For I detest this dreadful house,<br/>
+And as it is a dreary place,<br/>
+The time in it seems very long.
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+She ought to number just ten years<br/>
+According to the account I&rsquo;ve kept.
+</p>
+
+<p class="drama">
+CUSI COYLLUR.<br/>
+And what is thy name?
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+They call me Yma Sumac now,<br/>
+But to give it me is a mistake.
+</p>
+
+<p class="drama">
+CUSI COYLLUR.<br/>
+O my daughter! O my lost love,<br/>
+Come to thy mother&rsquo;s yearning heart.
+</p>
+
+<p class="center">
+(Embraces Yma Sumac.)
+</p>
+
+<p class="drama">
+Thou art all my happiness,<br/>
+My daughter, come, O come to me;<br/>
+This joy quite inundates my soul,<br/>
+It is the name I gave to thee.
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+O my mother, to find thee thus!<br/>
+We must be parted never more.<br/>
+Do not abandon me in grief.<br/>
+To whom can I turn to free thee,<br/>
+To whom can I appeal for right?
+</p>
+
+<p class="drama">
+PITU SALLA.<br/>
+Make no noise, my dearest friend.<br/>
+To find us thus would ruin me.<br/>
+Let us go. I fear the Mothers.
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+(to Cusi Coyllur).<br/>
+Suffer a short time longer here,<br/>
+Until I come to take thee hence,<br/>
+Patience for a few more days.<br/>
+Alas! my mother dear! I go,<br/>
+But full of love, to seek for help.
+</p>
+
+<p class="right">
+(Exeunt closing the stone door, all but Cusi Coyllur. They extinguish
+the torch.)
+</p>
+
+<h3><a name="scene14"></a>SCENE 6</h3>
+
+<p>
+Great hall in the palace of Tupac Yupanqui.
+</p>
+
+<p class="center">
+(The INCA discovered seated on the tiana. To him enter the UILLAC UMA, in
+full dress.)
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+I greet thee, great and noble Priest!<br/>
+Hast thou no news of Rumi-ñaui.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+Last night, with guards, I wandered out<br/>
+On heights towards Uilcanuta.<br/>
+Far off I saw a crowd in chains,<br/>
+No doubt the Anti prisoners,v
+For they are all defeated quite.<br/>
+The cacti<a href="#linknote-68" name="linknoteref-68" id="linknoteref-68">[68]</a> on the mountains smoke,<br/>
+E&rsquo;en now the fortress is in flames.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+And Ollantay, is he taken?<br/>
+Perhaps&mdash;I hope his life is saved.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+Ollantay was among the flames,<br/>
+&rsquo;Tis said that no one has escaped.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+The Sun, my Father, is my shield,<br/>
+I am my father&rsquo;s chosen child.<br/>
+We must subdue the rebel host,<br/>
+For that I am appointed here.
+</p>
+
+<p class="center">
+(Enter a CHASQUI with a quipu in his hand.)
+</p>
+
+<p class="drama">
+THE CHASQUI.<br/>
+This morning at the dawn of day,<br/>
+Rumi-ñaui despatched this quipu.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+(to the Uillac Uma).<br/>
+See what it says.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+This knot, coloured burnt ahuarancu,<br/>
+Tells us that Tampu too is burnt;<br/>
+This triple knot to which is hung<br/>
+Another which is quintuple,<br/>
+In all of quintuples are three,<br/>
+Denotes that Anti-suyu&rsquo;s thine,<br/>
+Its ruler prisoner of war.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+(to the Chasqui).<br/>
+And thou. Where wert thou?
+</p>
+
+<p class="drama">
+THE CHASQUI.<br/>
+Sole King and Lord! Child of the Sun!<br/>
+I am the first to bring the news,<br/>
+That thou mayst trample on the foe,<br/>
+And in thine anger drink their blood.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Did I not reiterate commands<br/>
+To spare and not to shed their blood&mdash;<br/>
+Not anger but pity is my rule.
+</p>
+
+<p class="drama">
+THE CHASQUI.<br/>
+O Lord, we have not shed their blood;<br/>
+They were all captured in the night,<br/>
+Unable to resist our force.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Recount to me in full detail<br/>
+The circumstances of the war.
+</p>
+
+<p class="drama">
+THE CHASQUI.<br/>
+For a signal thy warriors wait.<br/>
+The nights passed at Tinquiqueru,<a href="#linknote-69" name="linknoteref-69" id="linknoteref-69">[69]</a><br/>
+Concealed in the cavern below,<br/>
+Yanahuara<a href="#linknote-70" name="linknoteref-70" id="linknoteref-70">[70]</a> men joining us late.<br/>
+<br/>
+We waited within the large cave,<br/>
+Thy men always ready to fight,<br/>
+Behind foliage well out of sight,<br/>
+Thy warriors patient and brave.<br/>
+<br/>
+But for three long days and dark nights,<br/>
+No food for the zealous and bold;<br/>
+Feeling hungry, thirsty, and cold,<br/>
+We waited and watched for the lights.<a href="#linknote-71" name="linknoteref-71" id="linknoteref-71">[71]</a><br/>
+<br/>
+Rumi-ñaui sent orders at length,<br/>
+When the Raymi<a href="#linknote-72" name="linknoteref-72" id="linknoteref-72">[72]</a> they carelessly keep,<br/>
+And all of them drunk or asleep,<br/>
+We were then to rush on with our strength.<br/>
+<br/>
+Word came to surprise our foes,<br/>
+Rumi-ñaui had opened the gate,<br/>
+As cautious and silent as fate&mdash;<br/>
+We were masters with none to oppose.<br/>
+<br/>
+Those rebels fell into the trap,<br/>
+The arrows came on them like rain,<br/>
+Most died in their sleep without pain,<br/>
+Not knowing their fatal mishap.<br/>
+<br/>
+Ollantay, still trusting, was ta&rsquo;en,<br/>
+The same Urco Huaranca befell;<br/>
+Hanco Huayllu is captive as well,<br/>
+We thy rebels in fetters detain.<br/>
+<br/>
+The Antis by thousands are slain,<br/>
+A fearful example is made,<br/>
+They are beaten, crushed, and betrayed,<br/>
+Their women in sorrow and pain.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+As witness of what has occurred,<br/>
+On Vilcamayu&rsquo;s storied banks,<br/>
+No doubt thou hast told me the truth.<br/>
+It was a well designed attack.
+</p>
+
+<p class="center">
+(Enter RUMI-ÑAUI followed by several chiefs.)
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Great Inca, I kneel at thy feet,<br/>
+This time You will hear my report,<br/>
+I beseech thee to deign to restore<br/>
+The trust that I forfeited once.
+</p>
+
+<p class="center">
+(Kneels.)
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Rise, great Chief, receive my regard,<br/>
+I accept thy great service with joy;<br/>
+Thou didst cast o&rsquo;er the waters thy net,<br/>
+And hast captured a marvellous fish.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Our enemies perished in crowds,<br/>
+Their chiefs were captured and bound,<br/>
+Overwhelmed by my terrible force,<br/>
+Like a rook detached from the heights.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Was much blood shed in the assault?
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+No, Lord, not a drop has been shed,<br/>
+To thine orders I strictly adhered.<br/>
+Those Antis were strangled in sleep,<br/>
+But the fort is entirely razed.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Where are the rebels?
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+They are waiting with agonised fear,<br/>
+For their fate, to perish by cords.<br/>
+The people are sending up cries,<br/>
+Demanding their deaths without fail.<br/>
+Their women are now in their midst,<br/>
+The children raise hideous cries;<br/>
+It is well that thine order should pass<br/>
+To finish their traitorous lives.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+It must be so without any doubt,<br/>
+That the orphans may not be alone,<br/>
+Let all perish, not sparing one,<br/>
+Thus Cuzco recovers her peace,<br/>
+Let the traitors be brought before me.<br/>
+In my presence the sentence they&rsquo;ll hear.
+</p>
+
+<p class="right">
+(Exit Rumi-ñaui, and re-enter followed by guards in charge of OLLANTAY,
+URCO HUARANCA, and HANCO HAUYLLU, bound and blindfold, followed by guards
+with PIQUI CHAQUI bound.)
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Take the bands off the eyes of those men.<br/>
+And now, Ollantay, where art thou?<br/>
+And where art thou, O Mountain Chief?<br/>
+Soon thou wilt roll down from the heights.
+</p>
+
+<p class="center">
+(To the soldiers who bring in Piqui Chaqui.)
+</p>
+
+<p class="drama">
+Whom have we here?
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Many fleas in the Yuncas abound,<br/>
+And torment the people full sore,<br/>
+With boiling water they are killed,<br/>
+And I, poor flea,<a href="#linknote-73" name="linknoteref-73" id="linknoteref-73">[73]</a> must also die.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Tell me, Hanco Huayllu, tell me,<br/>
+Why art thou Ollantay&rsquo;s man?<br/>
+Did not my father honour thee?<br/>
+Did he not grant thy requests?<br/>
+Did he ever have a secret from thee?<br/>
+Speak also, you, the other rebels,<br/>
+Ollantay and the Mountain Chief.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+O father, we have nought to say,<br/>
+Our crimes are overwhelming us.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+(to the Uillac Uma).<br/>
+Pronounce their sentence, great High Priest.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+The light that fills me from the Sun<br/>
+Brings mercy and pardon to my heart.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Now thy sentence, Rumi-ñaui.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+For crimes enormous such as these<br/>
+Death should ever be the doom<br/>
+It is the only way, O King!<br/>
+To warn all others from such guilt.<br/>
+To stout tocarpus<a href="#linknote-74" name="linknoteref-74" id="linknoteref-74">[74]</a> they should be<br/>
+Secured and bound with toughest rope,<br/>
+Then should the warriors freely shoot<br/>
+Their arrows until death is caused.
+</p>
+
+<p class="drama">
+PIQUI CHAQUI.<br/>
+Must it be that evermore<br/>
+The Antis must all perish thus?<br/>
+Alas! then let the branches burn<br/>
+What pouring out of blood is here.<a href="#linknote-75" name="linknoteref-75" id="linknoteref-75">[75]</a>
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Silence, rash man, nor dare to speak,
+</p>
+
+<p class="center">
+(General lamentation outside.)
+</p>
+
+<p class="drama">
+Having been rolled just like a stone,<br/>
+My heart has now become a stone.<a href="#linknote-76" name="linknoteref-76" id="linknoteref-76">[76]</a>
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Know that tocarpus are prepared.<br/>
+Remove those traitors from my sight,<br/>
+Let them all perish, and at once.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Take these three men without delay<br/>
+To the dreaded execution stakes;<br/>
+Secure them with unyielding ropes,<br/>
+And hurl them from the lofty rocks.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Stop! Cast off their bonds.
+</p>
+
+<p class="center">
+(The guards unbind them. They all kneel.)
+</p>
+
+<p class="drama">
+(To Ollantay, kneeling).<br/>
+Rise from thy knees; come to my side.
+</p>
+
+<p class="center">
+(Rises.)
+</p>
+
+<p class="drama">
+Now thou hast seen death very near,<br/>
+You that have shown ingratitude,<br/>
+Learn how mercy flows from my heart;<br/>
+I will raise thee higher than before.<br/>
+Thou wert Chief of Anti-suyu,<br/>
+Now see how far my love will go;<br/>
+I make thee Chief in permanence.<br/>
+Receive this plume as general,<br/>
+This arrow<a href="#linknote-77" name="linknoteref-77" id="linknoteref-77">[77]</a> emblem of command.<a href="#linknote-78" name="linknoteref-78" id="linknoteref-78">[78]</a>
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+(to the Uillac Uma).<br/>
+Thou mighty Pontiff of the Sun,<br/>
+Robe him in the regal dress.<br/>
+Raise up the others from their knees,<br/>
+And free them from the doom of death.
+</p>
+
+<p class="center">
+(Urco Huaranca, Hanco Huayllu, and Piqui Chaqui rise, the latter looking
+much relieved. The Uillac Uma places the robe on Ollantay&rsquo;s shoulders.)
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+Ollantay, learn to recognise<br/>
+Tupac Yupanqui&rsquo;s generous mind;<br/>
+From this day forth be thou his friend,<br/>
+And bless his magnanimity.<br/>
+This ring contains my potent charm,<br/>
+For this I place it on thy hand.
+</p>
+
+<p class="center">
+(Gives him a ring, or bracelet.)
+</p>
+
+<p class="drama">
+This mace receive, &rsquo;tis from the king,
+</p>
+
+<p class="center">
+(Gives him a mace (champi).)
+</p>
+
+<p class="drama">
+It is his gracious gift to thee.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+With tears I shall nearly consume<br/>
+That mace thus presented to me;<br/>
+I am tenfold the great Inca&rsquo;s slave,<br/>
+In this world no equal is found,<br/>
+My heart&rsquo;s fibres his latchets shall be;<br/>
+From this moment my body and soul<br/>
+To his service alone shall belong.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Now, Mountain Chief! come near to me,<br/>
+Ollantay is given the arrow and plume,<br/>
+Though to me he gave fury and war.<br/>
+Notwithstanding all that has passed<br/>
+He continues the Andean chief,<br/>
+And will lead his rebels to peace;<br/>
+Thee also I choose for the plume;<br/>
+From this day thou art a great chief,<br/>
+And never forget in thy thoughts,<br/>
+I saved thee from death and disgrace.
+</p>
+
+<p class="drama">
+URCO HUARANCA.<br/>
+Great King and most merciful Lord,<br/>
+But now, expecting my death,<br/>
+I am ever thy most faithful slave.
+</p>
+
+<p class="center">
+(Uillac Uma gives him the plume and arrow.)
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+O Urco, the Inca has made<br/>
+A great and a powerful chief,<br/>
+And grants thee with marvellous grace<br/>
+The arrow and also the plume.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Illustrious King, I venture to ask,<br/>
+Will Anti-suyu have two chiefs.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+There will not be two, O Rumi-ñaui<br/>
+The Mountain Chief will rule the Antis;<br/>
+In Cuzco Ollantay will reign&mdash;<br/>
+As Viceroy deputed by me<br/>
+His duties will call him to act<br/>
+As ruler throughout the whole realm.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+O King! thou dost raise me too high,<br/>
+A man without service or claim;<br/>
+I am thy obedient slave&mdash;<br/>
+Mayst thou live for a thousand years.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+The mascapaycha now bring forth,<br/>
+And to it the llautu attach.<br/>
+Uillac Uma, adorn him with these,<br/>
+And proclaim his state to the world.<br/>
+Yes, Ollantay shall stand in my place,<br/>
+Raised up like the star of the morn,<br/>
+For Colla this month I shall start;<br/>
+All preparations are made.<br/>
+In Cuzco Ollantay will stay,<br/>
+My Ranti<a href="#linknote-79" name="linknoteref-79" id="linknoteref-79">[79]</a> and Viceroy and friend.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+I would fain, O magnanimous King,<br/>
+Follow thee in the Chayanta war;<br/>
+Thou knowest my love for such work.<br/>
+Peaceful Cuzco is not to my taste,<br/>
+I prefer to be thy Canari,<a href="#linknote-80" name="linknoteref-80" id="linknoteref-80">[80]</a><br/>
+To march in the van of thy force,<br/>
+And not to be left in the rear.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Thou shouldst find the wife of thy choice,<br/>
+And with her reign happily here<br/>
+In Cuzco; repose without care;<br/>
+Rest here while I&rsquo;m absent in war.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Great King, thy sorrowful slave<br/>
+Already had chosen a wife.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+How is it I know not of this?<br/>
+It should be reported to me.<br/>
+I will load her with suitable gifts;<br/>
+Why was this concealed from my eyes?
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+In Cuzco itself disappeared<br/>
+That sweet and adorable dove;<br/>
+One day she did rest in my arms,<br/>
+And the next no more to be seen.<br/>
+In grief I made search far and near,<br/>
+Earth seemed to have swallowed her up,<br/>
+To have buried her far from my sight;<br/>
+O such, mighty King, is my grief.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Ollantay! afflict not thyself,<br/>
+For now thou must take up thy place<br/>
+Without turning thy eyes from thy work.
+</p>
+
+<p class="center">
+(To Uillac Uma.)
+</p>
+
+<p class="drama">
+High priest, obey my command.
+</p>
+
+<p class="right">
+(The Uillac Uma goes to the wings (R.) and addresses the people outside.)
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+O people, hear what I say:<br/>
+The Inca, our King and our Lord,<br/>
+Thus declares his imperial will:<br/>
+Ollantay shall reign in his place.
+</p>
+
+<p class="drama">
+PEOPLE outside.<br/>
+Ollantay Ranti! Ollantay Ranti!
+</p>
+
+<p class="center">
+(Shouts and acclamations.)
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+(to Rumi-ñaui and other chiefs.)<br/>
+You also render him homage.
+</p>
+
+<p class="drama">
+RUMI-ÑAUI.<br/>
+Prince Ollantay! Incap Ranti!<br/>
+Thy promotion gives me joy.<br/>
+All the Antis now released,<br/>
+Return rejoicing to their homes.
+</p>
+
+<p class="center">
+(He and all the Chiefs bow to Ollantay.)
+</p>
+
+<p class="drama">
+GUARDS WITHOUT.<br/>
+You cannot pass. Go back! go back!<br/>
+Voice without. Why, is this a festive day?<br/>
+Let me pass. I must see the king;<br/>
+I pray you do not stop me,<br/>
+Do not drive me from the door;<br/>
+If you stop me I shall die.<br/>
+Have a care. You will kill me.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+What noise is that without?
+</p>
+
+<p class="drama">
+GUARD.<br/>
+It is a young girl who comes weeping<br/>
+And insists upon seeing the king.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Let her come in.
+</p>
+
+<p class="center">
+(Enter Yma Sumac.)
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+Which is the Inca, my lord,<br/>
+That I may kneel down at his feet?
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+Who art thou, charming maid?<br/>
+Behold the King.
+</p>
+
+<p class="center">
+(Yma Sumac throws herself at the King&rsquo;s feet.)
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+O my King! be thou my father,<br/>
+Snatch from evil thy poor servant.<br/>
+Extend thy royal hand to me.<br/>
+O merciful child of the Sun,<br/>
+My mother is dying at this hour<br/>
+In a foul and loathsome cave;<br/>
+She is killed in cruel martyrdom&mdash;<br/>
+Alas! she is bathed in her own blood.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+What inhumanity, poor child!<br/>
+Ollantay, take this case in hand.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Young maiden, take me quickly there;<br/>
+We will see who it is that suffers.
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+No, sir. Not so. It is the King himself<br/>
+Should go with me.<br/>
+Perhaps he may recognise her;
+</p>
+
+<p class="center">
+(To Ollantay.)
+</p>
+
+<p class="drama">
+For you, I know not who you are.<br/>
+O King, arise, do not delay,<br/>
+I fear my mother breathes her last,<br/>
+At least may be in mortal pain;<br/>
+O Inca! Father! grant my prayer.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+Illustrious King, thou wilt consent;<br/>
+Let us all seek this luckless one&mdash;<br/>
+Thou canst release from cruel bonds.<br/>
+Lot us go, O King!
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+(rising).<br/>
+Come all! Come all!<br/>
+In midst of reconciliations<br/>
+This young maid assaults my heart.
+</p>
+
+<p class="right">
+(Exeunt.)
+</p>
+
+<h3><a name="scene15"></a>SCENE 7</h3>
+
+<p>
+The garden in the palace of Virgins of the Sun (same scene as Act III,
+Scene 5). Stone door more visible.
+</p>
+
+<p>
+(Enter the INCA TUPAC YUPANQUI with YMA SUMAC, OLLANTAY, UILLAC UMA and
+RUMI nAUI; URCO HUARANCA, HANCO HUAYLLU and PIQUI CHAQUI in the
+background.)
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+But this is the Aclla Huasi;<a href="#linknote-81" name="linknoteref-81" id="linknoteref-81">[81]</a><br/>
+My child, art thou not mistaken?<br/>
+Where is thy imprisoned mother?
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+In a dungeon within these bounds<br/>
+My mother has suffered for years,<br/>
+Perhaps even now she is dead.
+</p>
+
+<p class="center">
+(She points to the stone door.)
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+What door is this?
+</p>
+
+<p class="center">
+(Enter MAMA CCACCA and PITU SALLA. Mama Ccacca kneels and kisses the
+Inca&rsquo;s hand.)
+</p>
+
+<p class="drama">
+MAMA CCACCA.<br/>
+Is it a dream or reality,<br/>
+That I behold my sovereign?<br/>
+Tupac Yupanqui. Open that door.
+</p>
+
+<p class="center">
+(Mama Ccacca opens the door.)
+</p>
+
+<p class="center">
+(CUSI COYLLUR discovered chained and fainting, with a puma and a snake,
+one on each side of her.)
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+O my mother, I feared to find<br/>
+That you had already passed away;<br/>
+Pitu Salla! Haste. Bring water.<br/>
+Perhaps my dove may still revive.
+</p>
+
+<p class="right">
+(Exit Pitu Salla.)
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+What horrid cavern do I see?<br/>
+Who is this woman? what means it?<br/>
+What cruel wretch thus tortures her?<br/>
+What means that chain bound around her?<br/>
+Mama Ccacca, come near to me<br/>
+What hast thou to say to this?v
+Is it the effect of malice<br/>
+That this poor creature lingers here?
+</p>
+
+<p class="drama">
+MAMA CCACCA.<br/>
+It was thy father&rsquo;s dread command;<br/>
+A punishment for lawless love.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Begone! begone! harder than rock.<a href="#linknote-82" name="linknoteref-82" id="linknoteref-82">[82]</a><br/>
+Turn out that puma and the snake,<a href="#linknote-83" name="linknoteref-83" id="linknoteref-83">[83]</a><br/>
+Break down that door of carved stone.<br/>
+(To Mama Ccacca.)<br/>
+Let me not see thy face again.<br/>
+A woman living as a bat;<br/>
+This child has brought it all to light.
+</p>
+
+<p class="center">
+(Enter Pitu Salla with water. She sprinkles it over Cusi Coyllur, who
+revives.)
+</p>
+
+<p class="drama">
+CUSI COYLLUR.<br/>
+Where am I? who are these people?<br/>
+Yma Sumac, my beloved child,<br/>
+Come to me, my most precious dove.<br/>
+Who are all these men before me?
+</p>
+
+<p class="center">
+(She begins to faint again and is restored by water.)
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+Fear not, my mother, &rsquo;tis the King;<br/>
+The King himself comes to see you.<br/>
+The great Yupanqui is now here.<br/>
+Speak to him. Awake from thy trance.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+My heart is torn and sorrowful<br/>
+At sight of so much misery.<br/>
+Who art thou, my poor sufferer?<br/>
+Child, tell me now thy mother&rsquo;s name?
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+Father! Inca! Clement Prince!<br/>
+Have those cruel bonds removed.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+It is for me to remove them,<br/>
+And to relieve this sore distress.
+</p>
+
+<p class="center">
+(Cuts the rope fastening Cusi Coyllur to the wall.)
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+(to Yma Sumac).<br/>
+What is thy mother&rsquo;s name?
+</p>
+
+<p class="drama">
+YMA SUMAC.<br/>
+Her name was once Cusi Coyllur,<br/>
+But it seems a mistake. Her joy<br/>
+Was gone when she was prisoned here.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+O renowned King, great Yupanqui,<br/>
+In her you see my long lost wife.
+</p>
+
+<p class="center">
+(Prostrates himself before the Inca.)
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+It all appears a dream to me.<br/>
+The &lsquo;Star&rsquo;! my sister!<a href="#linknote-84" name="linknoteref-84" id="linknoteref-84">[84]</a> and thy wife.<br/>
+O sister! what newly found joy.<br/>
+O Cusi Coyllur, my sister,<br/>
+Come here to me, and embrace me,<br/>
+Now thou art delivered from woe.
+</p>
+
+<p class="center">
+(Music.)
+</p>
+
+<p class="drama">
+Thou hast found thy loving brother;<br/>
+Joy calms the anguish of my heart.
+</p>
+
+<p class="center">
+(Embraces Cusi Coyllur.)
+</p>
+
+<p class="drama">
+CUSI COYLLUR.<br/>
+Alas! my brother, now you know<br/>
+The cruel tortures I endured<br/>
+During those years of agony;<br/>
+Thy compassion now has saved me.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Who art thou, dove, that hast suffered?<br/>
+For what sin were you prisoned here?<br/>
+Thou mightest have lost thy reason.<br/>
+Thy face is worn, thy beauty gone,<br/>
+Thy looks as one risen from death.
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Cusi Coyllur, I had lost thee,<br/>
+Thou wast quite hidden from my sight,<br/>
+But thou art brought again to life&mdash;<br/>
+Thy father should have killed us both.<br/>
+My whole heart is torn with sorrow.<br/>
+Star of joy, where is now thy joy?<br/>
+Where now thy beauty as a star?<br/>
+Art thou under thy father&rsquo;s curse?
+</p>
+
+<p class="drama">
+CUSI COYLLUR.<br/>
+Ollantay, for ten dreary years<br/>
+That dungeon has kept us apart;<br/>
+But now, united for new life,<br/>
+Some happiness may yet be ours.<br/>
+Yupanqui makes joy succeed grief,<br/>
+He may well count<a href="#linknote-85" name="linknoteref-85" id="linknoteref-85">[85]</a> for many years.
+</p>
+
+<p class="drama">
+UILLAC UMA.<br/>
+Bring new robes to dress the princess.
+</p>
+
+<p class="center">
+(They put on her royal robes. The High Priest kisses her hand.)
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Ollantay, behold thy royal wife,<br/>
+Honour and cherish her henceforth.<br/>
+And thou, Yma Sumac, come to me,<br/>
+I enlace you in the thread of love;<br/>
+Thou art the pure essence of Coyllur.
+</p>
+
+<p class="center">
+(Embraces her.)
+</p>
+
+<p class="drama">
+OLLANTAY.<br/>
+Thou art our protector, great King,<br/>
+Thy noble hands disperse our grief;<br/>
+Thou art our faith and only hope&mdash;<br/>
+Thou workest by virtue&rsquo;s force.
+</p>
+
+<p class="drama">
+TUPAC YUPANQUI.<br/>
+Thy wife is now in thy arms;<br/>
+All sorrow now should disappear,<br/>
+Joy, new born, shall take its place.
+</p>
+
+<p class="center">
+(Acclamations from the Chiefs, and Piqui Chaqui. Music: huancars
+(drums), pincullus (flutes), and pututus (clarions).)
+</p>
+
+</div><!--end chapter-->
+
+<div class="chapter">
+
+<h2><a name="foot01"></a>FOOTNOTES:</h2>
+
+<p class="footnote"><a name="linknote-1" id="linknote-1"></a>
+1 (<a href="#linknoteref-1">return</a>)<br /> [ INCA-PACHACUTI | TUPAC YUPANQUI
+| INCA HUAYNA CCAPAC | MANCO INCA | TUPAC AMARU | JUANA ÑUSTA = DIEGO
+CONDORCANQUI | FELIPE CONDORCANQUI | PEDRO CONDORCANQUI | MIGUEL CONDORCANQUI |
+JOSÉ GABRIEL CONDORCANQUI (TUPAC AMARU)]
+</p>
+
+<p class="footnote"><a name="linknote-2" id="linknote-2"></a>
+2 (<a href="#linknoteref-2">return</a>)<br /> [ &lsquo;Sentencia pronunciada en el
+Cuzco por el Visitador Don José Antonio de Areche, contra José Gabriel Tupac
+Amaru.&rsquo; In Coleccion de obras y documentos de Don Pedro de Angelis, vol. V.
+(Buenos Ayres, 1836- 7).]
+</p>
+
+<p class="footnote"><a name="linknote-3" id="linknote-3"></a>
+3 (<a href="#linknoteref-3">return</a>)<br /> [ INCA PACHACUTI. | TUPAC
+YUPANQUI | HUAYNA CCAPAC | MANCO INCA | MARIA TUPAC USCA = PEDRO ORTIZ DE ORUE
+| CATALINA ORTIZ =LUIS JUSTINIANI | LUIS JUSTINIANI | LUIS JUSTINIANI
+| NICOLO JUSTINIANI | JUSTO PASTOR JUSTINIANI | Dr. PABLO POLICARPO
+JUSTINIANI(Cura of Laris)]
+</p>
+
+<p class="footnote"><a name="linknote-4" id="linknote-4"></a>
+4 (<a href="#linknoteref-4">return</a>)<br /> [ The wives of the Incas were
+called <i>ccoya</i>. The ccoya of the second Inca was a daughter of the chief of
+<i>Sanoc</i>. The third Inca married a daughter of the chief of Oma, the fourth
+married a girl of <i>Tacucaray</i>, the wife of the fifth was a daughter of a <i>Cuzco</i>
+chief. The sixth Inca married a daughter of the chief of <i>Huayllacan</i>, the
+seventh married a daughter of the chief of Ayamarca, and the eighth went to
+<i>Anta</i> for a wife. This Anta lady was the mother of Pachacuti. The wife of
+Pachacuti, named <i>Anahuarqui</i>, was a daughter of the chief of <i>Choco</i>. There was no
+rule about marrying sisters when Pachacuti succeeded. He introduced it by
+making his son Tupac Yupanqui marry his daughter Mama Ocllo, but this was quite
+unprecedented. The transgression of a rule which he had just made may account
+for his extreme severity.]
+</p>
+
+<p class="footnote"><a name="linknote-5" id="linknote-5"></a>
+5 (<a href="#linknoteref-5">return</a>)<br /> [ A bust, on an earthen vase, was
+presented to Don Antonio Maria Alvarez, the political chief of Cuzco, in 1837,
+by an Indian who declared that it had been handed down in his family from time
+immemorial, as a likeness of the general, Rumi-ñaui, who plays an important
+part in this drama of Ollantay. The person represented must have been a
+general, from the ornament on the forehead, called mascapaycha, and there are
+wounds cut on the face.&mdash;Museo Erudito, No. B.]
+</p>
+
+<p class="footnote"><a name="linknote-6" id="linknote-6"></a>
+6 (<a href="#linknoteref-6">return</a>)<br /> [ <i>Chita</i> is the lamb of the llama.
+A lamb of two or three months was a favourite pet in the time of the Incas. It
+followed its mistress, adorned with a little bell and ribbons.]
+</p>
+
+<p class="footnote"><a name="linknote-7" id="linknote-7"></a>
+7 (<a href="#linknoteref-7">return</a>)<br /> [ Supay, an evil spirit,
+according to some authorities.]
+</p>
+
+<p class="footnote"><a name="linknote-8" id="linknote-8"></a>
+8 (<a href="#linknoteref-8">return</a>)<br /> [ Ichuna, a sickle or scythe. The
+expression has been cited by General Mitre and others as an argument that the
+drama is modern, because this is a metaphor confined to the old world. But
+ichuna was in use, in Quichua, in this sense, before the Spaniards came. The
+word is from Ichu, grass.]
+</p>
+
+<p class="footnote"><a name="linknote-9" id="linknote-9"></a>
+9 (<a href="#linknoteref-9">return</a>)<br /> [ The Peruvians personified a
+mountain as two spirits, good and evil. In writing poetically of a mountain
+opposing, it would be referred to in the persons of its genii or spirits, and
+spoken of as two foes, not one.]
+</p>
+
+<p class="footnote"><a name="linknote-10" id="linknote-10"></a>
+10 (<a href="#linknoteref-10">return</a>)<br /> [ Rurun, desert, solitude.]
+</p>
+
+<p class="footnote"><a name="linknote-11" id="linknote-11"></a>
+11 (<a href="#linknoteref-11">return</a>)<br /> [ Tasquiy, to march; tasquina,
+promenade, path.]
+</p>
+
+<p class="footnote"><a name="linknote-12" id="linknote-12"></a>
+12 (<a href="#linknoteref-12">return</a>)<br /> [ Cusi Coyllur, while daylight
+lasted, was, in the eyes of Piqui Chaqui, like the sun. A change takes place at
+twilight, and at night she is like the moon.]
+</p>
+
+<p class="footnote"><a name="linknote-13" id="linknote-13"></a>
+13 (<a href="#linknoteref-13">return</a>)<br /> [ Fasting was a preparation for
+all great religious ceremonies. Victims for sacrifice underwent a previous
+fast, which was looked upon in the fight of purification before being offered
+to the Deity.]
+</p>
+
+<p class="footnote"><a name="linknote-14" id="linknote-14"></a>
+14 (<a href="#linknoteref-14">return</a>)<br /> [ They gave the attributes we
+usually assign to the fox to the puma.]
+</p>
+
+<p class="footnote"><a name="linknote-15" id="linknote-15"></a>
+15 (<a href="#linknoteref-15">return</a>)<br /> [ Intip llirpun, &lsquo;apple of the
+sun&rsquo;s eye.&rsquo; There is no English equivalent that is suitable.]
+</p>
+
+<p class="footnote"><a name="linknote-16" id="linknote-16"></a>
+16 (<a href="#linknoteref-16">return</a>)<br /> [ Huayruru is the seed of a
+thorny bush, erythrina rubra, of a bright red colour. Zegarra has coral as the
+equivalent for huayruru.]
+</p>
+
+<p class="footnote"><a name="linknote-17" id="linknote-17"></a>
+17 (<a href="#linknoteref-17">return</a>)<br /> [ The tuya (coccoborus
+chrysogaster) is a small finch, and tuyallay means &lsquo;my little tuya.&rsquo;]
+</p>
+
+<p class="footnote"><a name="linknote-18" id="linknote-18"></a>
+18 (<a href="#linknoteref-18">return</a>)<br /> [ The piscaca is a much larger
+bird than the tuya. These piscacas (coccoborus torridus) are nailed to trees as
+a warning to other birds. They are black, with white breasts.]
+</p>
+
+<p class="footnote"><a name="linknote-19" id="linknote-19"></a>
+19 (<a href="#linknoteref-19">return</a>)<br /> [ In the tuya she sees her
+husband Ollantay, while the poor princess herself is the forbidden grain.]
+</p>
+
+<p class="footnote"><a name="linknote-20" id="linknote-20"></a>
+20 (<a href="#linknoteref-20">return</a>)<br /> [ This is a yarahui or mournful
+elegy, of which there are so many in the Quichua language. The singers of them
+were known as yarahuec.]
+</p>
+
+<p class="footnote"><a name="linknote-21" id="linknote-21"></a>
+21 (<a href="#linknoteref-21">return</a>)<br /> [ Colla-suyu, the basin of lake
+Titicaca.]
+</p>
+
+<p class="footnote"><a name="linknote-22" id="linknote-22"></a>
+22 (<a href="#linknoteref-22">return</a>)<br /> [ Chayanta, a tribe in the
+montana south of the Collas.]
+</p>
+
+<p class="footnote"><a name="linknote-23" id="linknote-23"></a>
+23 (<a href="#linknoteref-23">return</a>)<br /> [ Champi, a one-handed
+battle-axe.]
+</p>
+
+<p class="footnote"><a name="linknote-24" id="linknote-24"></a>
+24 (<a href="#linknoteref-24">return</a>)<br /> [ Huancar, a drum; pututu,
+fife.]
+</p>
+
+<p class="footnote"><a name="linknote-25" id="linknote-25"></a>
+25 (<a href="#linknoteref-25">return</a>)<br /> [ Yunca, inhabitant of warm
+valley. Here it refers to the wild tribes of the montana.]
+</p>
+
+<p class="footnote"><a name="linknote-26" id="linknote-26"></a>
+26 (<a href="#linknoteref-26">return</a>)<br /> [ In the original Quichua,
+Ollantay makes his appeal to the Inca in quatrains of octosyllabic verses, the
+first line rhyming with the last, and the second with the third. Garcilasso de
+la Vega and others testify to the proficiency of the Incas in this form of
+composition.]
+</p>
+
+<p class="footnote"><a name="linknote-27" id="linknote-27"></a>
+27 (<a href="#linknoteref-27">return</a>)<br /> [ Ollantay was Viceroy of
+Anti-suyu.]
+</p>
+
+<p class="footnote"><a name="linknote-28" id="linknote-28"></a>
+28 (<a href="#linknoteref-28">return</a>)<br /> [ Chahuar, a rope of aloe
+fibre. A curb or restraint.]
+</p>
+
+<p class="footnote"><a name="linknote-29" id="linknote-29"></a>
+29 (<a href="#linknoteref-29">return</a>)<br /> [ Raprancutan cuchurcani:
+literally, &lsquo;I have clipped their wings.&rsquo; Rapra, a wing.]
+</p>
+
+<p class="footnote"><a name="linknote-30" id="linknote-30"></a>
+30 (<a href="#linknoteref-30">return</a>)<br /> [ The powerful nation of
+Chancas, with their chief, Huancavilca, inhabited the great valley of
+Andahuaylas and were formidable rivals of the Incas. But they were subdued by
+Pachacuti long before Ollantay can have been born. An allowable dramatic
+anachronism.]
+</p>
+
+<p class="footnote"><a name="linknote-31" id="linknote-31"></a>
+31 (<a href="#linknoteref-31">return</a>)<br /> [ Huancavilca was chief of the
+powerful nation of Chancas.]
+</p>
+
+<p class="footnote"><a name="linknote-32" id="linknote-32"></a>
+32 (<a href="#linknoteref-32">return</a>)<br /> [ Ñusta, Princess.]
+</p>
+
+<p class="footnote"><a name="linknote-33" id="linknote-33"></a>
+33 (<a href="#linknoteref-33">return</a>)<br /> [ Pisipachiyqui, to suffer from
+the void caused by absence. Pisipay, to regret the absence of, to miss any
+one.]
