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diff --git a/9068-0.txt b/9068-0.txt new file mode 100644 index 0000000..3b41695 --- /dev/null +++ b/9068-0.txt @@ -0,0 +1,3951 @@ +The Project Gutenberg eBook of Apu Ollantay + +This eBook is for the use of anyone anywhere in the United States and +most other parts of the world at no cost and with almost no restrictions +whatsoever. You may copy it, give it away or re-use it under the terms +of the Project Gutenberg License included with this eBook or online at +www.gutenberg.org. If you are not located in the United States, you +will have to check the laws of the country where you are located before +using this eBook. + +Title: Apu Ollantay + +Author: Anonymous + +Editor: Clements R. Markham + +Translator: Clements R. Markham + +Release Date: September 2, 2003 [eBook #9068] +[Most recently updated: April 9, 2021] + +Language: English + +Character set encoding: UTF-8 + +Produced by: John B. Hare and David Widger + +*** START OF THE PROJECT GUTENBERG EBOOK APU OLLANTAY *** + + + + +Apu Ollantay + +A Drama of the Time of the Incas + +Sovereigns Of Peru + +About A.D. 1470 + + +Contents + + INTRODUCTION + MS. TEXTS + ACTS AND SCENES + DRAMATIS PERSONAE + + ACT I + SCENE 1 + SCENE 2 + SCENE 3 + SCENE 4 + SCENE 5 + + ACT II + SCENE 1 + SCENE 2 + SCENE 3 + + ACT III + SCENE 1 + SCENE 2 + SCENE 3 + SCENE 4 + SCENE 5 + SCENE 6 + SCENE 7 + + FOOTNOTES + + + + +First Reduced To Writing By Dr. Valdez, Cuba Of Sicuani A.D. 1770 + +The Original Manuscript Copied By Dr. Justo Pastor Justiniani + +This Justiniani Text Copied At Laris, In April 1863, By Clements R. +Markham + +A Free Translation Into English By Sir Clements Markham, K.C.B. [1910] + + + + +INTRODUCTION + + +The drama was cultivated by the Incas, and dramatic performances were +enacted before them. Garcilasso de la Vega, Molina, and Salcamayhua are +the authorities who received and have recorded the information given by +the Amautas respecting the Inca drama. Some of these dramas, and +portions of others, were preserved in the memories of members of Inca +and Amauta families. The Spanish priests, especially the Jesuits of +Juli, soon discovered the dramatic aptitude of the people. Plays were +composed and acted, under priestly auspices, which contained songs and +other fragments of the ancient Inca drama. These plays were called +‘Autos Sacramentales.’ + +But complete Inca dramas were also preserved in the memories of members +of the Amauta caste and, until the rebellion of 1781, they were acted. +The drama of _Ollantay_ was first reduced to writing and arranged for +acting by Dr. Don Antonio Valdez, the Cura of Tinto. It was acted +before his friend José Gabriel Condorcanqui[1] in about 1775. Taking +the name of his maternal ancestor, the Inca Tupac Amaru, the ill-fated +Condorcanqui rose in rebellion, was defeated, taken, and put to death +under torture, in the great square of Cuzco. In the monstrous sentence +‘the representation of dramas as well as all other festivals which the +Indians celebrate in memory of their Incas’ was prohibited.[2] This is +a clear proof that before 1781 these Quichua dramas were acted. + +The original manuscript of Valdez was copied by his friend Don Justo +Pastor Justiniani, and this copy was inherited by his son. There was +another copy in the convent of San Domingo at Cuzco, but it is corrupt, +and there are several omissions and mistakes of a copyist. Dr. Valdez +died, at a very advanced age, in 1816. In 1853 the original manuscript +was in the possession of his nephew and heir, Don Narciso Cuentas of +Tinta. + +The Justiniani copy was, in 1853, in the possession of Dr. Don Pablo +Justiniani, Cura of Laris, and son of Don Justo Pastor Justiniani. He +is a descendant of the Incas.[3] In April 1853 I went to Laris, a +secluded valley of the Andes, and made a careful copy of the drama of +_Ollantay_. From this Justiniani text my first very faulty +line-for-line translation was made in 1871, as well as the present free +translation. + +The first printed notice of _Ollantay_ appeared in the _Museo Erudito_, +Nos. 5 to 9, published at Cuzco in 1837, and edited by Don José +Palacios. The next account of the drama, with extracts, was in the +‘Antiguedades Peruanas,’ a work published in 1851 jointly by Dr. von +Tschudi and Don Mariaiao Rivero of Arequipa. The complete text, from +the copy in the convent of San Domingo at Cuzco, was first published at +Vienna in 1853 by Dr. von Tschudi in his ‘Die Kechua Sprache. It was +obtained for him by Dr. Ruggendas of Munich. The manuscript was a +corrupt version, and in very bad condition, in parts illegible from +damp. In 1868 Don José Barranca published a Spanish translation, from +the Dominican text of von Tschudi. The learned Swiss naturalist, von +Tschudi, published a revised edition of his translation at Vienna in +1875, with a parallel German translation. In 1871 I printed the +Justiniani text with a literal, line-for-line translation, but with +many mistakes, since corrected; and in 1874, a Peruvian, Don José +Fernandez Nodal, published the Quichua text with a Spanish translation. + +In 1878 Gavino Pacheco Zegarra published his version of _Ollantay_, +with a free translation in French. His text is a manuscript of the +drama which he found in his uncle’s library. Zegarra, as a native of +Peru whose language was Quichua, had great advantages. He was a very +severe, and often unfair, critic of his predecessors. + +The work of Zegarra is, however, exceedingly valuable. He was not only +a Quichua scholar, but also accomplished and well read. His notes on +special words and on the construction of sentences are often very +interesting. But his conclusions respecting several passages which are +in the Justiniani text, but not in the others, are certainly erroneous. +Thus he entirely spoils the dialogue between the Uillac Uma and Piqui +Chaqui by omitting the humorous part contained in the Justiniani text; +and makes other similar omissions merely because the passages are not +in his text. Zegarra gives a useful vocabulary at the end of all the +words which occur in the drama. + +The great drawback to the study of Zegarra’s work is that he invented a +number of letters to express the various modifications of sound as they +appealed to his ear. No one else can use them, while they render the +reading of his own works difficult and intolerably tiresome. + +The last publication of a text of _Ollantay_ was by the Rev. J. H. +Gybbon Spilsbury, at Buenos Ayres in 1907, accompanied by Spanish, +English, and French translations in parallel columns. + +There is truth in what Zegarra says, that the attempts to translate +line for line, by von Tschudi and myself, ‘fail to convey a proper idea +of the original drama to European readers, the result being alike +contrary to the genius of the modern languages of Europe and to that of +the Quichua language.’ Zegarra accordingly gives a very free +translation in French. + +In the present translation I believe that I have always preserved the +sense of the original, without necessarily binding myself to the words. +The original is in octosyllabic lines. Songs and important speeches are +in quatrains of octosyllabic lines, the first and last rhyming, and the +second and third. I have endeavoured to keep to octosyllabic lines as +far as possible, because they give a better idea of the original; and I +have also tried to preserve the form of the songs and speeches. + +The drama opens towards the close of the reign of the Inca Pachacuti, +the greatest of all the Incas, and the scene is laid at Cuzco or at +Ollantay-tampu, in the valley of the Vilcamayu. The story turns on the +love of a great chief, but not of the blood-royal, with a daughter of +the Inca. This would not have been prohibited in former reigns, for the +marriage of a sister by the sovereign or his heir, and the marriage of +princesses only with princes of the blood-royal, were rules first +introduced by Pachacuti.