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+The Project Gutenberg EBook of Apu Ollantay, by Sir Clements R. Markham
+
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+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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