+</p>
+
+<p class="footnote"><a name="linknote-34" id="linknote-34"></a>
+34 (<a href="#linknoteref-34">return</a>)<br /> [ The Dominican text has misi,
+a cat, instead of allco, a dog. Von Tschudi thought that misi was a word of
+Spanish origin. Zegarra says that it is not. Before the Spaniards came, there
+was a small wild cat in the Andes called misi-puna. But the Justiniani text has
+allco, a dog.]
+</p>
+
+<p class="footnote"><a name="linknote-35" id="linknote-35"></a>
+35 (<a href="#linknoteref-35">return</a>)<br /> [ Achancara, a begonia. A red
+flower in the neighbourhood of Cuzco, according to Zegarra. One variety is red
+and white.]
+</p>
+
+<p class="footnote"><a name="linknote-36" id="linknote-36"></a>
+36 (<a href="#linknoteref-36">return</a>)<br /> [ The llanta is the main rope
+of the quipu, about a yard long. The small cords of llama wool, of various
+colours, denoting different subjects, each with various kinds of knots,
+recording numbers.]
+</p>
+
+<p class="footnote"><a name="linknote-37" id="linknote-37"></a>
+37 (<a href="#linknoteref-37">return</a>)<br /> [ This, as we have seen, was
+not the reason why Ollantay fled from Cuzco; but, from a leader&rsquo;s point of
+view, it was an excellent reason to give to the people of Anti-suyu. The great
+wars of the Incas were, to some extent, a heavy drain upon the people, but the
+recruiting was managed with such skill, and was so equally divided among a
+number of provinces, that it was not much felt.]
+</p>
+
+<p class="footnote"><a name="linknote-38" id="linknote-38"></a>
+38 (<a href="#linknoteref-38">return</a>)<br /> [ The snowy mountain far to the
+south, in sight from Cuzco. Uilca, sacred; unuta, water. Here is the source of
+the river Uilcamayu, which flows by Ollantay-tampu.]
+</p>
+
+<p class="footnote"><a name="linknote-39" id="linknote-39"></a>
+39 (<a href="#linknoteref-39">return</a>)<br /> [ The aged Hanco Huayllu as
+Auqui, or Prince of the Blood, and relation of the High Priest, gave eclat to
+these ceremonies.]
+</p>
+
+<p class="footnote"><a name="linknote-40" id="linknote-40"></a>
+40 (<a href="#linknoteref-40">return</a>)<br /> [ Quiscahuan. anything full of
+thorns.]
+</p>
+
+<p class="footnote"><a name="linknote-41" id="linknote-41"></a>
+41 (<a href="#linknoteref-41">return</a>)<br /> [ Puna, the loftier parts of
+the Andes.]
+</p>
+
+<p class="footnote"><a name="linknote-42" id="linknote-42"></a>
+42 (<a href="#linknoteref-42">return</a>)<br /> [ Compi, cloth or a cloak. This
+was an expression of the ancient Peruvians, perhaps equivalent to our
+&lsquo;hoodwinking.&rsquo;]
+</p>
+
+<p class="footnote"><a name="linknote-43" id="linknote-43"></a>
+43 (<a href="#linknoteref-43">return</a>)<br /> [ Apu Maruti was the head of
+the ayllu of the Inca Yahuar Huaccac, grandfather of Pachacuti. It was called
+the ayllu Aucaylli Panaca.&mdash;Mesa, Anales del Cuzco, quoted by Zegarra.]
+</p>
+
+<p class="footnote"><a name="linknote-44" id="linknote-44"></a>
+44 (<a href="#linknoteref-44">return</a>)<br /> [ Uilcapampa, mass of mountains
+between the Uilcamayu and Apurimac.]
+</p>
+
+<p class="footnote"><a name="linknote-45" id="linknote-45"></a>
+45 (<a href="#linknoteref-45">return</a>)<br /> [ Tinqui Queru, between
+Urupampa and Tampu. The word means &lsquo;two vases coupled.&rsquo; Here are two rounded
+hills connected by a saddle, three and a half miles from Tampu.]
+</p>
+
+<p class="footnote"><a name="linknote-46" id="linknote-46"></a>
+46 (<a href="#linknoteref-46">return</a>)<br /> [ Chara, was another descendant
+of Yahuar Huaccac.]
+</p>
+
+<p class="footnote"><a name="linknote-47" id="linknote-47"></a>
+47 (<a href="#linknoteref-47">return</a>)<br /> [ A ravine on the right bank of
+the Vilcamayu.]
+</p>
+
+<p class="footnote"><a name="linknote-48" id="linknote-48"></a>
+48 (<a href="#linknoteref-48">return</a>)<br /> [ Pachar is on the left bank of
+the Vilcamayu opposite Ollantay-tampu, with which it is connected by a rope
+bridge.]
+</p>
+
+<p class="footnote"><a name="linknote-49" id="linknote-49"></a>
+49 (<a href="#linknoteref-49">return</a>)<br /> [ Huancas, natives of the
+valley of Jauja&mdash;Inca recruits.]
+</p>
+
+<p class="footnote"><a name="linknote-50" id="linknote-50"></a>
+50 (<a href="#linknoteref-50">return</a>)<br /> [ Like Ollantay in his appeal
+to the Inca, Rumi-ñaui, in the original Quichua, has recourse to octosyllabic
+quatrains, the first and last lines rhyming, and the second and third.]
+</p>
+
+<p class="footnote"><a name="linknote-51" id="linknote-51"></a>
+51 (<a href="#linknoteref-51">return</a>)<br /> [ Rumi, a stone.]
+</p>
+
+<p class="footnote"><a name="linknote-52" id="linknote-52"></a>
+52 (<a href="#linknoteref-52">return</a>)<br /> [ Clearly, from Rumi-ñaui&rsquo;s own
+account, the strategy of Urco Huaranca had been a complete and brilliant
+success.]
+</p>
+
+<p class="footnote"><a name="linknote-53" id="linknote-53"></a>
+53 (<a href="#linknoteref-53">return</a>)<br /> [ Aclla Cuna, the selected
+ones, the Virgins of the Sun. They were under the supervision of so called
+Mothers&mdash;Mama Cuna. The novices were not obliged to take the oaths at the
+end of their novitiate.]
+</p>
+
+<p class="footnote"><a name="linknote-54" id="linknote-54"></a>
+54 (<a href="#linknoteref-54">return</a>)<br /> [ Rumi-ñaui is the interlocutor
+in the Justiniani text, in the Dominican text, and in the text of Spilsbury.
+Yet Zegarra would substitute the Uillac Uma or High Priest for Rumi-ñaui. His
+argument is that the interlocutor was of the blood-royal, and that the High
+Priest was always of the blood-royal, while Rumi-ñaui was not. But the text
+does not say that the interlocutor was of the royal blood. Zegarra also says
+that the interlocutor wore a black cloak with a long train, and that this was
+the dress of the High Priest. But it was not the dress of the High Priest as
+described by the best authorities. It was probably the general mourning dress.
+The threats addressed to Piqui Chaqui were likely enough to come from a
+soldier, but not from the High Priest as he is portrayed in this drama.]
+</p>
+
+<p class="footnote"><a name="linknote-55" id="linknote-55"></a>
+55 (<a href="#linknoteref-55">return</a>)<br /> [ Paccay (mimosa incana), a
+tree with large pods, having a snow-white woolly substance round the seeds,
+with sweet juice.]
+</p>
+
+<p class="footnote"><a name="linknote-56" id="linknote-56"></a>
+56 (<a href="#linknoteref-56">return</a>)<br /> [ The Zegarra and Spilsbury
+texts have Ccan Incacri, which Zegarra translates, &lsquo;relation of the Inca, of
+the royal family.&rsquo; Spilsbury is more correct. He has &lsquo;partisan of the Inca.&rsquo;
+The more authentic Justiniani text has Ccan Pana. The particle ri is one of
+emphasis or repetition. It does not mean a relation.]
+</p>
+
+<p class="footnote"><a name="linknote-57" id="linknote-57"></a>
+57 (<a href="#linknoteref-57">return</a>)<br /> [ The Zegarra and Spilsbury
+texts have hualpa, a game bird. The Justiniani text has anca, an eagle, which
+is the correct reading.]
+</p>
+
+<p class="footnote"><a name="linknote-58" id="linknote-58"></a>
+58 (<a href="#linknoteref-58">return</a>)<br /> [ The Inca Pachacuti does not
+appear to advantage in the drama. But he was the greatest man of his dynasty,
+indeed the greatest that the red race has produced. He was a hero in his youth,
+a most able administrator in mature age. As a very old man some needless
+cruelties are reported of him which annoyed his son.]
+</p>
+
+<p class="footnote"><a name="linknote-59" id="linknote-59"></a>
+59 (<a href="#linknoteref-59">return</a>)<br /> [ The eldest son was Amaru
+Tupac. He was passed over by his father with his own consent, and was ever
+faithful to his younger brother. He was an able general.]
+</p>
+
+<p class="footnote"><a name="linknote-60" id="linknote-60"></a>
+60 (<a href="#linknoteref-60">return</a>)<br /> [ This was exactly what Piqui
+Chaqui was sent to Cuzco to find out. The expression Apumusac pununayta, &lsquo;I go
+to fetch my bed,&rsquo; is one of joy at any fortunate event, in Quichua.]
+</p>
+
+<p class="footnote"><a name="linknote-61" id="linknote-61"></a>
+61 (<a href="#linknoteref-61">return</a>)<br /> [ Intic Huamin Caccunan (Intic
+Huarminca Caycuna, correct), &lsquo;Ye women of the Sun.&rsquo; Zegarra thought, on the
+authority of Garcilasso de la Vega, that these could not be select Virgins of
+the Sun, because the virgins were never allowed outside their convent, and not
+even women might enter. He is clearly wrong. Much higher authorities than
+Garcilasso, as regards this point, especially Valera, tell us that the virgins
+were treated with the greatest honour and respect. They took part in great
+receptions and festivals, and when they passed along the streets they had a
+guard of honour.]
+</p>
+
+<p class="footnote"><a name="linknote-62" id="linknote-62"></a>
+62 (<a href="#linknoteref-62">return</a>)<br /> [ Rumi. He keeps playing upon
+his name.]
+</p>
+
+<p class="footnote"><a name="linknote-63" id="linknote-63"></a>
+63 (<a href="#linknoteref-63">return</a>)<br /> [ Again playing upon the name
+of Rumi-ñaui. The High Priest calls for haste, so he substitutes Tunqui for
+naui (eye), the tunqui (Rupicola Peruviana) being one of the most beautiful
+birds in the forests.]
+</p>
+
+<p class="footnote"><a name="linknote-64" id="linknote-64"></a>
+64 (<a href="#linknoteref-64">return</a>)<br /> [ Sunchu, a very large
+composita with a yellow flower, growing round Cuzco. It was one of those which
+were used on sacred festivals.]
+</p>
+
+<p class="footnote"><a name="linknote-65" id="linknote-65"></a>
+65 (<a href="#linknoteref-65">return</a>)<br /> [ Nucchu is a salvia, also
+considered sacred. A red flower. Perhaps these flowers were sent as a summons
+from the Inca, but I have not seen the custom mentioned elsewhere.]
+</p>
+
+<p class="footnote"><a name="linknote-66" id="linknote-66"></a>
+66 (<a href="#linknoteref-66">return</a>)<br /> [ Schineus Molle, a tree with
+pinnate leaves, and panicles of red berries, well known in the Mediterranean
+countries, into which it was introduced from Peru. Called by the English
+&lsquo;pepper tree.&rsquo;]
+</p>
+
+<p class="footnote"><a name="linknote-67" id="linknote-67"></a>
+67 (<a href="#linknoteref-67">return</a>)<br /> [ Several bushes are called
+chilca in Peru. Eupatorium chilca (R. P.), baccharis scandens, and molina
+latifolia. Stereoxylon pendulum is called puna chilca.]
+</p>
+
+<p class="footnote"><a name="linknote-68" id="linknote-68"></a>
+68 (<a href="#linknoteref-68">return</a>)<br /> [ A kind of cactus, of which
+they make needles, grows abundantly on the mountains round Ollantay-tampu. It
+is called ahuarancu. They set fire to the cacti as a war signal. Zegarra calls
+it a thistle. The word in the Justiniani text is ahuarancu.]
+</p>
+
+<p class="footnote"><a name="linknote-69" id="linknote-69"></a>
+69 (<a href="#linknoteref-69">return</a>)<br /> [ Tinqui Queru, between
+Urupampa and Tampu. The word means &lsquo;two vases coupled.&rsquo; Here are two rounded
+hills connected by a saddle, three and a half miles from Tampu. (Taken from
+FN#45.)]
+</p>
+
+<p class="footnote"><a name="linknote-70" id="linknote-70"></a>
+70 (<a href="#linknoteref-70">return</a>)<br /> [ Yanahuara, a ravine near
+Urubamba, where some of the troops of Rumi-ñaui had been posted.]
+</p>
+
+<p class="footnote"><a name="linknote-71" id="linknote-71"></a>
+71 (<a href="#linknoteref-71">return</a>)<br /> [ Signal lights.]
+</p>
+
+<p class="footnote"><a name="linknote-72" id="linknote-72"></a>
+72 (<a href="#linknoteref-72">return</a>)<br /> [ Ccapac Raymi, the great
+festival of the Sun. December 22.]
+</p>
+
+<p class="footnote"><a name="linknote-73" id="linknote-73"></a>
+73 (<a href="#linknoteref-73">return</a>)<br /> [ Piqui Chaqui is literally
+&lsquo;flea foot.&rsquo; He is punning on his name.]
+</p>
+
+<p class="footnote"><a name="linknote-74" id="linknote-74"></a>
+74 (<a href="#linknoteref-74">return</a>)<br /> [ Tocarpu, a pole or stake used
+at executions. Condemned prisoners were fastened to a tocarpu before being
+hurled over a precipice.]
+</p>
+
+<p class="footnote"><a name="linknote-75" id="linknote-75"></a>
+75 (<a href="#linknoteref-75">return</a>)<br /> [ Piqui Chaqui had an inkling
+that the Inca had expressed dislike at the shedding of blood. He ventured to
+say these words in the faint hope that they might remind the Inca of this
+dislike.]
+</p>
+
+<p class="footnote"><a name="linknote-76" id="linknote-76"></a>
+76 (<a href="#linknoteref-76">return</a>)<br /> [ Rumi-ñaui at it again: for
+ever ringing changes on his name rumi, a stone.]
+</p>
+
+<p class="footnote"><a name="linknote-77" id="linknote-77"></a>
+77 (<a href="#linknoteref-77">return</a>)<br /> [ The plume and the arrow were
+the insignia of a general.]
+</p>
+
+<p class="footnote"><a name="linknote-78" id="linknote-78"></a>
+78 (<a href="#linknoteref-78">return</a>)<br /> [ Rather a staggerer for
+Rumi-ñaui! Perhaps, too, the change is too sudden, and infringes the
+probabilities. Tupac Yupanqui may have thought that his father had been unjust
+and that there were excuses. It is known that the young Inca was indignant at
+some other cruelties of his father. As a magnanimous warrior he may have
+despised the treacherous methods of Rumi-ñaui. He may have valued Ollantay&rsquo;s
+known valour and ability, and have been loth to lose his services. All these
+considerations may have influenced him more or less. The rebels were the best
+men he had.]
+</p>
+
+<p class="footnote"><a name="linknote-79" id="linknote-79"></a>
+79 (<a href="#linknoteref-79">return</a>)<br /> [ Ranti, a deputy.]
+</p>
+
+<p class="footnote"><a name="linknote-80" id="linknote-80"></a>
+80 (<a href="#linknoteref-80">return</a>)<br /> [ Canari, a warlike tribe of
+Indians, in the south part of the kingdom of Quito. They were first conquered
+by Tupac Yupanqui, and they became devoted to him.]
+</p>
+
+<p class="footnote"><a name="linknote-81" id="linknote-81"></a>
+81 (<a href="#linknoteref-81">return</a>)<br /> [ Aclla, chosen; Huasi, house:
+palace of the Virgins of the sun.]
+</p>
+
+<p class="footnote"><a name="linknote-82" id="linknote-82"></a>
+82 (<a href="#linknoteref-82">return</a>)<br /> [ Ccacca means a rock.]
+</p>
+
+<p class="footnote"><a name="linknote-83" id="linknote-83"></a>
+83 (<a href="#linknoteref-83">return</a>)<br /> [ My former translation, and
+those of Barranca and Tschudi, treated puma and amaru (snake) as epithets
+applied to Mama Ccacca. Zegarra considers that the puma and snake were intended
+to be actually in the dungeon, and I believe he is right. The puma would not
+have hurt his fellow-prisoner. Unpleasant animals were occasionally put into
+the prisons of criminals. The Incas kept pumas as pets.]
+</p>
+
+<p class="footnote"><a name="linknote-84" id="linknote-84"></a>
+84 (<a href="#linknoteref-84">return</a>)<br /> [ The early Incas never married
+their sisters or relations. Pachacuti&rsquo;s mother was daughter of the chief of
+Anta. His wife, Anahuarqui, was no relation. But the wife of Tupac Yupanqui was
+his sister Mama Ocllo.]
+</p>
+
+<p class="footnote"><a name="linknote-85" id="linknote-85"></a>
+85 (<a href="#linknoteref-85">return</a>)<br /> [ A play upon the word
+yupanqui, which means literally, &lsquo;you will count.&rsquo; The word was a title of the
+Incas, meaning, &lsquo;you will count as virtuous, brave,&rsquo; &amp;c.]
+</p>
+
+</div><!--end chapter-->
+
+<div style='display:block;margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK APU OLLANTAY ***</div>
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+The Project Gutenberg EBook of Apu Ollantay, by Sir Clements R. Markham
+
+Copyright laws are changing all over the world. Be sure to check the
+copyright laws for your country before downloading or redistributing
+this or any other Project Gutenberg eBook.
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+Please read the "legal small print," and other information about the
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+**Welcome To The World of Free Plain Vanilla Electronic Texts**
+
+**eBooks Readable By Both Humans and By Computers, Since 1971**
+
+*****These eBooks Were Prepared By Thousands of Volunteers!*****
+
+
+Title: Apu Ollantay
+       A Drama of the Time of the Incas
+
+Author: Sir Clements R. Markham
+
+Release Date: October, 2005 [EBook #9068]
+[Yes, we are more than one year ahead of schedule]
+[This file was first posted on September 2, 2003]
+
+Edition: 10
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THE PROJECT GUTENBERG EBOOK APU OLLANTAY ***
+
+
+
+
+Produced by John B. Hare
+
+
+
+
+APU OLLANTAY
+
+
+A DRAMA OF THE TIME OF THE INCAS
+
+SOVEREIGNS OF PERU
+
+ABOUT A.D. 1470
+
+
+
+FIRST REDUCED TO WRITING BY
+DR. VALDEZ, CUBA OF SICUANI
+A.D. 1770
+
+
+
+THE ORIGINAL MANUSCRIPT COPIED BY
+DR. JUSTO PASTOR JUSTINIANI
+
+
+
+THIS JUSTINIANI TEXT
+COPIED AT LARIS, IN APRIL 1863, BY
+CLEMENTS R. MARKHAM
+
+
+
+
+A FREE TRANSLATION INTO ENGLISH
+BY
+SIR CLEMENTS MARKHAM, K.C.B.
+[1910]
+
+
+
+
+
+INTRODUCTION
+
+
+The drama was cultivated by the Incas, and dramatic performances were
+enacted before them.   Garcilasso de la Vega, Molina, and Salcamayhua
+are the authorities who received and have recorded the information given
+by the Amautas respecting the Inca drama.  Some of these dramas, and
+portions of others, were preserved in the memories of members of Inca
+and Amauta families.  The Spanish priests, especially the Jesuits of
+Juli, soon discovered the dramatic aptitude of the people.  Plays were
+composed and acted, under priestly auspices, which contained songs and
+other fragments of the ancient Inca drama.  These plays were called
+'Autos Sacramentales.'
+
+But complete Inca dramas were also preserved in the memories of members
+of the Amauta caste and, until the rebellion of 1781, they were acted.
+The drama of Ollantay was first reduced to writing and arranged for
+acting by Dr. Don Antonio Valdez, the Cura of Tinto.  It was acted
+before his friend Jose Gabriel Condorcanqui[FN#1] in about 1775.  Taking
+the name of his maternal ancestor, the Inca Tupac Amaru, the ill-fated
+Condorcanqui rose in rebellion, was defeated, taken, and put to death
+under torture, in the great square of Cuzco.  In the monstrous sentence
+'the representation of dramas as well as all other festivals which the
+Indians celebrate in memory of their Incas' was prohibited.[FN#2]  This
+is a clear proof that before 1781 these Quichua dramas were acted.
+
+
+[FN#1]
+INCA-PACHACUTI
+|
+TUPAC YUPANQUI
+|
+INCA HUAYNA CCAPAC
+|
+MANCO INCA
+|
+TUPAC AMARU
+|
+JUANA NUSTA = DIEGO CONDORCANQUI
+|
+FELIPE CONDORCANQUI
+|
+PEDRO CONDORCANQUI
+|
+MIGUEL CONDORCANQUI
+|
+JOSE GABRIEL CONDORCANQUI (TUPAC AMARU)
+
+[FN#2]  'Sentencia pronunciada en el Cuzco por el Visitador Don Jose
+Antonio de Areche, contra Jose Gabriel Tupac Amaru.' In Coleccion de
+obras y documentos de Don Pedro de Angelis, vol. V. (Buenos Ayres, 1836-
+7).
+
+
+The original manuscript of Valdez was copied by his friend Don Justo
+Pastor Justiniani, and this copy was inherited by his son.  There was
+another copy in the convent of San Domingo at Cuzco, but it is corrupt,
+and there are several omissions and mistakes of a copyist.  Dr. Valdez
+died, at a very advanced age, in 1816.  In 1853 the original manuscript
+was in the possession of his nephew and heir, Don Narciso Cuentas of
+Tinta.
+
+The Justiniani copy was, in 1853, in the possession of Dr. Don Pablo
+Justiniani, Cura of Laris, and son of Don Justo Pastor Justiniani.  He
+is a descendant of the Incas.[FN#3]  In April 1853 I went to Laris, a
+secluded valley of the Andes, and made a careful copy of the drama of
+Ollantay.  From this Justiniani text my first very faulty line-for-line
+translation was made in 1871, as well as the present free translation.
+
+
+[FN#3]
+INCA PACHACUTI.
+|
+TUPAC YUPANQUI
+|
+HUAYNA CCAPAC
+|
+MANCO INCA
+|
+MARIA TUPAC USCA = PEDRO ORTIZ DE ORUE
+|
+CATALINA ORTIZ =LUIS JUSTINIANI
+|
+LUIS JUSTINIANI
+|
+LUIS JUSTINIANI
+|
+NICOLO JUSTINIANI
+|
+JUSTO PASTOR JUSTINIANI
+|
+Dr. PABLO POLICARPO JUSTINIANI(Cura of Laris)
+
+
+The first printed notice of Ollantay appeared in the Museo Erudito, Nos.
+5 to 9, published at Cuzco in 1837, and edited by Don Jose Palacios.
+The next account of the drama, with extracts, was in the 'Antiguedades
+Peruanas,' a work published in 1851 jointly by Dr. von Tschudi and Don
+Mariaiao Rivero of Arequipa.  The complete text, from the copy in the
+convent of San Domingo at Cuzco, was first published at Vienna in 1853
+by Dr. von Tschudi in his 'Die Kechua Sprache.  It was obtained for him
+by Dr. Ruggendas of Munich.  The manuscript was a corrupt version, and
+in very bad condition, in parts illegible from damp.  In 1868 Don Jose
+Barranca published a Spanish translation, from the Dominican text of von
+Tschudi.  The learned Swiss naturalist, von Tschudi, published a revised
+edition of his translation at Vienna in 1875, with a parallel German
+translation.  In 18711 printed the Justiniani text with a literal, line-
+for-line translation, but with many mistakes, since corrected; and in
+1874, a Peruvian, Don Jose Fernandez Nodal, published the Quichua text
+with a Spanish translation.
+
+In 1878 Gavino Pacheco Zegarra published his version of Ollantay, with a
+free translation in French.  His text is a manuscript of the drama which
+he found in his uncle's library.  Zegarra, as a native of Peru whose
+language was Quichua, had great advantages.  He was a very severe, and
+often unfair, critic of his predecessors.
+
+The work of Zegarra is, however, exceedingly valuable.  He was not only
+a Quichua scholar, but also accomplished and well read.  His notes on
+special words and on the construction of sentences are often very
+interesting.  But his conclusions respecting several passages which are
+in the Justiniani text, but not in the others, are certainly erroneous.
+Thus he entirely spoils the dialogue between the Uillac Uma and Piqui
+Chaqui by omitting the humorous part contained in the Justiniani text;
+and makes other similar omissions merely because the passages are not in
+his text.  Zegarra gives a useful vocabulary at the end of all the words
+which occur in the drama.
+
+The great drawback to the study of Zegarra's work is that he invented a
+number of letters to express the various modifications of sound as they
+appealed to his ear.  No one else can use them, while they render the
+reading of his own works difficult and intolerably tiresome.
+
+The last publication of a text of Ollantay was by the Rev. J. H. Gybbon
+Spilsbury, at Buenos Ayres in 1907, accompanied by Spanish, English, and
+French translations in parallel columns.
+
+There is truth in what Zegarra says, that the attempts to translate line
+for line, by von Tschudi and myself, 'fail to convey a proper idea of
+the original drama to European readers, the result being alike contrary
+to the genius of the modern languages of Europe and to that of the
+Quichua language.'  Zegarra accordingly gives a very free translation in
+French.
+
+In the present translation I believe that I have always preserved the
+sense of the original, without necessarily binding myself to the words.
+The original is in octosyllabic lines.  Songs and important speeches are
+in quatrains of octosyllabic lines, the first and last rhyming, and the
+second and third.  I have endeavoured to keep to octosyllabic lines as
+far as possible, because they give a better idea of the original; and I
+have also tried to preserve the form of the songs and speeches.
+
+The drama opens towards the close of the reign of the Inca Pachacuti,
+the greatest of all the Incas, and the scene is laid at Cuzco or at
+Ollantay-tampu, in the valley of the Vilcamayu.  The story turns on the
+love of a great chief, but not of the blood-royal, with a daughter of
+the Inca.  This would not have been prohibited in former reigns, for the
+marriage of a sister by the sovereign or his heir, and the marriage of
+princesses only with princes of the blood-royal, were rules first
+introduced by Pachacuti.[FN#4]  His imperial power and greatness led him
+to endeavour to raise the royal family far above all others.
+
+
+[FN#4]  The wives of the Incas were called ccoya.  The ccoya of the
+second Inca was a daughter of the chief of Sanoc.  The third Inca
+married a daughter of the chief of Oma, the fourth married a girl of
+Tacucaray, the wife of the fifth was a daughter of a Cuzco chief.  The
+sixth Inca married a daughter of the chief of Huayllacan, the seventh
+married a daughter of the chief of Ayamarca, and the eighth went to Anta
+for a wife.  This Anta lady was the mother of Pachacuti.  The wife of
+Pachacuti, named Anahuarqui, was a daughter of the chief of Choco.
+There was no rule about marrying sisters when Pachacuti succeeded.  He
+introduced it by making his son Tupac Yupanqui marry his daughter Mama
+Ocllo, but this was quite unprecedented.  The transgression of a rule
+which he had just made may account for his extreme severity.
+
+
+The play opens with a dialogue between Ollantay and Piqui Chaqui, his
+page, a witty and humorous lad.  Ollantay talks of his love for the
+Princess Cusi Coyllur, and wants Piqui Chaqui to take a message to her,
+while the page dwells on the danger of loving in such a quarter, and
+evades the question of taking a message.  Then to them enters the Uillac
+Uma, or High Priest of the Sun, who remonstrates with Ollantay--a scene
+of great solemnity, and very effective.
+
+The next scene is in the Queen's palace.  Anahuarqui, the Queen, is
+discovered with the Princess Cusi Coyllur, who bitterly laments the
+absence of Ollantay.  To them enters the Inca Pachacuti, quite ignorant
+that his daughter has not only married Ollantay in secret, but that she
+is actually with child by him.  Her mother keeps her secret.  The Inca
+indulges in extravagant expressions of love for his daughter.  Then boys
+and girls enter dancing and singing a harvest song.  Another very
+melancholy yarahui is sung; both capable of being turned by the Princess
+into presages of the fate of herself and her husband.
+
+In the third scene Ollantay prefers his suit to the Inca Pachacuti in
+octosyllabic quatrains, the first and last lines rhyming, and the second
+and third.  His suit is rejected with scorn and contempt.  Ollantay next
+appears on the heights above Cuzco.  In a soliloquy he declares himself
+the implacable enemy of Cuzco and the Inca.  Then Piqui Chaqui arrives
+with the news that the Queen's palace is empty, and abandoned, and that
+Cusi Coyllur has quite disappeared; while search is being made for
+Ollantay.  While they are together a song is sung behind some rocks, in
+praise of Cusi Coyllur's beauty.  Then the sound of clarions and people
+approaching is heard, and Ollantay and Piqui Chaqui take to flight.  The
+next scene finds the Inca enraged at the escape of Ollantay, and
+ordering his general Rumi-naui to march at once, and make him prisoner.
+To them enters a chasqui, or messenger, bringing the news that Ollantay
+has collected a great army at Ollantay-tampu, and that the rebels have
+proclaimed him Inca.
+
+The second act opens with a grand scene in the hall of the fortress-
+palace of Ollantay-tampu. Ollantay is proclaimed Inca by the people, and
+he appoints the Mountain Chief, Urco Huaranca, general of his army.
+Urco Huaranca explains the dispositions he has made to oppose the army
+advancing from Cuzco, and his plan of defence.  In the next scene Rumi-
+naui, as a fugitive in the mountains, describes his defeat and the
+complete success of the strategy of Ollantay and Urco Huaranca.  His
+soliloquy is in the octosyllabic quatrains.  The last scene of the
+second act is in the gardens of the Convent of Virgins of the Sun.  A
+young girl is standing by a gate which opens on the street.  This, as
+afterwards appears, is Yma Sumac, the daughter of Ollantay and Cusi
+Coyllur, aged ten, but ignorant of her parentage.  To her enters Pitu
+Salla, an attendant, who chides her for being so fond of looking out at
+the gate.  The conversation which follows shows that Yma Sumac detests
+the convent and refuses to take the vows.  She also has heard the moans
+of some sufferer, and importunes Pitu Salla to tell her who it is.  Yma
+Sumac goes as Mama Ccacca enters and cross examines Pitu Salla on her
+progress in persuading Yma Sumac to adopt convent life.  This Mama
+Ccacca is one of the Matrons or Mama Cuna, and she is also the jailer of
+Cusi Coyllur.
+
+The third act opens with an amusing scene between the Uillac Uma and
+Piqui Chaqui, who meet in a street in Cuzco.  Piqui Chaqui wants to get
+news, but to tell nothing, and in this he succeeds.  The death of Inca
+Pachacuti is announced to him, and the accession of Tupac Yupanqui, and
+with this news he departs.
+
+Next there is an interview between the new Inca Tupac Yupanqui, the
+Uillac Uma, and the defeated general Rumi-naui, who promises to retrieve
+the former disaster and bring the rebels to Cuzco, dead or alive.  It
+after wards appears that the scheme of Rumi-naui was one of treachery.
+He intended to conceal his troops in eaves and gorges near Ollantay-
+tampu ready to rush in, when a signal was made.  Rumi-naui then cut and
+slashed his face, covered himself with mud, and appeared at the gates of
+Ollantay-tampu, declaring that he had received this treatment from the
+new Inca, and imploring protection.[FN#5]  Ollantay received him with
+the greatest kindness and hospitality.  In a few days Ollantay and his
+people celebrated the Raymi or great festival of the sun with much
+rejoicing and drinking.  Rumi-naui pretended to join in the festivities,
+but when most of them were wrapped in drunken sleep, he opened the
+gates, let in his own men, and made them all prisoners.
+
+
+[FN#5]  A bust, on an earthen vase, was presented to Don Antonio Maria
+Alvarez, the political chief of Cuzco, in 1837, by an Indian who
+declared that it had been handed down in his family from time
+immemorial, as a likeness of the general, Rumi-naui, who plays an
+important part in this drama of Ollantay.  The person represented must
+have been a general, from the ornament on the forehead, called
+mascapaycha, and there are wounds cut on the face.--Museo Erudito, No.
+B.
+
+
+There is next another scene in the garden of the convent, in which Yma
+Sumac importunes Pitu Salla to tell her the secret of the prisoner.
+Pitu Salla at last yields and opens a stone door.  Cusi Coyllur is
+discovered, fastened to a wall, and in a dying state.  She had been
+imprisoned, by order of her father, Inca Pachacuti on the birth of Yma
+Sumac.  She is restored with food and water, and the relationship is
+discovered when Cusi Coyllur hears the child's name, for she had given
+it to her.
+
+Next the Inca Tupac Yupanqui is discovered in the great hall of his
+palace, seated on his tiana or throne, with the Uillac Uma in
+attendance.  To them enters a chasqui, or messenger, who describes the
+result of Rumi-naui's treachery in octosyllabic quatrains.  Rumi-naui
+himself enters and receives the thanks of his sovereign.  Then the
+prisoners are brought in guarded-Ollantay, Hanco Huayllu, Urco Huaranca,
+and Piqui Chaqui.  The Inca upbraids them for their treason.  He then
+asks the Uillac Uma for his judgment.  The High Priest recommends mercy.
+Rumi-naui advises immediate execution: The Inca seems to concur and they
+are ordered off, when suddenly the Inca cries 'Stop.'  He causes them
+all to be released, appoints Ollantay to the highest post in the empire
+next to himself, and Urco Huaranca to a high command.  There are
+rejoicings, and in the midst of it all Yma Sumac forces her way into the
+hall, and throws herself at the Inca's feet, entreating him to save her
+mother from death.  The Inca hands over the matter to Ollantay, but this
+Yma Sumac will not have, and, the Uillac Uma intervening, the Inca
+consents to go with the child.
+
+The final scene is in the gardens of the convent.  The Inca enters with
+Yma Sumac, followed by the whole strength of the company.  Mama Ccacca
+is ordered to open the stone door and Cusi Coyllur is brought out.  She
+proves to be the sister of the Inca and the wife of Ollantay.  There are
+explanations, and all ends happily.
+
+Of the antiquity of the drama of Ollantay there is now no question.
+General Mitre wrote an elaborate paper on its authenticity, raising
+several points to prove that it was of modern origin.  But every point
+he raised has been satisfactorily refuted.  At the same time there are
+many other points, some of them referred to by Zegarra, which establish
+the antiquity of the drama beyond any doubt.  The antiquity of the name
+Ollantay-tampu, applied to the fortress in memory of the drama, is
+proved by its use in the narratives of Molina (1560) and of Salcamayhua.
+
+An able review of the literature connected with the drama of Ollantay
+was written by Don E. Larrabure y Unanue, the present Vice-President of
+Peru, who considers that Ollantay would make a good acting play with
+magnificent scenic effects.
+
+
+
+
+MS. TEXTS.
+
+
+
+
+1.  The original text of Valdez.  In 1853 the property of Don Narciso
+Cuentas of Tinta, heir of Dr. Valdez.
+
+
+2.  The Justiniani text.  In 1853 at Laris.  Copy of the Valdez text.
+
+
+3.  Markham's copy of the Justiniani text (printed 1871).
+
+
+4.  Rosas copy of the Justiniani text.
+
+
+5.  Copy in the convent of San Domingo at Cuzco (the Dominican text).
+
+
+6.  Von Tschudi's copy of the Dominican text (printed 1853).
+
+
+7.  Text of Zegarra (printed 1878).
+
+
+8.  Second text of von Tschudi.
+
+
+9.  Text of Spilsbury.
+
+
+10.  Text of Sahuaraura penes Dr. Gonzalez de la Rosa.
+
+
+
+
+
+There is light thrown upon the name Ollantay by the evidence taken
+during the journey of the Viceroy Toledo from Jauja to Cuzco, from
+November 1570 to March 1571.  He wanted information respecting the
+origin of the Inca government, and 200 witnesses were examined, the
+parentage or lineage of each witness being recorded.  Among these we
+find six witnesses of the Antasayac ayllu.  Sayac means a station or
+division, Anta is a small town near Cuzco.  The names of the six Anta
+witnesses were
+
+
+
+ANCAILLO; USCA; HUACRO;
+MANCOY; AUCA PURI; ULLANTAY;
+
+
+Besides ANTONIO PACROTRICA and PUNICU PAUCAR,
+Chiefs of Anta.
+
+
+
+We thus find that the name of Ollantay belonged to Anta.  Now the Incas
+were under great obligations to the chief of Anta, for that chief had
+rescued the eldest son of Inca Rocca from the chief of Ayamarca, and had
+restored him to his father.  For this great service the chief of Anta
+was declared to be a noble of the highest rank and cousin to the Inca
+family.  Moreover, the daughter of the Anta chief was married to the
+Inca Uira-cocha, and was the mother of Pachacuti.  Assuming, as seems
+probable, that Ollantay was a son of the chief of Anta, he would be a
+cousin of the Inca, and of very high rank, though not an agnate of the
+reigning family.  This, I take it, is what is intended.  Pachacuti
+desired to raise his family high above all others, and that,
+consequently, there should be no marriages with subjects even of the
+highest rank; and his excessive severity on the transgression of his
+rule by his daughter is thus explained.
+
+
+
+
+
+OLLANTAY
+
+
+
+
+ACTS AND SCENES
+
+
+
+ACT 1.