[4] His imperial power and greatness led him to +endeavour to raise the royal family far above all others. + +The play opens with a dialogue between Ollantay and Piqui Chaqui, his +page, a witty and humorous lad. Ollantay talks of his love for the +Princess Cusi Coyllur, and wants Piqui Chaqui to take a message to her, +while the page dwells on the danger of loving in such a quarter, and +evades the question of taking a message. Then to them enters the Uillac +Uma, or High Priest of the Sun, who remonstrates with Ollantay—a scene +of great solemnity, and very effective. + +The next scene is in the Queen’s palace. Anahuarqui, the Queen, is +discovered with the Princess Cusi Coyllur, who bitterly laments the +absence of Ollantay. To them enters the Inca Pachacuti, quite ignorant +that his daughter has not only married Ollantay in secret, but that she +is actually with child by him. Her mother keeps her secret. The Inca +indulges in extravagant expressions of love for his daughter. Then boys +and girls enter dancing and singing a harvest song. Another very +melancholy yarahui is sung; both capable of being turned by the +Princess into presages of the fate of herself and her husband. + +In the third scene Ollantay prefers his suit to the Inca Pachacuti in +octosyllabic quatrains, the first and last lines rhyming, and the +second and third. His suit is rejected with scorn and contempt. +Ollantay next appears on the heights above Cuzco. In a soliloquy he +declares himself the implacable enemy of Cuzco and the Inca. Then Piqui +Chaqui arrives with the news that the Queen’s palace is empty, and +abandoned, and that Cusi Coyllur has quite disappeared; while search is +being made for Ollantay. While they are together a song is sung behind +some rocks, in praise of Cusi Coyllur’s beauty. Then the sound of +clarions and people approaching is heard, and Ollantay and Piqui Chaqui +take to flight. The next scene finds the Inca enraged at the escape of +Ollantay, and ordering his general Rumi-ñaui to march at once, and make +him prisoner. To them enters a _chasqui_, or messenger, bringing the +news that Ollantay has collected a great army at Ollantay-tampu, and +that the rebels have proclaimed him Inca. + +The second act opens with a grand scene in the hall of the +fortress-palace of Ollantay-tampu. Ollantay is proclaimed Inca by the +people, and he appoints the Mountain Chief, Urco Huaranca, general of +his army. Urco Huaranca explains the dispositions he has made to oppose +the army advancing from Cuzco, and his plan of defence. In the next +scene Rumi-ñaui, as a fugitive in the mountains, describes his defeat +and the complete success of the strategy of Ollantay and Urco Huaranca. +His soliloquy is in the octosyllabic quatrains. The last scene of the +second act is in the gardens of the Convent of Virgins of the Sun. A +young girl is standing by a gate which opens on the street. This, as +afterwards appears, is Yma Sumac, the daughter of Ollantay and Cusi +Coyllur, aged ten, but ignorant of her parentage. To her enters Pitu +Salla, an attendant, who chides her for being so fond of looking out at +the gate. The conversation which follows shows that Yma Sumac detests +the convent and refuses to take the vows. She also has heard the moans +of some sufferer, and importunes Pitu Salla to tell her who it is. Yma +Sumac goes as Mama Ccacca enters and cross examines Pitu Salla on her +progress in persuading Yma Sumac to adopt convent life. This Mama +Ccacca is one of the Matrons or _Mama Cuna_, and she is also the jailer +of Cusi Coyllur. + +The third act opens with an amusing scene between the Uillac Uma and +Piqui Chaqui, who meet in a street in Cuzco. Piqui Chaqui wants to get +news, but to tell nothing, and in this he succeeds. The death of Inca +Pachacuti is announced to him, and the accession of Tupac Yupanqui, and +with this news he departs. + +Next there is an interview between the new Inca Tupac Yupanqui, the +Uillac Uma, and the defeated general Rumi-ñaui, who promises to +retrieve the former disaster and bring the rebels to Cuzco, dead or +alive. It after wards appears that the scheme of Rumi-ñaui was one of +treachery. He intended to conceal his troops in eaves and gorges near +Ollantay-tampu ready to rush in, when a signal was made. Rumi-ñaui then +cut and slashed his face, covered himself with mud, and appeared at the +gates of Ollantay-tampu, declaring that he had received this treatment +from the new Inca, and imploring protection.[5] Ollantay received him +with the greatest kindness and hospitality. In a few days Ollantay and +his people celebrated the _Raymi_ or great festival of the sun with +much rejoicing and drinking. Rumi-ñaui pretended to join in the +festivities, but when most of them were wrapped in drunken sleep, he +opened the gates, let in his own men, and made them all prisoners. + +There is next another scene in the garden of the convent, in which Yma +Sumac importunes Pitu Salla to tell her the secret of the prisoner. +Pitu Salla at last yields and opens a stone door. Cusi Coyllur is +discovered, fastened to a wall, and in a dying state. She had been +imprisoned, by order of her father, Inca Pachacuti on the birth of Yma +Sumac. She is restored with food and water, and the relationship is +discovered when Cusi Coyllur hears the child’s name, for she had given +it to her. + +Next the Inca Tupac Yupanqui is discovered in the great hall of his +palace, seated on his _tiana_ or throne, with the Uillac Uma in +attendance. To them enters a _chasqui_, or messenger, who describes the +result of Rumi-ñaui’s treachery in octosyllabic quatrains. Rumi-ñaui +himself enters and receives the thanks of his sovereign. Then the +prisoners are brought in guarded-Ollantay, Hanco Huayllu, Urco +Huaranca, and Piqui Chaqui. The Inca upbraids them for their treason. +He then asks the Uillac Uma for his judgment. The High Priest +recommends mercy. Rumi-ñaui advises immediate execution: The Inca seems +to concur and they are ordered off, when suddenly the Inca cries +‘Stop.’ He causes them all to be released, appoints Ollantay to the +highest post in the empire next to himself, and Urco Huaranca to a high +command. There are rejoicings, and in the midst of it all Yma Sumac +forces her way into the hall, and throws herself at the Inca’s feet, +entreating him to save her mother from death. The Inca hands over the +matter to Ollantay, but this Yma Sumac will not have, and, the Uillac +Uma intervening, the Inca consents to go with the child. + +The final scene is in the gardens of the convent. The Inca enters with +Yma Sumac, followed by the whole strength of the company. Mama Ccacca +is ordered to open the stone door and Cusi Coyllur is brought out. She +proves to be the sister of the Inca and the wife of Ollantay. There are +explanations, and all ends happily. + +Of the antiquity of the drama of Ollantay there is now no question. +General Mitre wrote an elaborate paper on its authenticity, raising +several points to prove that it was of modern origin. But every point +he raised has been satisfactorily refuted. At the same time there are +many other points, some of them referred to by Zegarra, which establish +the antiquity of the drama beyond any doubt. The antiquity of the name +Ollantay-tampu, applied to the fortress in memory of the drama, is +proved by its use in the narratives of Molina (1560) and of +Salcamayhua. + +An able review of the literature connected with the drama of Ollantay +was written by Don E. Larrabure y Unanue, the present Vice-President of +Peru, who considers that Ollantay would make a good acting play with +magnificent scenic effects. + + + + +MS. TEXTS. + + +1. The original text of Valdez. In 1853 the property of Don Narciso +Cuentas of Tinta, heir of Dr. Valdez. + +2. The Justiniani text. In 1853 at Laris. Copy of the Valdez text. + +3. Markham’s copy of the Justiniani text (printed 1871). + +4. Rosas copy of the Justiniani text. + +5. Copy in the convent of San Domingo at Cuzco (the Dominican text). + +6. Von Tschudi’s copy of the Dominican text (printed 1853). + +7. Text of Zegarra (printed 1878). + +8. Second text of von Tschudi. + +9. Text of Spilsbury. + +10. Text of Sahuaraura _penes_ Dr. Gonzalez de la Rosa. + +There is light thrown upon the name _Ollantay_ by the evidence taken +during the journey of the Viceroy Toledo from Jauja to Cuzco, from +November 1570 to March 1571. He wanted information respecting the +origin of the Inca government, and 200 witnesses were examined, the +parentage or lineage of each witness being recorded. Among these we +find six witnesses of the _Antasayac ayllu. Sayac_ means a station or +division, _Anta_is a small town near Cuzco. The names of the six _Anta_ +witnesses were, + +ANCAILLO; USCA; HUACRO; MANCOY; AUCA PURI; ULLANTAY; +Besides ANTONIO PACROTRICA and PUNICU PAUCAR, Chiefs of _Anta_. + +We thus find that the name of _Ollantay_ belonged to _Anta_. Now the +Incas were under great obligations to the chief of Anta, for that chief +had rescued the eldest son of _Inca Rocca_ from the chief of +_Ayamarca_, and had restored him to his father. For this great service +the chief of _Anta_ was declared to be a noble of the highest rank and +cousin to the Inca family. Moreover, the daughter of the _Anta_ chief +was married to the _Inca Uira-cocha_, and was the mother of Pachacuti. +Assuming, as seems probable, that _Ollantay_ was a son of the chief of +Anta, he would be a cousin of the Inca, and of very high rank, though +not an agnate of the reigning family. This, I take it, is what is +intended. _Pachacuti_ desired to raise his family high above all +others, and that, consequently, there should be no marriages with +subjects even of the highest rank; and his excessive severity on the +transgression of his rule by his daughter is thus explained. + + + + +OLLANTAY + + + + +ACTS AND SCENES + + +ACT 1. + +Sc. 1.