+
+
+
+Sc. 1.--Open space near Cuzco.
+Ollantay, Piqui Chaqui, Uillac Uma.
+
+Sc. 2.--Hall in the Colcampata.
+Anahuarqui, Cusi Coyllur, Inca Pachacuti, Boys and Girls, Singers.
+
+Sc. 3.--Hall in the Inca's palace.
+Pachacuti, Rumi-naui, Ollantay.
+
+Sc. 4.--Height above Cuzco.
+Ollantay, Piqui Chaqui, Unseen Singer.
+
+Sc. 5.--Hall in the Inca's palace.
+Pachacuti, Rumi-naui, and a Chasqui.
+
+
+ACT II.
+
+
+
+Sc. 1.--Ollantay-tampu Hall.
+Ollantay, Urco Huaranca, Hanco Huayllu, People and Soldiers.
+
+Sc. 2.--A wild place in the mountains.
+Rumi-naui's soliloquy.
+
+Sc. 3.--Gardens of the Virgins.
+Yma Sumac, Pitu Salla, Mama Ccacca.
+
+
+ACT III.
+
+
+
+Sc. 1.--Pampa Maroni at Cuzco.
+Uillac Uma and Piqui Chaqui.
+
+Sc. 2.--Palace of Tupac Yupanqui.
+Tupac Yupanqui, Uillac Uma, Rumi-naui.
+
+Sc. 3.--Ollantay-tampu, Terrace.
+Rumi-naui, Ollantay, Guards.
+
+Sc. 4.--House of Virgins, Corridor.
+Yma Sumac, Pitu Salla.
+
+Sc. 5.--House of Virgins, Garden.
+Yma Sumac, Pitu Salla, Cusi Coyllur.
+
+Sc. 6.--Palace of Tupac Yupanqui.
+Tupac Yupanqui, Uillac Uma, a Chasqui, Rumi-naui, Ollantay, Urco
+Huaranca, Hanco Huayllu, Piqui Chaqui, Chiefs and Guards. then Yma
+Sumac.
+
+Sc. 7.--House of Virgins, Garden.
+All of Scene 6, and Mama Ccacca, Cusi Coyllur, Pitu Salla.
+
+
+
+
+OLLANTAY DRAMATIS PERSONAE
+
+
+
+
+SCENE
+
+
+
+
+In Cuzco and its environs, and Ollantay-tampu
+
+
+
+
+DRAMATIS PERSONAE
+
+
+
+
+APU OLLANTAY.--General of Anti-suyu, the eastern province of the empire.
+A young chief, but not of the blood-royal.  His rank was that of a
+Tucuyricuo or Viceroy.  The name occurs among the witnesses examined by
+order of the Viceroy Toledo, being one of the six of the Antasayac
+ayllu.
+
+
+PACHACUTI.--The Sovereign Inca.
+
+
+TUPAC YUPANQUI.--Sovereign. Inca, son and heir of Pachacuti.
+
+
+RUMI-NAUI.--A great chief, General of Colla-suyu.  The word means
+'Stone-eye.'
+
+
+UILLAC UMA.--High Priest of the Sun.  The word Uma means head, and
+Uillac, a councillor and diviner.
+
+
+URCO HUARANCA.--A chief.  The words mean' Mountain Chief.'  The word
+huaranca means 1000; hence, Chief of a Thousand.
+
+
+HANCO HUAYLLU AUQUI.--An old officer, of the blood-royal.
+
+
+PIQUI CHAQUI.--Page to Ollantay. The words mean 'fleet-footed.'
+
+
+ANAHUARQUI.--The Ccoya or Queen, wife of Pachacuti.
+
+CUSI COYLLUR NUSTA.--A Princess, daughter of Pachacuti.  The words mean
+'the joyful star.'
+
+
+YMA SUMAC.--Daughter of Cusi Coyllur.  The words mean 'How beautiful.'
+
+
+PITU SALLA.--A girl, companion of Yma Sumac.
+
+
+CCACCA MAMA.--A matron of Virgins of the Sun.  Jailer of Cusi Coyllur.
+
+
+Nobles, captains, soldiers, boys and girls dancing, singers, attendants,
+messengers or Chasqui.
+
+
+
+
+
+ACT I
+
+
+
+
+SCENE I
+
+
+
+An open space near the junction of the two torrents of Cuzco, the
+Huatanay and Tullumayu or Rodadero, called Pumap Chupan, just outside
+the gardens of the Sun.  The Temple of the Sun beyond the gardens, and
+the Sacsahuaman hill surmounted by the fortress, rising in the distance.
+The palace of Colcampata on the hillside.
+
+
+
+(Enter OLLANTAY L. [in a gilded tunic, breeches of llama sinews, usutas
+or shoes of llama hide, a red mantle of ccompi or fine cloth, and the
+chucu or head-dress of his rank, holding a battle-axe (champi) and club
+(macana)] and PIQUI CHAQUI coming up from the back R. [in a coarse brown
+tunic of auasca or llama cloth, girdle used as a sling, and chucu or
+head-dress of a Cuzqueno].)
+
+
+
+
+Ollantay.
+
+Where, young fleet-foot, hast thou been?
+Hast thou the starry nusta seen?
+
+
+
+Piqui Chaqui.
+
+The Sun forbids such sacrilege
+'Tis not for me to see the star.
+Dost thou, my master, fear no ill,
+Thine eyes upon the Inca's child?
+
+
+
+Ollantay.
+
+In spite of all I swear to love
+That tender dove, that lovely star;
+My heart is as a lamb[FN#6] with her,
+And ever will her presence seek.
+
+
+
+[FN#6]  Chita is the lamb of the llama.  A lamb of two or three months
+was a favourite pet in the time of the Incas.  It followed its mistress,
+adorned with a little bell and ribbons.
+
+
+
+Piqui Chaqui.
+
+Such thoughts are prompted by Supay[FN#7];
+That evil being possesses thee.
+All round are beauteous girls to choose
+Before old age, and weakness come.
+If the great Inca knew thy plot
+And what thou seekest to attain,
+Thy head would fall by his command,
+Thy body would be quickly burnt.
+
+
+
+[FN#7]  Supay, an evil spirit, according to some authorities.
+
+
+
+
+Ollantay.
+
+Boy, do not dare to cross me thus.
+One more such word and thou shalt die.
+These hands will tear thee limb from limb,
+If still thy councils are so base.
+
+
+
+Piqui Chaqui.
+
+Well! treat thy servant as a dog,
+But do not night and day repeat,
+'Piqui Chaqui! swift of foot!
+Go once more to seek the star.'
+
+
+
+Ollantay.
+
+Have I not already said
+That e'en if death's fell scythe[FN#8] was here,
+If mountains should oppose my path
+Like two fierce foes[FN#9] who block the way,
+Yet will I fight all these combined
+And risk all else to gain my end,
+And whether it be life or death
+I'll cast myself at Coyllur's feet.
+
+
+
+[FN#8] Ichuna, a sickle or scythe.  The expression has been cited by
+General Mitre and others as an argument that the drama is modern,
+because this is a metaphor confined to the old world.  But ichuna was in
+use, in Quichua, in this sense, before the Spaniards came.  The word is
+from Ichu, grass.
+
+[FN#9] The Peruvians personified a mountain as two spirits, good and
+evil.  In writing poetically of a mountain opposing, it would be
+referred to in the persons of its genii or spirits, and spoken of as two
+foes, not one.
+
+
+
+
+Piqui Chaqui.
+
+Rut if Supay himself should come?
+
+
+
+Ollantay.
+
+I'd strike the evil spirit down.
+
+
+Piqui Chaqui.
+
+If thou shouldst only see his nose,
+Thou wouldst not speak as thou dost now.
+
+
+
+Ollantay.
+
+Now, Piqui Chaqui, speak the truth,
+Seek not evasion or deceit.
+Dost thou not already know,
+Of all the flowers in the field,
+Not one can equal my Princess?
+
+
+
+Piqui Chaqui.
+
+Still, my master, thou dost rave.
+I think I never saw thy love.
+Stay! was it her who yesterday
+Came forth with slow and faltering steps
+And sought a solitary[FN#10] path[FN#11]?
+If so, 'tis true she's like the sun,
+The moon less beauteous than her face.[FN#12]
+
+
+
+[FN#10] Rurun, desert, solitude.
+
+[FN#11] Tasquiy, to march; tasquina, promenade, path.
+
+[FN#12] Cusi Coyllur, while daylight lasted, was, in the eyes of Piqui
+Chaqui, like the sun.  A change takes place at twilight, and at night
+she is like the moon.
+
+
+
+
+Ollantay.
+
+It surely was my dearest love.
+How beautiful, how bright is she
+This very moment thou must go
+And take my message to the Star.
+
+
+
+Piqui Chaqui.
+
+I dare not, master; in the day,
+I fear to pass the palace gate.
+With all the splendour of the court,
+I could not tell her from the rest.
+
+
+
+Ollantay.
+
+Didst thou not say thou sawest her?
+
+
+
+Piqui Chaqui.
+
+I said so, but it was not sense.
+A star can only shine at night
+Only at night could I be sure.
+
+
+
+Ollantay.
+
+Begone, thou lazy good-for-nought.
+The joyful star that I adore,
+If placed in presence of the Sun,
+Would shine as brightly as before.
+
+
+Piqui Chaqui.
+
+Lo! some person hither comes,
+Perhaps an old crone seeking alms;
+Yes! Look! he quite resembles one.
+Lot him the dangerous message take.
+Send it by him, O noble Chief!
+From me they would not hear the tale;
+Thy page is but a humble lad.
+
+
+
+
+(Enter the UILLAC UMA, or High Priest of the Sun, at the back, arms
+raised to the Sun.  In a grey tunic and black mantle from the shoulders
+to the ground, a long knife in his belt, the undress chucu on his head.)
+
+
+
+
+Uillac Uma.
+
+O giver of all warmth and light
+O Sun! I fall and worship thee.
+For thee the victims are prepared,
+A thousand llamas and their lambs
+Are ready for thy festal day.
+The sacred fire'll lap their blood,
+In thy dread presence, mighty one,
+After long fast[FN#13] thy victims fall.
+
+
+
+[FN#13]  Fasting was a preparation for all great religious ceremonies.
+Victims for sacrifice underwent a previous fast, which was looked upon
+in the fight of purification before being offered to the Deity.
+
+
+
+
+Ollantay.
+
+Who comes hither, Piqui Chaqui?
+Yes, 'tis the holy Uillac Uma;
+He brings his tools of augury.
+No puma[FN#14] more astute and wise
+I hate that ancient conjurer
+Who prophesies of evil things,
+I feel the evils he foretells;
+'Tis he who ever brings ill-luck.
+
+
+
+
+[FN#14]  They gave the attributes we usually assign to the fox to the
+puma.
+
+
+
+
+Piqui Chaqui.
+
+Silence, master, do not speak,
+The old man doubly is informed;
+Fore-knowing every word you say,
+Already he has guessed it all.
+
+
+
+
+(He lies down on a bank.)
+
+
+
+Ollantay (aside).
+
+He sees me. I must speak to him.
+
+
+
+(The Uillac Uma comes forward.)
+
+
+
+O Uillac Uma, Great High Priest,
+I bow before thee with respect
+May the skies be clear for thee,
+And brightest sunshine meet thine eyes.
+
+
+Uillac Uma.
+
+Brave Ollantay! Princely one!
+May all the teeming land be thine;
+May thy far-reaching arm of might
+Reduce the wide-spread universe.
+
+
+
+Ollantay.
+
+Old man! thine aspect causes fear,
+Thy presence here some ill forebodes;
+All round thee dead men's bones appear,
+Baskets, flowers, sacrifice.
+All men when they see thy face
+Are filled with terror and alarm.
+What means it all? why comest thou?
+It wants some months before the least.
+Is it that the Inca is ill?
+Perchance hast thou some thought divined
+Which soon will turn to flowing blood.
+Why comest thou? the Sun's great day,
+The Moon's libations are not yet
+The moon has not yet nearly reached
+The solemn time for sacrifice.
+Uillac Uma. Why dost thou these questions put,
+In tones of anger and reproach?
+Am I, forsooth, thy humble slave?
+That I know all I'll quickly prove.
+
+
+
+Ollantay.
+
+My beating heart is filled with dread,
+Beholding thee so suddenly;
+Perchance thy coming is a sign,
+Of evils overtaking me.
+
+
+
+Uillac Uma.
+
+Fear not, Ollantay! not for that,
+The High Priest comes to thee this day.
+It is perhaps for love of thee,
+That, as a straw is blown by wind,
+A friend, this day, encounters thee.
+Speak to me as to a friend,
+Hide nothing from my scrutiny.
+This day I come to offer thee
+A last and most momentous choice
+'Tis nothing less than life or death.
+
+
+
+Ollantay.
+
+Then make thy words more clear to me,
+That I may understand the choice
+Till now 'tis but a tangled skein,
+Unravel it that I may know.
+
+
+
+Uillac Uma.
+
+'Tis well. Now listen, warlike. Chief
+My science has enabled me,
+To learn and see all hidden things
+Unknown to other mortal men.
+My power will enable me
+To make of thee a greater prince.
+I brought thee up from tender years,
+And cherished thee with love and care
+I now would guide thee in the right,
+And ward off all that threatens thee.
+As chief of Anti-suyu now,
+The people venerate thy name;
+Thy Sovereign trusts and honours thee,
+E'en to sharing half his realm.
+From all the rest he chose thee out,
+And placed all power in thy hands;
+He made thy armies great and strong,
+And strengthened thee against thy foes
+How numerous soe'er they be,
+They have been hunted down by thee.
+Are these good reasons for thy wish,
+To wound thy Sovereign to the heart?
+His daughter is beloved by thee;
+Thy passion thou wouldst fain indulge,
+Lawless and forbidden though it be.
+I call upon thee, stop in time,
+Tear this folly from thy heart.
+If thy passion is immense,
+Still let honour hold its place.
+You reel, you stagger on the brink
+I'd snatch thee from the very edge.
+Thou knowest well it cannot be,
+The Inca never would consent.
+If thou didst e'en propose it now,
+He would be overcome with rage;
+From favoured prince and trusted chief,
+Thou wouldst descend to lowest rank.
+
+
+
+Ollantay.
+
+How is it that thou canst surely know
+What still is hidden in my heart?
+Her mother only knows my love,
+Yet thou revealest all to me.
+
+
+
+Uillac Uma.
+
+I read thy secret on the moon,
+As if upon the Quipu knots;
+And what thou wouldst most surely hide,
+Is plain to me as all the rest.
+
+
+
+Ollantay.
+
+In my heart I had divined
+That thou wouldst search me through and through
+Thou knowest all, O Councillor,
+And wilt thou now desert thy son?
+
+
+
+Uillac Uma.
+
+How oft we mortals heedless drink,
+A certain death from golden cup
+Recall to mind how ills befall,
+And that a stubborn heart 's the cause.
+Ollantay (kneeling).
+
+Plunge that dagger in my breast,
+Thou holdst it ready in thy belt;
+Cut out my sad and broken heart
+I ask the favour at thy feet.
+
+
+
+Uillac Uma (to Piqui Chaqui).
+
+Gather me that flower, boy.
+
+
+
+
+(Piqui Chaqui gives him a withered flower and lies down again,
+pretending to sleep.)
+
+
+
+
+(To Ollantay).
+
+Behold, it is quite dead and dry.
+Once more behold! e'en now it weeps,
+It weeps. The water flows from it.
+
+
+
+
+(Water flows out of the flower.)
+
+
+
+Ollantay.
+
+More easy for the barren rocks
+Or for sand to send forth water,
+Than that I should cease to love
+The fair princess, the joyful star.
+
+
+Uillac Uma.
+
+Put a seed into the ground,
+It multiplies a hundredfold;
+The more thy crime shall grow and swell,
+The greater far thy sudden fall.
+
+
+
+Ollantay.
+
+Once for all, I now confess
+To thee, O great and mighty Priest;
+Now learn my fault. To thee I speak,
+Since thou hast torn it from my heart.
+The lasso to tie me is long,
+'Tis ready to twist round my throat
+Yet its threads are woven with gold,
+It avenges a brilliant crime.
+Cusi Coyllur e'en now is my wife,
+Already we 're bound and are one;
+My blood now runs in her veins,
+E'en now I am noble as she.
+Her mother has knowledge of all,
+The Queen can attest what I say;
+Let me tell all this to the King,
+I pray for thy help and advice.
+I will speak without fear and with force,
+He may perhaps give way to his rage
+Yet he may consider my youth,
+May remember the battles I've fought;
+The record is carved on my club.
+
+
+
+
+(Holds up his macana.)
+
+
+
+
+He may think of his enemies crushed,
+The thousands I've thrown at his feet.
+
+
+
+Uillac Uma.
+
+Young Prince! thy words are too bold,
+Thou hast twisted the thread of thy fate--
+Beware, before 'tis too late;
+Disentangle and weave it afresh,
+Go alone to speak to the King,
+Alone bear the blow that you seek;
+Above all let thy words be but few,
+And say them with deepest respect;
+Be it life, be it death that you find,
+I will never forget thee, my son.
+
+
+
+
+(Walks up and exit.)
+
+
+
+
+Ollantay.
+
+Ollantay, thou art a man,
+No place in thy heart for fear;
+Cusi Coyllur, surround me with light.
+Piqui Chaqui, where art thou?
+
+
+
+Piqui Chaqui (jumping up).
+
+I was asleep, my master,
+And dreaming of evil things.
+
+
+
+Ollantay.
+
+Of what?
+
+
+Piqui Chaqui.
+
+Of a fox with a rope round its neck.
+
+
+Ollantay.
+
+Sure enough, thou art the fox.
+
+
+
+Piqui Chaqui.
+
+It is true that my nose is growing finer,
+And my ears a good deal longer.
+
+
+
+Ollantay.
+
+Come, lead me to the Coyllur.
+
+
+
+Piqui Chaqui.
+
+It is still daylight.
+
+
+
+
+(Exeunt.)
+
+
+
+
+SCENE 2
+
+
+
+
+A great hall in the Colcampata, then the palace of the Queen or Ccoya
+Anahuarqui.  In the centre of the back scene a doorway, and seen through
+it gardens with the snowy peak of Vilcanota in the distance.  Walls
+covered with golden slabs.  On either side of the doorway three recesses,
+with household gods in the shape of maize-cobs and llamas, and gold vases
+in them.  On R. a golden tiana or throne.  On L. two lower seats covered
+with cushions of fine woollen cloth.
+
+
+
+
+(ANAHUARQUI, the Queen or Ccoya (in blue chucu, white cotton bodice, and
+red mantle secured by a golden topu or pin, set with emeralds, and a blue
+skirt), and the princess CUSI COYLLUR (in a chucu, with feathers of the
+tunqui, white bodice and skirt, and grey mantle with topu, set with
+pearls) discovered seated.)
+
+
+
+
+Anahuarqui.
+
+Since when art thou feeling so sad,
+Cusi Coyllur! great Inti's prunelle?[FN#15]
+Since when hast thou lost all thy joy,
+Thy smile and thy once merry laugh?
+
+
+
+
+[FN#15]  Intip llirpun, 'apple of the sun's eye.'  There is no English
+equivalent that is suitable.
+
+
+
+Tears of grief now pour down my face,
+As I watch and mourn over my child;
+Thy grief makes me ready to die.
+Thy union filled thee with joy,
+Already you're really his wife.
+Is he not the man of thy choice?
+O daughter, devotedly loved,
+Why plunged in such terrible grief?
+
+
+
+
+(Cusi Coyllur has had her face hidden in the pillows.  She now rises to
+her feet, throwing up her arms.)
+
+
+
+
+Cusi Coyllur.
+
+O my mother! O most gracious Queen!
+How can my tears o'er cease to flow,
+How can my bitter sighs surcease,
+While the valiant Chief I worship
+For many days and sleepless nights,
+All heedless of my tender years,
+Seems quite to have forgotten me?
+He has turned his regard from his wife
+And no longer seeks for his love.
+O my mother! O most gracious Queen!
+O my husband so beloved!
+Since the day when I last saw my love
+The moon has been hidden from view;
+The sun shines no more as of old,
+In rising it rolls among mist;
+At night the stars are all dim,
+All nature seems sad and distressed
+The comet with fiery tail,
+Announces my sorrow and grief
+Surrounded by darkness and tears,
+Evil auguries fill me with fears.
+O my mother! O most gracious Queen!
+O my husband so beloved!
+
+
+Anahuarqui.
+
+Compose thyself and dry thine eyes,
+The King, thy father, has arrived.
+Thou lovest Ollantay, my child?
+
+
+
+
+(Enter the INCA PACHACUTI.  On his head the mascapaycha, with the llautu
+or imperial fringe.  A tunic of cotton embroidered with gold; on his
+breast the golden breastplate representing the sun, surrounded by the
+calendar of months.  Round his waist the fourfold belt of tocapu.  A
+crimson mantle of fine vicuna wool, fastened on his shoulders by golden
+puma's heads.  Shoes of cloth of gold. He sits down on the golden tiana.)
+
+
+
+
+Inca Pachacuti.
+
+Cusi Coyllur! Star of joy,
+Most lovely of my progeny!
+Thou symbol of parental love--
+Thy lips are like the huayruru.[FN#16]
+Rest upon thy father's breast,
+Repose, my child, within mine arms.
+
+
+
+[FN#16] Huayruru is the seed of a thorny bush, erythrina rubra, of a
+bright red colour.  Zegarra has coral as the equivalent for huayruru.
+
+
+
+
+(Cusi Coyllur comes across. They embrace.)
+
+
+
+
+Unwind thyself, my precious one,
+A thread of gold within the woof.
+All my happiness rests upon thee,
+Thou art my greatest delight.
+Thine eyes are lovely and bright,
+As the rays of my father the Sun.
+When thy lips are moving to speak,
+When thine eyelids are raised with a smile,
+The wide world is fairly entranced.
+Thy breathing embalms the fresh air;
+Without thee thy father would pine,
+Life to him would be dreary and waste.
+He seeks for thy happiness, child,
+Thy welfare is ever his care.
+
+
+
+
+(Cusi Coyllur throws herself at his feet.)
+
+
+
+
+Cusi Coyllur.
+
+O father, thy kindness to me
+I feel; and embracing thy knees
+All the grief of thy daughter will cease,
+At peace when protected by thee.
+Pachacuti. How is this! my daughter before me
+On knees at my feet, and in tears?
+I fear some evil is near--
+Such emotion must needs be explained.
+
+
+
+Cusi Coyllur.
+
+The star does weep before Inti,
+The limpid tears wash grief away.
+Pachacuti. Rise, my beloved, my star,
+Thy place is on thy dear father's knee.
+
+
+
+
+(Cusi Coyllur rises and sits on a stool by her father. An attendant
+approaches.)
+
+
+
+Attendant.
+
+O King! thy servants come to please thee.
+
+
+
+Pachacuti.
+
+Let them all enter.
+
+
+
+
+(Boys and girls enter dancing. After the dance they sing a harvest song.)
+
+
+
+
+Thou must not feed,
+O Tuyallay,[FN#17]
+In nusta's field,
+O Tuyallay.
+Thou must not rob,
+O Tuyallay,
+The harvest maize,
+O Tuyallay.
+
+
+
+
+[FN#17]  The tuya (coccoborus chrysogaster) is a small finch, and
+tuyallay means 'my little tuya.'
+
+
+
+
+The grains are white,
+O Tuyallay,
+So sweet for food,
+O Tuyallay.
+The fruit is sweet,
+O Tuyallay,
+The leaves are green
+O Tuyallay;
+But the trap is set,
+O Tuyallay.
+The lime is there,
+O Tuyallay.
+We'll cut thy claws,
+O Tuyallay,
+To seize thee quick,
+O Tuyallay.
+Ask Piscaca,[FN#18]
+O Tuyallay,
+Nailed on a branch,
+O Tuyallay.
+Where is her heart,
+O Tuyallay?
+Where her plumes,
+O Tuyallay?
+She is cut up,
+O Tuyallay,
+For stealing grain,
+O Tuyallay.
+See the fate,
+O Tuyallay,
+Of robber birds,
+O Tuyallay.
+
+
+
+
+[FN#18]  The piscaca is a much larger bird than the tuya.  These piscacas
+(coccoborus torridus) are nailed to trees as a warning to other birds.
+They are black, with white breasts.
+
+
+
+Pachacuti.
+
+Cusi Coyllur, remain thou here,
+Thy mother's palace is thy home
+Fail not to amuse thyself,
+Surrounded by thy maiden friends.
+
+
+
+
+(Exeunt the Inca Pachacuti, the Ccoya Anahuarqui, and attendants.)
+
+
+
+
+Cusi Coyllur.
+
+I should better like a sadder song.
+My dearest friends, the last you sang
+To me foreshadowed evil things;[FN#19]
+You who sang it leave me now.
+
+
+
+[FN#19] In the tuya she sees her husband Ollantay, while the poor
+princess herself is the forbidden grain.
+
+
+
+
+(Exeunt boys and girls, except one girl who sings.)
+
+
+
+
+Two loving birds are in despair,[FN#20]
+They moan, they weep, they sigh;
+For snow has fallen on the pair,
+To hollow tree they fly.
+
+
+
+[FN#20]  This is a yarahui or mournful elegy, of which there are so many
+in the Quichua language.  The singers of them were known as yarahuec.
+
+
+
+
+But lo! one dove is left alone
+And mourns her cruel fate;
+She makes a sad and piteous moan,
+Alone without a mate.
+She fears her friend is dead and gone--
+Confirmed in her belief,
+Her sorrow finds relief in song,
+And thus she tells her grief.
+'Sweet mate! Alas, where art thou now?
+I miss thine eyes so bright,
+Thy feet upon the tender bough,
+Thy breast so pure and bright.'
+She wanders forth from stone to stone,
+She seeks her mate in vain;
+'My love! my love!' she makes her moan,
+She falls, she dies in pain.
+Cusi Coyllur. That yarahui is too sad,
+Leave me alone.
+
+
+
+
+(Exit the girl who sang the yarahui.)
+
+
+
+
+Now my tears can freely flow.
+
+
+
+
+SCENE 3
+
+
+
+
+Great hall in the palace of Pachacuti.  The INCA, as before, discovered
+seated on a golden tiana L.  Enter to him R.  OLLANTAY and RUMI-NAUI.
+
+
+
+
+Pachacuti.
+
+The time has arrived, O great Chiefs,
+To decide on the coming campaign.
+The spring is approaching us now,
+And our army must start for the war.
+To the province of Colla[FN#21] we march--
+There is news of Chayanta's[FN#22] advance.
+The enemies muster in strength,
+They sharpen their arrows and spears.
+
+
+
+[FN#21]  Colla-suyu, the basin of lake Titicaca.
+
+[FN#22]  Chayanta, a tribe in the montana south of the Collas.
+
+
+
+
+Ollantay. O King, that wild rabble untaught
+Can never resist thine array;
+Cuzco alone with its height
+Is a barrier that cannot be stormed.
+Twenty four thousand of mine,
+With their champis[FN#23] selected with care,
+Impatiently wait for the sign,
+The sound of the beat of my drums,[FN#24]
+The strains of my clarion and fife.
+
+
+
+[FN#23]  Champi, a one-handed battle-axe.
+
+
+[FN#24]  Huancar, a drum; pututu, fife.
+
+
+
+
+Pachacuti.
+
+Strive then to stir them to fight,
+Arouse them to join in the fray,
+Lest some should desire to yield,
+To escape the effusion of blood.
+
+
+
+Rumi-naui.
+
+The enemies gather in force,
+The Yuncas[FN#25] are called to their aid;
+They have put on their garbs for the war,
+And have stopped up the principal roads.
+All this is to hide their defects--
+The men of Chayanta are base.
+We hear they're destroying the roads,
+But we can force open the way;
+Our llamas are laden with food--
+We are ready to traverse the wilds.
+
+
+
+[FN#25]  Yunca, inhabitant of warm valley.  Here it refers to the wild
+tribes of the montana.
+
+
+
+
+Pachacuti.
+
+Are you really ready to start
+To punish those angry snakes?
+But first you must give them a chance
+To surrender, retiring in peace,
+So that blood may not flow without cause,
+That no deaths of my soldiers befall.
+
+
+
+Ollantay.
+
+I am ready to march with my men,
+Every detail prepared and in place,
+But alas! I am heavy with care,
+Almost mad with anxious suspense.
+
+
+
+Pachacuti.
+
+Speak, Ollantay.  Tell thy wish--
+'Tis granted, e'en my royal fringe.
+
+
+
+Ollantay.
+
+Hear me in secret, O King.
+
+
+
+Pachacuti (to Rumi-naui).
+
+Noble Chief of Colla, retire;
+Seek repose in thy house for a time.
+I will call thee before very long,
+Having need of thy valour and skill.
+
+
+
+Rumi-naui.
+
+With respect I obey thy command.
+
+
+
+
+(Exit Rumi-naui.)
+
+
+
+
+Ollantay.
+
+Thou knowest, O most gracious Lord,
+That I have served thee from a youth,
+Have worked with fortitude and truth,
+Thy treasured praise was my reward.[FN#26]
+All dangers I have gladly met,
+For thee I always watched by night,
+For thee was forward in the fight,
+My forehead ever bathed in sweat.
+For thee I've been a savage foe,
+Urging my Antis[FN#27] not to spare,
+But kill and fill the land with fear,
+And make the blood of conquered flow.
+My name is as a dreaded rope,[FN#28]
+I've made the hardy Yuncas[FN#29] yield,
+By me the fate of Chancas[FN#30] sealed,
+They are thy thralls without a hope.
+
+
+
+
+[FN#26]  In the original Quichua, Ollantay makes his appeal to the Inca
+in quatrains of octosyllabic verses, the first line rhyming with the
+last, and the second with the third.  Garcilasso de la Vega and others
+testify to the proficiency of the Incas in this form of composition.
+
+
+[FN#27]  Ollantay was Viceroy of Anti-suyu.
+
+
+[FN#28]  Chahuar, a rope of aloe fibre. A curb or restraint.
+
+
+[FN#29]  Raprancutan cuchurcani: literally, 'I have clipped their wings.'
+Rapra, a wing.
+
+
+[FN#30]  The powerful nation of Chancas, with their chief, Huancavilca,
+inhabited the great valley of Andahuaylas and were formidable rivals of
+the Incas.  But they were subdued by Pachacuti long before Ollantay can
+have been born. An allowable dramatic anachronism.
+
+
+
+'Twas I who struck the fatal blow,
+When warlike Huancavilca[FN#31] rose,
+Disturbing thy august repose,
+And laid the mighty traitor low.
+
+
+
+[FN#31]  Huancavilca was chief of the powerful nation of Chancas.
+
+
+
+
+
+Ollantay ever led the van,
+Wherever men were doomed to die;
+When stubborn foes were forced to fly,
+Ollantay ever was the man.
+
+Now every tribe bows down to thee--
+Some nations peacefully were led,
+Those that resist their blood is shed--
+But all, O King, was due to me.
+O Sovereign Inca, great and brave,
+Rewards I know were also mine,
+My gratitude and thanks are thine,
+To me the golden axe you gave.
+Inca! thou gavest me command
+And rule o'er all the Anti race,
+To me they ever yield with grace,
+And thine, great King, is all their land
+My deeds, my merits are thine own
+To thee alone my work is due.
+For one more favour I would sue,
+My faithful service--thy renown.
+
+
+
+
+(Ollantay kneels before the Inca.)
+
+
+
+Thy thrall: I bow to thy behest,
+Thy fiat now will seal my fate.
+O King, my services are great,
+I pray thee grant one last request.
+I ask for Cusi Coyllur's hand
+If the Nusta's[FN#32] love I've won.
+O King! you'll have a faithful son,
+Fearless, well tried, at thy command.
+
+
+
+[FN#32]  Nusta, Princess.
+
+
+
+
+Pachacuti.
+
+Ollantay, thou dost now presume.
+Thou art a subject, nothing more.
+Remember, bold one, who thou art,
+And learn to keep thy proper place.
+
+
+
+Ollantay.
+
+Strike me to the heart.
+
+
+
+Pachacuti.
+
+'Tis for me to see to that,
+And not for thee to choose.
+Thy presumption is absurd.
+Be gone!
+
+
+
+
+(Ollantay rises and exit R.)
+
+
+
+
+SCENE 4
+
+
+
+
+A rocky height above Cuzco to the NE.  Distant view of the city of Cuzco
+and of the Sacsahuaman hill, crowned by the fortress.
+
+
+
+
+(Enter OLLANTAY armed.)
+
+
+
+
+Ollantay.
+
+Alas, Ollantay! Ollantay!
+Thou master of so many lands,
+Insulted by him thou servedst well.
+O my thrice-beloved Coyllur,
+Thee too I shall lose for ever.
+O the void[FN#33] within my heart,
+O my princess! O precious dove!
+Cuzco! O thou beautiful city!
+Henceforth behold thine enemy.
+
+
+
+[FN#33]  Pisipachiyqui, to suffer from the void caused by absence.
+Pisipay, to regret the absence of, to miss any one.
+
+
+
+
+I'll bare thy breast to stab thy heart,
+And throw it as food for condors;
+Thy cruel Inca I will slay.
+I will call my men in thousands,
+The Antis will be assembled,
+Collected as with a lasso.
+All will be trained, all fully armed,
+I will guide them to Sacsahuaman.
+They will be as a cloud of curses,
+When flames rise to the heavens.
+Cuzco shall sleep on a bloody couch,
+The King shall perish in its fall;
+Then shall my insulter see
+How numerous are my followers.
+When thou, proud King, art at my feet,
+We then shall see if thou wilt say,
+'Thou art too base for Coyllur's hand.'
+Not then will I bow down and ask,
+For I, not thou, will be the King--
+Yet, until then, let prudence rule.
+
+
+
+
+(Enter PIQUI CHAQUI from back, R.)
+
+
+
+
+Piqui Chaqui, go back with speed,
+Tell the Princess I come to-night.
+
+
+
+Piqui Chaqui.
+
+I have only just come from there--
+The palace was deserted quite,
+No soul to tell me what had passed,
+Not even a dog[FN#34] was there.
+
+
+
+[FN#34]  The Dominican text has misi, a cat, instead of allco, a dog.
+Von Tschudi thought that misi was a word of Spanish origin.  Zegarra says
+that it is not.  Before the Spaniards came, there was a small wild cat in
+the Andes called misi-puna.  But the Justiniani text has allco, a dog.
+
+
+
+All the doors were closed and fastened,
+Except the principal doorway,
+And that was left without a guard.
+
+
+
+Ollantay.
+
+And the servants?
+
+
+
+Piqui Chaqui.
+
+Even the mice had fled and gone,
+For nothing had been left to eat.
+Only an owl was brooding there,
+Uttering its cry of evil omen.
+
+
+
+Ollantay.
+
+Perhaps then her father has taken her,
+To hide her in his palace bounds.
+
+
+
+Piqui Chaqui.
+
+The Inca may have strangled her;
+Her mother too has disappeared.
+
+
+
+Ollantay.
+
+Did no one ask for me
+Before you went away?
+
+
+
+Piqui Chaqui.
+
+Near a thousand men are seeking
+For you, and all are enemies,
+Armed with their miserable clubs.
+
+
+
+Ollantay.
+
+If they all arose against me,
+With this arm I'd fight them all
+No one yet has beat this hand,
+Wielding the champi sharp and true.
+
+
+
+Piqui Chaqui.
+
+I too would like to give a stroke
+At least, if my enemy was unarmed.
+
+
+
+Ollantay.
+
+To whom?
+
+
+
+Piqui Chaqui.
+
+I mean that Urco Huaranca chief,
+Who lately was in search of thee.
+
+
+
+Ollantay.
+
+Perhaps the Inca sends him here
+If so my anger is aroused.
+
+
+
+Piqui Chaqui.
+
+Not from the King, I am assured,
+He cometh of his own accord
+And yet he is an ignoble man.
+
+
+Ollantay.
+
+He has left Cuzco, I believe;
+My own heart tells me it is so
+I'm sure that owl announces it.
+We'll take to the hills, at once.
+
+
+
+Piqui Chaqui.
+
+But wilt thou abandon the Star?
+
+
+
+Ollantay.
+
+What can I do, alas!
+Since she has disappeared?
+Alas, my dove! my sweet princess.
+
+
+
+
+(Music heard among the rocks.)
+
+
+
+
+Piqui Chaqui.
+
+Listen to that yarahui,
+The sound comes from somewhere near.
+
+
+
+
+(They sit on rocks.)
+
+
+
+
+SONG
+
+
+
+
+In a moment I lost my beloved,
+She was gone, and I never knew where;
+I sought her in fields and in woods,
+Asking all if they 'd seen the Coyllur.
+Her face was so lovely and fair,
+They called her the beautiful Star.
+No one else can be taken for her,
+With her beauty no girl can compare.
+Both the sun and the moon seem to shine,
+Resplendent they shine from a height,
+Their rays to her beauty resign
+Their brilliant light with delight.
+Her hair is a soft raven black,
+Her tresses are bound with gold thread,
+They fall in long folds down her back,
+And add charm to her beautiful head.
+Her eyelashes brighten her face,
+Two rainbows less brilliant and fair,
+Her eyes full of mercy and grace,
+With nought but two, suns can compare.
+The eyelids with arrows concealed,
+Gaily shoot their rays into the heart
+They open, lo! beauty revealed,
+Pierces through like a glittering dart.
+Her cheeks Achancara[FN#35] on snow,
+Her face more fair than the dawn,
+From her mouth the laughter doth flow,
+Between pearls as bright as the morn.
+
+
+
+[FN#35]  Achancara, a begonia.  A red flower in the neighbourhood of
+Cuzco, according to Zegarra.  One variety is red and white.
+
+
+
+
+Smooth as crystal and spotlessly clear
+Is her throat, like the corn in a sheaf
+Her bosoms, which scarcely appear,
+Like flowers concealed by a leaf.
+Her beautiful hand is a sight,
+As it rests from all dangers secure,
+Her fingers transparently white,
+Like icicles spotless and pure.
+
+
+Ollantay (rising).
+
+That singer, unseen and unknown,
+Has declared Coyllur's beauty and grace;
+He should fly hence, where grief overwhelms.
+O Princess! O loveliest Star,
+I alone am the cause of thy death,
+I also should die with my love.
+
+
+
+Piqui Chaqui.
+
+Perhaps thy star has passed away,
+For the heavens are sombre and grey.
+
+
+
+Ollantay.
+
+When they know that their Chief has fled,
+My people will rise at my call,
+They will leave the tyrant in crowds
+And he will be nearly alone.
+
+
+
+Piqui Chaqui.
+
+Thou hast love and affection from men,
+For thy kindness endears thee to all,
+For thy hand's always open with gifts,
+And is closely shut only to me.
+
+
+
+Ollantay.
+
+Of what hast thou need?
+
+
+
+Piqui Chaqui.
+
+What? the means to got this and that,
+To offer a gift to my girl,
+To let others see what I have,
+So that I may be held in esteem.
+
+
+
+Ollantay.
+
+Be as brave as thou art covetous,
+And all the world will fear thee.
+
+
+
+Piqui Chaqui.
+
+My face is not suited for that;
+Always gay and ready to laugh,
+My features are not shaped that way.
+To look brave! not becoming to me.
+What clarions sound on the hills?
+It quickly cometh near to us.
+
+
+
+
+(Both look out at different sides.)
+
+
+
+
+Ollantay.
+
+I doubt not those who seek me--come,
+Let us depart and quickly march.
+
+
+
+Piqui Chaqui.
+
+When flight is the word, I am here.
+
+
+
+(Exeunt.)
+
+
+
+
+SCENE 5
+
+
+
+
+The great hall of the palace of Pachacuti.  The INCA, as before, seated
+on the tiana.  Enter to him RUMI-NAUI.
+
+
+
+
+Pachacuti.
+
+I ordered a search to be made,
+But Ollantay was not to be found.
+My rage I can scarcely control--
+Hast thou found this infamous wretch?
+
+
+Rumi-naui.
+
+His fear makes him hide from thy wrath.
+
+
+
+Pachacuti.
+
+Take a thousand men fully armed,
+And at once commence the pursuit.
+
+
+
+Rumi-naui.
+
+Who can tell what direction to take?
+Three days have gone by since his flight,
+Perchance he's concealed in some house,
+And till now he is there, safely hid.
+
+
+
+
+(Enter a chasqui or messenger with quipus.)
+
+
+
+
+Behold, O King, a messenger
+From Urubamba he has come.
+
+
+Chasqui.
+
+I was ordered to come to my King,
+Swift as the wind, and behold me.
+
+
+
+Pachacuti.
+
+What news bringest thou?
+
+
+
+Chasqui.
+
+This quipu will tell thee, O King.
+
+
+
+Pachacuti.
+
+Examine it, O Rumi-naui.
+
+
+
+Rumi-naui.
+
+Behold the llanta, and the knots[FN#36]
+Announce the number of his men.
+
+
+
+[FN#36]  The llanta is the main rope of the quipu, about a yard long.
+The small cords of llama wool, of various colours, denoting different
+subjects, each with various kinds of knots, recording numbers.
+
+
+
+
+Pachacuti (to Chasqui).
+
+And thou, what hast thou seen?
+
+
+
+Chasqui.
+
+'Tis said that all the Anti host
+Received Ollantay with acclaim;
+Many have seen, and they recount,
+Ollantay wears the royal fringe.
+
+
+
+Rumi-naui.
+
+The quipu record says the same.
+
+
+
+Pachacuti.
+
+Scarcely can I restrain my rage!
+Brave chief, commence thy march at once,
+Before the traitor gathers strength.
+If thy force is not enough,
+Add fifty thousand men of mine.
+Advance at once with lightning speed,
+And halt not till the foe is reached.
+
+
+
+Rumi-naui.
+
+To-morrow sees me on the route,
+I go to call the troops at once
+The rebels on the Colla road,
+I drive them flying down the rocks.
+Thine enemy I bring to thee,
+Dead or alive, Ollantay falls.
+Meanwhile, O Inca, mighty Lord,
+Rest and rely upon thy thrall.
+
+
+
+
+(Exeunt.)
+
+
+
+
+
+END OF ACT I.
+
+
+
+
+
+ACT II
+
+
+
+
+SCENE 1
+
+
+
+
+Ollantay-tampu.  Hall of the fortress-palace.  Back scene seven immense
+stone, slabs, resting on them a monolith right across.  Above masonry.
+At sides masonry with recesses; in the R. centre a great doorway.  A
+golden tiana against the central slab.
+
+
+
+
+(Enter OLLANTAY and URCO HUARANCA, both fully armed.)
+
+
+
+
+Urco Huaranca.
+
+Ollantay, thou hast been proclaimed
+By all the Antis as their Lord.
+The women weep, as you will see--
+They lose their husbands and their sons,
+Ordered to the Chayanta war.
+When will there be a final stop
+To distant wars? Year after year
+They send us all to far-off lands,
+Where blood is made to flow like rain.
+The King himself is well supplied
+With coca and all kinds of food.
+What cares he that his people starve?
+Crossing the wilds our llamas die,
+Our feet are wounded by the thorns,
+And if we would not die of thirst
+We carry water on our backs.
+
+
+
+Ollantay.
+
+Gallant friends! Ye hear those words,
+Ye listen to the mountain chief.
+Filled with compassion for my men,
+I thus, with sore and heavy heart,
+Have spoken to the cruel king:
+'The Anti-suyu must have rest;
+All her best men shan't die for thee,
+By battle, fire, and disease--
+They die in numbers terrible.
+How many men have ne'er returned,
+How many chiefs have met their death
+For enterprises far away?'
+For this I left the Inca's court,[FN#37]
+Saying that we must rest in peace;
+Lot none of us forsake our hearths,
+And if the Inca still persists,
+Proclaim with him a mortal feud.
+
+
+
+[FN#37]  This, as we have seen, was not the reason why Ollantay fled from
+Cuzco; but, from a leader's point of view, it was an excellent reason to
+give to the people of Anti-suyu.  The great wars of the Incas were, to
+some extent, a heavy drain upon the people, but the recruiting was
+managed with such skill, and was so equally divided among a number of
+provinces, that it was not much felt.
+
+
+
+(Enter HANCO HUAYLLU, several chiefs, and a great crowd of soldiers and
+people.)
+
+
+
+
+People.
+
+Long Eve our king, Ollantay
+Bring forth the standard and the fringe,
+Invest him with the crimson fringe
+In Tampu now the Inca reigns,
+He rises like the star of day.
+
+
+
+
+(The chiefs, soldiers, and people range them selves round.  Ollantay is
+seated on the tiana by Hanco Huayllu, an aged Auqui or Prince.)
+
+
+
+
+Hanco Huayllu.
+
+Receive from me the royal fringe,
+'Tis given by the people's will.
+Uilcanota[FN#38] is a distant land,
+Yet, even now, her people come
+To range themselves beneath thy law.
+
+
+
+[FN#38]  The snowy mountain far to the south, in sight from Cuzco.
+Uilca, sacred; unuta, water.  Here is the source of the river Uilcamayu,
+which flows by Ollantay-tampu.
+
+
+
+(Ollantay is invested with the fringe. He rises.)
+
+
+
+
+Ollantay.
+
+Urco Huaranca, thee I name
+Of Anti-suyu Chief and Lord;
+Receive the arrows and the plume,
+
+
+
+
+(Gives them.)
+
+
+
+
+Henceforth thou art our general.
+People. Long life to the Mountain Chief.
+
+
+Ollantay.
+
+Hanco Huayllu,[FN#39] of all my lords
+Thou art most venerable and wise,
+Being kin to the august High Priest,
+It is my wish that thou shouldst give
+The ring unto the Mountain Chief.
+
+
+
+[FN#39]  The aged Hanco Huayllu as Auqui, or Prince of the Blood, and
+relation of the High Priest, gave eclat to these ceremonies.
+
+
+
+
+(Urco Huaranca kneels, and Hanco Huayllu addresses him.)
+
+
+
+
+Hanco Huayllu.
+
+This ring around thy finger's placed
+That thou mayst feel, and ne'er forget,
+That when in fight thou art engaged,
+Clemency becomes a hero chief.
+
+
+
+Urco Huaranca.
+
+A thousand times, illustrious king,
+I bless thee for thy trust in me.
+
+
+
+Hanco Huayllu.
+
+Behold the valiant Mountain Chief,
+Now fully armed from head to foot,
+And bristling like the quiscahuan,[FN#40]
+Accoutred as becomes a knight.
+
+
+
+[FN#40]  Quiscahuan. anything full of thorns.
+
+
+
+(Turning to Urco Huaranca.)
+
+
+
+Ne'er let thine enemies take thee in rear
+Man of the Puna,[FN#41] it ne'er can be said
+You fled or trembled as a reed.
+
+
+
+[FN#41]  Puna, the loftier parts of the Andes.
+
+
+
+
+Urco Huaranca.
+
+Hear me, warriors of the Andes!
+Already we have a valiant king,
+It might be he will be attacked;
+'Tis said th' old Inca sends a force,
+The men of Cuzco now advance.
+We have not a single day to lose;
+Call from the heights our Puna men,
+Prepare their arms without delay,
+Make Tampu strong with rampart walls,
+No outlet leave without a guard;
+On hill slopes gather pois'nous herbs
+To shoot our arrows, carrying death.
+
+
+
+Ollantay (to Urco Huaranca).
+
+Select the chiefs!
+Fix all the posts for different tribes;
+Our foes keep marching without sleep--
+Contrive to check them by surprise.
+The compi[FN#42] ruse may cause their flight.
+
+
+
+[FN#42]  Compi, cloth or a cloak.  This was an expression of the ancient
+Peruvians, perhaps equivalent to our 'hoodwinking.'
+
+
+
+
+Urco Huaranca.
+
+Thirty thousand brave Antis are here,
+Amongst them no weakling is found;
+Apu Maruti,[FN#43] the mighty in war,
+From high Uilcapampa[FN#44] will come,
+On steep Tinquiqueru[FN#45] he'll stand
+To march when the signal appears;
+
+
+
+[FN#43]  Apu Maruti was the head of the ayllu of the Inca Yahuar Huaccac,
+grandfather of Pachacuti.  It was called the ayllu Aucaylli
+Panaca.--Mesa, Anales del Cuzco, quoted by Zegarra.
+
+[FN#44]  Uilcapampa, mass of mountains between the Uilcamayu and
+Apurimac.
+
+[FN#45]  Tinqui Queru, between Urupampa and Tampu. The word means 'two
+vases coupled.'  Here are two rounded hills connected by a saddle, three
+and a half miles from Tampu.
+
+
+
+
+On the opposite side of the stream
+Prince Chara[FN#46] has mustered his force;
+In the gorge Charamuni[FN#47] I post
+Ten thousand armed Antis on watch;
+Another such force is in wait
+On the left, in the vale of Pachar.[FN#48]
+We are ready to meet our foes,
+We await them with resolute calm;
+They will march in their confident pride
+Until their retreat is out off,
+Then the trumpet of war shall resound,
+From the mountains the stones shall pour down,
+Great blocks will be hurled from above.
+
+
+
+[FN#46]  Chara, was another descendant of Yahuar Huaccac.
+
+
+[FN#47]  A ravine on the right bank of the Vilcamayu.
+
+
+[FN#48]  Pachar is on the left bank of the Vilcamayu opposite
+Ollantay-tampu, with which it is connected by a rope bridge.
+
+
+
+
+The Huancas[FN#49] are crushed or dispersed,
+Then the knife shall do its fell work,
+All will perish by blows from our hands,
+Our arrows will follow their flight.
+
+
+
+[FN#49] Huancas, natives of the valley of Jauja--Inca recruits.
+
+
+
+
+People and soldiers.
+
+It is well! It is very well!
+
+
+
+
+(Cheers and martial music.)
+
+
+
+
+(Exeunt.)
+
+
+
+
+SCENE 2
+
+
+
+
+A wild place the mountains.  Distant view of Ollantay-tampu.
+
+
+
+
+(Enter Rumi-naui, torn and ragged, and covered with blood, with two
+attendants.)
+
+
+
+
+Rumi-naui.
+
+Ah! Rumi-naui--Rumi-naui,[FN#50]
+Thou art a fated rolling stone,[FN#51]
+Escaped indeed, but quite alone,
+And this is now thy yarahui.
+
+
+
+[FN#50]  Like Ollantay in his appeal to the Inca, Rumi-naui, in the
+original Quichua, has recourse to octosyllabic quatrains, the first and
+last lines rhyming, and the second and third.
+
+
+[FN#51]  Rumi, a stone.
+
+
+
+
+Ollantay posted on the height,
+Thou couldst not either fight or see,
+Thy men did quickly fall or flee;
+No room was there to move or fight.
+Thou knowest now thy heart did beat
+And flutter like a butterfly;
+Thy skill thou couldst not then apply,
+No course was left thee but retreat.
+They had recourse to a surprise,
+Our warriors immolated quite.
+Ah! that alone could turn thee white--
+From shame like that, canst e'er arise?
+By thousands did thy warriors fall,
+I hardly could alone escape,
+With open mouth fell death did gape,
+A great disaster did befall.
+Holding that traitor to be brave,
+I sought to meet him face to face--
+Rushing to seek him with my mace,
+I nearly found a warrior's grave.
+My army then was near the hill,
+When suddenly the massive stones
+Came crashing down, with cries and moans,
+While clarions sounded loud and shrill.
+A rain of stones both great and small
+Down on the crowd of warriors crashed,
+On every side destruction flashed,
+Thy heart the slaughter did appal.
+Like a strong flood the blood did flow,
+Inundating the ravine;
+So sad a sight thou ne'er hast seen--
+No man survived to strike a blow.
+O thou who art by this disgraced,
+What figure canst thou ever show
+Before the king, who seeks to know
+The truth, which must be faced?
+'Tis better far myself to kill,
+Or losing every scrap of hope,
+To hang my body with this rope.
+
+
+
+
+(Takes a sling off his cap--going.)
+
+
+
+
+Yet may it not be useful still?
+
+
+
+
+(Turns again.)
+
+
+
+
+When bold Ollantay's end has come.[FN#52]
+
+
+
+[FN#52]  Clearly, from Rumi-naui's own account, the strategy of Urco
+Huaranca had been a complete and brilliant success.
+
+
+
+(Exit.)
+
+
+
+
+SCENE 3
+
+
+
+A garden in the house of the Virgins of the Sun.  Chilca shrubs and mulli
+trees (Schinus Molle) with panicles of red berries.  The walls of the
+house at the back, with a door.  A gate (L.) opening on the street.
+
+
+
+
+(YMA SUMAC discovered at the gate looking out.  To her enters (R.) PITU
+SALLA.  Both dressed in white with golden belts.)
+
+
+
+
+Pitu Salla.
+
+Yma Sumac, do not approach
+So near that gate, and so often;
+It might arouse the Mother's wrath.
+Thy name, which is so dear to me,
+Will surely pass from mouth to mouth.
+Honour shall be shown to chosen ones,[FN#53]
+Who wish to close the outer gate.
+
+
+
+[FN#53]  Aclla Cuna, the selected ones, the Virgins of the Sun.  They
+were under the supervision of so called Mothers--Mama Cuna.  The novices
+were not obliged to take the oaths at the end of their novitiate.
+
+
+
+
+Amuse thyself within the walls,
+And no one then can say a word.
+Think well what you can find within--
+It gives you all you can desire,
+Of dresses, gold, and dainty food.
+Thou art beloved by every one,
+E'en Virgins of the royal blood.
+The Mothers love to carry thee,
+They give thee kisses and caress--
+You they prefer to all the rest.
+What more could any one desire,
+Than always to remain with them,
+Destined to be servant of the Sun?
+In contemplating Him there's peace.
+
+
+
+Yma Sumac.
+
+Pitu Salla, ever you repeat
+The same thing and the same advice;
+I will open to thee my whole heart,
+And say exactly what I think.
+Know that to me this court and house
+Are insupportable--no less;
+The place oppresses--frightens me--
+Each day I curse my destiny.
+The faces of all the Mama Cuna
+Fill me with hatred and disgust,
+
+
+And from the place they make me sit,
+Nothing else is visible.
+Around me there is nothing bright,
+All are weeping and ne'er cease
+If I could ever have my way,
+No person should remain within.
+I see the people pass outside,
+Laughing as they walk along.
+The reason it is plain to see--
+They are not mewed and cloistered here.
+Is it because I have no mother,
+That I am kept a prisoner?
+Or is it I 'm a rich novice?
+Then from to-day I would be poor.
+Last night I could not get to sleep,
+I wandered down a, garden walk;
+In the dead silence of the night,
+I heard one mourn.  A bitter cry,
+As one who sought and prayed for death.
+On every side I looked about,
+My hair almost on end with fright,
+Trembling, I cried, 'Who canst thou be?'
+Then the voice murmured these sad words:
+'O Sun, release me from this place!'
+And this, amidst such sighs and groans!
+I searched about, but nothing found--
+The grass was rustling in the wind.
+I joined my tears to that sad sound,
+My heart was torn with trembling fear.
+When now the recollection comes,
+I'm filled with sorrow and with dread.
+You know now why I hate this place.
+Speak no more, my dearest friend,
+Of reasons for remaining here.
+
+
+Pitu Salla.
+
+At least go in. The Mother may appear.
+Yma Sumac. But pleasant is the light of day.
+
+
+
+
+(Exit, R.)
+
+
+
+
+(Enter MAMA CCACCA, L., in grey with black edges and belt.)
+
+
+
+
+Mama Ccacca.
+
+Pitu Salla, hast thou spoken
+All I told thee to that child?
+
+
+
+Pitu Salla.
+
+I have said all to her.
+
+
+
+Mama Ccacca.
+
+And she, does she answer freely?
+
+
+
+Pitu Salla.
+
+She has wept and asked for pity,
+Refusing to comply at all.
+She will not take the virgin's oath.
+
+
+
+Mama Ccacca.
+
+And this in spite of thy advice?
+
+
+
+Pitu Salla.
+
+I showed her the dress she will wear,
+Telling her misfortune would befall
+If she refused to be a chosen one--
+That she would ever be an outcast,
+And for us a child accursed.
+
+
+
+Mama Ccacca.
+
+What can she imagine,
+Wretched child of an unknown father,
+A maid without a mother,
+Just a fluttering butterfly?
+Tell her plainly, very plainly,
+That these walls offer her a home,
+Suited for outcasts such as she,
+And here no light is seen.
+
+
+
+
+(Exit, L.)
+
+
+
+
+Pitu Salla.
+
+Ay, my Sumac! Yma Sumac!
+These walls will be cruel indeed,
+To hide thy surpassing beauty.
+
+
+
+
+(Glancing to where Mama Ccacca went out.)
+
+
+
+
+What a serpent! What a puma!
+
+
+
+
+ACT III
+
+
+
+
+SCENE 1
+
+
+
+
+The Pampa Moroni, a street in Cuzco.  Enter RUMI-nAUI (L.)[FN#54] in a
+long black cloak with a train, and PIQUI CHAQUI (R.), meeting each other.
+
+
+
+[FN#54]  Rumi-naui is the interlocutor in the Justiniani text, in the
+Dominican text, and in the text of Spilsbury.  Yet Zegarra would
+substitute the Uillac Uma or High Priest for Rumi-naui.  His argument is
+that the interlocutor was of the blood-royal, and that the High Priest
+was always of the blood-royal, while Rumi-naui was not.  But the text
+does not say that the interlocutor was of the royal blood.  Zegarra also
+says that the interlocutor wore a black cloak with a long train, and that
+this was the dress of the High Priest.  But it was not the dress of the
+High Priest as described by the best authorities.  It was probably the
+general mourning dress.  The threats addressed to Piqui Chaqui were
+likely enough to come from a soldier, but not from the High Priest as he
+is portrayed in this drama.
+
+
+
+
+Rumi-naui.
+
+Whence, Piqui Chaqui, comest thou?
+Dost thou here seek Ollantay's fate?
+
+
+
+Piqui Chaqui.
+
+Cuzco, great lord, is my birthplace;
+I hasten back unto my home.
+I care not more to pass my days
+In dismal and profound ravines.
+
+
+
+Rumi-naui.
+
+Tell me, Ollantay--what does he?
+
+
+
+Piqui Chaqui.
+
+He is busy now entangling
+An already entangled skein.
+
+
+
+Rumi-naui.
+
+What skein?
+
+
+Piqui Chaqui.
+
+Should you not give me some present
+If you want me to talk to you.
+
+
+
+Rumi-naui.
+
+With a stick will I give thee blows,
+With a rope I will hang thee.
+
+
+
+Piqui Chaqui.
+
+O, do not frighten me!
+
+
+
+Rumi-naui.
+
+Speak then.
+
+
+
+Piqui Chaqui.
+
+Ollantay.  Is it Ollantay?
+I can remember no more.
+
+
+
+Rumi-naui.
+
+Piqui Chaqui! Take care!
+
+
+
+Piqui Chaqui.
+
+But you will not listen!
+I am turning blind,
+My ears are getting deaf,
+My grandmother is dead,
+My mother is left alone.
+
+
+
+Rumi-naui.
+
+Where is Ollantay?  Tell me.
+
+
+
+Piqui Chaqui.
+
+I am in want of bread,
+And the Paccays[FN#55] are not ripe.
+I have a long journey to-day--
+The desert is very far off.
+
+
+
+[FN#55]  Paccay (mimosa incana), a tree with large pods, having a
+snow-white woolly substance round the seeds, with sweet juice.
+
+
+
+
+Rumi-naui.
+
+If you continue to vex me
+I will take your life.
+
+
+Piqui Chaqui.
+
+Ollantay, is it?  He is at work.
+
+Ollantay! He is building a wall,
+With very small stones indeed;
+They are brought by little dwarfs--
+So small that to be a man's size
+They have to climb on each other's backs.
+But tell me, O friend of the King,[FN#56]
+Why art thou in such long clothes,
+Trailing like the wings of a sick bird[FN#57]--
+As they are black it is better.
+
+
+
+[FN#56]  The Zegarra and Spilsbury texts have Ccan Incacri, which Zegarra
+translates, 'relation of the Inca, of the royal family.'  Spilsbury is
+more correct.  He has 'partisan of the Inca.'  The more authentic
+Justiniani text has Ccan Pana.  The particle ri is one of emphasis or
+repetition. It does not mean a relation.
+
+[FN#57]  The Zegarra and Spilsbury texts have hualpa, a game bird.  The
+Justiniani text has anca, an eagle, which is the correct reading.
+
+
+
+Rumi-naui.
+
+Hast thou not seen already
+That Cuzco is plunged in grief?
+The great Inca Pachacuti[FN#58] is dead,
+All the people are in mourning,
+Every soul is shedding tears.
+
+
+
+[FN#58]  The Inca Pachacuti does not appear to advantage in the drama.
+But he was the greatest man of his dynasty, indeed the greatest that the
+red race has produced.  He was a hero in his youth, a most able
+administrator in mature age.  As a very old man some needless cruelties
+are reported of him which annoyed his son.
+
+
+
+
+Piqui Chaqui.
+
+Who, then, succeeds to the place
+Which Pachacuti has left vacant?
+If Tupac Yupanqui succeeds,
+That Prince is the youngest
+There are some others older.[FN#59]
+
+
+
+[FN#59]  The eldest son was Amaru Tupac.  He was passed over by his
+father with his own consent, and was ever faithful to his younger
+brother.  He was an able general.
+
+
+
+
+Rumi-naui.
+
+All Cuzco has elected him,
+For the late king chose him,
+Giving him the royal fringe;
+We could elect no other.
+
+
+
+Piqui Chaqui.
+
+I hasten to bring my bed here.[FN#60]
+
+
+
+[FN#60]  This was exactly what Piqui Chaqui was sent to Cuzco to find
+out.  The expression Apumusac pununayta, 'I go to fetch my bed,' is one
+of joy at any fortunate event, in Quichua.
+
+
+
+
+(Exit running.)
+
+
+
+
+
+SCENE 2
+
+
+
+Great hall of the palace of Tupac Yupanqui.  The INCA seated on golden
+tiana (C.).
+
+
+
+
+(Enter the HIGH PRIEST or UILLAC UMA, with priests and chosen Virgins of
+the Sun.  The INCA dressed as his father.  Uillac Uma in full dress,
+wearing the huampar chucu.  Virgins in white with gold belts and diadems.
+They range themselves by the throne (L.).  Then enter RUMI-NAUI and a
+crowd of chiefs, all in full dress, ranging themselves by the throne
+(R.).)
+
+
+
+
+Tupac Yupanqui.
+
+This day, O Councillors and Chiefs,
+Let all receive my benison;
+You Holy Virgins of the Sun[FN#61]
+Receive our father's tenderest care.
+
+The realm, rejoicing, hails me king;
+From deep recesses of my heart
+I swear to seek the good of all.
+
+
+
+[FN#61]  Intic Huamin Caccunan (Intic Huarminca Caycuna, correct), 'Ye
+women of the Sun.'  Zegarra thought, on the authority of Garcilasso de la
+Vega, that these could not be select Virgins of the Sun, because the
+virgins were never allowed outside their convent, and not even women
+might enter. He is clearly wrong.  Much higher authorities than
+Garcilasso, as regards this point, especially Valera, tell us that the
+virgins were treated with the greatest honour and respect.  They took
+part in great receptions and festivals, and when they passed along the
+streets they had a guard of honour.
+
+
+
+
+Uillac Uma.
+
+To-day the smoke of many beasts
+Ascends on high towards the sun,
+The Deity with joy accepts
+The sacrifice of prayer and praise.
+We found in ashes of the birds
+Our only Inca, King, and Lord,
+In the great llama sacrifice;
+All there beheld an eagle's form,
+We opened it for augury,
+But lo! the heart and entrails gone.
+The eagle Anti-suyu means--
+To thy allegiance they return.
+
+
+
+
+(Bowing to the Inca.)
+
+
+
+
+Thus I, thy augur, prophesy.
+
+
+
+
+(Acclamation.) (Exeunt all but Uillac Uma and Rumi-naui.)
+
+
+
+
+Tupac Yupanqui (turning to Rumi-naui).
+
+Behold the Hanan-suyu Chief
+Who let the enemy escape,
+Who led to almost certain death
+So many thousands of my men.
+
+
+
+Rumi-naui.
+
+Before his death thy father knew
+Disaster had befallen me;
+'Tis true, O King, it was my fault,
+Like a stone[FN#62] I gave my orders,
+And volleying stones soon beat me down;
+It was with stones I had to fight,
+And in the end they crushed my men.
+Oh! grant me, Lord, a single chance,
+Give perfect freedom to my plans,
+Myself will to the fortress march,
+And I will leave it desolate.
+
+
+
+[FN#62]  Rumi. He keeps playing upon his name.
+
+
+
+
+
+Tupac Yupanqui.
+
+For thee to strive with all thy might,
+For thee thine honour to regain,
+For thou shalt ne'er command my men
+Unless thy worthiness is proved.
+
+
+Uillac Uma.
+
+Not many days shall pass, O King,
+E'er all the Antis are subdued.
+I've seen it in the quipu roll,
+Haste! Haste! thou Rumi Tunqui. [FN#63]
+
+
+
+[FN#63]  Again playing upon the name of Rumi-naui.  The High Priest calls
+for haste, so he substitutes Tunqui for naui (eye), the tunqui (Rupicola
+Peruviana) being one of the most beautiful birds in the forests.
+
+
+
+
+
+(Exeunt.)
+
+
+
+
+SCENE 3
+
+
+
+The great terrace entrance to Ollantay-tampu.  On R. a long masonry wall
+with recesses at intervals.  At back a great entrance doorway.  On L.
+terraces descend, with view of valley and mountains.
+
+
+
+
+(Guards discovered at entrance doorway.  To them enter RUMI-NAUI in rags,
+his face cut and slashed with wounds, and covered with blood.)
+
+
+
+
+Rumi-naui.
+
+Will no one here have pity on me?
+One of the Guards.  Who art thou, man?
+Who has ill-treated thee?
+Thou comest in a frightful state,
+Covered with blood and gaping wounds.
+
+
+Rumi-naui.
+
+Go quickly to thy king and say
+That one he loves has come to him.
+One of the Guards.  Thy name?
+
+
+
+Rumi-naui.
+
+There is no need to give a name.
+One of the Guards.  Wait here.
+
+
+
+
+(Exit one of the guards.)
+
+
+
+(Enter OLLANTAY with guards, R. front.)
+
+
+
+Rumi-naui.
+
+A thousand times I thee salute,
+Ollantay, great and puissant king!
+Have pity on a fugitive
+Who seeks a refuge here with thee.
+
+
+
+Ollantay.
+
+Who art thou, man? Approach nearer.
+Who has thus ill-treated thee?
+Were such deep and fearful wounds
+Caused by a fall, or what mishap?
+
+
+
+Rumi-naui.
+
+Thou knowest me, O mighty chief.
+I am that stone that fell down once,
+But now I fall before thy feet;
+O Inca! mercy! Raise me up!
+
+
+
+
+(Kneels.)
+
+
+
+
+Ollantay.
+
+Art thou the noble Rumi-naui,
+Great Chief and Lord of Hanan-suyu?
+
+
+
+Rumi-naui.
+
+Yes, I was that well-known Chief--
+A bleeding fugitive to-day.
+Ollantay. Rise, comrade mine. Let us embrace.
+
+
+
+
+(Rises.)
+
+
+
+
+Who has dared to treat thee thus,
+And who has brought thee here to me
+Within my fortress, on my hearth?
+
+
+
+
+(To attendants.)
+
+
+
+
+Bring new clothes for my oldest friend.
+
+
+
+
+(Exit an attendant.)
+
+
+
+
+How is it that thou art alone?
+Camest thou not fearing death?
+
+
+
+Rumi-naui.
+
+A new king reigns in Cuzco now--
+Tupac Yupanqui is installed.
+Against the universal wish,
+He rose upon a wave of blood;
+Safety he sees in headless trunks,
+The sunchu[FN#64] and the nucchu[FN#65] red
+Are sent to all he would destroy.
+
+
+
+[FN#64]  Sunchu, a very large composita with a yellow flower, growing
+round Cuzco.  It was one of those which were used on sacred festivals.
+
+[FN#65]  Nucchu is a salvia, also considered sacred.  A red flower.
+Perhaps these flowers were sent as a summons from the Inca, but I have
+not seen the custom mentioned elsewhere.
+
+
+
+
+Doubtless you have not forgot
+That I was Hanan-suyu's Chief.
+Yupanqui ordered me to come;
+Arrived, I came before the king,
+And as he has a cruel heart,
+He had me wounded as you see;
+And now thou knowest, king and friend,
+How this new Inca treated me.
+
+
+
+
+Ollantay.
+
+Grieve not, old friend Rumi-naui,
+Thy wounds before all must be cured;
+I see in thee th' avenging knife,
+To use against the tyrant's heart.
+At Tampu now we celebrate
+The Sun's great Raymi festival;
+On that day all who love my name,
+Throughout my realms hold festival.
+
+
+
+Rumi-naui.
+
+Those three days of festival
+To me will be a time of joy,
+Perhaps I may be healed by then,
+So that my heart may pleasure seek.
+
+
+
+Ollantay.
+
+It will be so.  For three whole nights
+We drink and feast, to praise the Sun,
+The better to cast all care aside
+We shall be shut in Tampu fort.
+
+
+
+Rumi-naui.
+
+The youths, as is their wont, will find
+Their great delight in those three nights,
+Then will they rest from all their toils,
+And carry off the willing girls.
+
+
+
+
+SCENE 4
+
+
+
+
+A corridor in the palace of Chosen Virgins.
+
+
+
+
+(Enter YMA SUMAC and PITU SALLA.)
+
+
+
+
+Yma Sumac.
+
+Pitu Salla, beloved friend,
+How long wilt thou conceal from me
+The secret that I long to know?
+Think, dearest, of my anxious heart,
+How I shall be in constant grief
+Until you tell the truth to me.
+Within these hard and cruel bounds
+Does some one suffer for my sins?
+My sweet companion, do not hide
+From me, who 'tis that mourns and weeps
+Somewhere within the garden walls.
+How is it she is so concealed
+That I can never find the place?
+
+
+
+Pitu Salla.
+
+My Sumac, now I'll tell thee all--
+Only concerning what you hear,
+And still more surely what you see,
+You must be dumb as any stone;
+And you too must be well prepared
+For a most sad heart-rending sight--
+'Twill make thee weep for many days.
+
+
+
+Yma Sumac.
+
+I will not tell a living soul
+What you divulge.  But tell me all,
+I'll shut it closely in my heart.
+
+
+
+
+SCENE 5
+
+
+
+
+A secluded part of the gardens of the Virgins, (L.) flowers, (R.) a
+thicket of mulli[FN#66] and chilca,[FN#67] concealing a stone door.
+
+
+
+[FN#66]  Schineus Molle, a tree with pinnate leaves, and panicles of red
+berries, well known in the Mediterranean countries, into which it was
+introduced from Peru.  Called by the English 'pepper tree.'
+
+[FN#67]  Several bushes are called chilca in Peru.  Eupatorium chilca (R.
+P.), baccharis scandens, and molina latifolia. Stereoxylon pendulum is
+called puna chilca.
+
+
+
+
+(PITU SALLA and YMA SUMAC.)
+
+
+
+
+Pitu Salla.
+
+In this garden is a door of stone,
+But wait until the Mothers sleep,
+The night comes on. Wait here for me.
+
+
+
+(Exit.)
+
+
+
+
+(Yma Sumac reclines on a bank and sleeps.  Night comes on, Yma Sumac
+awakes.)
+
+
+
+
+Yma Sumac.
+
+A thousand strange presentiments
+Crowd on me now, I scarce know what--
+Perhaps I shall see that mournful one
+Whose fate already breaks my heart.
+
+
+
+
+(Pitu Salla returns with a cup of water, a small covered vase containing
+food, and a torch which she gives to Yma Sumac.  She leads Yma Sumac
+through bushes to the stone door, fixes the torch, presses something, and
+the door swings round.)
+
+
+
+
+(CUSI COYLLUR is discovered senseless, extended on the ground, a snake
+twining itself round her waist.)
+
+
+
+
+Pitu Salla.
+
+Behold the princess for whom you seek.
+Well! is thy heart now satisfied?
+
+
+Yma Sumac.
+
+Oh, my friend, what do I behold?
+Is it a corpse that I must see?
+Oh, horror! A dungeon for the dead!
+
+
+
+
+(She faints.)
+
+
+
+
+Pitu Salla.
+
+What misfortune has now arrived?
+O my Sumac, my dearest love,
+O come to thyself without delay!
+Arouse thee.  Arise, my lovely flower.
+
+
+
+
+(Yma Sumac revives.)
+
+
+
+
+Fear not, my dove, my lovely friend,
+'Tis not a corpse.  The princess lives,
+Unhappy, forlorn, she lingers here.
+
+
+
+Yma Sumac.
+
+Is she, then, still a living being?
+
+
+
+Pitu Salla.
+
+Approach nearer, and you can help.
+She lives indeed.  Look.  Watch her now.
+Give me the water and the food.
+
+
+
+
+(To Cusi Coyllur, while helping her to sit up.)
+
+
+
+
+O fair princess, I bring thee food
+And cooling water to refresh.
+Try to sit up.  I come with help.
+
+
+
+Yma Sumac.
+
+Who art thou, my sweetest dove?
+Why art thou shut in such a place?
+
+
+
+Pitu Salla.
+
+Take a little food, we pray.
+Perchance without it, you may die.
+
+
+
+Cusi Coyllur.
+
+How happy am I now to see,
+After these long and dismal years,
+The new and lovely face of one
+Who comes with thee and gives me joy.
+
+
+
+Yma Sumac.
+
+O my princess, my sister dear,
+Sweet bird, with bosom of pure gold,
+What crime can they accuse thee of,
+That they can make thee suffer thus?
+What cruel fate has placed thee here
+With death on watch in serpent's form?
+
+
+Cusi Coyllur.
+
+O charming child, the seed of love,
+Sweet flower for my broken heart,
+I have been thrust in this abyss.
+I once was joined to a man
+As pupil is part of the eye;
+But alas! has he forgotten me?
+The King know not that we were joined
+By such indissoluble bonds,
+And when he came to ask my hand,
+That King dismissed him in a rage,
+And cruelly confined me here.
+Many years have passed since then,
+Yet, as you see, I'm still alive;
+No single soul have I beheld
+For all those sad and dismal years,
+Nor have I found relief nor hope.
+But who art thou, my dear, my love,
+So young, so fresh, so pitiful?
+
+
+
+Yma Sumac.
+
+I too, like thee, am full of grief,
+For long I've wished to see and love,
+My poor forlorn and sad princess.
+No father, no mother are mine,
+And there are none to care for me.
+
+
+
+Cusi Coyllur.
+
+What age art thou?
+
+
+
+Yma Sumac.
+
+I ought to number many years,
+For I detest this dreadful house,
+And as it is a dreary place,
+The time in it seems very long.