—Open space near Cuzco. +Ollantay, Piqui Chaqui, Uillac Uma. + +Sc. 2.—Hall in the Colcampata. +Anahuarqui, Cusi Coyllur, Inca Pachacuti, Boys and Girls, Singers. + +Sc. 3.—Hall in the Inca’s palace. +Pachacuti, Rumi-ñaui, Ollantay. + +Sc. 4.—Height above Cuzco. +Ollantay, Piqui Chaqui, Unseen Singer. + +Sc. 5.—Hall in the Inca’s palace. +Pachacuti, Rumi-ñaui, and a Chasqui. + +ACT II. + +Sc. 1.—Ollantay-tampu Hall. +Ollantay, Urco Huaranca, Hanco Huayllu, People and Soldiers. + +Sc. 2.—A wild place in the mountains. +Rumi-ñaui’s soliloquy. + +Sc. 3.—Gardens of the Virgins. +Yma Sumac, Pitu Salla, Mama Ccacca. + +ACT III. + +Sc. 1.—Pampa Maroni at Cuzco. +Uillac Uma and Piqui Chaqui. + +Sc. 2.—Palace of Tupac Yupanqui. +Tupac Yupanqui, Uillac Uma, Rumi-ñaui. + +Sc. 3.—Ollantay-tampu, Terrace. +Rumi-ñaui, Ollantay, Guards. + +Sc. 4.—House of Virgins, Corridor. +Yma Sumac, Pitu Salla. + +Sc. 5.—House of Virgins, Garden. +Yma Sumac, Pitu Salla, Cusi Coyllur. + +Sc. 6.—Palace of Tupac Yupanqui. +Tupac Yupanqui, Uillac Uma, a Chasqui, Rumi-ñaui, Ollantay, Urco +Huaranca, Hanco Huayllu, Piqui Chaqui, Chiefs and Guards, then Yma +Sumac. + +Sc. 7.—House of Virgins, Garden. +All of Scene 6, and Mama Ccacca, Cusi Coyllur, Pitu Salla. + +SCENE + +In Cuzco and its environs, and Ollantay-tampu + + + + +DRAMATIS PERSONAE + + +APU OLLANTAY.—General of Anti-suyu, the eastern province of the empire. +A young chief, but not of the blood-royal. His rank was that of a +Tucuyricuo or Viceroy. The name occurs among the witnesses examined by +order of the Viceroy Toledo, being one of the six of the Antasayac +ayllu. + +PACHACUTI.—The Sovereign Inca. + +TUPAC YUPANQUI.—Sovereign. Inca, son and heir of Pachacuti. + +RUMI-ÑAUI.—A great chief, General of Colla-suyu. The word means +‘Stone-eye.’ + +UILLAC UMA.—High Priest of the Sun. The word Uma means head, and +Uillac, a councillor and diviner. + +URCO HUARANCA.—A chief. The words mean ‘Mountain Chief.’ The word +huaranca means 1000; hence, Chief of a Thousand. + +HANCO HUAYLLU AUQUI.—An old officer, of the blood-royal. + +PIQUI CHAQUI.—Page to Ollantay. The words mean ‘fleet-footed.’ + +ANAHUARQUI.—The Ccoya or Queen, wife of Pachacuti. + +CUSI COYLLUR ÑUSTA.—A Princess, daughter of Pachacuti. The words mean +‘the joyful star.’ + +YMA SUMAC.—Daughter of Cusi Coyllur. The words mean ‘How beautiful.’ + +PITU SALLA.—A girl, companion of Yma Sumac. + +CCACCA MAMA.—A matron of Virgins of the Sun. Jailer of Cusi Coyllur. + +Nobles, captains, soldiers, boys and girls dancing, singers, +attendants, messengers or Chasqui. + + + + +ACT I + +SCENE 1 + +An open space near the junction of the two torrents of Cuzco, the +Huatanay and Tullumayu or Rodadero, called Pumap Chupan, just outside +the gardens of the Sun. The Temple of the Sun beyond the gardens, and +the Sacsahuaman hill surmounted by the fortress, rising in the +distance. The palace of Colcampata on the hillside. + +(Enter OLLANTAY L. [in a gilded tunic, breeches of llama sinews, usutas +or shoes of llama hide, a red mantle of ccompi or fine cloth, and the +chucu or head-dress of his rank, holding a battle-axe (champi) and club +(macana)] and PIQUI CHAQUI coming up from the back R. [in a coarse +brown tunic of auasca or llama cloth, girdle used as a sling, and chucu +or head-dress of a Cuzqueño].) + +OLLANTAY. +Where, young fleet-foot, hast thou been? +Hast thou the starry Ñusta seen? + +PIQUI CHAQUI. +The Sun forbids such sacrilege +’Tis not for me to see the star. +Dost thou, my master, fear no ill, +Thine eyes upon the Inca’s child? + +OLLANTAY. +In spite of all I swear to love +That tender dove, that lovely star; +My heart is as a lamb[6] with her, +And ever will her presence seek. + +PIQUI CHAQUI. +Such thoughts are prompted by Supay[7]; +That evil being possesses thee. +All round are beauteous girls to choose +Before old age, and weakness come. +If the great Inca knew thy plot +And what thou seekest to attain, +Thy head would fall by his command, +Thy body would be quickly burnt. + +OLLANTAY. +Boy, do not dare to cross me thus. +One more such word and thou shalt die. +These hands will tear thee limb from limb, +If still thy councils are so base. + +PIQUI CHAQUI. +Well! treat thy servant as a dog, +But do not night and day repeat, +‘Piqui Chaqui! swift of foot! +Go once more to seek the star.’ + +OLLANTAY. +Have I not already said +That e’en if death’s fell scythe[8] was here, +If mountains should oppose my path +Like two fierce foes[9] who block the way, +Yet will I fight all these combined +And risk all else to gain my end, +And whether it be life or death +I’ll cast myself at Coyllur’s feet. + +PIQUI CHAQUI. +But if Supay himself should come? + +OLLANTAY. +I’d strike the evil spirit down. + +PIQUI CHAQUI. +If thou shouldst only see his nose, +Thou wouldst not speak as thou dost now. + +OLLANTAY. +Now, Piqui Chaqui, speak the truth, +Seek not evasion or deceit. +Dost thou not already know, +Of all the flowers in the field, +Not one can equal my Princess? + +PIQUI CHAQUI. +Still, my master, thou dost rave. +I think I never saw thy love. +Stay! was it her who yesterday +Came forth with slow and faltering steps +And sought a solitary[10] path[11]? +If so, ’tis true she’s like the sun, +The moon less beauteous than her face.[12] + +OLLANTAY. +It surely was my dearest love. +How beautiful, how bright is she +This very moment thou must go +And take my message to the Star. + +PIQUI CHAQUI. +I dare not, master; in the day, +I fear to pass the palace gate. +With all the splendour of the court, +I could not tell her from the rest. + +OLLANTAY. +Didst thou not say thou sawest her? + +PIQUI CHAQUI. +I said so, but it was not sense. +A star can only shine at night +Only at night could I be sure. + +OLLANTAY. +Begone, thou lazy good-for-nought. +The joyful star that I adore, +If placed in presence of the Sun, +Would shine as brightly as before. + +PIQUI CHAQUI. +Lo! some person hither comes, +Perhaps an old crone seeking alms; +Yes! Look! he quite resembles one. +Lot him the dangerous message take. +Send it by him, O noble Chief! +From me they would not hear the tale; +Thy page is but a humble lad. + +(Enter the UILLAC UMA, or High Priest of the Sun, at the back, arms +raised to the Sun. In a grey tunic and black mantle from the shoulders +to the ground, a long knife in his belt, the undress chucu on his +head.) + +UILLAC UMA. +O giver of all warmth and light +O Sun! I fall and worship thee. +For thee the victims are prepared, +A thousand llamas and their lambs +Are ready for thy festal day. +The sacred fire’ll lap their blood, +In thy dread presence, mighty one, +After long fast[13] thy victims fall. + +OLLANTAY. +Who comes hither, Piqui Chaqui? +Yes, ’tis the holy Uillac Uma; +He brings his tools of augury. +No puma[14] more astute and wise +I hate that ancient conjurer +Who prophesies of evil things, +I feel the evils he foretells; +’Tis he who ever brings ill-luck. + +PIQUI CHAQUI. +Silence, master, do not speak, +The old man doubly is informed; +Fore-knowing every word you say, +Already he has guessed it all. + +(He lies down on a bank.) + + +OLLANTAY. +(_aside_) +He sees me. I must speak to him. + +(The Uillac Uma comes forward.) + + +O Uillac Uma, Great High Priest, +I bow before thee with respect +May the skies be clear for thee, +And brightest sunshine meet thine eyes. + +UILLAC UMA. +Brave Ollantay! Princely one! +May all the teeming land be thine; +May thy far-reaching arm of might +Reduce the wide-spread universe. + +OLLANTAY. +Old man! thine aspect causes fear, +Thy presence here some ill forebodes; +All round thee dead men’s bones appear, +Baskets, flowers, sacrifice. +All men when they see thy face +Are filled with terror and alarm. +What means it all? why comest thou? +It wants some months before the least. +Is it that the Inca is ill? +Perchance hast thou some thought divined +Which soon will turn to flowing blood. +Why comest thou? the Sun’s great day, +The Moon’s libations are not yet +The moon has not yet nearly reached +The solemn time for sacrifice. +Uillac Uma. Why dost thou these questions put, +In tones of anger and reproach? +Am I, forsooth, thy humble slave? +That I know all I’ll quickly prove. + +OLLANTAY. +My beating heart is filled with dread, +Beholding thee so suddenly; +Perchance thy coming is a sign, +Of evils overtaking me. + +UILLAC UMA. +Fear not, Ollantay! not for that, +The High Priest comes to thee this day. +It is perhaps for love of thee, +That, as a straw is blown by wind, +A friend, this day, encounters thee. +Speak to me as to a friend, +Hide nothing from my scrutiny. +This day I come to offer thee +A last and most momentous choice +’Tis nothing less than life or death. + +OLLANTAY. +Then make thy words more clear to me, +That I may understand the choice; +Till now ’tis but a tangled skein, +Unravel it that I may know. + +UILLAC UMA. +’Tis well. Now listen, warlike. Chief: +My science has enabled me, +To learn and see all hidden things +Unknown to other mortal men. +My power will enable me +To make of thee a greater prince. +I brought thee up from tender years, +And cherished thee with love and care +I now would guide thee in the right, +And ward off all that threatens thee. +As chief of Anti-suyu now, +The people venerate thy name; +Thy Sovereign trusts and honours thee, +E’en to sharing half his realm. +From all the rest he chose thee out, +And placed all power in thy hands; +He made thy armies great and strong, +And strengthened thee against thy foes +How numerous soe’er they be, +They have been hunted down by thee. +Are these good reasons for thy wish, +To wound thy Sovereign to the heart? +His daughter is beloved by thee; +Thy passion thou wouldst fain indulge, +Lawless and forbidden though it be. +I call upon thee, stop in time, +Tear this folly from thy heart. +If thy passion is immense, +Still let honour hold its place. +You reel, you stagger on the brink +I’d snatch thee from the very edge. +Thou knowest well it cannot be, +The Inca never would consent. +If thou didst e’en propose it now, +He would be overcome with rage; +From favoured prince and trusted chief, +Thou wouldst descend to lowest rank. + +OLLANTAY. +How is it that thou canst surely know +What still is hidden in my heart? +Her mother only knows my love, +Yet thou revealest all to me. + +UILLAC UMA. +I read thy secret on the moon, +As if upon the Quipu knots; +And what thou wouldst most surely hide, +Is plain to me as all the rest. + +OLLANTAY. +In my heart I had divined +That thou wouldst search me through and through +Thou knowest all, O Councillor, +And wilt thou now desert thy son? + +UILLAC UMA. +How oft we mortals heedless drink, +A certain death from golden cup +Recall to mind how ills befall, +And that a stubborn heart ’s the cause. + +OLLANTAY. +(_kneeling_). +Plunge that dagger in my breast, +Thou holdst it ready in thy belt; +Cut out my sad and broken heart +I ask the favour at thy feet. + +UILLAC UMA. +(to Piqui Chaqui). +Gather me that flower, boy. + +(Piqui Chaqui gives him a withered flower and lies down again, +pretending to sleep.) + + +(To Ollantay). +Behold, it is quite dead and dry. +Once more behold! e’en now it weeps, +It weeps. The water flows from it. + +(Water flows out of the flower.) + + +OLLANTAY. +More easy for the barren rocks +Or for sand to send forth water, +Than that I should cease to love +The fair princess, the joyful star. + +UILLAC UMA. +Put a seed into the ground, +It multiplies a hundredfold; +The more thy crime shall grow and swell, +The greater far thy sudden fall. + +OLLANTAY. +Once for all, I now confess +To thee, O great and mighty Priest; +Now learn my fault. To thee I speak, +Since thou hast torn it from my heart. +The lasso to tie me is long, +’Tis ready to twist round my throat +Yet its threads are woven with gold, +It avenges a brilliant crime. +Cusi Coyllur e’en now is my wife, +Already we’re bound and are one; +My blood now runs in her veins, +E’en now I am noble as she. +Her mother has knowledge of all, +The Queen can attest what I say; +Let me tell all this to the King, +I pray for thy help and advice. +I will speak without fear and with force, +He may perhaps give way to his rage +Yet he may consider my youth, +May remember the battles I’ve fought; +The record is carved on my club. + +(Holds up his macana.) + + +He may think of his enemies crushed, +The thousands I’ve thrown at his feet. + +UILLAC UMA. +Young Prince! thy words are too bold, +Thou hast twisted the thread of thy fate— +Beware, before ’tis too late; +Disentangle and weave it afresh, +Go alone to speak to the King, +Alone bear the blow that you seek; +Above all let thy words be but few, +And say them with deepest respect; +Be it life, be it death that you find, +I will never forget thee, my son. + +(Walks up and exit.) + + +OLLANTAY. +Ollantay, thou art a man, +No place in thy heart for fear; +Cusi Coyllur, surround me with light. +Piqui Chaqui, where art thou? + +PIQUI CHAQUI. +(jumping up). +I was asleep, my master, +And dreaming of evil things. + +OLLANTAY. +Of what? + +PIQUI CHAQUI. +Of a fox with a rope round its neck. + +OLLANTAY. +Sure enough, thou art the fox. + +PIQUI CHAQUI. +It is true that my nose is growing finer, +And my ears a good deal longer. + +OLLANTAY. +Come, lead me to the Coyllur. + +PIQUI CHAQUI. +It is still daylight. + +(Exeunt.) + +SCENE 2 + +A great hall in the Colcampata, then the palace of the Queen or Ccoya +Anahuarqui. In the centre of the back scene a doorway, and seen through +it gardens with the snowy peak of Vilcanota in the distance. Walls +covered with golden slabs. On either side of the doorway three +recesses, with household gods in the shape of maize-cobs and llamas, +and gold vases in them. On R. a golden tiana or throne. On L. two lower +seats covered with cushions of fine woollen cloth. + +(ANAHUARQUI, the Queen or Ccoya (in blue chucu, white cotton bodice, +and red mantle secured by a golden topu or pin, set with emeralds, and +a blue skirt), and the princess CUSI COYLLUR (in a chucu, with feathers +of the tunqui, white bodice and skirt, and grey mantle with topu, set +with pearls) discovered seated.) + +ANAHUARQUI. +Since when art thou feeling so sad, +Cusi Coyllur! great Inti’s prunelle?[15] +Since when hast thou lost all thy joy, +Thy smile and thy once merry laugh? +Tears of grief now pour down my face, +As I watch and mourn over my child; +Thy grief makes me ready to die. +Thy union filled thee with joy, +Already you’re really his wife. +Is he not the man of thy choice? +O daughter, devotedly loved, +Why plunged in such terrible grief? + +(Cusi Coyllur has had her face hidden in the pillows. She now rises to +her feet, throwing up her arms.) + + +CUSI COYLLUR. +O my mother! O most gracious Queen! +How can my tears o’er cease to flow, +How can my bitter sighs surcease, +While the valiant Chief I worship +For many days and sleepless nights, +All heedless of my tender years, +Seems quite to have forgotten me? +He has turned his regard from his wife +And no longer seeks for his love. +O my mother! O most gracious Queen! +O my husband so beloved! +Since the day when I last saw my love +The moon has been hidden from view; +The sun shines no more as of old, +In rising it rolls among mist; +At night the stars are all dim, +All nature seems sad and distressed +The comet with fiery tail, +Announces my sorrow and grief +Surrounded by darkness and tears, +Evil auguries fill me with fears. +O my mother! O most gracious Queen! +O my husband so beloved! + +ANAHUARQUI. +Compose thyself and dry thine eyes, +The King, thy father, has arrived. +Thou lovest Ollantay, my child? + +(Enter the INCA PACHACUTI. On his head the mascapaycha, with the llautu +or imperial fringe. A tunic of cotton embroidered with gold; on his +breast the golden breastplate representing the sun, surrounded by the +calendar of months. Round his waist the fourfold belt of tocapu. A +crimson mantle of fine vicuna wool, fastened on his shoulders by golden +puma’s heads. Shoes of cloth of gold. He sits down on the golden +tiana.) + +INCA PACHACUTI. +Cusi Coyllur! Star of joy, +Most lovely of my progeny! +Thou symbol of parental love— +Thy lips are like the huayruru.