+
+
+
+Pitu Salla.
+
+She ought to number just ten years
+According to the account I've kept.
+
+
+
+Cusi Coyllur.
+
+And what is thy name?
+
+
+
+Yma Sumac.
+
+They call me Yma Sumac now,
+But to give it me is a mistake.
+
+
+
+Cusi Coyllur.
+
+O my daughter! O my lost love,
+Come to thy mother's yearning heart.
+
+
+
+
+(Embraces Yma Sumac.)
+
+
+
+
+Thou art all my happiness,
+My daughter, come, O come to me;
+This joy quite inundates my soul,
+It is the name I gave to thee.
+
+
+
+Yma Sumac.
+
+O my mother, to find thee thus!
+We must be parted never more.
+Do not abandon me in grief.
+To whom can I turn to free thee,
+To whom can I appeal for right?
+
+
+
+Pitu Salla.
+
+Make no noise, my dearest friend.:
+To find us thus would ruin me.
+Let us go. I fear the Mothers.
+
+
+
+Yma Sumac (to Cusi Coyllur).
+
+Suffer a short time longer here,
+Until I come to take thee hence,
+Patience for a few more days.
+Alas! my mother dear! I go,
+But full of love, to seek for help.
+
+
+
+
+(Exeunt closing the stone door, all but Cusi Coyllur.  They extinguish
+the torch.)
+
+
+
+
+
+SCENE 6
+
+
+
+
+Great hall in the palace of Tupac Yupanqui.
+
+
+
+
+(The INCA discovered seated on the tiana.  To him enter the UILLAC UMA,
+in full dress.)
+
+
+
+
+Tupac Yupanqui.
+
+I greet thee, great and noble Priest!
+Hast thou no news of Rumi-naui.
+
+
+
+Uillac Uma.
+
+Last night, with guards, I wandered out
+On heights towards Uilcanuta.
+Far off I saw a crowd in chains,
+No doubt the Anti prisoners,
+For they are all defeated quite.
+The cacti[FN#68] on the mountains smoke,
+E'en now the fortress is in flames.
+
+
+
+[FN#68]  A kind of cactus, of which they make needles, grows abundantly
+on the mountains round Ollantay-tampu.  It is called ahuarancu.  They set
+fire to the cacti as a war signal.  Zegarra calls it a thistle.  The word
+in the Justiniani text is ahuarancu.
+
+
+
+
+Tupac Yupanqui.
+
+And Ollantay, is he taken?
+Perhaps--I hope his life is saved.
+
+
+
+Uillac Uma.
+
+Ollantay was among the flames,
+'Tis said that no one has escaped.
+
+
+
+Tupac Yupanqui.
+
+The Sun, my Father, is my shield,
+I am my father's chosen child.
+We must subdue the rebel host,
+For that I am appointed here.
+
+
+
+
+(Enter a CHASQUI with a quipu in his hand.)
+
+
+
+
+The Chasqui.
+
+This morning at the dawn of day,
+Rumi-naui despatched this quipu.
+
+
+
+Tupac Yupanqui (to the Uillac Uma).
+
+See what it says.
+
+
+
+Uillac Uma.
+
+This knot, coloured burnt ahuarancu,
+Tells us that Tampu too is burnt;
+This triple knot to which is hung
+Another which is quintuple,
+In all of quintuples are three,
+Denotes that Anti-suyu's thine,
+Its ruler prisoner of war.
+
+
+
+Tupac Yupanqui (to the Chasqui).
+
+And thou. Where wert thou?
+
+
+
+The Chasqui.
+
+Sole King and Lord! Child of the Sun!
+I am the first to bring the news,
+That thou mayst trample on the foe,
+And in thine anger drink their blood.
+
+
+
+Tupac Yupanqui.
+
+Did I not reiterate commands
+To spare and not to shed their blood--
+Not anger but pity is my rule.
+
+
+
+The Chasqui.
+
+O Lord, we have not shed their blood;
+They were all captured in the night,
+Unable to resist our force.
+
+
+
+Tupac Yupanqui.
+
+Recount to me in full detail
+The circumstances of the war.
+
+
+
+The Chasqui.
+
+For a signal thy warriors wait.
+The nights passed at Tinquiqueru,[FN#69]
+Concealed in the cavern below,
+Yanahuara[FN#70] men joining us late.
+We waited within the large cave,
+Thy men always ready to fight,
+Behind foliage well out of sight,
+Thy warriors patient and brave.
+
+
+
+[FN#69]  Tinqui Queru, between Urupampa and Tampu.  The word means 'two
+vases coupled.'  Here are two rounded hills connected by a saddle, three
+and a half miles from Tampu. [Taken from FN#45.]
+
+[FN#70]  Yanahuara, a ravine near Urubamba, where some of the troops of
+Rumi-naui had been posted.
+
+
+
+
+But for three long days and dark nights,
+No food for the zealous and bold;
+Feeling hungry, thirsty, and cold,
+We waited and watched for the lights.[FN#71]
+Rumi-naui sent orders at length,
+When the Raymi[FN#72] they carelessly keep,
+And all of them drunk or asleep,
+We were then to rush on with our strength.
+Word came to surprise our foes,
+Rumi-naui had opened the gate,
+As cautious and silent as fate--
+We were masters with none to oppose.
+
+
+
+[FN#71]  Signal lights.
+
+[FN#72]  Ccapac Raymi, the great festival of the Sun. December 22.
+
+
+
+Those rebels fell into the trap,
+The arrows came on them like rain,
+Most died in their sleep without pain,
+Not knowing their fatal mishap.
+Ollantay, still trusting, was ta'en,
+The same Urco Huaranca befell;
+Hanco Huayllu is captive as well,
+We thy rebels in fetters detain.
+The Antis by thousands are slain,
+A fearful example is made,
+They are beaten, crushed, and betrayed,
+Their women in sorrow and pain.
+
+
+
+Tupac Yupanqui.
+
+As witness of what has occurred,
+On Vilcamayu's storied banks,
+No doubt thou hast told me the truth.
+It was a well designed attack.
+
+
+
+
+(Enter RUMI-nAUI followed by several chiefs.)
+
+
+
+
+Rumi-naui.
+
+Great Inca, I kneel at thy feet,
+This time You will hear my report,
+I beseech thee to deign to restore
+The trust that I forfeited once.
+
+
+
+
+(Kneels.)
+
+
+
+
+Tupac Yupanqui.
+
+Rise, great Chief, receive my regard,
+I accept thy great service with joy;
+Thou didst cast o'er the waters. thy net,
+
+
+And hast captured a marvellous fish.
+
+
+
+
+Rumi-naui.
+
+Our enemies perished in crowds,
+Their chiefs were captured and bound,
+Overwhelmed by my terrible force,
+Like a rook detached from the heights.
+
+
+
+Tupac Yupanqui.
+
+Was much blood shed in the assault?
+
+
+Rumi-naui.
+
+No, Lord, not a drop has been shed,
+To thine orders I strictly adhered.
+Those Antis were strangled in sleep,
+But the fort is entirely razed.
+
+
+
+Tupac Yupanqui.
+
+Where are the rebels?
+
+
+
+Rumi-naui.
+
+They are waiting with agonised fear,
+For their fate, to perish by cords.
+The people are sending up cries,
+Demanding their deaths without fail.
+Their women are now in their midst,
+The children raise hideous cries;
+It is well that thine order should pass
+To finish their traitorous lives.
+
+
+
+Tupac Yupanqui.
+
+It must be so without any doubt,
+That the orphans may not be alone,
+Let all perish, not sparing one,
+Thus Cuzco recovers her peace,
+Let the traitors be brought before me.
+In my presence the sentence they'll hear.
+
+
+
+
+(Exit Rumi-naui, and re-enter followed by guards in charge of OLLANTAY,
+URCO HUARANCA, and HANCO HAUYLLU, bound and blindfold, followed by guards
+with PIQUI CHAQUI bound.)
+
+
+
+
+Tupac Yupanqui.
+
+Take the bands off the eyes of those men.
+And now, Ollantay, where art thou?
+And where art thou, O Mountain Chief?
+Soon thou wilt roll down from the heights.
+
+
+
+
+(To the soldiers who bring in Piqui Chaqui.)
+
+
+
+
+Whom have we here?
+
+
+
+Piqui Chaqui.
+
+Many fleas in the Yuncas abound,
+And torment the people full sore,
+With boiling water they are killed,
+And I, poor flea,[FN#73] must also die.
+
+
+
+[FN#73]  Piqui Chaqui is literally 'flea foot.'  He is punning on his
+name.
+
+
+
+
+Tupac Yupanqui.
+
+Tell me, Hanco Huayllu, tell me,
+Why art thou Ollantay's man?
+Did not my father honour thee?
+Did he not grant thy requests?
+Did he ever have a secret from thee?
+Speak also, you, the other rebels,
+Ollantay and the Mountain Chief.
+
+
+
+Ollantay.
+
+O father, we have nought to say,
+Our crimes are overwhelming us.
+
+
+
+Tupac Yupanqui (to the Uillac Uma).
+
+Pronounce their sentence, great High Priest.
+
+
+
+Uillac Uma.
+
+The light that fills me from the Sun
+Brings mercy and pardon to my heart.
+
+
+
+Tupac Yupanqui.
+
+Now thy sentence, Rumi-naui.
+
+
+
+Rumi-naui.
+
+For crimes enormous such as these
+Death should ever be the doom
+It is the only way, O King!
+To warn all others from such guilt.
+To stout tocarpus[FN#74] they should be
+Secured and bound with toughest rope,
+Then should the warriors freely shoot
+Their arrows until death is caused.
+
+
+
+[FN#74]  Tocarpu, a pole or stake used at executions.  Condemned
+prisoners were fastened to a tocarpu before being hurled over a
+precipice.
+
+
+
+
+Piqui Chaqui.
+
+Must it be that evermore
+The Antis must all perish thus?
+Alas! then let the branches burn
+What pouring out of blood is here.[FN#75]
+
+
+
+Rumi-naui.
+
+Silence, rash man, nor dare to speak,
+
+
+
+[FN#75]  Piqui Chaqui had an inkling that the Inca had expressed dislike
+at the shedding of blood.  He ventured to say these words in the faint
+hope that they might remind the Inca of this dislike.
+
+
+
+(General lamentation outside.)
+
+
+
+
+Having been rolled just like a stone,
+My heart has now become a stone.[FN#76]
+
+
+
+[FN#76]  Rumi-naui at it again: for ever ringing changes on his name
+rumi, a stone.
+
+
+
+
+Tupac Yupanqui.
+
+Know that tocarpus are prepared.
+Remove those traitors from my sight,
+Let them all perish, and at once.
+
+
+
+Rumi-naui.
+
+Take these three men without delay
+To the dreaded execution stakes;
+Secure them with unyielding ropes,
+And hurl them from the lofty rocks.
+
+
+
+Tupac Yupanqui.
+
+Stop! Cast off their bonds.
+
+
+
+
+(The guards unbind them. They all kneel.)
+
+
+
+
+(To Ollantay, kneeling).
+
+Rise from thy knees; come to my side.
+
+
+
+
+(Rises.)
+
+
+
+
+Now thou hast seen death very near,
+You that have shown ingratitude,
+Learn how mercy flows from my heart;
+I will raise thee higher than before.
+Thou wert Chief of Anti-suyu,
+Now see how far my love will go;
+I make thee Chief in permanence.
+Receive this plume[FN#77] as general,
+This arrow[FN#77] emblem of command.[FN#78]
+
+
+
+[FN#77]  The plume and the arrow were the insignia of a general.
+
+[FN#78]  Rather a staggerer for Rumi-naui!  Perhaps, too, the change is
+too sudden, and infringes the probabilities.  Tupac Yupanqui may have
+thought that his father had been unjust and that there were excuses.  It
+is known that the young Inca was indignant at some other cruelties of his
+father. As a magnanimous warrior he may have despised the treacherous
+methods of Rumi-naui.  He may have valued Ollantay's known valour and
+ability, and have been loth to lose his services.  All these
+considerations may have influenced him more or less.  The rebels were the
+best men he had.
+
+
+
+
+Tupac Yupanqui (to the Uillac Uma).
+
+Thou mighty Pontiff of the Sun,
+Robe him in the regal dress.
+Raise up the others from their knees,
+And free them from the doom of death.
+
+
+
+
+(Urco Huaranca, Hanco Huayllu, and Piqui Chaqui rise, the latter looking
+much relieved. The Uillac Uma places the robe on Ollantay's shoulders.)
+
+
+
+
+Uillac Uma.
+
+Ollantay, learn to recognise
+Tupac Yupanqui's generous mind;
+From this day forth be thou his friend,
+And bless his magnanimity.
+This ring contains my potent charm,
+For this I place it on thy hand.
+
+
+
+
+(Gives him a ring, or bracelet.)
+
+
+
+
+This mace receive, 'tis from the king,
+
+
+
+
+(Gives him a mace (champi).)
+
+
+
+
+It is his gracious gift to thee.
+
+
+
+Ollantay.
+
+With tears I shall nearly consume
+That mace thus presented to me;
+I am tenfold the great Inca's slave,
+In this world no equal is found,
+My heart's fibres his latchets shall be;
+From this moment my body and soul
+To his service alone shall belong.
+
+
+
+Tupac Yupanqui.
+
+Now, Mountain Chief! come near to me,
+Ollantay is given the arrow and plume,
+Though to me he gave fury and war.
+Notwithstanding all that has passed
+He continues the Andean chief,
+And will lead his rebels to peace;
+Thee also I choose for the plume;
+From this day thou art a great chief,
+And never forget in thy thoughts,
+I saved thee from death and disgrace.
+
+
+
+Urco Huaranca.
+
+Great King and most merciful Lord,
+But now, expecting my death,
+I am ever thy most faithful slave.
+
+
+
+
+(Uillac Uma gives him the plume and arrow.)
+
+
+
+
+Uillac Uma.
+
+O Urco, the Inca has made
+A great and a powerful chief,
+And grants thee with marvellous grace
+The arrow and also the plume.
+
+
+
+Rumi-naui.
+
+Illustrious King, I venture to ask,
+Will Anti-suyu have two chiefs.
+
+
+
+Tupac Yupanqui.
+
+There will not be two, O Rumi-naui
+The Mountain Chief will rule the Antis;
+In Cuzco Ollantay will reign--
+As Viceroy deputed by me
+His duties will call him to act
+As ruler throughout the whole realm.
+
+
+
+Ollantay.
+
+O King! thou dost raise me too high,
+A man without service or claim;
+I am thy obedient slave--
+Mayst thou live for a thousand years.
+
+
+
+Tupac Yupanqui.
+
+The mascapaycha now bring forth,
+And to it the llautu attach.
+Uillac Uma, adorn him with these,
+And proclaim his state to the world.
+Yes, Ollantay shall stand in my place,
+Raised up like the star of the morn,
+For Colla this month I shall start;
+All preparations are made.
+In Cuzco Ollantay will stay,
+My Ranti[FN#79] and Viceroy and friend.
+
+
+
+
+[FN#79]  Ranti, a deputy.
+
+
+
+Ollantay.
+
+I would fain, O magnanimous King,
+Follow thee in the Chayanta war;
+Thou knowest my love for such work.
+Peaceful Cuzco is not to my taste,
+I prefer to be thy Canari,[FN#80]
+To march in the van of thy force,
+And not to be left in the rear.
+
+
+
+[FN#80]  Canari, a warlike tribe of Indians, in the south part of the
+kingdom of Quito.  They were first conquered by Tupac Yupanqui, and they
+became devoted to him.
+
+
+
+Tupac Yupanqui.
+
+Thou shouldst find the wife of thy choice,
+And with her reign happily here
+In Cuzco; repose without care;
+Rest here while I'm absent in war.
+
+
+Ollantay.
+
+Great King, thy sorrowful slave
+Already had chosen a wife.
+
+
+Tupac Yupanqui.
+
+How is it I know not of this?
+It should be reported to me.
+I will load her with suitable gifts;
+Why was this concealed from my eyes?
+
+
+Ollantay.
+
+In Cuzco itself disappeared
+That sweet and adorable dove;
+One day she did rest in my arms,
+And the next no more to be seen.
+In grief I made search far and near,
+Earth seemed to have swallowed her up,
+To have buried her far from my sight;
+O such, mighty King, is my grief.
+
+
+Tupac Yupanqui.
+
+Ollantay! afflict not thyself,
+For now thou must take up thy place
+Without turning thy eyes from thy work.
+
+
+
+(To Uillac Uma.)
+
+
+
+High priest, obey my command.
+
+
+
+(The Uillac Uma goes to the wings (R.) and addresses the people outside.)
+
+
+
+Uillac Uma.
+
+O people, hear what I say:
+The Inca, our King and our Lord,
+Thus declares his imperial will:
+Ollantay shall reign in his place.
+
+
+People outside.
+
+Ollantay Ranti! Ollantay Ranti!
+
+
+
+(Shouts and acclamations.)
+
+
+
+Tupac Yupanqui (to Rumi-naui and other chiefs.)
+
+You also render him homage.
+
+
+Rumi-naui.
+
+Prince Ollantay! Incap Ranti!
+Thy promotion gives me joy.
+All the Antis now released,
+Return rejoicing to their homes.
+
+
+
+(He and all the Chiefs bow to Ollantay.)
+
+
+
+Guards without.
+
+You cannot pass. Go back! go back!
+Voice without. Why, is this a festive day?
+Let me pass. I must see the king;
+I pray you do not stop me,
+Do not drive me from the door;
+If you stop me I shall die.
+Have a care. You will kill me.
+
+
+Tupac Yupanqui.
+
+What noise is that without?
+
+
+Guard.
+
+It is a young girl who comes weeping
+And insists upon seeing the king.
+
+
+Tupac Yupanqui.
+
+Let her come in.
+
+
+
+(Enter Yma Sumac.)
+
+
+
+Yma Sumac.
+
+Which is the Inca, my lord,
+That I may kneel down at his feet?
+
+
+Uillac Uma.
+
+Who art thou, charming maid?
+Behold the King.
+
+
+
+(Yma Sumac throws herself at the King's feet.)
+
+
+
+Yma Sumac. O my King! be thou my father,
+Snatch from evil thy poor servant.
+Extend thy royal hand to me.
+O merciful child of the Sun,
+My mother is dying at this hour
+In a foul and loathsome cave;
+She is killed in cruel martyrdom--
+Alas I she is bathed in her own blood.
+
+
+Tupac Yupanqui.
+
+What inhumanity, poor child!
+Ollantay, take this case in hand.
+
+
+Ollantay.
+
+Young maiden, take me quickly there;
+We will see who it is that suffers.
+
+
+Yma Sumac.
+
+No, sir. Not so. It is the King himself
+Should go with me.
+Perhaps he may recognise her;
+
+
+
+(To Ollantay.)
+
+
+
+For you, I know not who you are.
+O King, arise, do not delay,
+I fear my mother breathes her last,
+At least may be in mortal pain;
+O Inca! Father! grant my prayer.
+
+
+Uillac Uma.
+
+Illustrious King, thou wilt consent;
+Let us all seek this luckless one--
+Thou canst release from cruel bonds.
+Lot us go, O King!
+
+
+Tupac Yupanqui (rising).
+
+Come all! Come all!
+In midst of reconciliations
+This young maid assaults my heart.
+
+
+
+(Exeunt.)
+
+
+
+
+SCENE 7
+
+
+
+The garden in the palace of Virgins of the Sun (same scene as Act III,
+Scene 5). Stone door more visible.
+
+
+(Enter the INCA TUPAC YUPANQUI with YMA SUMAC, OLLANTAY, UILLAC UMA and
+RUMI nAUI; URCO HUARANCA, HANCO HUAYLLU and PIQUI CHAQUI in the
+background.)
+
+
+
+Tupac Yupanqui.
+
+But this is the Aclla Huasi;[FN#81]
+My child, art thou not mistaken?
+Where is thy imprisoned mother?
+
+
+
+[FN#81]  Aclla, chosen; Huasi, house: palace of the Virgins of the sun.
+
+
+
+Yma Sumac.
+
+In a dungeon within these bounds
+My mother has suffered for years,
+Perhaps even now she is dead.
+
+
+
+(She points to the stone door.)
+
+
+
+Tupac Yupanqui.
+
+What door is this?
+
+
+
+(Enter MAMA CCACCA and PITU SALLA.  Mama Ccacca kneels and kisses the
+Inca's hand.)
+
+
+
+Mama Ccacca.
+
+Is it a dream or reality,
+That I behold my sovereign?
+Tupac Yupanqui. Open that door.
+
+
+
+(Mama Ccacca opens the door.)
+
+
+
+(CUSI COYLLUR discovered chained and fainting, with a puma and a snake,
+one on each side of her.)
+
+
+
+Yma Sumac.
+
+O my mother, I feared to find
+That you had already passed away;
+Pitu Salla! Haste. Bring water.
+Perhaps my dove may still revive.
+
+
+
+(Exit Pitu Salla.)
+
+
+
+Tupac Yupanqui.
+
+What horrid cavern do I see?
+Who is this woman? what means it?
+What cruel wretch thus tortures her?
+What means that chain bound around her?
+Mama Ccacca, come near to me
+What hast thou to say to this?
+Is it the effect of malice
+That this poor creature lingers here?
+
+
+Mama Ccacca.
+
+It was thy father's dread command;
+A punishment for lawless love.
+
+
+Tupac Yupanqui.
+
+Begone! begone! harder than rock.[FN#82]
+Turn out that puma and the snake,[FN#83]
+Break down that door of carved stone.
+
+
+
+[FN#82]  Ccacca means a rock.
+
+[FN#83]  My former translation, and those of Barranca and Tschudi,
+treated puma and amaru (snake) as epithets applied to Mama Ccacca.
+Zegarra considers that the puma and snake were intended to be actually in
+the dungeon, and I believe he is right.  The puma would not have hurt his
+fellow-prisoner.  Unpleasant animals were occasionally put into the
+prisons of criminals.  The Incas kept pumas as pets.
+
+
+
+(To Mama Ccacca.)
+
+
+
+Let me not see thy face again.
+A woman living as a bat;
+This child has brought it all to light.
+
+
+
+(Enter Pitu Salla with water.  She sprinkles it over Cusi Coyllur, who
+revives.)
+
+
+
+Cusi Coyllur.
+
+Where am I? who are these people?
+Yma Sumac, my beloved child,
+Come to me, my most precious dove.
+Who are all these men before me?
+
+
+
+(She begins to faint again and is restored by water.)
+
+
+
+Yma Sumac.
+
+Fear not, my mother, 'tis the King;
+The King himself comes to see you.
+The great Yupanqui is now here.
+Speak to him. Awake from thy trance.
+
+
+Tupac Yupanqui.
+
+My heart is torn and sorrowful
+At sight of so much misery.
+Who art thou, my poor sufferer?
+Child, tell me now thy mother's name?
+
+
+Yma Sumac.
+
+Father! Inca! Clement Prince!
+Have those cruel bonds removed.
+
+
+The Uillac Uma.
+
+It is for me to remove them,
+And to relieve this sore distress.
+
+
+
+(Cuts the rope fastening Cusi Coyllur to the wall.)
+
+
+
+Ollantay (to Yma Sumac).
+
+What is thy mother's name?
+
+
+Yma Sumac.
+
+Her name was once Cusi Coyllur,
+But it seems a mistake.  Her joy
+Was gone when she was prisoned here.
+
+
+Ollantay.
+
+O renowned King, great Yupanqui,
+In her you see my long lost wife.
+
+
+
+(Prostrates himself before the Inca.)
+
+
+
+Tupac Yupanqui.
+
+It all appears a dream to me.
+The 'Star'! my sister![FN#84] and thy wife.
+O sister! what newly found joy.
+O Cusi Coyllur, my sister,
+Come here to me, and embrace me,
+Now thou art delivered from woe.
+
+
+[FN#84]  The early Incas never married their sisters or relations.
+Pachacuti's mother was daughter of the chief of Anta.  His wife,
+Anahuarqui, was no relation.  But the wife of Tupac Yupanqui was his
+sister Mama Ocllo.
+
+
+
+(Music.)
+
+
+
+Thou hast found thy loving brother;
+Joy calms the anguish of my heart.
+
+
+
+(Embraces Cusi Coyllur.)
+
+
+
+Cusi Coyllur.
+
+Alas! my brother, now you know
+The cruel tortures I endured
+During those years of agony;
+Thy compassion now has saved me.
+
+
+Tupac Yupanqui.
+
+Who art thou, dove, that hast suffered?
+For what sin were you prisoned here?
+Thou mightest have lost thy reason.
+Thy face is worn, thy beauty gone,
+Thy looks as one risen from death.
+
+
+Ollantay.
+
+Cusi Coyllur, I had lost thee,
+Thou wast quite hidden from my sight,
+But thou art brought again to life--
+Thy father should have killed us both.
+My whole heart is torn with sorrow.
+Star of joy, where is now thy joy?
+Where now thy beauty as a star?
+Art thou under thy father's curse?
+
+
+Cusi Coyllur.
+
+Ollantay, for ten dreary years
+That dungeon has kept us apart;
+But now, united for new life,
+Some happiness may yet be ours.
+Yupanqui makes joy succeed grief,
+He may well count[FN#85] for many years.
+
+
+[FN#85]  A play upon the word yupanqui, which means literally, 'you will
+count.'  The word was a title of the Incas, meaning, 'you will count as
+virtuous, brave,' &c.
+
+
+
+Uillac Uma.
+
+Bring new robes to dress the princess.
+
+
+
+(They put on her royal robes. The High Priest kisses her hand.)
+
+
+
+Tupac Yupanqui.
+
+Ollantay, behold thy royal wife,
+Honour and cherish her henceforth.
+And thou, Yma Sumac, come to me,
+I enlace you in the thread of love;
+Thou art the pure essence of Coyllur.
+
+
+
+(Embraces her.)
+
+
+
+Ollantay.
+
+Thou art our protector, great King,
+Thy noble hands disperse our grief;
+Thou art our faith and only hope--
+Thou workest by virtue's force.
+
+
+Tupac Yupanqui.
+
+Thy wife is now in thy arms;
+All sorrow now should disappear,
+Joy, new born, shall take its place.
+
+
+
+(Acclamations from the Chiefs, and Piqui Chaqui.  Music: huancars
+(drums), pincullus (flutes), and pututus (clarions).)
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Apu Ollantay,
+by Sir Clements R. Markham
+
+*** END OF THE PROJECT GUTENBERG EBOOK APU OLLANTAY ***
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+The Project Gutenberg EBook of Apu Ollantay, by Anonymous
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Apu Ollantay
+       A Drama of the Time of the Incas
+
+Author: Anonymous
+
+Editor: Clements R. Markham
+
+Translator: Clements R. Markham
+
+Release Date: October, 2005 [EBook #9068]
+Last Updated: August 23, 2012
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK APU OLLANTAY ***
+
+
+
+
+Produced by John B. Hare
+
+
+
+
+
+
+APU OLLANTAY
+
+A Drama Of The Time Of The Incas
+
+Sovereigns Of Peru
+
+About A.D. 1470
+
+
+First Reduced To Writing By Dr. Valdez, Cuba Of Sicuani A.D. 1770
+
+
+The Original Manuscript Copied By Dr. Justo Pastor Justiniani
+
+
+This Justiniani Text Copied At Laris, In April 1863, By Clements R. Markham
+
+
+A Free Translation Into English By Sir Clements Markham, K.C.B. [1910]
+
+
+
+INTRODUCTION
+
+
+The drama was cultivated by the Incas, and dramatic performances were
+enacted before them.   Garcilasso de la Vega, Molina, and Salcamayhua
+are the authorities who received and have recorded the information given
+by the Amautas respecting the Inca drama.  Some of these dramas, and
+portions of others, were preserved in the memories of members of Inca
+and Amauta families.  The Spanish priests, especially the Jesuits of
+Juli, soon discovered the dramatic aptitude of the people.  Plays were
+composed and acted, under priestly auspices, which contained songs and
+other fragments of the ancient Inca drama.  These plays were called
+'Autos Sacramentales.'
+
+But complete Inca dramas were also preserved in the memories of members
+of the Amauta caste and, until the rebellion of 1781, they were acted.
+The drama of Ollantay was first reduced to writing and arranged for
+acting by Dr. Don Antonio Valdez, the Cura of Tinto.  It was acted
+before his friend Jose Gabriel Condorcanqui[1] in about 1775.  Taking
+the name of his maternal ancestor, the Inca Tupac Amaru, the ill-fated
+Condorcanqui rose in rebellion, was defeated, taken, and put to death
+under torture, in the great square of Cuzco.  In the monstrous sentence
+'the representation of dramas as well as all other festivals which the
+Indians celebrate in memory of their Incas' was prohibited.[2]  This
+is a clear proof that before 1781 these Quichua dramas were acted.
+
+
+
+The original manuscript of Valdez was copied by his friend Don Justo
+Pastor Justiniani, and this copy was inherited by his son.  There was
+another copy in the convent of San Domingo at Cuzco, but it is corrupt,
+and there are several omissions and mistakes of a copyist.  Dr. Valdez
+died, at a very advanced age, in 1816.  In 1853 the original manuscript
+was in the possession of his nephew and heir, Don Narciso Cuentas of
+Tinta.
+
+The Justiniani copy was, in 1853, in the possession of Dr. Don Pablo
+Justiniani, Cura of Laris, and son of Don Justo Pastor Justiniani.  He
+is a descendant of the Incas.[3]  In April 1853 I went to Laris, a
+secluded valley of the Andes, and made a careful copy of the drama of
+Ollantay.  From this Justiniani text my first very faulty line-for-line
+translation was made in 1871, as well as the present free translation.
+
+The first printed notice of Ollantay appeared in the Museo Erudito, Nos.
+5 to 9, published at Cuzco in 1837, and edited by Don Jose Palacios.
+The next account of the drama, with extracts, was in the 'Antiguedades
+Peruanas,' a work published in 1851 jointly by Dr. von Tschudi and Don
+Mariaiao Rivero of Arequipa.  The complete text, from the copy in the
+convent of San Domingo at Cuzco, was first published at Vienna in 1853
+by Dr. von Tschudi in his 'Die Kechua Sprache.  It was obtained for him
+by Dr. Ruggendas of Munich.  The manuscript was a corrupt version, and
+in very bad condition, in parts illegible from damp.  In 1868 Don Jose
+Barranca published a Spanish translation, from the Dominican text of von
+Tschudi.  The learned Swiss naturalist, von Tschudi, published a revised
+edition of his translation at Vienna in 1875, with a parallel German
+translation.  In 1871 I printed the Justiniani text with a literal,
+line-for-line translation, but with many mistakes, since corrected; and
+in 1874, a Peruvian, Don Jose Fernandez Nodal, published the Quichua
+text with a Spanish translation.
+
+In 1878 Gavino Pacheco Zegarra published his version of Ollantay, with a
+free translation in French.  His text is a manuscript of the drama which
+he found in his uncle's library.  Zegarra, as a native of Peru whose
+language was Quichua, had great advantages.  He was a very severe, and
+often unfair, critic of his predecessors.
+
+The work of Zegarra is, however, exceedingly valuable.  He was not only
+a Quichua scholar, but also accomplished and well read.  His notes on
+special words and on the construction of sentences are often very
+interesting.  But his conclusions respecting several passages which are
+in the Justiniani text, but not in the others, are certainly erroneous.
+Thus he entirely spoils the dialogue between the Uillac Uma and Piqui
+Chaqui by omitting the humorous part contained in the Justiniani text;
+and makes other similar omissions merely because the passages are not in
+his text.  Zegarra gives a useful vocabulary at the end of all the words
+which occur in the drama.
+
+The great drawback to the study of Zegarra's work is that he invented a
+number of letters to express the various modifications of sound as they
+appealed to his ear.  No one else can use them, while they render the
+reading of his own works difficult and intolerably tiresome.
+
+The last publication of a text of Ollantay was by the Rev. J. H. Gybbon
+Spilsbury, at Buenos Ayres in 1907, accompanied by Spanish, English, and
+French translations in parallel columns.
+
+There is truth in what Zegarra says, that the attempts to translate line
+for line, by von Tschudi and myself, 'fail to convey a proper idea of
+the original drama to European readers, the result being alike contrary
+to the genius of the modern languages of Europe and to that of the
+Quichua language.'  Zegarra accordingly gives a very free translation in
+French.
+
+In the present translation I believe that I have always preserved the
+sense of the original, without necessarily binding myself to the words.
+The original is in octosyllabic lines.  Songs and important speeches are
+in quatrains of octosyllabic lines, the first and last rhyming, and the
+second and third.  I have endeavoured to keep to octosyllabic lines as
+far as possible, because they give a better idea of the original; and I
+have also tried to preserve the form of the songs and speeches.
+
+The drama opens towards the close of the reign of the Inca Pachacuti,
+the greatest of all the Incas, and the scene is laid at Cuzco or at
+Ollantay-tampu, in the valley of the Vilcamayu.  The story turns on the
+love of a great chief, but not of the blood-royal, with a daughter of
+the Inca.  This would not have been prohibited in former reigns, for the
+marriage of a sister by the sovereign or his heir, and the marriage of
+princesses only with princes of the blood-royal, were rules first
+introduced by Pachacuti.[4]  His imperial power and greatness led him
+to endeavour to raise the royal family far above all others.
+
+The play opens with a dialogue between Ollantay and Piqui Chaqui, his
+page, a witty and humorous lad.  Ollantay talks of his love for the
+Princess Cusi Coyllur, and wants Piqui Chaqui to take a message to her,
+while the page dwells on the danger of loving in such a quarter, and
+evades the question of taking a message.  Then to them enters the Uillac
+Uma, or High Priest of the Sun, who remonstrates with Ollantay--a scene
+of great solemnity, and very effective.
+
+The next scene is in the Queen's palace.  Anahuarqui, the Queen, is
+discovered with the Princess Cusi Coyllur, who bitterly laments the
+absence of Ollantay.  To them enters the Inca Pachacuti, quite ignorant
+that his daughter has not only married Ollantay in secret, but that she
+is actually with child by him.  Her mother keeps her secret.  The Inca
+indulges in extravagant expressions of love for his daughter.  Then boys
+and girls enter dancing and singing a harvest song.  Another very
+melancholy yarahui is sung; both capable of being turned by the Princess
+into presages of the fate of herself and her husband.
+
+In the third scene Ollantay prefers his suit to the Inca Pachacuti in
+octosyllabic quatrains, the first and last lines rhyming, and the second
+and third.  His suit is rejected with scorn and contempt.  Ollantay next
+appears on the heights above Cuzco.  In a soliloquy he declares himself
+the implacable enemy of Cuzco and the Inca.  Then Piqui Chaqui arrives
+with the news that the Queen's palace is empty, and abandoned, and that
+Cusi Coyllur has quite disappeared; while search is being made for
+Ollantay.  While they are together a song is sung behind some rocks, in
+praise of Cusi Coyllur's beauty.  Then the sound of clarions and people
+approaching is heard, and Ollantay and Piqui Chaqui take to flight.  The
+next scene finds the Inca enraged at the escape of Ollantay, and
+ordering his general Rumi-naui to march at once, and make him prisoner.
+To them enters a chasqui, or messenger, bringing the news that Ollantay
+has collected a great army at Ollantay-tampu, and that the rebels have
+proclaimed him Inca.
+
+The second act opens with a grand scene in the hall of the
+fortress-palace of Ollantay-tampu. Ollantay is proclaimed Inca by the
+people, and he appoints the Mountain Chief, Urco Huaranca, general of
+his army. Urco Huaranca explains the dispositions he has made to oppose
+the army advancing from Cuzco, and his plan of defence.  In the next
+scene Rumi-naui, as a fugitive in the mountains, describes his defeat
+and the complete success of the strategy of Ollantay and Urco Huaranca.
+His soliloquy is in the octosyllabic quatrains.  The last scene of the
+second act is in the gardens of the Convent of Virgins of the Sun.  A
+young girl is standing by a gate which opens on the street.  This, as
+afterwards appears, is Yma Sumac, the daughter of Ollantay and Cusi
+Coyllur, aged ten, but ignorant of her parentage.  To her enters Pitu
+Salla, an attendant, who chides her for being so fond of looking out at
+the gate.  The conversation which follows shows that Yma Sumac detests
+the convent and refuses to take the vows.  She also has heard the moans
+of some sufferer, and importunes Pitu Salla to tell her who it is.  Yma
+Sumac goes as Mama Ccacca enters and cross examines Pitu Salla on her
+progress in persuading Yma Sumac to adopt convent life.  This Mama
+Ccacca is one of the Matrons or Mama Cuna, and she is also the jailer of
+Cusi Coyllur.
+
+The third act opens with an amusing scene between the Uillac Uma and
+Piqui Chaqui, who meet in a street in Cuzco.  Piqui Chaqui wants to get
+news, but to tell nothing, and in this he succeeds.  The death of Inca
+Pachacuti is announced to him, and the accession of Tupac Yupanqui, and
+with this news he departs.
+
+Next there is an interview between the new Inca Tupac Yupanqui, the
+Uillac Uma, and the defeated general Rumi-naui, who promises to retrieve
+the former disaster and bring the rebels to Cuzco, dead or alive.  It
+after wards appears that the scheme of Rumi-naui was one of treachery.
+He intended to conceal his troops in eaves and gorges near
+Ollantay-tampu ready to rush in, when a signal was made.  Rumi-naui then
+cut and slashed his face, covered himself with mud, and appeared at the
+gates of Ollantay-tampu, declaring that he had received this treatment
+from the new Inca, and imploring protection.[5]  Ollantay received him
+with the greatest kindness and hospitality.  In a few days Ollantay and
+his people celebrated the Raymi or great festival of the sun with much
+rejoicing and drinking.  Rumi-naui pretended to join in the festivities,
+but when most of them were wrapped in drunken sleep, he opened the
+gates, let in his own men, and made them all prisoners.