[16] +Rest upon thy father’s breast, +Repose, my child, within mine arms. + +(Cusi Coyllur comes across. They embrace.) + + +Unwind thyself, my precious one, +A thread of gold within the woof. +All my happiness rests upon thee, +Thou art my greatest delight. +Thine eyes are lovely and bright, +As the rays of my father the Sun. +When thy lips are moving to speak, +When thine eyelids are raised with a smile, +The wide world is fairly entranced. +Thy breathing embalms the fresh air; +Without thee thy father would pine, +Life to him would be dreary and waste. +He seeks for thy happiness, child, +Thy welfare is ever his care. + +(Cusi Coyllur throws herself at his feet.) + + +CUSI COYLLUR. +O father, thy kindness to me +I feel; and embracing thy knees +All the grief of thy daughter will cease, +At peace when protected by thee. + +PACHACUTI. +How is this! my daughter before me +On knees at my feet, and in tears? +I fear some evil is near— +Such emotion must needs be explained. + +CUSI COYLLUR. +The star does weep before Inti, +The limpid tears wash grief away. + +PACHACUTI. +Rise, my beloved, my star, +Thy place is on thy dear father’s knee. + +(Cusi Coyllur rises and sits on a stool by her father. An attendant +approaches.) + + +ATTENDANT. +O King! thy servants come to please thee. + +PACHACUTI. +Let them all enter. + +(Boys and girls enter dancing. After the dance they sing a harvest +song.) + + +Thou must not feed, +O Tuyallay,[17] +In Ñusta’s field, +O Tuyallay. +Thou must not rob, +O Tuyallay, +The harvest maize, +O Tuyallay. +The grains are white, +O Tuyallay, +So sweet for food, +O Tuyallay. +The fruit is sweet, +O Tuyallay, +The leaves are green +O Tuyallay; +But the trap is set, +O Tuyallay. +The lime is there, +O Tuyallay. +We’ll cut thy claws, +O Tuyallay, +To seize thee quick, +O Tuyallay. +Ask Piscaca,[18] +O Tuyallay, +Nailed on a branch, +O Tuyallay. +Where is her heart, +O Tuyallay? +Where her plumes, +O Tuyallay? +She is cut up, +O Tuyallay, +For stealing grain, +O Tuyallay. +See the fate, +O Tuyallay, +Of robber birds, +O Tuyallay. + +PACHACUTI. +Cusi Coyllur, remain thou here, +Thy mother’s palace is thy home +Fail not to amuse thyself, +Surrounded by thy maiden friends. + +(Exeunt the Inca Pachacuti, the Ccoya Anahuarqui, and attendants.) + + +CUSI COYLLUR. +I should better like a sadder song. +My dearest friends, the last you sang +To me foreshadowed evil things;[19] +You who sang it leave me now. + +(Exeunt boys and girls, except one girl who sings.) + + +Two loving birds are in despair,[20] + They moan, they weep, they sigh; +For snow has fallen on the pair, + To hollow tree they fly. + +But lo! one dove is left alone + And mourns her cruel fate; +She makes a sad and piteous moan, + Alone without a mate. + +She fears her friend is dead and gone— + Confirmed in her belief, +Her sorrow finds relief in song, + And thus she tells her grief. + +‘Sweet mate! Alas, where art thou now? + I miss thine eyes so bright, +Thy feet upon the tender bough, + Thy breast so pure and bright.’ + +She wanders forth from stone to stone, + She seeks her mate in vain; +‘My love! my love!’ she makes her moan, + She falls, she dies in pain. + + +CUSI COYLLUR. +That yarahui is too sad, +Leave me alone. + +(Exit the girl who sang the yarahui.) + + +Now my tears can freely flow. + +SCENE 3 + +Great hall in the palace of Pachacuti. The INCA, as before, discovered +seated on a golden tiana L. Enter to him R. OLLANTAY and RUMI-ÑAUI. + +PACHACUTI. +The time has arrived, O great Chiefs, +To decide on the coming campaign. +The spring is approaching us now, +And our army must start for the war. +To the province of Colla[21] we march— +There is news of Chayanta’s[22] advance. +The enemies muster in strength, +They sharpen their arrows and spears. + +OLLANTAY. +O King, that wild rabble untaught +Can never resist thine array; +Cuzco alone with its height +Is a barrier that cannot be stormed. +Twenty four thousand of mine, +With their champis[23] selected with care, +Impatiently wait for the sign, +The sound of the beat of my drums,[24] +The strains of my clarion and fife. + +PACHACUTI. +Strive then to stir them to fight, +Arouse them to join in the fray, +Lest some should desire to yield, +To escape the effusion of blood. + +RUMI-ÑAUI. +The enemies gather in force, +The Yuncas[25] are called to their aid; +They have put on their garbs for the war, +And have stopped up the principal roads. +All this is to hide their defects— +The men of Chayanta are base. +We hear they’re destroying the roads, +But we can force open the way; +Our llamas are laden with food— +We are ready to traverse the wilds. + +PACHACUTI. +Are you really ready to start +To punish those angry snakes? +But first you must give them a chance +To surrender, retiring in peace, +So that blood may not flow without cause, +That no deaths of my soldiers befall. + +OLLANTAY. +I am ready to march with my men, +Every detail prepared and in place, +But alas! I am heavy with care, +Almost mad with anxious suspense. + +PACHACUTI. +Speak, Ollantay. Tell thy wish— +’Tis granted, e’en my royal fringe. + +OLLANTAY. +Hear me in secret, O King. + +PACHACUTI. +(to Rumi-ñaui). +Noble Chief of Colla, retire; +Seek repose in thy house for a time. +I will call thee before very long, +Having need of thy valour and skill. + +RUMI-ÑAUI. +With respect I obey thy command. + +(Exit Rumi-ñaui.) + + +OLLANTAY. +Thou knowest, O most gracious Lord, +That I have served thee from a youth, +Have worked with fortitude and truth, +Thy treasured praise was my reward.[26] + +All dangers I have gladly met, +For thee I always watched by night, +For thee was forward in the fight, +My forehead ever bathed in sweat. + +For thee I’ve been a savage foe, +Urging my Antis[27] not to spare, +But kill and fill the land with fear, +And make the blood of conquered flow. + +My name is as a dreaded rope,[28] +I’ve made the hardy Yuncas[29] yield, +By me the fate of Chancas[30] sealed, +They are thy thralls without a hope. + +’Twas I who struck the fatal blow, +When warlike Huancavilca[31] rose, +Disturbing thy august repose, +And laid the mighty traitor low. + +Ollantay ever led the van, +Wherever men were doomed to die; +When stubborn foes were forced to fly, +Ollantay ever was the man. + +Now every tribe bows down to thee— +Some nations peacefully were led, +Those that resist their blood is shed— +But all, O King, was due to me. + +O Sovereign Inca, great and brave, +Rewards I know were also mine, +My gratitude and thanks are thine, +To me the golden axe you gave. + +Inca! thou gavest me command +And rule o’er all the Anti race, +To me they ever yield with grace, +And thine, great King, is all their land + +My deeds, my merits are thine own +To thee alone my work is due. +For one more favour I would sue, +My faithful service—thy renown. + +(Ollantay kneels before the Inca.) + + +Thy thrall: I bow to thy behest, +Thy fiat now will seal my fate. +O King, my services are great, +I pray thee grant one last request. + +I ask for Cusi Coyllur’s hand +If the Ñusta’s[32] love I’ve won. +O King! you’ll have a faithful son, +Fearless, well tried, at thy command. + + +PACHACUTI. +Ollantay, thou dost now presume. +Thou art a subject, nothing more. +Remember, bold one, who thou art, +And learn to keep thy proper place. + +OLLANTAY. +Strike me to the heart. + +PACHACUTI. +’Tis for me to see to that, +And not for thee to choose. +Thy presumption is absurd. Be gone! + +(Ollantay rises and exit R.) + +SCENE 4 + +A rocky height above Cuzco to the NE. Distant view of the city of Cuzco +and of the Sacsahuaman hill, crowned by the fortress. + +(Enter OLLANTAY armed.) + + +OLLANTAY. +Alas, Ollantay! Ollantay! +Thou master of so many lands, +Insulted by him thou servedst well. +O my thrice-beloved Coyllur, +Thee too I shall lose for ever. +O the void[33] within my heart, +O my princess! O precious dove! +Cuzco! O thou beautiful city! +Henceforth behold thine enemy. +I’ll bare thy breast to stab thy heart, +And throw it as food for condors; +Thy cruel Inca I will slay. +I will call my men in thousands, +The Antis will be assembled, +Collected as with a lasso. +All will be trained, all fully armed, +I will guide them to Sacsahuaman. +They will be as a cloud of curses, +When flames rise to the heavens. +Cuzco shall sleep on a bloody couch, +The King shall perish in its fall; +Then shall my insulter see +How numerous are my followers. +When thou, proud King, art at my feet, +We then shall see if thou wilt say, +‘Thou art too base for Coyllur’s hand.’ +Not then will I bow down and ask, +For I, not thou, will be the King— +Yet, until then, let prudence rule. + +(Enter PIQUI CHAQUI from back, R.) + + +Piqui Chaqui, go back with speed, +Tell the Princess I come to-night. + +PIQUI CHAQUI. +I have only just come from there— +The palace was deserted quite, +No soul to tell me what had passed, +Not even a dog[34] was there. +All the doors were closed and fastened, +Except the principal doorway, +And that was left without a guard. + +OLLANTAY. +And the servants? + +PIQUI CHAQUI. +Even the mice had fled and gone, +For nothing had been left to eat. +Only an owl was brooding there, +Uttering its cry of evil omen. + +OLLANTAY. +Perhaps then her father has taken her, +To hide her in his palace bounds. + +PIQUI CHAQUI. +The Inca may have strangled her; +Her mother too has disappeared. + +OLLANTAY. +Did no one ask for me +Before you went away? + +PIQUI CHAQUI. +Near a thousand men are seeking +For you, and all are enemies, +Armed with their miserable clubs. + +OLLANTAY. +If they all arose against me, +With this arm I’d fight them all +No one yet has beat this hand, +Wielding the champi sharp and true. + +PIQUI CHAQUI. +I too would like to give a stroke +At least, if my enemy was unarmed. + +OLLANTAY. +To whom? + +PIQUI CHAQUI. +I mean that Urco Huaranca chief, +Who lately was in search of thee. + +OLLANTAY. +Perhaps the Inca sends him here +If so my anger is aroused. + +PIQUI CHAQUI. +Not