+
+There is next another scene in the garden of the convent, in which Yma
+Sumac importunes Pitu Salla to tell her the secret of the prisoner.
+Pitu Salla at last yields and opens a stone door.  Cusi Coyllur is
+discovered, fastened to a wall, and in a dying state.  She had been
+imprisoned, by order of her father, Inca Pachacuti on the birth of Yma
+Sumac.  She is restored with food and water, and the relationship is
+discovered when Cusi Coyllur hears the child's name, for she had given
+it to her.
+
+Next the Inca Tupac Yupanqui is discovered in the great hall of his
+palace, seated on his tiana or throne, with the Uillac Uma in
+attendance.  To them enters a chasqui, or messenger, who describes the
+result of Rumi-naui's treachery in octosyllabic quatrains.  Rumi-naui
+himself enters and receives the thanks of his sovereign.  Then the
+prisoners are brought in guarded-Ollantay, Hanco Huayllu, Urco Huaranca,
+and Piqui Chaqui.  The Inca upbraids them for their treason.  He then
+asks the Uillac Uma for his judgment.  The High Priest recommends mercy.
+Rumi-naui advises immediate execution: The Inca seems to concur and they
+are ordered off, when suddenly the Inca cries 'Stop.'  He causes them
+all to be released, appoints Ollantay to the highest post in the empire
+next to himself, and Urco Huaranca to a high command.  There are
+rejoicings, and in the midst of it all Yma Sumac forces her way into the
+hall, and throws herself at the Inca's feet, entreating him to save her
+mother from death.  The Inca hands over the matter to Ollantay, but this
+Yma Sumac will not have, and, the Uillac Uma intervening, the Inca
+consents to go with the child.
+
+The final scene is in the gardens of the convent.  The Inca enters with
+Yma Sumac, followed by the whole strength of the company.  Mama Ccacca
+is ordered to open the stone door and Cusi Coyllur is brought out.  She
+proves to be the sister of the Inca and the wife of Ollantay.  There are
+explanations, and all ends happily.
+
+Of the antiquity of the drama of Ollantay there is now no question.
+General Mitre wrote an elaborate paper on its authenticity, raising
+several points to prove that it was of modern origin.  But every point
+he raised has been satisfactorily refuted.  At the same time there are
+many other points, some of them referred to by Zegarra, which establish
+the antiquity of the drama beyond any doubt.  The antiquity of the name
+Ollantay-tampu, applied to the fortress in memory of the drama, is
+proved by its use in the narratives of Molina (1560) and of Salcamayhua.
+
+An able review of the literature connected with the drama of Ollantay
+was written by Don E. Larrabure y Unanue, the present Vice-President of
+Peru, who considers that Ollantay would make a good acting play with
+magnificent scenic effects.
+
+
+
+
+MS. TEXTS.
+
+
+1.  The original text of Valdez.  In 1853 the property of Don Narciso
+Cuentas of Tinta, heir of Dr. Valdez.
+
+
+2.  The Justiniani text.  In 1853 at Laris.  Copy of the Valdez text.
+
+
+3.  Markham's copy of the Justiniani text (printed 1871).
+
+
+4.  Rosas copy of the Justiniani text.
+
+
+5.  Copy in the convent of San Domingo at Cuzco (the Dominican text).
+
+
+6.  Von Tschudi's copy of the Dominican text (printed 1853).
+
+
+7.  Text of Zegarra (printed 1878).
+
+
+8.  Second text of von Tschudi.
+
+
+9.  Text of Spilsbury.
+
+
+10.  Text of Sahuaraura penes Dr. Gonzalez de la Rosa.
+
+
+
+There is light thrown upon the name Ollantay by the evidence taken
+during the journey of the Viceroy Toledo from Jauja to Cuzco, from
+November 1570 to March 1571.  He wanted information respecting the
+origin of the Inca government, and 200 witnesses were examined, the
+parentage or lineage of each witness being recorded.  Among these we
+find six witnesses of the Antasayac ayllu.  Sayac means a station or
+division, Anta is a small town near Cuzco.  The names of the six Anta
+witnesses were,
+
+ANCAILLO; USCA; HUACRO; MANCOY; AUCA PURI; ULLANTAY;
+
+Besides ANTONIO PACROTRICA and PUNICU PAUCAR, Chiefs of Anta.
+
+We thus find that the name of Ollantay belonged to Anta.  Now the Incas
+were under great obligations to the chief of Anta, for that chief had
+rescued the eldest son of Inca Rocca from the chief of Ayamarca, and had
+restored him to his father.  For this great service the chief of Anta
+was declared to be a noble of the highest rank and cousin to the Inca
+family.  Moreover, the daughter of the Anta chief was married to the
+Inca Uira-cocha, and was the mother of Pachacuti.  Assuming, as seems
+probable, that Ollantay was a son of the chief of Anta, he would be a
+cousin of the Inca, and of very high rank, though not an agnate of the
+reigning family.  This, I take it, is what is intended.  Pachacuti
+desired to raise his family high above all others, and that,
+consequently, there should be no marriages with subjects even of the
+highest rank; and his excessive severity on the transgression of his
+rule by his daughter is thus explained.
+
+
+
+
+OLLANTAY
+
+
+
+
+ACTS AND SCENES
+
+
+ACT 1.
+
+
+Sc. 1.--Open space near Cuzco.
+Ollantay, Piqui Chaqui, Uillac Uma.
+
+Sc. 2.--Hall in the Colcampata.
+Anahuarqui, Cusi Coyllur, Inca Pachacuti, Boys and Girls, Singers.
+
+Sc. 3.--Hall in the Inca's palace.
+Pachacuti, Rumi-naui, Ollantay.
+
+Sc. 4.--Height above Cuzco.
+Ollantay, Piqui Chaqui, Unseen Singer.
+
+Sc. 5.--Hall in the Inca's palace.
+Pachacuti, Rumi-naui, and a Chasqui.
+
+
+
+ACT II.
+
+
+Sc. 1.--Ollantay-tampu Hall.
+Ollantay, Urco Huaranca, Hanco Huayllu, People and Soldiers.
+
+Sc. 2.--A wild place in the mountains.
+Rumi-naui's soliloquy.
+
+Sc. 3.--Gardens of the Virgins.
+Yma Sumac, Pitu Salla, Mama Ccacca.
+
+
+
+ACT III.
+
+
+Sc. 1.--Pampa Maroni at Cuzco.
+Uillac Uma and Piqui Chaqui.
+
+Sc. 2.--Palace of Tupac Yupanqui.
+Tupac Yupanqui, Uillac Uma, Rumi-naui.
+
+Sc. 3.--Ollantay-tampu, Terrace.
+Rumi-naui, Ollantay, Guards.
+
+Sc. 4.--House of Virgins, Corridor.
+Yma Sumac, Pitu Salla.
+
+Sc. 5.--House of Virgins, Garden.
+Yma Sumac, Pitu Salla, Cusi Coyllur.
+
+Sc. 6.--Palace of Tupac Yupanqui.
+Tupac Yupanqui, Uillac Uma, a Chasqui, Rumi-naui, Ollantay, Urco
+Huaranca, Hanco Huayllu, Piqui Chaqui, Chiefs and Guards, then Yma
+Sumac.
+
+Sc. 7.--House of Virgins, Garden.
+All of Scene 6, and Mama Ccacca, Cusi Coyllur, Pitu Salla.
+
+
+
+SCENE
+
+In Cuzco and its environs, and Ollantay-tampu
+
+
+
+
+DRAMATIS PERSONAE
+
+
+APU OLLANTAY.--General of Anti-suyu, the eastern province of the empire.
+A young chief, but not of the blood-royal.  His rank was that of a
+Tucuyricuo or Viceroy.  The name occurs among the witnesses examined by
+order of the Viceroy Toledo, being one of the six of the Antasayac
+ayllu.
+
+
+PACHACUTI.--The Sovereign Inca.
+
+
+TUPAC YUPANQUI.--Sovereign. Inca, son and heir of Pachacuti.
+
+
+RUMI-NAUI.--A great chief, General of Colla-suyu.  The word means
+'Stone-eye.'
+
+
+UILLAC UMA.--High Priest of the Sun.  The word Uma means head, and
+Uillac, a councillor and diviner.
+
+
+URCO HUARANCA.--A chief.  The words mean' Mountain Chief.'  The word
+huaranca means 1000; hence, Chief of a Thousand.
+
+
+HANCO HUAYLLU AUQUI.--An old officer, of the blood-royal.
+
+
+PIQUI CHAQUI.--Page to Ollantay. The words mean 'fleet-footed.'
+
+
+ANAHUARQUI.--The Ccoya or Queen, wife of Pachacuti.
+
+CUSI COYLLUR NUSTA.--A Princess, daughter of Pachacuti.  The words mean
+'the joyful star.'
+
+
+YMA SUMAC.--Daughter of Cusi Coyllur.  The words mean 'How beautiful.'
+
+
+PITU SALLA.--A girl, companion of Yma Sumac.
+
+
+CCACCA MAMA.--A matron of Virgins of the Sun.  Jailer of Cusi Coyllur.
+
+
+Nobles, captains, soldiers, boys and girls dancing, singers, attendants,
+messengers or Chasqui.
+
+
+
+
+ACT I
+
+
+
+
+SCENE I
+
+
+An open space near the junction of the two torrents of Cuzco, the
+Huatanay and Tullumayu or Rodadero, called Pumap Chupan, just outside
+the gardens of the Sun.  The Temple of the Sun beyond the gardens, and
+the Sacsahuaman hill surmounted by the fortress, rising in the distance.
+The palace of Colcampata on the hillside.
+
+
+
+(Enter OLLANTAY L. [in a gilded tunic, breeches of llama sinews, usutas
+or shoes of llama hide, a red mantle of ccompi or fine cloth, and the
+chucu or head-dress of his rank, holding a battle-axe (champi) and club
+(macana)] and PIQUI CHAQUI coming up from the back R. [in a coarse brown
+tunic of auasca or llama cloth, girdle used as a sling, and chucu or
+head-dress of a Cuzqueno].)
+
+
+
+  Ollantay.
+
+  Where, young fleet-foot, hast thou been?
+  Hast thou the starry nusta seen?
+
+
+
+  Piqui Chaqui.
+
+  The Sun forbids such sacrilege
+  'Tis not for me to see the star.
+  Dost thou, my master, fear no ill,
+  Thine eyes upon the Inca's child?
+
+
+
+  Ollantay.
+
+  In spite of all I swear to love
+  That tender dove, that lovely star;
+  My heart is as a lamb[6] with her,
+  And ever will her presence seek.
+
+
+
+  Piqui Chaqui.
+
+  Such thoughts are prompted by Supay[7];
+  That evil being possesses thee.
+  All round are beauteous girls to choose
+  Before old age, and weakness come.
+  If the great Inca knew thy plot
+  And what thou seekest to attain,
+  Thy head would fall by his command,
+  Thy body would be quickly burnt.
+
+
+
+  Ollantay.
+
+  Boy, do not dare to cross me thus.
+  One more such word and thou shalt die.
+  These hands will tear thee limb from limb,
+  If still thy councils are so base.
+
+
+
+  Piqui Chaqui.
+
+  Well! treat thy servant as a dog,
+  But do not night and day repeat,
+  'Piqui Chaqui! swift of foot!
+  Go once more to seek the star.'
+
+
+
+  Ollantay.
+
+  Have I not already said
+  That e'en if death's fell scythe[8] was here,
+  If mountains should oppose my path
+  Like two fierce foes[9] who block the way,
+  Yet will I fight all these combined
+  And risk all else to gain my end,
+  And whether it be life or death
+  I'll cast myself at Coyllur's feet.
+
+
+
+  Piqui Chaqui.
+
+  But if Supay himself should come?
+
+
+
+  Ollantay.
+
+  I'd strike the evil spirit down.
+
+
+
+  Piqui Chaqui.
+
+  If thou shouldst only see his nose,
+  Thou wouldst not speak as thou dost now.
+
+
+
+  Ollantay.
+
+  Now, Piqui Chaqui, speak the truth,
+  Seek not evasion or deceit.
+  Dost thou not already know,
+  Of all the flowers in the field,
+  Not one can equal my Princess?
+
+
+
+  Piqui Chaqui.
+
+  Still, my master, thou dost rave.
+  I think I never saw thy love.
+  Stay! was it her who yesterday
+  Came forth with slow and faltering steps
+  And sought a solitary[10] path[11]?
+  If so, 'tis true she's like the sun,
+  The moon less beauteous than her face.[12]
+
+
+
+  Ollantay.
+
+  It surely was my dearest love.
+  How beautiful, how bright is she
+  This very moment thou must go
+  And take my message to the Star.
+
+
+
+  Piqui Chaqui.
+
+  I dare not, master; in the day,
+  I fear to pass the palace gate.
+  With all the splendour of the court,
+  I could not tell her from the rest.
+
+
+
+  Ollantay.
+
+  Didst thou not say thou sawest her?
+
+
+
+  Piqui Chaqui.
+
+  I said so, but it was not sense.
+  A star can only shine at night
+  Only at night could I be sure.
+
+
+
+  Ollantay.
+
+  Begone, thou lazy good-for-nought.
+  The joyful star that I adore,
+  If placed in presence of the Sun,
+  Would shine as brightly as before.
+
+
+
+  Piqui Chaqui.
+
+  Lo! some person hither comes,
+  Perhaps an old crone seeking alms;
+  Yes! Look! he quite resembles one.
+  Lot him the dangerous message take.
+  Send it by him, O noble Chief!
+  From me they would not hear the tale;
+  Thy page is but a humble lad.
+
+
+
+  (Enter the UILLAC UMA, or High Priest of the Sun, at the back, arms
+  raised to the Sun.  In a grey tunic and black mantle from the shoulders
+  to the ground, a long knife in his belt, the undress chucu on his head.)
+
+
+
+  Uillac Uma.
+
+  O giver of all warmth and light
+  O Sun! I fall and worship thee.
+  For thee the victims are prepared,
+  A thousand llamas and their lambs
+  Are ready for thy festal day.
+  The sacred fire'll lap their blood,
+  In thy dread presence, mighty one,
+  After long fast[13] thy victims fall.
+
+
+
+  Ollantay.
+
+  Who comes hither, Piqui Chaqui?
+  Yes, 'tis the holy Uillac Uma;
+  He brings his tools of augury.
+  No puma[14] more astute and wise
+  I hate that ancient conjurer
+  Who prophesies of evil things,
+  I feel the evils he foretells;
+  'Tis he who ever brings ill-luck.
+
+
+
+  Piqui Chaqui.
+
+  Silence, master, do not speak,
+  The old man doubly is informed;
+  Fore-knowing every word you say,
+  Already he has guessed it all.
+
+
+
+  (He lies down on a bank.)
+
+
+
+  Ollantay (aside).
+
+  He sees me. I must speak to him.
+
+
+
+  (The Uillac Uma comes forward.)
+
+
+
+  O Uillac Uma, Great High Priest,
+  I bow before thee with respect
+  May the skies be clear for thee,
+  And brightest sunshine meet thine eyes.
+
+
+  Uillac Uma.
+
+  Brave Ollantay! Princely one!
+  May all the teeming land be thine;
+  May thy far-reaching arm of might
+  Reduce the wide-spread universe.
+
+
+
+  Ollantay.
+
+  Old man! thine aspect causes fear,
+  Thy presence here some ill forebodes;
+  All round thee dead men's bones appear,
+  Baskets, flowers, sacrifice.
+  All men when they see thy face
+  Are filled with terror and alarm.
+  What means it all? why comest thou?
+  It wants some months before the least.
+  Is it that the Inca is ill?
+  Perchance hast thou some thought divined
+  Which soon will turn to flowing blood.
+  Why comest thou? the Sun's great day,
+  The Moon's libations are not yet
+  The moon has not yet nearly reached
+  The solemn time for sacrifice.
+  Uillac Uma. Why dost thou these questions put,
+  In tones of anger and reproach?
+  Am I, forsooth, thy humble slave?
+  That I know all I'll quickly prove.
+
+
+
+  Ollantay.
+
+  My beating heart is filled with dread,
+  Beholding thee so suddenly;
+  Perchance thy coming is a sign,
+  Of evils overtaking me.
+
+
+
+  Uillac Uma.
+
+  Fear not, Ollantay! not for that,
+  The High Priest comes to thee this day.
+  It is perhaps for love of thee,
+  That, as a straw is blown by wind,
+  A friend, this day, encounters thee.
+  Speak to me as to a friend,
+  Hide nothing from my scrutiny.
+  This day I come to offer thee
+  A last and most momentous choice
+  'Tis nothing less than life or death.
+
+
+
+  Ollantay.
+
+  Then make thy words more clear to me,
+  That I may understand the choice
+  Till now 'tis but a tangled skein,
+  Unravel it that I may know.
+
+
+
+  Uillac Uma.
+
+  'Tis well. Now listen, warlike. Chief
+  My science has enabled me,
+  To learn and see all hidden things
+  Unknown to other mortal men.
+  My power will enable me
+  To make of thee a greater prince.
+  I brought thee up from tender years,
+  And cherished thee with love and care
+  I now would guide thee in the right,
+  And ward off all that threatens thee.
+  As chief of Anti-suyu now,
+  The people venerate thy name;
+  Thy Sovereign trusts and honours thee,
+  E'en to sharing half his realm.
+  From all the rest he chose thee out,
+  And placed all power in thy hands;
+  He made thy armies great and strong,
+  And strengthened thee against thy foes
+  How numerous soe'er they be,
+  They have been hunted down by thee.
+  Are these good reasons for thy wish,
+  To wound thy Sovereign to the heart?
+  His daughter is beloved by thee;
+  Thy passion thou wouldst fain indulge,
+  Lawless and forbidden though it be.
+  I call upon thee, stop in time,
+  Tear this folly from thy heart.
+  If thy passion is immense,
+  Still let honour hold its place.
+  You reel, you stagger on the brink
+  I'd snatch thee from the very edge.
+  Thou knowest well it cannot be,
+  The Inca never would consent.
+  If thou didst e'en propose it now,
+  He would be overcome with rage;
+  From favoured prince and trusted chief,
+  Thou wouldst descend to lowest rank.
+
+
+
+  Ollantay.
+
+  How is it that thou canst surely know
+  What still is hidden in my heart?
+  Her mother only knows my love,
+  Yet thou revealest all to me.
+
+
+
+  Uillac Uma.
+
+  I read thy secret on the moon,
+  As if upon the Quipu knots;
+  And what thou wouldst most surely hide,
+  Is plain to me as all the rest.
+
+
+
+  Ollantay.
+
+  In my heart I had divined
+  That thou wouldst search me through and through
+  Thou knowest all, O Councillor,
+  And wilt thou now desert thy son?
+
+
+
+  Uillac Uma.
+
+  How oft we mortals heedless drink,
+  A certain death from golden cup
+  Recall to mind how ills befall,
+  And that a stubborn heart 's the cause.
+  Ollantay (kneeling).
+
+  Plunge that dagger in my breast,
+  Thou holdst it ready in thy belt;
+  Cut out my sad and broken heart
+  I ask the favour at thy feet.
+
+
+
+  Uillac Uma (to Piqui Chaqui).
+
+  Gather me that flower, boy.
+
+
+
+  (Piqui Chaqui gives him a withered flower and lies down again,
+  pretending to sleep.)
+
+
+
+  (To Ollantay).
+
+  Behold, it is quite dead and dry.
+  Once more behold! e'en now it weeps,
+  It weeps. The water flows from it.
+
+
+
+  (Water flows out of the flower.)
+
+
+
+  Ollantay.
+
+  More easy for the barren rocks
+  Or for sand to send forth water,
+  Than that I should cease to love
+  The fair princess, the joyful star.
+
+
+  Uillac Uma.
+
+  Put a seed into the ground,
+  It multiplies a hundredfold;
+  The more thy crime shall grow and swell,
+  The greater far thy sudden fall.
+
+
+
+  Ollantay.
+
+  Once for all, I now confess
+  To thee, O great and mighty Priest;
+  Now learn my fault. To thee I speak,
+  Since thou hast torn it from my heart.
+  The lasso to tie me is long,
+  'Tis ready to twist round my throat
+  Yet its threads are woven with gold,
+  It avenges a brilliant crime.
+  Cusi Coyllur e'en now is my wife,
+  Already we 're bound and are one;
+  My blood now runs in her veins,
+  E'en now I am noble as she.
+  Her mother has knowledge of all,
+  The Queen can attest what I say;
+  Let me tell all this to the King,
+  I pray for thy help and advice.
+  I will speak without fear and with force,
+  He may perhaps give way to his rage
+  Yet he may consider my youth,
+  May remember the battles I've fought;
+  The record is carved on my club.
+
+
+
+  (Holds up his macana.)
+
+
+
+  He may think of his enemies crushed,
+  The thousands I've thrown at his feet.
+
+
+
+  Uillac Uma.
+
+  Young Prince! thy words are too bold,
+  Thou hast twisted the thread of thy fate--
+  Beware, before 'tis too late;
+  Disentangle and weave it afresh,
+  Go alone to speak to the King,
+  Alone bear the blow that you seek;
+  Above all let thy words be but few,
+  And say them with deepest respect;
+  Be it life, be it death that you find,
+  I will never forget thee, my son.
+
+
+
+  (Walks up and exit.)
+
+
+
+  Ollantay.
+
+  Ollantay, thou art a man,
+  No place in thy heart for fear;
+  Cusi Coyllur, surround me with light.
+  Piqui Chaqui, where art thou?
+
+
+
+  Piqui Chaqui (jumping up).
+
+  I was asleep, my master,
+  And dreaming of evil things.
+
+
+
+  Ollantay.
+
+  Of what?
+
+
+  Piqui Chaqui.
+
+  Of a fox with a rope round its neck.
+
+
+  Ollantay.
+
+  Sure enough, thou art the fox.
+
+
+
+  Piqui Chaqui.
+
+  It is true that my nose is growing finer,
+  And my ears a good deal longer.
+
+
+
+  Ollantay.
+
+  Come, lead me to the Coyllur.
+
+
+
+  Piqui Chaqui.
+
+  It is still daylight.
+
+
+
+  (Exeunt.)
+
+
+
+
+SCENE 2
+
+
+A great hall in the Colcampata, then the palace of the Queen or Ccoya
+Anahuarqui.  In the centre of the back scene a doorway, and seen through
+it gardens with the snowy peak of Vilcanota in the distance.  Walls
+covered with golden slabs.  On either side of the doorway three recesses,
+with household gods in the shape of maize-cobs and llamas, and gold vases
+in them.  On R. a golden tiana or throne.  On L. two lower seats covered
+with cushions of fine woollen cloth.
+
+
+
+(ANAHUARQUI, the Queen or Ccoya (in blue chucu, white cotton bodice, and
+red mantle secured by a golden topu or pin, set with emeralds, and a blue
+skirt), and the princess CUSI COYLLUR (in a chucu, with feathers of the
+tunqui, white bodice and skirt, and grey mantle with topu, set with
+pearls) discovered seated.)
+
+
+
+  Anahuarqui.
+
+  Since when art thou feeling so sad,
+  Cusi Coyllur! great Inti's prunelle?[15]
+  Since when hast thou lost all thy joy,
+  Thy smile and thy once merry laugh?
+  Tears of grief now pour down my face,
+  As I watch and mourn over my child;
+  Thy grief makes me ready to die.
+  Thy union filled thee with joy,
+  Already you're really his wife.
+  Is he not the man of thy choice?
+  O daughter, devotedly loved,
+  Why plunged in such terrible grief?
+
+
+
+  (Cusi Coyllur has had her face hidden in the pillows.  She now rises to
+  her feet, throwing up her arms.)
+
+
+
+  Cusi Coyllur.
+
+  O my mother! O most gracious Queen!
+  How can my tears o'er cease to flow,
+  How can my bitter sighs surcease,
+  While the valiant Chief I worship
+  For many days and sleepless nights,
+  All heedless of my tender years,
+  Seems quite to have forgotten me?
+  He has turned his regard from his wife
+  And no longer seeks for his love.
+  O my mother! O most gracious Queen!
+  O my husband so beloved!
+  Since the day when I last saw my love
+  The moon has been hidden from view;
+  The sun shines no more as of old,
+  In rising it rolls among mist;
+  At night the stars are all dim,
+  All nature seems sad and distressed
+  The comet with fiery tail,
+  Announces my sorrow and grief
+  Surrounded by darkness and tears,
+  Evil auguries fill me with fears.
+  O my mother! O most gracious Queen!
+  O my husband so beloved!
+
+
+  Anahuarqui.
+
+  Compose thyself and dry thine eyes,
+  The King, thy father, has arrived.
+  Thou lovest Ollantay, my child?
+
+
+
+  (Enter the INCA PACHACUTI.  On his head the mascapaycha, with the llautu
+  or imperial fringe.  A tunic of cotton embroidered with gold; on his
+  breast the golden breastplate representing the sun, surrounded by the
+  calendar of months.  Round his waist the fourfold belt of tocapu.  A
+  crimson mantle of fine vicuna wool, fastened on his shoulders by golden
+  puma's heads.  Shoes of cloth of gold. He sits down on the golden tiana.)
+
+
+
+  Inca Pachacuti.
+
+  Cusi Coyllur! Star of joy,
+  Most lovely of my progeny!
+  Thou symbol of parental love--
+  Thy lips are like the huayruru.[16]
+  Rest upon thy father's breast,
+  Repose, my child, within mine arms.
+
+
+
+  (Cusi Coyllur comes across. They embrace.)
+
+
+
+  Unwind thyself, my precious one,
+  A thread of gold within the woof.
+  All my happiness rests upon thee,
+  Thou art my greatest delight.
+  Thine eyes are lovely and bright,
+  As the rays of my father the Sun.
+  When thy lips are moving to speak,
+  When thine eyelids are raised with a smile,
+  The wide world is fairly entranced.
+  Thy breathing embalms the fresh air;
+  Without thee thy father would pine,
+  Life to him would be dreary and waste.
+  He seeks for thy happiness, child,
+  Thy welfare is ever his care.
+
+
+
+  (Cusi Coyllur throws herself at his feet.)
+
+
+
+  Cusi Coyllur.
+
+  O father, thy kindness to me
+  I feel; and embracing thy knees
+  All the grief of thy daughter will cease,
+  At peace when protected by thee.
+  Pachacuti. How is this! my daughter before me
+  On knees at my feet, and in tears?
+  I fear some evil is near--
+  Such emotion must needs be explained.
+
+
+
+  Cusi Coyllur.
+
+  The star does weep before Inti,
+  The limpid tears wash grief away.
+  Pachacuti. Rise, my beloved, my star,
+  Thy place is on thy dear father's knee.
+
+
+
+  (Cusi Coyllur rises and sits on a stool by her father. An attendant
+  approaches.)
+
+
+
+  Attendant.
+
+  O King! thy servants come to please thee.
+
+
+
+  Pachacuti.
+
+  Let them all enter.
+
+
+
+  (Boys and girls enter dancing. After the dance they sing a harvest song.)
+
+
+
+  Thou must not feed,
+  O Tuyallay,[17]
+  In nusta's field,
+  O Tuyallay.
+  Thou must not rob,
+  O Tuyallay,
+  The harvest maize,
+  O Tuyallay.
+  The grains are white,
+  O Tuyallay,
+  So sweet for food,
+  O Tuyallay.
+  The fruit is sweet,
+  O Tuyallay,
+  The leaves are green
+  O Tuyallay;
+  But the trap is set,
+  O Tuyallay.
+  The lime is there,
+  O Tuyallay.
+  We'll cut thy claws,
+  O Tuyallay,
+  To seize thee quick,
+  O Tuyallay.
+  Ask Piscaca,[18]
+  O Tuyallay,
+  Nailed on a branch,
+  O Tuyallay.
+  Where is her heart,
+  O Tuyallay?
+  Where her plumes,
+  O Tuyallay?
+  She is cut up,
+  O Tuyallay,
+  For stealing grain,
+  O Tuyallay.
+  See the fate,
+  O Tuyallay,
+  Of robber birds,
+  O Tuyallay.
+
+
+
+  Pachacuti.
+
+  Cusi Coyllur, remain thou here,
+  Thy mother's palace is thy home
+  Fail not to amuse thyself,
+  Surrounded by thy maiden friends.
+
+
+
+  (Exeunt the Inca Pachacuti, the Ccoya Anahuarqui, and attendants.)
+
+
+
+  Cusi Coyllur.
+
+  I should better like a sadder song.
+  My dearest friends, the last you sang
+  To me foreshadowed evil things;[19]
+  You who sang it leave me now.
+
+
+
+  (Exeunt boys and girls, except one girl who sings.)
+
+
+
+  Two loving birds are in despair,[20]
+  They moan, they weep, they sigh;
+  For snow has fallen on the pair,
+  To hollow tree they fly.
+  But lo! one dove is left alone
+  And mourns her cruel fate;
+  She makes a sad and piteous moan,
+  Alone without a mate.
+  She fears her friend is dead and gone--
+  Confirmed in her belief,
+  Her sorrow finds relief in song,
+  And thus she tells her grief.
+  'Sweet mate! Alas, where art thou now?
+  I miss thine eyes so bright,
+  Thy feet upon the tender bough,
+  Thy breast so pure and bright.'
+  She wanders forth from stone to stone,
+  She seeks her mate in vain;
+  'My love! my love!' she makes her moan,
+  She falls, she dies in pain.
+  Cusi Coyllur. That yarahui is too sad,
+  Leave me alone.
+
+
+
+  (Exit the girl who sang the yarahui.)
+
+
+
+  Now my tears can freely flow.
+
+
+
+
+SCENE 3
+
+
+
+Great hall in the palace of Pachacuti.  The INCA, as before, discovered
+seated on a golden tiana L.  Enter to him R.  OLLANTAY and RUMI-NAUI.
+
+
+
+  Pachacuti.
+
+  The time has arrived, O great Chiefs,
+  To decide on the coming campaign.
+  The spring is approaching us now,
+  And our army must start for the war.
+  To the province of Colla[21] we march--
+  There is news of Chayanta's[22] advance.
+  The enemies muster in strength,
+  They sharpen their arrows and spears.
+
+
+
+  Ollantay.
+
+
+
+  O King, that wild rabble untaught
+  Can never resist thine array;
+  Cuzco alone with its height
+  Is a barrier that cannot be stormed.
+  Twenty four thousand of mine,
+  With their champis[23] selected with care,
+  Impatiently wait for the sign,
+  The sound of the beat of my drums,[24]
+  The strains of my clarion and fife.
+
+
+
+  Pachacuti.
+
+  Strive then to stir them to fight,
+  Arouse them to join in the fray,
+  Lest some should desire to yield,
+  To escape the effusion of blood.
+
+
+
+  Rumi-naui.
+
+  The enemies gather in force,
+  The Yuncas[25] are called to their aid;
+  They have put on their garbs for the war,
+  And have stopped up the principal roads.
+  All this is to hide their defects--
+  The men of Chayanta are base.
+  We hear they're destroying the roads,
+  But we can force open the way;
+  Our llamas are laden with food--
+  We are ready to traverse the wilds.
+
+
+
+  Pachacuti.
+
+  Are you really ready to start
+  To punish those angry snakes?
+  But first you must give them a chance
+  To surrender, retiring in peace,
+  So that blood may not flow without cause,
+  That no deaths of my soldiers befall.
+
+
+
+  Ollantay.
+
+  I am ready to march with my men,
+  Every detail prepared and in place,
+  But alas! I am heavy with care,
+  Almost mad with anxious suspense.
+
+
+
+  Pachacuti.
+
+  Speak, Ollantay.  Tell thy wish--
+  'Tis granted, e'en my royal fringe.
+
+
+
+  Ollantay.
+
+  Hear me in secret, O King.
+
+
+
+  Pachacuti (to Rumi-naui).
+
+  Noble Chief of Colla, retire;
+  Seek repose in thy house for a time.
+  I will call thee before very long,
+  Having need of thy valour and skill.
+
+
+
+  Rumi-naui.
+
+  With respect I obey thy command.
+
+
+
+  (Exit Rumi-naui.)
+
+
+
+  Ollantay.
+
+  Thou knowest, O most gracious Lord,
+  That I have served thee from a youth,
+  Have worked with fortitude and truth,
+  Thy treasured praise was my reward.[26]
+  All dangers I have gladly met,
+  For thee I always watched by night,
+  For thee was forward in the fight,
+  My forehead ever bathed in sweat.
+  For thee I've been a savage foe,
+  Urging my Antis[27] not to spare,
+  But kill and fill the land with fear,
+  And make the blood of conquered flow.
+  My name is as a dreaded rope,[28]
+  I've made the hardy Yuncas[29] yield,
+  By me the fate of Chancas[30] sealed,
+  They are thy thralls without a hope.
+  'Twas I who struck the fatal blow,
+  When warlike Huancavilca[31] rose,
+  Disturbing thy august repose,
+  And laid the mighty traitor low.
+  Ollantay ever led the van,
+  Wherever men were doomed to die;
+  When stubborn foes were forced to fly,
+  Ollantay ever was the man.
+
+  Now every tribe bows down to thee--
+  Some nations peacefully were led,
+  Those that resist their blood is shed--
+  But all, O King, was due to me.
+  O Sovereign Inca, great and brave,
+  Rewards I know were also mine,
+  My gratitude and thanks are thine,
+  To me the golden axe you gave.
+  Inca! thou gavest me command
+  And rule o'er all the Anti race,
+  To me they ever yield with grace,
+  And thine, great King, is all their land
+  My deeds, my merits are thine own
+  To thee alone my work is due.
+  For one more favour I would sue,
+  My faithful service--thy renown.
+
+
+
+  (Ollantay kneels before the Inca.)
+
+
+
+  Thy thrall: I bow to thy behest,
+  Thy fiat now will seal my fate.
+  O King, my services are great,
+  I pray thee grant one last request.
+  I ask for Cusi Coyllur's hand
+  If the Nusta's[32] love I've won.
+  O King! you'll have a faithful son,
+  Fearless, well tried, at thy command.
+
+
+
+  Pachacuti.
+
+  Ollantay, thou dost now presume.
+  Thou art a subject, nothing more.
+  Remember, bold one, who thou art,
+  And learn to keep thy proper place.
+
+
+
+  Ollantay.
+
+  Strike me to the heart.
+
+
+
+  Pachacuti.
+
+  'Tis for me to see to that,
+  And not for thee to choose.
+  Thy presumption is absurd.
+  Be gone!
+
+
+
+  (Ollantay rises and exit R.)
+
+
+
+
+SCENE 4
+
+
+
+A rocky height above Cuzco to the NE.  Distant view of the city of Cuzco
+and of the Sacsahuaman hill, crowned by the fortress.
+
+
+
+(Enter OLLANTAY armed.)
+
+
+
+  Ollantay.
+
+  Alas, Ollantay! Ollantay!
+  Thou master of so many lands,
+  Insulted by him thou servedst well.
+  O my thrice-beloved Coyllur,
+  Thee too I shall lose for ever.
+  O the void[33] within my heart,
+  O my princess! O precious dove!
+  Cuzco! O thou beautiful city!
+  Henceforth behold thine enemy.
+  I'll bare thy breast to stab thy heart,
+  And throw it as food for condors;
+  Thy cruel Inca I will slay.
+  I will call my men in thousands,
+  The Antis will be assembled,
+  Collected as with a lasso.
+  All will be trained, all fully armed,
+  I will guide them to Sacsahuaman.
+  They will be as a cloud of curses,
+  When flames rise to the heavens.
+  Cuzco shall sleep on a bloody couch,
+  The King shall perish in its fall;
+  Then shall my insulter see
+  How numerous are my followers.
+  When thou, proud King, art at my feet,
+  We then shall see if thou wilt say,
+  'Thou art too base for Coyllur's hand.'
+  Not then will I bow down and ask,
+  For I, not thou, will be the King--
+  Yet, until then, let prudence rule.
+
+
+
+  (Enter PIQUI CHAQUI from back, R.)
+
+
+
+  Piqui Chaqui, go back with speed,
+  Tell the Princess I come to-night.
+
+
+
+  Piqui Chaqui.
+
+  I have only just come from there--
+  The palace was deserted quite,
+  No soul to tell me what had passed,
+  Not even a dog[34] was there.
+  All the doors were closed and fastened,
+  Except the principal doorway,
+  And that was left without a guard.
+
+
+
+  Ollantay.
+
+  And the servants?
+
+
+
+  Piqui Chaqui.
+
+  Even the mice had fled and gone,
+  For nothing had been left to eat.
+  Only an owl was brooding there,
+  Uttering its cry of evil omen.
+
+
+
+  Ollantay.
+
+  Perhaps then her father has taken her,
+  To hide her in his palace bounds.
+
+
+
+  Piqui Chaqui.
+
+  The Inca may have strangled her;
+  Her mother too has disappeared.
+
+
+
+  Ollantay.
+
+  Did no one ask for me
+  Before you went away?
+
+
+
+  Piqui Chaqui.
+
+  Near a thousand men are seeking
+  For you, and all are enemies,
+  Armed with their miserable clubs.
+
+
+
+  Ollantay.
+
+  If they all arose against me,
+  With this arm I'd fight them all
+  No one yet has beat this hand,
+  Wielding the champi sharp and true.
+
+
+
+  Piqui Chaqui.
+
+  I too would like to give a stroke
+  At least, if my enemy was unarmed.