from the King, I am assured, +He cometh of his own accord +And yet he is an ignoble man. + +OLLANTAY. +He has left Cuzco, I believe; +My own heart tells me it is so +I’m sure that owl announces it. +We’ll take to the hills, at once. + +PIQUI CHAQUI. +But wilt thou abandon the Star? + +OLLANTAY. +What can I do, alas! +Since she has disappeared? +Alas, my dove! my sweet princess. + +(Music heard among the rocks.) + + +PIQUI CHAQUI. +Listen to that yarahui, +The sound comes from somewhere near. + +(They sit on rocks.) + + +SONG + +In a moment I lost my beloved, + She was gone, and I never knew where; +I sought her in fields and in woods, + Asking all if they’d seen the Coyllur. + +Her face was so lovely and fair, + They called her the beautiful Star. +No one else can be taken for her, + With her beauty no girl can compare. + +Both the sun and the moon seem to shine, + Resplendent they shine from a height, +Their rays to her beauty resign + Their brilliant light with delight. + +Her hair is a soft raven black, + Her tresses are bound with gold thread, +They fall in long folds down her back, + And add charm to her beautiful head. + +Her eyelashes brighten her face, + Two rainbows less brilliant and fair, +Her eyes full of mercy and grace, + With nought but two, suns can compare. + +The eyelids with arrows concealed, + Gaily shoot their rays into the heart +They open, lo! beauty revealed, + Pierces through like a glittering dart. + +Her cheeks Achancara[35] on snow, + Her face more fair than the dawn, +From her mouth the laughter doth flow, + Between pearls as bright as the morn. + +Smooth as crystal and spotlessly clear + Is her throat, like the corn in a sheaf +Her bosoms, which scarcely appear, + Like flowers concealed by a leaf. + +Her beautiful hand is a sight, + As it rests from all dangers secure, +Her fingers transparently white, + Like icicles spotless and pure. + +OLLANTAY. +(_rising_). +That singer, unseen and unknown, +Has declared Coyllur’s beauty and grace; +He should fly hence, where grief overwhelms. +O Princess! O loveliest Star, +I alone am the cause of thy death, +I also should die with my love. + +PIQUI CHAQUI. +Perhaps thy star has passed away, +For the heavens are sombre and grey. + +OLLANTAY. +When they know that their Chief has fled, +My people will rise at my call, +They will leave the tyrant in crowds +And he will be nearly alone. + +PIQUI CHAQUI. +Thou hast love and affection from men, +For thy kindness endears thee to all, +For thy hand’s always open with gifts, +And is closely shut only to me. + +OLLANTAY. +Of what hast thou need? + +PIQUI CHAQUI. +What? the means to got this and that, +To offer a gift to my girl, +To let others see what I have, +So that I may be held in esteem. + +OLLANTAY. +Be as brave as thou art covetous, +And all the world will fear thee. + +PIQUI CHAQUI. +My face is not suited for that; +Always gay and ready to laugh, +My features are not shaped that way. +To look brave! not becoming to me. +What clarions sound on the hills? +It quickly cometh near to us. + +(Both look out at different sides.) + + +OLLANTAY. +I doubt not those who seek me—come, +Let us depart and quickly march. + +PIQUI CHAQUI. +When flight is the word, I am here. + +(Exeunt.) + +SCENE 5 + +The great hall of the palace of Pachacuti. The INCA, as before, seated +on the tiana. Enter to him RUMI-ÑAUI. + +PACHACUTI. +I ordered a search to be made, +But Ollantay was not to be found. +My rage I can scarcely control— +Hast thou found this infamous wretch? + +RUMI-ÑAUI. +His fear makes him hide from thy wrath. + +PACHACUTI. +Take a thousand men fully armed, +And at once commence the pursuit. + +RUMI-ÑAUI. +Who can tell what direction to take? +Three days have gone by since his flight, +Perchance he’s concealed in some house, +And till now he is there, safely hid. + +(Enter a chasqui or messenger with quipus.) + + +Behold, O King, a messenger +From Urubamba he has come. + +CHASQUI. +I was ordered to come to my King, +Swift as the wind, and behold me. + +PACHACUTI. +What news bringest thou? + +CHASQUI. +This quipu will tell thee, O King. + +PACHACUTI. +Examine it, O Rumi-ñaui. + +RUMI-ÑAUI. +Behold the llanta, and the knots[36] +Announce the number of his men. + +PACHACUTI. +(to Chasqui). +And thou, what hast thou seen? + +CHASQUI. +’Tis said that all the Anti host +Received Ollantay with acclaim; +Many have seen, and they recount, +Ollantay wears the royal fringe. + +RUMI-ÑAUI. +The quipu record says the same. + +PACHACUTI. +Scarcely can I restrain my rage! +Brave chief, commence thy march at once, +Before the traitor gathers strength. +If thy force is not enough, +Add fifty thousand men of mine. +Advance at once with lightning speed, +And halt not till the foe is reached. + +RUMI-ÑAUI. +To-morrow sees me on the route, +I go to call the troops at once +The rebels on the Colla road, +I drive them flying down the rocks. +Thine enemy I bring to thee, +Dead or alive, Ollantay falls. +Meanwhile, O Inca, mighty Lord, +Rest and rely upon thy thrall. + +(Exeunt.) + + +END OF ACT I. + + + + +ACT II + + +SCENE 1 + +Ollantay-tampu. Hall of the fortress-palace. Back scene seven immense +stone, slabs, resting on them a monolith right across. Above masonry. +At sides masonry with recesses; in the R. centre a great doorway. A +golden tiana against the central slab. + +(Enter OLLANTAY and URCO HUARANCA, both fully armed.) + + +URCO HUARANCA. +Ollantay, thou hast been proclaimed +By all the Antis as their Lord. +The women weep, as you will see— +They lose their husbands and their sons, +Ordered to the Chayanta war. +When will there be a final stop +To distant wars? Year after year +They send us all to far-off lands, +Where blood is made to flow like rain. +The King himself is well supplied +With coca and all kinds of food. +What cares he that his people starve? +Crossing the wilds our llamas die, +Our feet are wounded by the thorns, +And if we would not die of thirst +We carry water on our backs. + +OLLANTAY. +Gallant friends! Ye hear those words, +Ye listen to the mountain chief. +Filled with compassion for my men, +I thus, with sore and heavy heart, +Have spoken to the cruel king: +‘The Anti-suyu must have rest; +All her best men shan’t die for thee, +By battle, fire, and disease— +They die in numbers terrible. +How many men have ne’er returned, +How many chiefs have met their death +For enterprises far away?’ +For this I left the Inca’s court,[37] +Saying that we must rest in peace; +Lot none of us forsake our hearths, +And if the Inca still persists, +Proclaim with him a mortal feud. + +(Enter HANCO HUAYLLU, several chiefs, and a great crowd of soldiers and +people.) + + +PEOPLE. +Long live our king, Ollantay +Bring forth the standard and the fringe, +Invest him with the crimson fringe +In Tampu now the Inca reigns, +He rises like the star of day. + +(The chiefs, soldiers, and people range them selves round. Ollantay is +seated on the tiana by Hanco Huayllu, an aged Auqui or Prince.) + + +HANCO HUAYLLU. +Receive from me the royal fringe, +’Tis given by the people’s will. +Uilcanota[38] is a distant land, +Yet, even now, her people come +To range themselves beneath thy law. + +(Ollantay is invested with the fringe. He rises.) + + +OLLANTAY. +Urco Huaranca, thee I name +Of Anti-suyu Chief and Lord; +Receive the arrows and the plume, + +(Gives them.) + + +Henceforth thou art our general. + +PEOPLE. +Long life to the Mountain Chief. + +OLLANTAY. +Hanco Huayllu,[39] of all my lords +Thou art most venerable and wise, +Being kin to the august High Priest, +It is my wish that thou shouldst give +The ring unto the Mountain Chief. + +(Urco Huaranca kneels, and Hanco Huayllu addresses him.) + + +HANCO HUAYLLU. +This ring around thy finger’s placed +That thou mayst feel, and ne’er forget, +That when in fight thou art engaged, +Clemency becomes a hero chief. + +URCO HUARANCA. +A thousand times, illustrious king, +I bless thee for thy trust in me. + +HANCO HUAYLLU. +Behold the valiant Mountain Chief, +Now fully armed from head to foot, +And bristling like the quiscahuan,[40] +Accoutred as becomes a knight. + +(Turning to Urco Huaranca.) + + +Ne’er let thine enemies take thee in rear +Man of the Puna,[41] it ne’er can be said +You fled or trembled as a reed. + +URCO HUARANCA. +Hear me, warriors of the Andes! +Already we have a valiant king, +It might be he will be attacked; +’Tis said th’ old Inca sends a force, +The men of Cuzco now advance. +We have not a single day to lose; +Call from the heights our Puna men, +Prepare their arms without delay, +Make Tampu strong with rampart walls, +No outlet leave without a guard; +On hill slopes gather pois’nous herbs +To shoot our arrows, carrying death. + +OLLANTAY. +(to Urco Huaranca). +Select the chiefs! +Fix all the posts for different tribes; +Our foes keep marching without sleep— +Contrive to check them by surprise. +The compi[42] ruse may cause their flight. + +URCO HUARANCA. +Thirty thousand brave Antis are here, +Amongst them no weakling is found; +Apu Maruti,[43] the mighty in war, +From high Uilcapampa[44] will come, +On steep Tinquiqueru[45] he’ll stand +To march when the signal appears; +On the opposite side of the stream +Prince Chara[46] has mustered his force; +In the gorge Charamuni[47] I post +Ten thousand armed Antis on watch; +Another such force is in wait +On the left, in the vale of Pachar.