+
+
+
+  Ollantay.
+
+  To whom?
+
+
+
+  Piqui Chaqui.
+
+  I mean that Urco Huaranca chief,
+  Who lately was in search of thee.
+
+
+
+  Ollantay.
+
+  Perhaps the Inca sends him here
+  If so my anger is aroused.
+
+
+
+  Piqui Chaqui.
+
+  Not from the King, I am assured,
+  He cometh of his own accord
+  And yet he is an ignoble man.
+
+
+  Ollantay.
+
+  He has left Cuzco, I believe;
+  My own heart tells me it is so
+  I'm sure that owl announces it.
+  We'll take to the hills, at once.
+
+
+
+  Piqui Chaqui.
+
+  But wilt thou abandon the Star?
+
+
+
+  Ollantay.
+
+  What can I do, alas!
+  Since she has disappeared?
+  Alas, my dove! my sweet princess.
+
+
+
+  (Music heard among the rocks.)
+
+
+
+  Piqui Chaqui.
+
+  Listen to that yarahui,
+  The sound comes from somewhere near.
+
+
+
+  (They sit on rocks.)
+
+
+
+  SONG
+
+
+
+  In a moment I lost my beloved,
+  She was gone, and I never knew where;
+  I sought her in fields and in woods,
+  Asking all if they 'd seen the Coyllur.
+  Her face was so lovely and fair,
+  They called her the beautiful Star.
+  No one else can be taken for her,
+  With her beauty no girl can compare.
+  Both the sun and the moon seem to shine,
+  Resplendent they shine from a height,
+  Their rays to her beauty resign
+  Their brilliant light with delight.
+  Her hair is a soft raven black,
+  Her tresses are bound with gold thread,
+  They fall in long folds down her back,
+  And add charm to her beautiful head.
+  Her eyelashes brighten her face,
+  Two rainbows less brilliant and fair,
+  Her eyes full of mercy and grace,
+  With nought but two, suns can compare.
+  The eyelids with arrows concealed,
+  Gaily shoot their rays into the heart
+  They open, lo! beauty revealed,
+  Pierces through like a glittering dart.
+  Her cheeks Achancara[35] on snow,
+  Her face more fair than the dawn,
+  From her mouth the laughter doth flow,
+  Between pearls as bright as the morn.
+  Smooth as crystal and spotlessly clear
+  Is her throat, like the corn in a sheaf
+  Her bosoms, which scarcely appear,
+  Like flowers concealed by a leaf.
+  Her beautiful hand is a sight,
+  As it rests from all dangers secure,
+  Her fingers transparently white,
+  Like icicles spotless and pure.
+
+
+
+  Ollantay (rising).
+
+  That singer, unseen and unknown,
+  Has declared Coyllur's beauty and grace;
+  He should fly hence, where grief overwhelms.
+  O Princess! O loveliest Star,
+  I alone am the cause of thy death,
+  I also should die with my love.
+
+
+
+  Piqui Chaqui.
+
+  Perhaps thy star has passed away,
+  For the heavens are sombre and grey.
+
+
+
+  Ollantay.
+
+  When they know that their Chief has fled,
+  My people will rise at my call,
+  They will leave the tyrant in crowds
+  And he will be nearly alone.
+
+
+
+  Piqui Chaqui.
+
+  Thou hast love and affection from men,
+  For thy kindness endears thee to all,
+  For thy hand's always open with gifts,
+  And is closely shut only to me.
+
+
+
+  Ollantay.
+
+  Of what hast thou need?
+
+
+
+  Piqui Chaqui.
+
+  What? the means to got this and that,
+  To offer a gift to my girl,
+  To let others see what I have,
+  So that I may be held in esteem.
+
+
+
+  Ollantay.
+
+  Be as brave as thou art covetous,
+  And all the world will fear thee.
+
+
+
+  Piqui Chaqui.
+
+  My face is not suited for that;
+  Always gay and ready to laugh,
+  My features are not shaped that way.
+  To look brave! not becoming to me.
+  What clarions sound on the hills?
+  It quickly cometh near to us.
+
+
+
+  (Both look out at different sides.)
+
+
+
+  Ollantay.
+
+  I doubt not those who seek me--come,
+  Let us depart and quickly march.
+
+
+
+  Piqui Chaqui.
+
+  When flight is the word, I am here.
+
+
+
+  (Exeunt.)
+
+
+
+
+SCENE 5
+
+
+
+The great hall of the palace of Pachacuti.  The INCA, as before, seated
+on the tiana.  Enter to him RUMI-NAUI.
+
+
+
+  Pachacuti.
+
+  I ordered a search to be made,
+  But Ollantay was not to be found.
+  My rage I can scarcely control--
+  Hast thou found this infamous wretch?
+
+
+  Rumi-naui.
+
+  His fear makes him hide from thy wrath.
+
+
+
+  Pachacuti.
+
+  Take a thousand men fully armed,
+  And at once commence the pursuit.
+
+
+
+  Rumi-naui.
+
+  Who can tell what direction to take?
+  Three days have gone by since his flight,
+  Perchance he's concealed in some house,
+  And till now he is there, safely hid.
+
+
+
+  (Enter a chasqui or messenger with quipus.)
+
+
+
+  Behold, O King, a messenger
+  From Urubamba he has come.
+
+
+
+  Chasqui.
+
+  I was ordered to come to my King,
+  Swift as the wind, and behold me.
+
+
+
+  Pachacuti.
+
+  What news bringest thou?
+
+
+
+  Chasqui.
+
+  This quipu will tell thee, O King.
+
+
+
+  Pachacuti.
+
+  Examine it, O Rumi-naui.
+
+
+
+  Rumi-naui.
+
+  Behold the llanta, and the knots[36]
+  Announce the number of his men.
+
+
+
+  Pachacuti (to Chasqui).
+
+  And thou, what hast thou seen?
+
+
+
+  Chasqui.
+
+  'Tis said that all the Anti host
+  Received Ollantay with acclaim;
+  Many have seen, and they recount,
+  Ollantay wears the royal fringe.
+
+
+
+  Rumi-naui.
+
+  The quipu record says the same.
+
+
+
+  Pachacuti.
+
+  Scarcely can I restrain my rage!
+  Brave chief, commence thy march at once,
+  Before the traitor gathers strength.
+  If thy force is not enough,
+  Add fifty thousand men of mine.
+  Advance at once with lightning speed,
+  And halt not till the foe is reached.
+
+
+
+  Rumi-naui.
+
+  To-morrow sees me on the route,
+  I go to call the troops at once
+  The rebels on the Colla road,
+  I drive them flying down the rocks.
+  Thine enemy I bring to thee,
+  Dead or alive, Ollantay falls.
+  Meanwhile, O Inca, mighty Lord,
+  Rest and rely upon thy thrall.
+
+
+
+  (Exeunt.)
+
+
+
+  END OF ACT I.
+
+
+
+
+ACT II
+
+
+
+
+SCENE 1
+
+
+
+Ollantay-tampu.  Hall of the fortress-palace.  Back scene seven immense
+stone, slabs, resting on them a monolith right across.  Above masonry.
+At sides masonry with recesses; in the R. centre a great doorway.  A
+golden tiana against the central slab.
+
+
+
+(Enter OLLANTAY and URCO HUARANCA, both fully armed.)
+
+
+
+  Urco Huaranca.
+
+  Ollantay, thou hast been proclaimed
+  By all the Antis as their Lord.
+  The women weep, as you will see--
+  They lose their husbands and their sons,
+  Ordered to the Chayanta war.
+  When will there be a final stop
+  To distant wars? Year after year
+  They send us all to far-off lands,
+  Where blood is made to flow like rain.
+  The King himself is well supplied
+  With coca and all kinds of food.
+  What cares he that his people starve?
+  Crossing the wilds our llamas die,
+  Our feet are wounded by the thorns,
+  And if we would not die of thirst
+  We carry water on our backs.
+
+
+
+  Ollantay.
+
+  Gallant friends! Ye hear those words,
+  Ye listen to the mountain chief.
+  Filled with compassion for my men,
+  I thus, with sore and heavy heart,
+  Have spoken to the cruel king:
+  'The Anti-suyu must have rest;
+  All her best men shan't die for thee,
+  By battle, fire, and disease--
+  They die in numbers terrible.
+  How many men have ne'er returned,
+  How many chiefs have met their death
+  For enterprises far away?'
+  For this I left the Inca's court,[37]
+  Saying that we must rest in peace;
+  Lot none of us forsake our hearths,
+  And if the Inca still persists,
+  Proclaim with him a mortal feud.
+
+
+
+  (Enter HANCO HUAYLLU, several chiefs, and a great crowd of soldiers and
+  people.)
+
+
+
+  People.
+
+  Long Eve our king, Ollantay
+  Bring forth the standard and the fringe,
+  Invest him with the crimson fringe
+  In Tampu now the Inca reigns,
+  He rises like the star of day.
+
+
+
+  (The chiefs, soldiers, and people range them selves round.  Ollantay is
+  seated on the tiana by Hanco Huayllu, an aged Auqui or Prince.)
+
+
+
+  Hanco Huayllu.
+
+  Receive from me the royal fringe,
+  'Tis given by the people's will.
+  Uilcanota[38] is a distant land,
+  Yet, even now, her people come
+  To range themselves beneath thy law.
+
+
+
+  (Ollantay is invested with the fringe. He rises.)
+
+
+
+  Ollantay.
+
+  Urco Huaranca, thee I name
+  Of Anti-suyu Chief and Lord;
+  Receive the arrows and the plume,
+
+
+
+  (Gives them.)
+
+
+
+  Henceforth thou art our general.
+  People. Long life to the Mountain Chief.
+
+
+  Ollantay.
+
+  Hanco Huayllu,[39] of all my lords
+  Thou art most venerable and wise,
+  Being kin to the august High Priest,
+  It is my wish that thou shouldst give
+  The ring unto the Mountain Chief.
+
+
+
+  (Urco Huaranca kneels, and Hanco Huayllu addresses him.)
+
+
+
+  Hanco Huayllu.
+
+  This ring around thy finger's placed
+  That thou mayst feel, and ne'er forget,
+  That when in fight thou art engaged,
+  Clemency becomes a hero chief.
+
+
+
+  Urco Huaranca.
+
+  A thousand times, illustrious king,
+  I bless thee for thy trust in me.
+
+
+
+  Hanco Huayllu.
+
+  Behold the valiant Mountain Chief,
+  Now fully armed from head to foot,
+  And bristling like the quiscahuan,[40]
+  Accoutred as becomes a knight.
+
+
+
+  (Turning to Urco Huaranca.)
+
+
+
+  Ne'er let thine enemies take thee in rear
+  Man of the Puna,[41] it ne'er can be said
+  You fled or trembled as a reed.
+
+
+
+  Urco Huaranca.
+
+  Hear me, warriors of the Andes!
+  Already we have a valiant king,
+  It might be he will be attacked;
+  'Tis said th' old Inca sends a force,
+  The men of Cuzco now advance.
+  We have not a single day to lose;
+  Call from the heights our Puna men,
+  Prepare their arms without delay,
+  Make Tampu strong with rampart walls,
+  No outlet leave without a guard;
+  On hill slopes gather pois'nous herbs
+  To shoot our arrows, carrying death.
+
+
+
+  Ollantay (to Urco Huaranca).
+
+  Select the chiefs!
+  Fix all the posts for different tribes;
+  Our foes keep marching without sleep--
+  Contrive to check them by surprise.
+  The compi[42] ruse may cause their flight.
+
+
+
+  Urco Huaranca.
+
+  Thirty thousand brave Antis are here,
+  Amongst them no weakling is found;
+  Apu Maruti,[43] the mighty in war,
+  From high Uilcapampa[44] will come,
+  On steep Tinquiqueru[45] he'll stand
+  To march when the signal appears;
+  On the opposite side of the stream
+  Prince Chara[46] has mustered his force;
+  In the gorge Charamuni[47] I post
+  Ten thousand armed Antis on watch;
+  Another such force is in wait
+  On the left, in the vale of Pachar.[48]
+  We are ready to meet our foes,
+  We await them with resolute calm;
+  They will march in their confident pride
+  Until their retreat is out off,
+  Then the trumpet of war shall resound,
+  From the mountains the stones shall pour down,
+  Great blocks will be hurled from above.
+  The Huancas[49] are crushed or dispersed,
+  Then the knife shall do its fell work,
+  All will perish by blows from our hands,
+  Our arrows will follow their flight.
+
+
+
+  People and soldiers.
+
+  It is well! It is very well!
+
+
+
+  (Cheers and martial music.)
+
+
+
+  (Exeunt.)
+
+
+
+
+SCENE 2
+
+
+
+A wild place the mountains.  Distant view of Ollantay-tampu.
+
+
+
+(Enter Rumi-naui, torn and ragged, and covered with blood, with two
+attendants.)
+
+
+
+  Rumi-naui.
+
+  Ah! Rumi-naui--Rumi-naui,[50]
+  Thou art a fated rolling stone,[51]
+  Escaped indeed, but quite alone,
+  And this is now thy yarahui.
+  Ollantay posted on the height,
+  Thou couldst not either fight or see,
+  Thy men did quickly fall or flee;
+  No room was there to move or fight.
+  Thou knowest now thy heart did beat
+  And flutter like a butterfly;
+  Thy skill thou couldst not then apply,
+  No course was left thee but retreat.
+  They had recourse to a surprise,
+  Our warriors immolated quite.
+  Ah! that alone could turn thee white--
+  From shame like that, canst e'er arise?
+  By thousands did thy warriors fall,
+  I hardly could alone escape,
+  With open mouth fell death did gape,
+  A great disaster did befall.
+  Holding that traitor to be brave,
+  I sought to meet him face to face--
+  Rushing to seek him with my mace,
+  I nearly found a warrior's grave.
+  My army then was near the hill,
+  When suddenly the massive stones
+  Came crashing down, with cries and moans,
+  While clarions sounded loud and shrill.
+  A rain of stones both great and small
+  Down on the crowd of warriors crashed,
+  On every side destruction flashed,
+  Thy heart the slaughter did appal.
+  Like a strong flood the blood did flow,
+  Inundating the ravine;
+  So sad a sight thou ne'er hast seen--
+  No man survived to strike a blow.
+  O thou who art by this disgraced,
+  What figure canst thou ever show
+  Before the king, who seeks to know
+  The truth, which must be faced?
+  'Tis better far myself to kill,
+  Or losing every scrap of hope,
+  To hang my body with this rope.
+
+
+
+  (Takes a sling off his cap--going.)
+
+
+
+  Yet may it not be useful still?
+
+
+
+  (Turns again.)
+
+
+
+  When bold Ollantay's end has come.[52]
+
+
+
+  (Exit.)
+
+
+
+
+SCENE 3
+
+
+
+A garden in the house of the Virgins of the Sun.  Chilca shrubs and mulli
+trees (Schinus Molle) with panicles of red berries.  The walls of the
+house at the back, with a door.  A gate (L.) opening on the street.
+
+
+
+(YMA SUMAC discovered at the gate looking out.  To her enters (R.) PITU
+SALLA.  Both dressed in white with golden belts.)
+
+
+
+  Pitu Salla.
+
+  Yma Sumac, do not approach
+  So near that gate, and so often;
+  It might arouse the Mother's wrath.
+  Thy name, which is so dear to me,
+  Will surely pass from mouth to mouth.
+  Honour shall be shown to chosen ones,[53]
+  Who wish to close the outer gate.
+  Amuse thyself within the walls,
+  And no one then can say a word.
+  Think well what you can find within--
+  It gives you all you can desire,
+  Of dresses, gold, and dainty food.
+  Thou art beloved by every one,
+  E'en Virgins of the royal blood.
+  The Mothers love to carry thee,
+  They give thee kisses and caress--
+  You they prefer to all the rest.
+  What more could any one desire,
+  Than always to remain with them,
+  Destined to be servant of the Sun?
+  In contemplating Him there's peace.
+
+
+
+  Yma Sumac.
+
+  Pitu Salla, ever you repeat
+  The same thing and the same advice;
+  I will open to thee my whole heart,
+  And say exactly what I think.
+  Know that to me this court and house
+  Are insupportable--no less;
+  The place oppresses--frightens me--
+  Each day I curse my destiny.
+  The faces of all the Mama Cuna
+  Fill me with hatred and disgust,
+
+
+  And from the place they make me sit,
+  Nothing else is visible.
+  Around me there is nothing bright,
+  All are weeping and ne'er cease
+  If I could ever have my way,
+  No person should remain within.
+  I see the people pass outside,
+  Laughing as they walk along.
+  The reason it is plain to see--
+  They are not mewed and cloistered here.
+  Is it because I have no mother,
+  That I am kept a prisoner?
+  Or is it I 'm a rich novice?
+  Then from to-day I would be poor.
+  Last night I could not get to sleep,
+  I wandered down a garden walk;
+  In the dead silence of the night,
+  I heard one mourn.  A bitter cry,
+  As one who sought and prayed for death.
+  On every side I looked about,
+  My hair almost on end with fright,
+  Trembling, I cried, 'Who canst thou be?'
+  Then the voice murmured these sad words:
+  'O Sun, release me from this place!'
+  And this, amidst such sighs and groans!
+  I searched about, but nothing found--
+  The grass was rustling in the wind.
+  I joined my tears to that sad sound,
+  My heart was torn with trembling fear.
+  When now the recollection comes,
+  I'm filled with sorrow and with dread.
+  You know now why I hate this place.
+  Speak no more, my dearest friend,
+  Of reasons for remaining here.
+
+
+  Pitu Salla.
+
+  At least go in. The Mother may appear.
+  Yma Sumac. But pleasant is the light of day.
+
+
+
+  (Exit, R.)
+
+
+
+  (Enter MAMA CCACCA, L., in grey with black edges and belt.)
+
+
+
+  Mama Ccacca.
+
+  Pitu Salla, hast thou spoken
+  All I told thee to that child?
+
+
+
+  Pitu Salla.
+
+  I have said all to her.
+
+
+
+  Mama Ccacca.
+
+  And she, does she answer freely?
+
+
+
+  Pitu Salla.
+
+  She has wept and asked for pity,
+  Refusing to comply at all.
+  She will not take the virgin's oath.
+
+
+
+  Mama Ccacca.
+
+  And this in spite of thy advice?
+
+
+
+  Pitu Salla.
+
+  I showed her the dress she will wear,
+  Telling her misfortune would befall
+  If she refused to be a chosen one--
+  That she would ever be an outcast,
+  And for us a child accursed.
+
+
+
+  Mama Ccacca.
+
+  What can she imagine,
+  Wretched child of an unknown father,
+  A maid without a mother,
+  Just a fluttering butterfly?
+  Tell her plainly, very plainly,
+  That these walls offer her a home,
+  Suited for outcasts such as she,
+  And here no light is seen.
+
+
+
+  (Exit, L.)
+
+
+
+  Pitu Salla.
+
+  Ay, my Sumac! Yma Sumac!
+  These walls will be cruel indeed,
+  To hide thy surpassing beauty.
+
+
+
+  (Glancing to where Mama Ccacca went out.)
+
+
+
+  What a serpent! What a puma!
+
+
+
+
+ACT III
+
+
+
+
+SCENE 1
+
+
+
+The Pampa Moroni, a street in Cuzco.  Enter RUMI-NAUI (L.)[54] in a
+long black cloak with a train, and PIQUI CHAQUI (R.), meeting each other.
+
+
+
+  Rumi-naui.
+
+  Whence, Piqui Chaqui, comest thou?
+  Dost thou here seek Ollantay's fate?
+
+
+
+  Piqui Chaqui.
+
+  Cuzco, great lord, is my birthplace;
+  I hasten back unto my home.
+  I care not more to pass my days
+  In dismal and profound ravines.
+
+
+
+  Rumi-naui.
+
+  Tell me, Ollantay--what does he?
+
+
+
+  Piqui Chaqui.
+
+  He is busy now entangling
+  An already entangled skein.
+
+
+
+  Rumi-naui.
+
+  What skein?
+
+
+  Piqui Chaqui.
+
+  Should you not give me some present
+  If you want me to talk to you.
+
+
+
+  Rumi-naui.
+
+  With a stick will I give thee blows,
+  With a rope I will hang thee.
+
+
+
+  Piqui Chaqui.
+
+  O, do not frighten me!
+
+
+
+  Rumi-naui.
+
+  Speak then.
+
+
+
+  Piqui Chaqui.
+
+  Ollantay.  Is it Ollantay?
+  I can remember no more.
+
+
+
+  Rumi-naui.
+
+  Piqui Chaqui! Take care!
+
+
+
+  Piqui Chaqui.
+
+  But you will not listen!
+  I am turning blind,
+  My ears are getting deaf,
+  My grandmother is dead,
+  My mother is left alone.
+
+
+
+  Rumi-naui.
+
+  Where is Ollantay?  Tell me.
+
+
+
+  Piqui Chaqui.
+
+  I am in want of bread,
+  And the Paccays[55] are not ripe.
+  I have a long journey to-day--
+  The desert is very far off.
+
+
+
+  Rumi-naui.
+
+  If you continue to vex me
+  I will take your life.
+
+
+
+  Piqui Chaqui.
+
+  Ollantay, is it?  He is at work.
+
+  Ollantay! He is building a wall,
+  With very small stones indeed;
+  They are brought by little dwarfs--
+  So small that to be a man's size
+  They have to climb on each other's backs.
+  But tell me, O friend of the King,[56]
+  Why art thou in such long clothes,
+  Trailing like the wings of a sick bird[57]--
+  As they are black it is better.
+
+
+
+  Rumi-naui.
+
+  Hast thou not seen already
+  That Cuzco is plunged in grief?
+  The great Inca Pachacuti[58] is dead,
+  All the people are in mourning,
+  Every soul is shedding tears.
+
+
+
+  Piqui Chaqui.
+
+  Who, then, succeeds to the place
+  Which Pachacuti has left vacant?
+  If Tupac Yupanqui succeeds,
+  That Prince is the youngest
+  There are some others older.[59]
+
+
+
+  Rumi-naui.
+
+  All Cuzco has elected him,
+  For the late king chose him,
+  Giving him the royal fringe;
+  We could elect no other.
+
+
+
+  Piqui Chaqui.
+
+  I hasten to bring my bed here.[60]
+
+
+
+  (Exit running.)
+
+
+
+
+SCENE 2
+
+
+
+Great hall of the palace of Tupac Yupanqui.  The INCA seated on golden
+tiana (C.).
+
+
+
+(Enter the HIGH PRIEST or UILLAC UMA, with priests and chosen Virgins of
+the Sun.  The INCA dressed as his father.  Uillac Uma in full dress,
+wearing the huampar chucu.  Virgins in white with gold belts and diadems.
+They range themselves by the throne (L.).  Then enter RUMI-NAUI and a
+crowd of chiefs, all in full dress, ranging themselves by the throne
+(R.).)
+
+
+
+  Tupac Yupanqui.
+
+  This day, O Councillors and Chiefs,
+  Let all receive my benison;
+  You Holy Virgins of the Sun[61]
+  Receive our father's tenderest care.
+
+  The realm, rejoicing, hails me king;
+  From deep recesses of my heart
+  I swear to seek the good of all.
+
+
+
+  Uillac Uma.
+
+  To-day the smoke of many beasts
+  Ascends on high towards the sun,
+  The Deity with joy accepts
+  The sacrifice of prayer and praise.
+  We found in ashes of the birds
+  Our only Inca, King, and Lord,
+  In the great llama sacrifice;
+  All there beheld an eagle's form,
+  We opened it for augury,
+  But lo! the heart and entrails gone.
+  The eagle Anti-suyu means--
+  To thy allegiance they return.
+
+
+
+  (Bowing to the Inca.)
+
+
+
+  Thus I, thy augur, prophesy.
+
+
+
+  (Acclamation.) (Exeunt all but Uillac Uma and Rumi-naui.)
+
+
+
+  Tupac Yupanqui (turning to Rumi-naui).
+
+  Behold the Hanan-suyu Chief
+  Who let the enemy escape,
+  Who led to almost certain death
+  So many thousands of my men.
+
+
+
+  Rumi-naui.
+
+  Before his death thy father knew
+  Disaster had befallen me;
+  'Tis true, O King, it was my fault,
+  Like a stone[62] I gave my orders,
+  And volleying stones soon beat me down;
+  It was with stones I had to fight,
+  And in the end they crushed my men.
+  Oh! grant me, Lord, a single chance,
+  Give perfect freedom to my plans,
+  Myself will to the fortress march,
+  And I will leave it desolate.
+
+
+
+  Tupac Yupanqui.
+
+  For thee to strive with all thy might,
+  For thee thine honour to regain,
+  For thou shalt ne'er command my men
+  Unless thy worthiness is proved.
+
+
+
+  Uillac Uma.
+
+  Not many days shall pass, O King,
+  E'er all the Antis are subdued.
+  I've seen it in the quipu roll,
+  Haste! Haste! thou Rumi Tunqui. [63]
+
+
+
+  (Exeunt.)
+
+
+
+
+SCENE 3
+
+
+
+The great terrace entrance to Ollantay-tampu.  On R. a long masonry wall
+with recesses at intervals.  At back a great entrance doorway.  On L.
+terraces descend, with view of valley and mountains.
+
+
+
+(Guards discovered at entrance doorway.  To them enter RUMI-NAUI in rags,
+his face cut and slashed with wounds, and covered with blood.)
+
+
+
+  Rumi-naui.
+
+  Will no one here have pity on me?
+  One of the Guards.  Who art thou, man?
+  Who has ill-treated thee?
+  Thou comest in a frightful state,
+  Covered with blood and gaping wounds.
+
+
+  Rumi-naui.
+
+  Go quickly to thy king and say
+  That one he loves has come to him.
+  One of the Guards.  Thy name?
+
+
+
+  Rumi-naui.
+
+  There is no need to give a name.
+  One of the Guards.  Wait here.
+
+
+
+  (Exit one of the guards.)
+
+
+
+  (Enter OLLANTAY with guards, R. front.)
+
+
+
+  Rumi-naui.
+
+  A thousand times I thee salute,
+  Ollantay, great and puissant king!
+  Have pity on a fugitive
+  Who seeks a refuge here with thee.
+
+
+
+  Ollantay.
+
+  Who art thou, man? Approach nearer.
+  Who has thus ill-treated thee?
+  Were such deep and fearful wounds
+  Caused by a fall, or what mishap?
+
+
+
+  Rumi-naui.
+
+  Thou knowest me, O mighty chief.
+  I am that stone that fell down once,
+  But now I fall before thy feet;
+  O Inca! mercy! Raise me up!
+
+
+
+  (Kneels.)
+
+
+
+  Ollantay.
+
+  Art thou the noble Rumi-naui,
+  Great Chief and Lord of Hanan-suyu?
+
+
+
+  Rumi-naui.
+
+  Yes, I was that well-known Chief--
+  A bleeding fugitive to-day.
+  Ollantay. Rise, comrade mine. Let us embrace.
+
+
+
+  (Rises.)
+
+
+
+  Who has dared to treat thee thus,
+  And who has brought thee here to me
+  Within my fortress, on my hearth?
+
+
+
+  (To attendants.)
+
+
+
+  Bring new clothes for my oldest friend.
+
+
+
+  (Exit an attendant.)
+
+
+
+  How is it that thou art alone?
+  Camest thou not fearing death?
+
+
+
+  Rumi-naui.
+
+  A new king reigns in Cuzco now--
+  Tupac Yupanqui is installed.
+  Against the universal wish,
+  He rose upon a wave of blood;
+  Safety he sees in headless trunks,
+  The sunchu[64] and the nucchu[65] red
+  Are sent to all he would destroy.
+  Doubtless you have not forgot
+  That I was Hanan-suyu's Chief.
+  Yupanqui ordered me to come;
+  Arrived, I came before the king,
+  And as he has a cruel heart,
+  He had me wounded as you see;
+  And now thou knowest, king and friend,
+  How this new Inca treated me.
+
+
+
+  Ollantay.
+
+  Grieve not, old friend Rumi-naui,
+  Thy wounds before all must be cured;
+  I see in thee th' avenging knife,
+  To use against the tyrant's heart.
+  At Tampu now we celebrate
+  The Sun's great Raymi festival;
+  On that day all who love my name,
+  Throughout my realms hold festival.
+
+
+
+  Rumi-naui.
+
+  Those three days of festival
+  To me will be a time of joy,
+  Perhaps I may be healed by then,
+  So that my heart may pleasure seek.
+
+
+
+  Ollantay.
+
+  It will be so.  For three whole nights
+  We drink and feast, to praise the Sun,
+  The better to cast all care aside
+  We shall be shut in Tampu fort.
+
+
+
+  Rumi-naui.
+
+  The youths, as is their wont, will find
+  Their great delight in those three nights,
+  Then will they rest from all their toils,
+  And carry off the willing girls.
+
+
+
+
+SCENE 4
+
+
+
+A corridor in the palace of Chosen Virgins.
+
+
+
+(Enter YMA SUMAC and PITU SALLA.)
+
+
+
+  Yma Sumac.
+
+  Pitu Salla, beloved friend,
+  How long wilt thou conceal from me
+  The secret that I long to know?
+  Think, dearest, of my anxious heart,
+  How I shall be in constant grief
+  Until you tell the truth to me.
+  Within these hard and cruel bounds
+  Does some one suffer for my sins?
+  My sweet companion, do not hide
+  From me, who 'tis that mourns and weeps
+  Somewhere within the garden walls.
+  How is it she is so concealed
+  That I can never find the place?
+
+
+
+  Pitu Salla.
+
+  My Sumac, now I'll tell thee all--
+  Only concerning what you hear,
+  And still more surely what you see,
+  You must be dumb as any stone;
+  And you too must be well prepared
+  For a most sad heart-rending sight--
+  'Twill make thee weep for many days.
+
+
+
+  Yma Sumac.
+
+  I will not tell a living soul
+  What you divulge.  But tell me all,
+  I'll shut it closely in my heart.
+
+
+
+
+SCENE 5
+
+
+
+A secluded part of the gardens of the Virgins, (L.) flowers, (R.) a
+thicket of mulli[66] and chilca,[67] concealing a stone door.
+
+
+
+(PITU SALLA and YMA SUMAC.)
+
+
+
+  Pitu Salla.
+
+  In this garden is a door of stone,
+  But wait until the Mothers sleep,
+  The night comes on. Wait here for me.
+
+
+
+  (Exit.)
+
+
+
+  (Yma Sumac reclines on a bank and sleeps.  Night comes on, Yma Sumac
+  awakes.)
+
+
+
+  Yma Sumac.
+
+  A thousand strange presentiments
+  Crowd on me now, I scarce know what--
+  Perhaps I shall see that mournful one
+  Whose fate already breaks my heart.
+
+
+
+  (Pitu Salla returns with a cup of water, a small covered vase containing
+  food, and a torch which she gives to Yma Sumac.  She leads Yma Sumac
+  through bushes to the stone door, fixes the torch, presses something, and
+  the door swings round.)
+
+
+
+  (CUSI COYLLUR is discovered senseless, extended on the ground, a snake
+  twining itself round her waist.)
+
+
+
+  Pitu Salla.
+
+  Behold the princess for whom you seek.
+  Well! is thy heart now satisfied?
+
+
+  Yma Sumac.
+
+  Oh, my friend, what do I behold?
+  Is it a corpse that I must see?
+  Oh, horror! A dungeon for the dead!
+
+
+
+  (She faints.)
+
+
+
+  Pitu Salla.
+
+  What misfortune has now arrived?
+  O my Sumac, my dearest love,
+  O come to thyself without delay!
+  Arouse thee.  Arise, my lovely flower.
+
+
+
+  (Yma Sumac revives.)
+
+
+
+  Fear not, my dove, my lovely friend,
+  'Tis not a corpse.  The princess lives,
+  Unhappy, forlorn, she lingers here.
+
+
+
+  Yma Sumac.
+
+  Is she, then, still a living being?
+
+
+
+  Pitu Salla.
+
+  Approach nearer, and you can help.
+  She lives indeed.  Look.  Watch her now.
+  Give me the water and the food.
+
+
+
+  (To Cusi Coyllur, while helping her to sit up.)
+
+
+
+  O fair princess, I bring thee food
+  And cooling water to refresh.
+  Try to sit up.  I come with help.
+
+
+
+  Yma Sumac.
+
+  Who art thou, my sweetest dove?
+  Why art thou shut in such a place?
+
+
+
+  Pitu Salla.
+
+  Take a little food, we pray.
+  Perchance without it, you may die.
+
+
+
+  Cusi Coyllur.
+
+  How happy am I now to see,
+  After these long and dismal years,
+  The new and lovely face of one
+  Who comes with thee and gives me joy.
+
+
+
+  Yma Sumac.
+
+  O my princess, my sister dear,
+  Sweet bird, with bosom of pure gold,
+  What crime can they accuse thee of,
+  That they can make thee suffer thus?
+  What cruel fate has placed thee here
+  With death on watch in serpent's form?
+
+
+  Cusi Coyllur.
+
+  O charming child, the seed of love,
+  Sweet flower for my broken heart,
+  I have been thrust in this abyss.
+  I once was joined to a man
+  As pupil is part of the eye;
+  But alas! has he forgotten me?
+  The King know not that we were joined
+  By such indissoluble bonds,
+  And when he came to ask my hand,
+  That King dismissed him in a rage,
+  And cruelly confined me here.
+  Many years have passed since then,
+  Yet, as you see, I'm still alive;
+  No single soul have I beheld
+  For all those sad and dismal years,
+  Nor have I found relief nor hope.
+  But who art thou, my dear, my love,
+  So young, so fresh, so pitiful?
+
+
+
+  Yma Sumac.
+
+  I too, like thee, am full of grief,
+  For long I've wished to see and love,
+  My poor forlorn and sad princess.
+  No father, no mother are mine,
+  And there are none to care for me.
+
+
+
+  Cusi Coyllur.
+
+  What age art thou?
+
+
+
+  Yma Sumac.
+
+  I ought to number many years,
+  For I detest this dreadful house,
+  And as it is a dreary place,
+  The time in it seems very long.
+
+
+
+  Pitu Salla.
+
+  She ought to number just ten years
+  According to the account I've kept.
+
+
+
+  Cusi Coyllur.
+
+  And what is thy name?
+
+
+
+  Yma Sumac.
+
+  They call me Yma Sumac now,
+  But to give it me is a mistake.
+
+
+
+  Cusi Coyllur.
+
+  O my daughter! O my lost love,
+  Come to thy mother's yearning heart.
+
+
+
+  (Embraces Yma Sumac.)
+
+
+
+  Thou art all my happiness,
+  My daughter, come, O come to me;
+  This joy quite inundates my soul,
+  It is the name I gave to thee.
+
+
+
+  Yma Sumac.
+
+  O my mother, to find thee thus!
+  We must be parted never more.
+  Do not abandon me in grief.
+  To whom can I turn to free thee,
+  To whom can I appeal for right?
+
+
+
+  Pitu Salla.
+
+  Make no noise, my dearest friend.
+  To find us thus would ruin me.
+  Let us go. I fear the Mothers.
+
+
+
+  Yma Sumac (to Cusi Coyllur).
+
+  Suffer a short time longer here,
+  Until I come to take thee hence,
+  Patience for a few more days.
+  Alas! my mother dear! I go,
+  But full of love, to seek for help.
+
+
+
+  (Exeunt closing the stone door, all but Cusi Coyllur.  They extinguish
+  the torch.)
+
+
+
+
+SCENE 6
+
+
+
+Great hall in the palace of Tupac Yupanqui.
+
+
+
+(The INCA discovered seated on the tiana.  To him enter the UILLAC UMA,
+in full dress.)
+
+
+
+  Tupac Yupanqui.
+
+  I greet thee, great and noble Priest!
+  Hast thou no news of Rumi-naui.
+
+
+
+  Uillac Uma.
+
+  Last night, with guards, I wandered out
+  On heights towards Uilcanuta.
+  Far off I saw a crowd in chains,
+  No doubt the Anti prisoners,
+  For they are all defeated quite.
+  The cacti[68] on the mountains smoke,
+  E'en now the fortress is in flames.
+
+
+
+  Tupac Yupanqui.
+
+  And Ollantay, is he taken?
+  Perhaps--I hope his life is saved.
+
+
+
+  Uillac Uma.
+
+  Ollantay was among the flames,
+  'Tis said that no one has escaped.
+
+
+
+  Tupac Yupanqui.
+
+  The Sun, my Father, is my shield,
+  I am my father's chosen child.
+  We must subdue the rebel host,
+  For that I am appointed here.
+
+
+
+  (Enter a CHASQUI with a quipu in his hand.)
+
+
+
+  The Chasqui.
+
+  This morning at the dawn of day,
+  Rumi-naui despatched this quipu.
+
+
+
+  Tupac Yupanqui (to the Uillac Uma).
+
+  See what it says.
+
+
+
+  Uillac Uma.
+
+  This knot, coloured burnt ahuarancu,
+  Tells us that Tampu too is burnt;
+  This triple knot to which is hung
+  Another which is quintuple,
+  In all of quintuples are three,
+  Denotes that Anti-suyu's thine,
+  Its ruler prisoner of war.
+
+
+
+  Tupac Yupanqui (to the Chasqui).
+
+  And thou. Where wert thou?
+
+
+
+  The Chasqui.
+
+  Sole King and Lord! Child of the Sun!
+  I am the first to bring the news,
+  That thou mayst trample on the foe,
+  And in thine anger drink their blood.
+
+
+
+  Tupac Yupanqui.
+
+  Did I not reiterate commands
+  To spare and not to shed their blood--
+  Not anger but pity is my rule.