[48] +We are ready to meet our foes, +We await them with resolute calm; +They will march in their confident pride +Until their retreat is cut off, +Then the trumpet of war shall resound, +From the mountains the stones shall pour down, +Great blocks will be hurled from above. +The Huancas[49] are crushed or dispersed, +Then the knife shall do its fell work, +All will perish by blows from our hands, +Our arrows will follow their flight. + +PEOPLE and SOLDIERS. +It is well! It is very well! + +(Cheers and martial music.) + + +(Exeunt.) + +SCENE 2 + +A wild place the mountains. Distant view of Ollantay-tampu. + +(Enter Rumi-ñaui, torn and ragged, and covered with blood, with two +attendants.) + +RUMI-ÑAUI. +Ah! Rumi-ñaui—Rumi-ñaui,[50] +Thou art a fated rolling stone,[51] +Escaped indeed, but quite alone, +And this is now thy _yarahui_. + +Ollantay posted on the height, +Thou couldst not either fight or see, +Thy men did quickly fall or flee; +No room was there to move or fight. + +Thou knowest now thy heart did beat +And flutter like a butterfly; +Thy skill thou couldst not then apply, +No course was left thee but retreat. + +They had recourse to a surprise, +Our warriors immolated quite. +Ah! that alone could turn thee white— +From shame like that, canst e’er arise? + +By thousands did thy warriors fall, +I hardly could alone escape, +With open mouth fell death did gape, +A great disaster did befall. + +Holding that traitor to be brave, +I sought to meet him face to face— +Rushing to seek him with my mace, +I nearly found a warrior’s grave. + +My army then was near the hill, +When suddenly the massive stones +Came crashing down, with cries and moans, +While clarions sounded loud and shrill. + +A rain of stones both great and small +Down on the crowd of warriors crashed, +On every side destruction flashed, +Thy heart the slaughter did appal. + +Like a strong flood the blood did flow, +Inundating the ravine; +So sad a sight thou ne’er hast seen— +No man survived to strike a blow. + +O thou who art by this disgraced, +What figure canst thou ever show +Before the king, who seeks to know +The truth, which must be faced? + +’Tis better far myself to kill, +Or losing every scrap of hope, +To hang my body with this rope. + +(Takes a sling off his cap—going.) + + +Yet may it not be useful still? + +(Turns again.) + + +When bold Ollantay’s end has come.[52] + +(Exit.) + +SCENE 3 + +A garden in the house of the Virgins of the Sun. Chilca shrubs and +mulli trees (Schinus Molle) with panicles of red berries. The walls of +the house at the back, with a door. A gate (L.) opening on the street. + +(YMA SUMAC discovered at the gate looking out. To her enters (R.) PITU +SALLA. Both dressed in white with golden belts.) + +PITU SALLA. +Yma Sumac, do not approach +So near that gate, and so often; +It might arouse the Mother’s wrath. +Thy name, which is so dear to me, +Will surely pass from mouth to mouth. +Honour shall be shown to chosen ones,[53] +Who wish to close the outer gate. +Amuse thyself within the walls, +And no one then can say a word. +Think well what you can find within— +It gives you all you can desire, +Of dresses, gold, and dainty food. +Thou art beloved by every one, +E’en Virgins of the royal blood. +The Mothers love to carry thee, +They give thee kisses and caress— +You they prefer to all the rest. +What more could any one desire, +Than always to remain with them, +Destined to be servant of the Sun? +In contemplating Him there’s peace. + +YMA SUMAC. +Pitu Salla, ever you repeat +The same thing and the same advice; +I will open to thee my whole heart, +And say exactly what I think. +Know that to me this court and house +Are insupportable—no less; +The place oppresses—frightens me— +Each day I curse my destiny. +The faces of all the Mama Cuna +Fill me with hatred and disgust, +And from the place they make me sit, +Nothing else is visible. +Around me there is nothing bright, +All are weeping and ne’er cease +If I could ever have my way, +No person should remain within. +I see the people pass outside, +Laughing as they walk along. +The reason it is plain to see— +They are not mewed and cloistered here. +Is it because I have no mother, +That I am kept a prisoner? +Or is it I’m a rich novice? +Then from to-day I would be poor. +Last night I could not get to sleep, +I wandered down a garden walk; +In the dead silence of the night, +I heard one mourn. A bitter cry, +As one who sought and prayed for death. +On every side I looked about, +My hair almost on end with fright, +Trembling, I cried, ‘Who canst thou be?’ +Then the voice murmured these sad words: +‘O Sun, release me from this place!’ +And this, amidst such sighs and groans! +I searched about, but nothing found— +The grass was rustling in the wind. +I joined my tears to that sad sound, +My heart was torn with trembling fear. +When now the recollection comes, +I’m filled with sorrow and with dread. +You know now why I hate this place. +Speak no more, my dearest friend, +Of reasons for remaining here. + +PITU SALLA. +At least go in. The Mother may appear. + + +YMA SUMAC. +But pleasant is the light of day. + +(Exit, R.) + + +(Enter MAMA CCACCA, L., in grey with black edges and belt.) + + +MAMA CCACCA. +Pitu Salla, hast thou spoken +All I told thee to that child? + +PITU SALLA. +I have said all to her. + +MAMA CCACCA. +And she, does she answer freely? + +PITU SALLA. +She has wept and asked for pity, +Refusing to comply at all. +She will not take the virgin’s oath. + +MAMA CCACCA. +And this in spite of thy advice? + +PITU SALLA. +I showed her the dress she will wear, +Telling her misfortune would befall +If she refused to be a chosen one— +That she would ever be an outcast, +And for us a child accursed. + +MAMA CCACCA. +What can she imagine, +Wretched child of an unknown father, +A maid without a mother, +Just a fluttering butterfly? +Tell her plainly, very plainly, +That these walls offer her a home, +Suited for outcasts such as she, +And here no light is seen. + +(Exit, L.) + + +PITU SALLA. +Ay, my Sumac! Yma Sumac! +These walls will be cruel indeed, +To hide thy surpassing beauty. + +(Glancing to where Mama Ccacca went out.) + + +What a serpent! What a puma! + + + + +ACT III + +SCENE 1 + +The Pampa Moroni, a street in Cuzco. Enter RUMI-ÑAUI (L.)[54] in a long +black cloak with a train, and PIQUI CHAQUI (R.), meeting each other. + +RUMI-ÑAUI. +Whence, Piqui Chaqui, comest thou? +Dost thou here seek Ollantay’s fate? + +PIQUI CHAQUI. +Cuzco, great lord, is my birthplace; +I hasten back unto my home. +I care not more to pass my days +In dismal and profound ravines. + +RUMI-ÑAUI. +Tell me, Ollantay—what does he? + +PIQUI CHAQUI. +He is busy now entangling +An already entangled skein. + +RUMI-ÑAUI. +What skein? + +PIQUI CHAQUI. +Should you not give me some present +If you want me to talk to you. + +RUMI-ÑAUI. +With a stick will I give thee blows, +With a rope I will hang thee. + +PIQUI CHAQUI. +O, do not frighten me! + +RUMI-ÑAUI. +Speak then. + +PIQUI CHAQUI. +Ollantay. Is it Ollantay? +I can remember no more. + +RUMI-ÑAUI. +Piqui Chaqui! Take care! + +PIQUI CHAQUI. +But you will not listen! +I am turning blind, +My ears are getting deaf, +My grandmother is dead, +My mother is left alone. + +RUMI-ÑAUI. +Where is Ollantay? Tell me. + +PIQUI CHAQUI. +I am in want of bread, +And the Paccays[55] are not ripe. +I have a long journey to-day— +The desert is very far off. + +RUMI-ÑAUI. +If you continue to vex me +I will take your life. + +PIQUI CHAQUI. +Ollantay, is it? He is at work. +Ollantay! He is building a wall, +With very small stones indeed; +They are brought by little dwarfs— +So small that to be a man’s size +They have to climb on each other’s backs. +But tell me, O friend of the King,[56] +Why art thou in such long clothes, +Trailing like the wings of a sick bird[57]— +As they are black it is better. + +RUMI-ÑAUI. +Hast thou not seen already +That Cuzco is plunged in grief? +The great Inca Pachacuti[58] is dead, +All the people are in mourning, +Every soul is shedding tears. + +PIQUI CHAQUI. +Who, then, succeeds to the place +Which Pachacuti has left vacant? +If Tupac Yupanqui succeeds, +That Prince is the youngest +There are some others older.