+
+
+
+  The Chasqui.
+
+  O Lord, we have not shed their blood;
+  They were all captured in the night,
+  Unable to resist our force.
+
+
+
+  Tupac Yupanqui.
+
+  Recount to me in full detail
+  The circumstances of the war.
+
+
+
+  The Chasqui.
+
+  For a signal thy warriors wait.
+  The nights passed at Tinquiqueru,[69]
+  Concealed in the cavern below,
+  Yanahuara[70] men joining us late.
+  We waited within the large cave,
+  Thy men always ready to fight,
+  Behind foliage well out of sight,
+  Thy warriors patient and brave.
+  But for three long days and dark nights,
+  No food for the zealous and bold;
+  Feeling hungry, thirsty, and cold,
+  We waited and watched for the lights.[71]
+  Rumi-naui sent orders at length,
+  When the Raymi[72] they carelessly keep,
+  And all of them drunk or asleep,
+  We were then to rush on with our strength.
+  Word came to surprise our foes,
+  Rumi-naui had opened the gate,
+  As cautious and silent as fate--
+  We were masters with none to oppose.
+  Those rebels fell into the trap,
+  The arrows came on them like rain,
+  Most died in their sleep without pain,
+  Not knowing their fatal mishap.
+  Ollantay, still trusting, was ta'en,
+  The same Urco Huaranca befell;
+  Hanco Huayllu is captive as well,
+  We thy rebels in fetters detain.
+  The Antis by thousands are slain,
+  A fearful example is made,
+  They are beaten, crushed, and betrayed,
+  Their women in sorrow and pain.
+
+
+
+  Tupac Yupanqui.
+
+  As witness of what has occurred,
+  On Vilcamayu's storied banks,
+  No doubt thou hast told me the truth.
+  It was a well designed attack.
+
+
+
+  (Enter RUMI-nAUI followed by several chiefs.)
+
+
+
+  Rumi-naui.
+
+  Great Inca, I kneel at thy feet,
+  This time You will hear my report,
+  I beseech thee to deign to restore
+  The trust that I forfeited once.
+
+
+
+  (Kneels.)
+
+
+
+  Tupac Yupanqui.
+
+  Rise, great Chief, receive my regard,
+  I accept thy great service with joy;
+  Thou didst cast o'er the waters thy net,
+  And hast captured a marvellous fish.
+
+
+
+  Rumi-naui.
+
+  Our enemies perished in crowds,
+  Their chiefs were captured and bound,
+  Overwhelmed by my terrible force,
+  Like a rook detached from the heights.
+
+
+
+  Tupac Yupanqui.
+
+  Was much blood shed in the assault?
+
+
+  Rumi-naui.
+
+  No, Lord, not a drop has been shed,
+  To thine orders I strictly adhered.
+  Those Antis were strangled in sleep,
+  But the fort is entirely razed.
+
+
+
+  Tupac Yupanqui.
+
+  Where are the rebels?
+
+
+
+  Rumi-naui.
+
+  They are waiting with agonised fear,
+  For their fate, to perish by cords.
+  The people are sending up cries,
+  Demanding their deaths without fail.
+  Their women are now in their midst,
+  The children raise hideous cries;
+  It is well that thine order should pass
+  To finish their traitorous lives.
+
+
+
+  Tupac Yupanqui.
+
+  It must be so without any doubt,
+  That the orphans may not be alone,
+  Let all perish, not sparing one,
+  Thus Cuzco recovers her peace,
+  Let the traitors be brought before me.
+  In my presence the sentence they'll hear.
+
+
+
+  (Exit Rumi-naui, and re-enter followed by guards in charge of OLLANTAY,
+  URCO HUARANCA, and HANCO HAUYLLU, bound and blindfold, followed by guards
+  with PIQUI CHAQUI bound.)
+
+
+
+  Tupac Yupanqui.
+
+  Take the bands off the eyes of those men.
+  And now, Ollantay, where art thou?
+  And where art thou, O Mountain Chief?
+  Soon thou wilt roll down from the heights.
+
+
+
+  (To the soldiers who bring in Piqui Chaqui.)
+
+
+
+  Whom have we here?
+
+
+
+  Piqui Chaqui.
+
+  Many fleas in the Yuncas abound,
+  And torment the people full sore,
+  With boiling water they are killed,
+  And I, poor flea,[73] must also die.
+
+
+
+  Tupac Yupanqui.
+
+  Tell me, Hanco Huayllu, tell me,
+  Why art thou Ollantay's man?
+  Did not my father honour thee?
+  Did he not grant thy requests?
+  Did he ever have a secret from thee?
+  Speak also, you, the other rebels,
+  Ollantay and the Mountain Chief.
+
+
+
+  Ollantay.
+
+  O father, we have nought to say,
+  Our crimes are overwhelming us.
+
+
+
+  Tupac Yupanqui (to the Uillac Uma).
+
+  Pronounce their sentence, great High Priest.
+
+
+
+  Uillac Uma.
+
+  The light that fills me from the Sun
+  Brings mercy and pardon to my heart.
+
+
+
+  Tupac Yupanqui.
+
+  Now thy sentence, Rumi-naui.
+
+
+
+  Rumi-naui.
+
+  For crimes enormous such as these
+  Death should ever be the doom
+  It is the only way, O King!
+  To warn all others from such guilt.
+  To stout tocarpus[74] they should be
+  Secured and bound with toughest rope,
+  Then should the warriors freely shoot
+  Their arrows until death is caused.
+
+
+
+  Piqui Chaqui.
+
+  Must it be that evermore
+  The Antis must all perish thus?
+  Alas! then let the branches burn
+  What pouring out of blood is here.[75]
+
+
+
+  Rumi-naui.
+
+  Silence, rash man, nor dare to speak,
+
+
+
+  (General lamentation outside.)
+
+
+
+  Having been rolled just like a stone,
+  My heart has now become a stone.[76]
+
+
+
+  Tupac Yupanqui.
+
+  Know that tocarpus are prepared.
+  Remove those traitors from my sight,
+  Let them all perish, and at once.
+
+
+
+  Rumi-naui.
+
+  Take these three men without delay
+  To the dreaded execution stakes;
+  Secure them with unyielding ropes,
+  And hurl them from the lofty rocks.
+
+
+
+  Tupac Yupanqui.
+
+  Stop! Cast off their bonds.
+
+
+
+  (The guards unbind them. They all kneel.)
+
+
+
+  (To Ollantay, kneeling).
+
+  Rise from thy knees; come to my side.
+
+
+
+  (Rises.)
+
+
+
+  Now thou hast seen death very near,
+  You that have shown ingratitude,
+  Learn how mercy flows from my heart;
+  I will raise thee higher than before.
+  Thou wert Chief of Anti-suyu,
+  Now see how far my love will go;
+  I make thee Chief in permanence.
+  Receive this plume[77] as general,
+  This arrow[77] emblem of command.[78]
+
+
+
+  Tupac Yupanqui (to the Uillac Uma).
+
+  Thou mighty Pontiff of the Sun,
+  Robe him in the regal dress.
+  Raise up the others from their knees,
+  And free them from the doom of death.
+
+
+
+  (Urco Huaranca, Hanco Huayllu, and Piqui Chaqui rise, the latter looking
+  much relieved. The Uillac Uma places the robe on Ollantay's shoulders.)
+
+
+
+  Uillac Uma.
+
+  Ollantay, learn to recognise
+  Tupac Yupanqui's generous mind;
+  From this day forth be thou his friend,
+  And bless his magnanimity.
+  This ring contains my potent charm,
+  For this I place it on thy hand.
+
+
+
+  (Gives him a ring, or bracelet.)
+
+
+
+  This mace receive, 'tis from the king,
+
+
+
+  (Gives him a mace (champi).)
+
+
+
+  It is his gracious gift to thee.
+
+
+
+  Ollantay.
+
+  With tears I shall nearly consume
+  That mace thus presented to me;
+  I am tenfold the great Inca's slave,
+  In this world no equal is found,
+  My heart's fibres his latchets shall be;
+  From this moment my body and soul
+  To his service alone shall belong.
+
+
+
+  Tupac Yupanqui.
+
+  Now, Mountain Chief! come near to me,
+  Ollantay is given the arrow and plume,
+  Though to me he gave fury and war.
+  Notwithstanding all that has passed
+  He continues the Andean chief,
+  And will lead his rebels to peace;
+  Thee also I choose for the plume;
+  From this day thou art a great chief,
+  And never forget in thy thoughts,
+  I saved thee from death and disgrace.
+
+
+
+  Urco Huaranca.
+
+  Great King and most merciful Lord,
+  But now, expecting my death,
+  I am ever thy most faithful slave.
+
+
+
+  (Uillac Uma gives him the plume and arrow.)
+
+
+
+  Uillac Uma.
+
+  O Urco, the Inca has made
+  A great and a powerful chief,
+  And grants thee with marvellous grace
+  The arrow and also the plume.
+
+
+
+  Rumi-naui.
+
+  Illustrious King, I venture to ask,
+  Will Anti-suyu have two chiefs.
+
+
+
+  Tupac Yupanqui.
+
+  There will not be two, O Rumi-naui
+  The Mountain Chief will rule the Antis;
+  In Cuzco Ollantay will reign--
+  As Viceroy deputed by me
+  His duties will call him to act
+  As ruler throughout the whole realm.
+
+
+
+  Ollantay.
+
+  O King! thou dost raise me too high,
+  A man without service or claim;
+  I am thy obedient slave--
+  Mayst thou live for a thousand years.
+
+
+
+  Tupac Yupanqui.
+
+  The mascapaycha now bring forth,
+  And to it the llautu attach.
+  Uillac Uma, adorn him with these,
+  And proclaim his state to the world.
+  Yes, Ollantay shall stand in my place,
+  Raised up like the star of the morn,
+  For Colla this month I shall start;
+  All preparations are made.
+  In Cuzco Ollantay will stay,
+  My Ranti[79] and Viceroy and friend.
+
+
+
+  Ollantay.
+
+  I would fain, O magnanimous King,
+  Follow thee in the Chayanta war;
+  Thou knowest my love for such work.
+  Peaceful Cuzco is not to my taste,
+  I prefer to be thy Canari,[80]
+  To march in the van of thy force,
+  And not to be left in the rear.
+
+
+
+  Tupac Yupanqui.
+
+  Thou shouldst find the wife of thy choice,
+  And with her reign happily here
+  In Cuzco; repose without care;
+  Rest here while I'm absent in war.
+
+
+
+  Ollantay.
+
+  Great King, thy sorrowful slave
+  Already had chosen a wife.
+
+
+
+  Tupac Yupanqui.
+
+  How is it I know not of this?
+  It should be reported to me.
+  I will load her with suitable gifts;
+  Why was this concealed from my eyes?
+
+
+
+  Ollantay.
+
+  In Cuzco itself disappeared
+  That sweet and adorable dove;
+  One day she did rest in my arms,
+  And the next no more to be seen.
+  In grief I made search far and near,
+  Earth seemed to have swallowed her up,
+  To have buried her far from my sight;
+  O such, mighty King, is my grief.
+
+
+
+  Tupac Yupanqui.
+
+  Ollantay! afflict not thyself,
+  For now thou must take up thy place
+  Without turning thy eyes from thy work.
+
+
+
+  (To Uillac Uma.)
+
+
+
+  High priest, obey my command.
+
+
+
+  (The Uillac Uma goes to the wings (R.) and addresses the people outside.)
+
+
+
+  Uillac Uma.
+
+  O people, hear what I say:
+  The Inca, our King and our Lord,
+  Thus declares his imperial will:
+  Ollantay shall reign in his place.
+
+
+
+  People outside.
+
+  Ollantay Ranti! Ollantay Ranti!
+
+
+
+  (Shouts and acclamations.)
+
+
+
+  Tupac Yupanqui (to Rumi-naui and other chiefs.)
+
+  You also render him homage.
+
+
+
+  Rumi-naui.
+
+  Prince Ollantay! Incap Ranti!
+  Thy promotion gives me joy.
+  All the Antis now released,
+  Return rejoicing to their homes.
+
+
+
+  (He and all the Chiefs bow to Ollantay.)
+
+
+
+  Guards without.
+
+  You cannot pass. Go back! go back!
+  Voice without. Why, is this a festive day?
+  Let me pass. I must see the king;
+  I pray you do not stop me,
+  Do not drive me from the door;
+  If you stop me I shall die.
+  Have a care. You will kill me.
+
+
+
+  Tupac Yupanqui.
+
+  What noise is that without?
+
+
+
+  Guard.
+
+  It is a young girl who comes weeping
+  And insists upon seeing the king.
+
+
+
+  Tupac Yupanqui.
+
+  Let her come in.
+
+
+
+  (Enter Yma Sumac.)
+
+
+
+  Yma Sumac.
+
+  Which is the Inca, my lord,
+  That I may kneel down at his feet?
+
+
+
+  Uillac Uma.
+
+  Who art thou, charming maid?
+  Behold the King.
+
+
+
+  (Yma Sumac throws herself at the King's feet.)
+
+
+
+  Yma Sumac. O my King! be thou my father,
+  Snatch from evil thy poor servant.
+  Extend thy royal hand to me.
+  O merciful child of the Sun,
+  My mother is dying at this hour
+  In a foul and loathsome cave;
+  She is killed in cruel martyrdom--
+  Alas I she is bathed in her own blood.
+
+
+
+  Tupac Yupanqui.
+
+  What inhumanity, poor child!
+  Ollantay, take this case in hand.
+
+
+
+  Ollantay.
+
+  Young maiden, take me quickly there;
+  We will see who it is that suffers.
+
+
+
+  Yma Sumac.
+
+  No, sir. Not so. It is the King himself
+  Should go with me.
+  Perhaps he may recognise her;
+
+
+
+  (To Ollantay.)
+
+
+
+  For you, I know not who you are.
+  O King, arise, do not delay,
+  I fear my mother breathes her last,
+  At least may be in mortal pain;
+  O Inca! Father! grant my prayer.
+
+
+
+  Uillac Uma.
+
+  Illustrious King, thou wilt consent;
+  Let us all seek this luckless one--
+  Thou canst release from cruel bonds.
+  Lot us go, O King!
+
+
+
+  Tupac Yupanqui (rising).
+
+  Come all! Come all!
+  In midst of reconciliations
+  This young maid assaults my heart.
+
+
+
+  (Exeunt.)
+
+
+
+
+SCENE 7
+
+
+
+The garden in the palace of Virgins of the Sun (same scene as Act III,
+Scene 5). Stone door more visible.
+
+
+(Enter the INCA TUPAC YUPANQUI with YMA SUMAC, OLLANTAY, UILLAC UMA and
+RUMI nAUI; URCO HUARANCA, HANCO HUAYLLU and PIQUI CHAQUI in the
+background.)
+
+
+
+  Tupac Yupanqui.
+
+  But this is the Aclla Huasi;[81]
+  My child, art thou not mistaken?
+  Where is thy imprisoned mother?
+
+
+
+  Yma Sumac.
+
+  In a dungeon within these bounds
+  My mother has suffered for years,
+  Perhaps even now she is dead.
+
+
+
+  (She points to the stone door.)
+
+
+
+  Tupac Yupanqui.
+
+  What door is this?
+
+
+
+  (Enter MAMA CCACCA and PITU SALLA.  Mama Ccacca kneels and kisses the
+  Inca's hand.)
+
+
+
+  Mama Ccacca.
+
+  Is it a dream or reality,
+  That I behold my sovereign?
+  Tupac Yupanqui. Open that door.
+
+
+
+  (Mama Ccacca opens the door.)
+
+
+
+  (CUSI COYLLUR discovered chained and fainting, with a puma and a snake,
+  one on each side of her.)
+
+
+
+  Yma Sumac.
+
+  O my mother, I feared to find
+  That you had already passed away;
+  Pitu Salla! Haste. Bring water.
+  Perhaps my dove may still revive.
+
+
+
+  (Exit Pitu Salla.)
+
+
+
+  Tupac Yupanqui.
+
+  What horrid cavern do I see?
+  Who is this woman? what means it?
+  What cruel wretch thus tortures her?
+  What means that chain bound around her?
+  Mama Ccacca, come near to me
+  What hast thou to say to this?
+  Is it the effect of malice
+  That this poor creature lingers here?
+
+
+  Mama Ccacca.
+
+  It was thy father's dread command;
+  A punishment for lawless love.
+
+
+  Tupac Yupanqui.
+
+  Begone! begone! harder than rock.[82]
+  Turn out that puma and the snake,[83]
+  Break down that door of carved stone.
+
+
+
+  (To Mama Ccacca.)
+
+
+
+  Let me not see thy face again.
+  A woman living as a bat;
+  This child has brought it all to light.
+
+
+
+  (Enter Pitu Salla with water.  She sprinkles it over Cusi Coyllur, who
+  revives.)
+
+
+
+  Cusi Coyllur.
+
+  Where am I? who are these people?
+  Yma Sumac, my beloved child,
+  Come to me, my most precious dove.
+  Who are all these men before me?
+
+
+
+  (She begins to faint again and is restored by water.)
+
+
+
+  Yma Sumac.
+
+  Fear not, my mother, 'tis the King;
+  The King himself comes to see you.
+  The great Yupanqui is now here.
+  Speak to him. Awake from thy trance.
+
+
+
+  Tupac Yupanqui.
+
+  My heart is torn and sorrowful
+  At sight of so much misery.
+  Who art thou, my poor sufferer?
+  Child, tell me now thy mother's name?
+
+
+
+  Yma Sumac.
+
+  Father! Inca! Clement Prince!
+  Have those cruel bonds removed.
+
+
+
+  The Uillac Uma.
+
+  It is for me to remove them,
+  And to relieve this sore distress.
+
+
+
+  (Cuts the rope fastening Cusi Coyllur to the wall.)
+
+
+
+  Ollantay (to Yma Sumac).
+
+  What is thy mother's name?
+
+
+  Yma Sumac.
+
+  Her name was once Cusi Coyllur,
+  But it seems a mistake.  Her joy
+  Was gone when she was prisoned here.
+
+
+
+  Ollantay.
+
+  O renowned King, great Yupanqui,
+  In her you see my long lost wife.
+
+
+
+  (Prostrates himself before the Inca.)
+
+
+
+  Tupac Yupanqui.
+
+  It all appears a dream to me.
+  The 'Star'! my sister![84] and thy wife.
+  O sister! what newly found joy.
+  O Cusi Coyllur, my sister,
+  Come here to me, and embrace me,
+  Now thou art delivered from woe.
+
+
+
+  (Music.)
+
+
+
+  Thou hast found thy loving brother;
+  Joy calms the anguish of my heart.
+
+
+
+  (Embraces Cusi Coyllur.)
+
+
+
+  Cusi Coyllur.
+
+  Alas! my brother, now you know
+  The cruel tortures I endured
+  During those years of agony;
+  Thy compassion now has saved me.
+
+
+
+  Tupac Yupanqui.
+
+  Who art thou, dove, that hast suffered?
+  For what sin were you prisoned here?
+  Thou mightest have lost thy reason.
+  Thy face is worn, thy beauty gone,
+  Thy looks as one risen from death.
+
+
+
+  Ollantay.
+
+  Cusi Coyllur, I had lost thee,
+  Thou wast quite hidden from my sight,
+  But thou art brought again to life--
+  Thy father should have killed us both.
+  My whole heart is torn with sorrow.
+  Star of joy, where is now thy joy?
+  Where now thy beauty as a star?
+  Art thou under thy father's curse?
+
+
+
+  Cusi Coyllur.
+
+  Ollantay, for ten dreary years
+  That dungeon has kept us apart;
+  But now, united for new life,
+  Some happiness may yet be ours.
+  Yupanqui makes joy succeed grief,
+  He may well count[85] for many years.
+
+
+
+  Uillac Uma.
+
+  Bring new robes to dress the princess.
+
+
+
+  (They put on her royal robes. The High Priest kisses her hand.)
+
+
+
+  Tupac Yupanqui.
+
+  Ollantay, behold thy royal wife,
+  Honour and cherish her henceforth.
+  And thou, Yma Sumac, come to me,
+  I enlace you in the thread of love;
+  Thou art the pure essence of Coyllur.
+
+
+
+  (Embraces her.)
+
+
+
+  Ollantay.
+
+  Thou art our protector, great King,
+  Thy noble hands disperse our grief;
+  Thou art our faith and only hope--
+  Thou workest by virtue's force.
+
+
+
+  Tupac Yupanqui.
+
+  Thy wife is now in thy arms;
+  All sorrow now should disappear,
+  Joy, new born, shall take its place.
+
+
+
+  (Acclamations from the Chiefs, and Piqui Chaqui.  Music: huancars
+  (drums), pincullus (flutes), and pututus (clarions).)
+
+
+
+
+FOOTNOTES:
+
+
+[Footnote 1: INCA-PACHACUTI
+|
+TUPAC YUPANQUI
+|
+INCA HUAYNA CCAPAC
+|
+MANCO INCA
+|
+TUPAC AMARU
+|
+JUANA NUSTA = DIEGO CONDORCANQUI
+|
+FELIPE CONDORCANQUI
+|
+PEDRO CONDORCANQUI
+|
+MIGUEL CONDORCANQUI
+|
+JOSE GABRIEL CONDORCANQUI (TUPAC AMARU)]
+
+[Footnote 2:  'Sentencia pronunciada en el Cuzco por el Visitador Don Jose
+Antonio de Areche, contra Jose Gabriel Tupac Amaru.' In Coleccion de
+obras y documentos de Don Pedro de Angelis, vol. V. (Buenos Ayres, 1836-
+7).]
+
+[Footnote 3: INCA PACHACUTI.
+|
+TUPAC YUPANQUI
+|
+HUAYNA CCAPAC
+|
+MANCO INCA
+|
+MARIA TUPAC USCA = PEDRO ORTIZ DE ORUE
+|
+CATALINA ORTIZ =LUIS JUSTINIANI
+|
+LUIS JUSTINIANI
+|
+LUIS JUSTINIANI
+|
+NICOLO JUSTINIANI
+|
+JUSTO PASTOR JUSTINIANI
+|
+Dr. PABLO POLICARPO JUSTINIANI(Cura of Laris)]
+[Footnote 4:  The wives of the Incas were called ccoya.  The ccoya of
+the second Inca was a daughter of the chief of Sanoc.  The third Inca
+married a daughter of the chief of Oma, the fourth married a girl of
+Tacucaray, the wife of the fifth was a daughter of a Cuzco chief.  The
+sixth Inca married a daughter of the chief of Huayllacan, the seventh
+married a daughter of the chief of Ayamarca, and the eighth went to Anta
+for a wife.  This Anta lady was the mother of Pachacuti.  The wife of
+Pachacuti, named Anahuarqui, was a daughter of the chief of Choco. There
+was no rule about marrying sisters when Pachacuti succeeded.  He
+introduced it by making his son Tupac Yupanqui marry his daughter Mama
+Ocllo, but this was quite unprecedented.  The transgression of a rule
+which he had just made may account for his extreme severity.]
+
+[Footnote 5:  A bust, on an earthen vase, was presented to Don Antonio
+Maria Alvarez, the political chief of Cuzco, in 1837, by an Indian who
+declared that it had been handed down in his family from time
+immemorial, as a likeness of the general, Rumi-naui, who plays an
+important part in this drama of Ollantay.  The person represented must
+have been a general, from the ornament on the forehead, called
+mascapaycha, and there are wounds cut on the face.--Museo Erudito, No.
+B.]
+
+[Footnote 6:  Chita is the lamb of the llama.  A lamb of two or three
+months was a favourite pet in the time of the Incas.  It followed its
+mistress, adorned with a little bell and ribbons.]
+
+[Footnote 7:  Supay, an evil spirit, according to some authorities.]
+
+[Footnote 8: Ichuna, a sickle or scythe.  The expression has been cited
+by General Mitre and others as an argument that the drama is modern,
+because this is a metaphor confined to the old world.  But ichuna was in
+use, in Quichua, in this sense, before the Spaniards came.  The word is
+from Ichu, grass.]
+
+[Footnote 9: The Peruvians personified a mountain as two spirits, good
+and evil.  In writing poetically of a mountain opposing, it would be
+referred to in the persons of its genii or spirits, and spoken of as two
+foes, not one.]
+
+[Footnote 10: Rurun, desert, solitude.]
+
+[Footnote 11: Tasquiy, to march; tasquina, promenade, path.]
+
+[Footnote 12: Cusi Coyllur, while daylight lasted, was, in the eyes of
+Piqui Chaqui, like the sun.  A change takes place at twilight, and at
+night she is like the moon.]
+
+[Footnote 13:  Fasting was a preparation for all great religious
+ceremonies. Victims for sacrifice underwent a previous fast, which was
+looked upon in the fight of purification before being offered to the
+Deity.]
+
+[Footnote 14:  They gave the attributes we usually assign to the fox to
+the puma.]
+
+[Footnote 15:  Intip llirpun, 'apple of the sun's eye.'  There is no
+English equivalent that is suitable.]
+
+[Footnote 16: Huayruru is the seed of a thorny bush, erythrina rubra, of
+a bright red colour.  Zegarra has coral as the equivalent for huayruru.]
+
+[Footnote 17:  The tuya (coccoborus chrysogaster) is a small finch, and
+tuyallay means 'my little tuya.']
+
+[Footnote 18:  The piscaca is a much larger bird than the tuya.  These
+piscacas (coccoborus torridus) are nailed to trees as a warning to other
+birds. They are black, with white breasts.]
+
+[Footnote 19: In the tuya she sees her husband Ollantay, while the poor
+princess herself is the forbidden grain.]
+
+[Footnote 20:  This is a yarahui or mournful elegy, of which there are
+so many in the Quichua language.  The singers of them were known as
+yarahuec.]
+
+[Footnote 21:  Colla-suyu, the basin of lake Titicaca.]
+
+[Footnote 22:  Chayanta, a tribe in the montana south of the Collas.]
+
+[Footnote 23:  Champi, a one-handed battle-axe.]
+
+[Footnote 24:  Huancar, a drum; pututu, fife.]
+
+[Footnote 25:  Yunca, inhabitant of warm valley.  Here it refers to the
+wild tribes of the montana.]
+
+[Footnote 26:  In the original Quichua, Ollantay makes his appeal to the
+Inca in quatrains of octosyllabic verses, the first line rhyming with
+the last, and the second with the third.  Garcilasso de la Vega and
+others testify to the proficiency of the Incas in this form of
+composition.]
+
+[Footnote 27:  Ollantay was Viceroy of Anti-suyu.]
+
+[Footnote 28:  Chahuar, a rope of aloe fibre. A curb or restraint.]
+
+[Footnote 29:  Raprancutan cuchurcani: literally, 'I have clipped their
+wings.' Rapra, a wing.]
+
+[Footnote 30:  The powerful nation of Chancas, with their chief,
+Huancavilca, inhabited the great valley of Andahuaylas and were
+formidable rivals of the Incas.  But they were subdued by Pachacuti long
+before Ollantay can have been born. An allowable dramatic anachronism.]
+
+[Footnote 31:  Huancavilca was chief of the powerful nation of Chancas.]
+
+[Footnote 32:  Nusta, Princess.]
+
+[Footnote 33:  Pisipachiyqui, to suffer from the void caused by absence.
+Pisipay, to regret the absence of, to miss any one.]
+
+[Footnote 34:  The Dominican text has misi, a cat, instead of allco, a
+dog. Von Tschudi thought that misi was a word of Spanish origin.
+Zegarra says that it is not.  Before the Spaniards came, there was a
+small wild cat in the Andes called misi-puna.  But the Justiniani text
+has allco, a dog.]
+
+[Footnote 35:  Achancara, a begonia.  A red flower in the neighbourhood
+of Cuzco, according to Zegarra.  One variety is red and white.]
+
+[Footnote 36:  The llanta is the main rope of the quipu, about a yard
+long. The small cords of llama wool, of various colours, denoting
+different subjects, each with various kinds of knots, recording
+numbers.]
+
+[Footnote 37:  This, as we have seen, was not the reason why Ollantay
+fled from Cuzco; but, from a leader's point of view, it was an excellent
+reason to give to the people of Anti-suyu.  The great wars of the Incas
+were, to some extent, a heavy drain upon the people, but the recruiting
+was managed with such skill, and was so equally divided among a number
+of provinces, that it was not much felt.]
+
+[Footnote 38:  The snowy mountain far to the south, in sight from Cuzco.
+Uilca, sacred; unuta, water.  Here is the source of the river Uilcamayu,
+which flows by Ollantay-tampu.]
+
+[Footnote 39:  The aged Hanco Huayllu as Auqui, or Prince of the Blood,
+and relation of the High Priest, gave eclat to these ceremonies.]
+
+[Footnote 40:  Quiscahuan. anything full of thorns.]
+
+[Footnote 41:  Puna, the loftier parts of the Andes.]
+
+[Footnote 42:  Compi, cloth or a cloak.  This was an expression of the
+ancient Peruvians, perhaps equivalent to our 'hoodwinking.']
+
+[Footnote 43:  Apu Maruti was the head of the ayllu of the Inca Yahuar
+Huaccac, grandfather of Pachacuti.  It was called the ayllu Aucaylli
+Panaca.--Mesa, Anales del Cuzco, quoted by Zegarra.]
+
+[Footnote 44:  Uilcapampa, mass of mountains between the Uilcamayu and
+Apurimac.]
+
+[Footnote 45:  Tinqui Queru, between Urupampa and Tampu. The word means
+'two vases coupled.'  Here are two rounded hills connected by a saddle,
+three and a half miles from Tampu.]
+
+[Footnote 46:  Chara, was another descendant of Yahuar Huaccac.]
+
+[Footnote 47:  A ravine on the right bank of the Vilcamayu.]
+
+[Footnote 48:  Pachar is on the left bank of the Vilcamayu opposite
+Ollantay-tampu, with which it is connected by a rope bridge.]
+
+[Footnote 49: Huancas, natives of the valley of Jauja--Inca recruits.]
+
+[Footnote 50:  Like Ollantay in his appeal to the Inca, Rumi-naui, in
+the original Quichua, has recourse to octosyllabic quatrains, the first
+and last lines rhyming, and the second and third.]
+
+[Footnote 51:  Rumi, a stone.]
+
+[Footnote 52:  Clearly, from Rumi-naui's own account, the strategy of
+Urco Huaranca had been a complete and brilliant success.]
+
+[Footnote 53:  Aclla Cuna, the selected ones, the Virgins of the Sun.
+They were under the supervision of so called Mothers--Mama Cuna.  The
+novices were not obliged to take the oaths at the end of their
+novitiate.]
+
+[Footnote 54:  Rumi-naui is the interlocutor in the Justiniani text, in
+the Dominican text, and in the text of Spilsbury.  Yet Zegarra would
+substitute the Uillac Uma or High Priest for Rumi-naui.  His argument is
+that the interlocutor was of the blood-royal, and that the High Priest
+was always of the blood-royal, while Rumi-naui was not.  But the text
+does not say that the interlocutor was of the royal blood.  Zegarra also
+says that the interlocutor wore a black cloak with a long train, and
+that this was the dress of the High Priest.  But it was not the dress of
+the High Priest as described by the best authorities.  It was probably
+the general mourning dress.  The threats addressed to Piqui Chaqui were
+likely enough to come from a soldier, but not from the High Priest as he
+is portrayed in this drama.]
+
+[Footnote 55:  Paccay (mimosa incana), a tree with large pods, having a
+snow-white woolly substance round the seeds, with sweet juice.]
+
+[Footnote 56:  The Zegarra and Spilsbury texts have Ccan Incacri, which
+Zegarra translates, 'relation of the Inca, of the royal family.'
+Spilsbury is more correct.  He has 'partisan of the Inca.'  The more
+authentic Justiniani text has Ccan Pana.  The particle ri is one of
+emphasis or repetition. It does not mean a relation.]
+
+[Footnote 57:  The Zegarra and Spilsbury texts have hualpa, a game bird.
+The Justiniani text has anca, an eagle, which is the correct reading.]
+
+[Footnote 58:  The Inca Pachacuti does not appear to advantage in the
+drama. But he was the greatest man of his dynasty, indeed the greatest
+that the red race has produced.  He was a hero in his youth, a most able
+administrator in mature age.  As a very old man some needless cruelties
+are reported of him which annoyed his son.]
+
+[Footnote 59:  The eldest son was Amaru Tupac.  He was passed over by
+his father with his own consent, and was ever faithful to his younger
+brother.  He was an able general.]
+
+[Footnote 60:  This was exactly what Piqui Chaqui was sent to Cuzco to
+find out.  The expression Apumusac pununayta, 'I go to fetch my bed,' is
+one of joy at any fortunate event, in Quichua.]
+
+[Footnote 61:  Intic Huamin Caccunan (Intic Huarminca Caycuna, correct),
+'Ye women of the Sun.'  Zegarra thought, on the authority of Garcilasso
+de la Vega, that these could not be select Virgins of the Sun, because
+the virgins were never allowed outside their convent, and not even women
+might enter. He is clearly wrong.  Much higher authorities than
+Garcilasso, as regards this point, especially Valera, tell us that the
+virgins were treated with the greatest honour and respect.  They took
+part in great receptions and festivals, and when they passed along the
+streets they had a guard of honour.]
+
+[Footnote 62:  Rumi. He keeps playing upon his name.]
+
+[Footnote 63:  Again playing upon the name of Rumi-naui.  The High
+Priest calls for haste, so he substitutes Tunqui for naui (eye), the
+tunqui (Rupicola Peruviana) being one of the most beautiful birds in the
+forests.]
+
+[Footnote 64:  Sunchu, a very large composita with a yellow flower,
+growing round Cuzco.  It was one of those which were used on sacred
+festivals.]
+
+[Footnote 65:  Nucchu is a salvia, also considered sacred.  A red
+flower. Perhaps these flowers were sent as a summons from the Inca, but
+I have not seen the custom mentioned elsewhere.]
+
+[Footnote 66:  Schineus Molle, a tree with pinnate leaves, and panicles
+of red berries, well known in the Mediterranean countries, into which it
+was introduced from Peru.  Called by the English 'pepper tree.']
+
+[Footnote 67:  Several bushes are called chilca in Peru.  Eupatorium
+chilca (R. P.), baccharis scandens, and molina latifolia. Stereoxylon
+pendulum is called puna chilca.]
+
+[Footnote 68:  A kind of cactus, of which they make needles, grows
+abundantly on the mountains round Ollantay-tampu.  It is called
+ahuarancu.  They set fire to the cacti as a war signal.  Zegarra calls
+it a thistle.  The word in the Justiniani text is ahuarancu.]
+
+[Footnote 69:  Tinqui Queru, between Urupampa and Tampu.  The word means
+'two vases coupled.'  Here are two rounded hills connected by a saddle,
+three and a half miles from Tampu. (Taken from FN#45.)]
+
+[Footnote 70:  Yanahuara, a ravine near Urubamba, where some of the
+troops of Rumi-naui had been posted.]
+
+[Footnote 71:  Signal lights.]
+
+[Footnote 72:  Ccapac Raymi, the great festival of the Sun. December
+22.]
+
+[Footnote 73:  Piqui Chaqui is literally 'flea foot.'  He is punning on
+his name.]
+
+[Footnote 74:  Tocarpu, a pole or stake used at executions.  Condemned
+prisoners were fastened to a tocarpu before being hurled over a
+precipice.]
+
+[Footnote 75:  Piqui Chaqui had an inkling that the Inca had expressed
+dislike at the shedding of blood.  He ventured to say these words in the
+faint hope that they might remind the Inca of this dislike.]
+
+[Footnote 76:  Rumi-naui at it again: for ever ringing changes on his
+name rumi, a stone.]
+
+[Footnote 77:  The plume and the arrow were the insignia of a general.]
+
+[Footnote 78:  Rather a staggerer for Rumi-naui!  Perhaps, too, the
+change is too sudden, and infringes the probabilities.  Tupac Yupanqui
+may have thought that his father had been unjust and that there were
+excuses.  It is known that the young Inca was indignant at some other
+cruelties of his father. As a magnanimous warrior he may have despised
+the treacherous methods of Rumi-naui.  He may have valued Ollantay's
+known valour and ability, and have been loth to lose his services.  All
+these considerations may have influenced him more or less.  The rebels
+were the best men he had.]
+
+[Footnote 79:  Ranti, a deputy.]
+
+[Footnote 80:  Canari, a warlike tribe of Indians, in the south part of
+the kingdom of Quito.  They were first conquered by Tupac Yupanqui, and
+they became devoted to him.]
+
+[Footnote 81:  Aclla, chosen; Huasi, house: palace of the Virgins of the
+sun.]
+
+[Footnote 82:  Ccacca means a rock.]
+
+[Footnote 83:  My former translation, and those of Barranca and Tschudi,
+treated puma and amaru (snake) as epithets applied to Mama Ccacca.
+Zegarra considers that the puma and snake were intended to be actually
+in the dungeon, and I believe he is right.  The puma would not have hurt
+his fellow-prisoner.  Unpleasant animals were occasionally put into the
+prisons of criminals.  The Incas kept pumas as pets.]
+
+[Footnote 84:  The early Incas never married their sisters or relations.
+Pachacuti's mother was daughter of the chief of Anta.  His wife,
+Anahuarqui, was no relation.  But the wife of Tupac Yupanqui was his
+sister Mama Ocllo.]
+
+[Footnote 85:  A play upon the word yupanqui, which means literally,
+'you will count.'  The word was a title of the Incas, meaning, 'you will
+count as virtuous, brave,' &c.]
+
+
+
+
+
+End of the Project Gutenberg EBook of Apu Ollantay, by Anonymous
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