[59] + +RUMI-ÑAUI. +All Cuzco has elected him, +For the late king chose him, +Giving him the royal fringe; +We could elect no other. + +PIQUI CHAQUI. +I hasten to bring my bed here.[60] + +(Exit running.) + +SCENE 2 + +Great hall of the palace of Tupac Yupanqui. The INCA seated on golden +tiana (C.). + +(Enter the HIGH PRIEST or UILLAC UMA, with priests and chosen Virgins +of the Sun. The INCA dressed as his father. Uillac Uma in full dress, +wearing the huampar chucu. Virgins in white with gold belts and +diadems. They range themselves by the throne (L.). Then enter RUMI-ÑAUI +and a crowd of chiefs, all in full dress, ranging themselves by the +throne (R.).) + +TUPAC YUPANQUI. +This day, O Councillors and Chiefs, +Let all receive my benison; +You Holy Virgins of the Sun[61] +Receive our father’s tenderest care. +The realm, rejoicing, hails me king; +From deep recesses of my heart +I swear to seek the good of all. + +UILLAC UMA. +To-day the smoke of many beasts +Ascends on high towards the sun, +The Deity with joy accepts +The sacrifice of prayer and praise. +We found in ashes of the birds +Our only Inca, King, and Lord, +In the great llama sacrifice; +All there beheld an eagle’s form, +We opened it for augury, +But lo! the heart and entrails gone. +The eagle Anti-suyu means— +To thy allegiance they return. + +(Bowing to the Inca.) + + +Thus I, thy augur, prophesy. + +(Acclamation.) (Exeunt all but Uillac Uma and Rumi-ñaui.) + + +TUPAC YUPANQUI. +(turning to Rumi-ñaui). +Behold the Hanan-suyu Chief +Who let the enemy escape, +Who led to almost certain death +So many thousands of my men. + +RUMI-ÑAUI. +Before his death thy father knew +Disaster had befallen me; +’Tis true, O King, it was my fault, +Like a stone[62] I gave my orders, +And volleying stones soon beat me down; +It was with stones I had to fight, +And in the end they crushed my men. +Oh! grant me, Lord, a single chance, +Give perfect freedom to my plans, +Myself will to the fortress march, +And I will leave it desolate. + +TUPAC YUPANQUI. +For thee to strive with all thy might, +For thee thine honour to regain, +For thou shalt ne’er command my men +Unless thy worthiness is proved. + +UILLAC UMA. +Not many days shall pass, O King, +E’er all the Antis are subdued. +I’ve seen it in the quipu roll, +Haste! Haste! thou Rumi Tunqui. [63] + +(Exeunt.) + +SCENE 3 + +The great terrace entrance to Ollantay-tampu. On R. a long masonry wall +with recesses at intervals. At back a great entrance doorway. On L. +terraces descend, with view of valley and mountains. + +(Guards discovered at entrance doorway. To them enter RUMI-ÑAUI in +rags, his face cut and slashed with wounds, and covered with blood.) + +RUMI-ÑAUI. +Will no one here have pity on me? + +ONE OF THE GUARDS. +Who art thou, man? +Who has ill-treated thee? +Thou comest in a frightful state, +Covered with blood and gaping wounds. + +RUMI-ÑAUI. +Go quickly to thy king and say +That one he loves has come to him. + + +ONE OF THE GUARDS. +Thy name? + +RUMI-ÑAUI. +There is no need to give a name. + + +ONE OF THE GUARDS. +Wait here. + +(Exit one of the guards.) + + +(Enter OLLANTAY with guards, R. front.) + + +RUMI-ÑAUI. +A thousand times I thee salute, +Ollantay, great and puissant king! +Have pity on a fugitive +Who seeks a refuge here with thee. + +OLLANTAY. +Who art thou, man? Approach nearer. +Who has thus ill-treated thee? +Were such deep and fearful wounds +Caused by a fall, or what mishap? + +RUMI-ÑAUI. +Thou knowest me, O mighty chief. +I am that stone that fell down once, +But now I fall before thy feet; +O Inca! mercy! Raise me up! + +(Kneels.) + + +OLLANTAY. +Art thou the noble Rumi-ñaui, +Great Chief and Lord of Hanan-suyu? + +RUMI-ÑAUI. +Yes, I was that well-known Chief— +A bleeding fugitive to-day. +Ollantay. Rise, comrade mine. Let us embrace. + +(Rises.) + + +Who has dared to treat thee thus, +And who has brought thee here to me +Within my fortress, on my hearth? + +(To attendants.) + + +Bring new clothes for my oldest friend. + +(Exit an attendant.) + + +How is it that thou art alone? +Camest thou not fearing death? + +RUMI-ÑAUI. +A new king reigns in Cuzco now— +Tupac Yupanqui is installed. +Against the universal wish, +He rose upon a wave of blood; +Safety he sees in headless trunks, +The sunchu[64] and the nucchu[65] red +Are sent to all he would destroy. +Doubtless you have not forgot +That I was Hanan-suyu’s Chief. +Yupanqui ordered me to come; +Arrived, I came before the king, +And as he has a cruel heart, +He had me wounded as you see; +And now thou knowest, king and friend, +How this new Inca treated me. + +OLLANTAY. +Grieve not, old friend Rumi-ñaui, +Thy wounds before all must be cured; +I see in thee th’ avenging knife, +To use against the tyrant’s heart. +At Tampu now we celebrate +The Sun’s great Raymi festival; +On that day all who love my name, +Throughout my realms hold festival. + +RUMI-ÑAUI. +Those three days of festival +To me will be a time of joy, +Perhaps I may be healed by then, +So that my heart may pleasure seek. + +OLLANTAY. +It will be so. For three whole nights +We drink and feast, to praise the Sun, +The better to cast all care aside +We shall be shut in Tampu fort. + +RUMI-ÑAUI. +The youths, as is their wont, will find +Their great delight in those three nights, +Then will they rest from all their toils, +And carry off the willing girls. + +SCENE 4 + +A corridor in the palace of Chosen Virgins. + +(Enter YMA SUMAC and PITU SALLA.) + + +YMA SUMAC. +Pitu Salla, beloved friend, +How long wilt thou conceal from me +The secret that I long to know? +Think, dearest, of my anxious heart, +How I shall be in constant grief +Until you tell the truth to me. +Within these hard and cruel bounds +Does some one suffer for my sins? +My sweet companion, do not hide +From me, who ’tis that mourns and weeps +Somewhere within the garden walls. +How is it she is so concealed +That I can never find the place? + +PITU SALLA. +My Sumac, now I’ll tell thee all— +Only concerning what you hear, +And still more surely what you see, +You must be dumb as any stone; +And you too must be well prepared +For a most sad heart-rending sight— +’Twill make thee weep for many days. + +YMA SUMAC. +I will not tell a living soul +What you divulge. But tell me all, +I’ll shut it closely in my heart. + +SCENE 5 + +A secluded part of the gardens of the Virgins, (L.) flowers, (R.) a +thicket of mulli[66] and chilca,[67] concealing a stone door. + +(PITU SALLA and YMA SUMAC.) + + +PITU SALLA. +In this garden is a door of stone, +But wait until the Mothers sleep, +The night comes on. Wait here for me. + +(Exit.) + + +(Yma Sumac reclines on a bank and sleeps. +Night comes on, Yma Sumac awakes.) + + +YMA SUMAC. +A thousand strange presentiments +Crowd on me now, I scarce know what— +Perhaps I shall see that mournful one +Whose fate already breaks my heart. + +(Pitu Salla returns with a cup of water, a small covered vase +containing food, and a torch which she gives to Yma Sumac. She leads +Yma Sumac through bushes to the stone door, fixes the torch, presses +something, and the door swings round.) + + +(CUSI COYLLUR is discovered senseless, extended on the ground, a snake +twining itself round her waist.) + + +PITU SALLA. +Behold the princess for whom you seek. +Well! is thy heart now satisfied? + +YMA SUMAC. +Oh, my friend, what do I behold? +Is it a corpse that I must see? +Oh, horror! A dungeon for the dead! + +(She faints.) + + +PITU SALLA. +What misfortune has now arrived? +O my Sumac, my dearest love, +O come to thyself without delay! +Arouse thee. Arise, my lovely flower. + +(Yma Sumac revives.) + + +Fear not, my dove, my lovely friend, +’Tis not a corpse. The princess lives, +Unhappy, forlorn, she lingers here. + +YMA SUMAC. +Is she, then, still a living being? + +PITU SALLA. +Approach nearer, and you can help. +She lives indeed. Look. Watch her now. +Give me the water and the food. + +(To Cusi Coyllur, while helping her to sit up.) + + +O fair princess, I bring thee food +And cooling water to refresh. +Try to sit up. I come with help. + +YMA SUMAC. +Who art thou, my sweetest dove? +Why art thou shut in such a place? + +PITU SALLA. +Take a little food, we pray. +Perchance without it, you may die. + +CUSI COYLLUR. +How happy am I now to see, +After these long and dismal years, +The new and lovely face of one +Who comes with thee and gives me joy. + +YMA SUMAC. +O my princess, my sister dear, +Sweet bird, with bosom of pure gold, +What crime can they accuse thee of, +That they can make thee suffer thus? +What cruel fate has placed thee here +With death on watch in serpent’s form? + +CUSI COYLLUR. +O charming child, the seed of love, +Sweet flower for my broken heart, +I have been thrust in this abyss. +I once was joined to a man +As pupil is part of the eye; +But alas! has he forgotten me? +The King know not that we were joined +By such indissoluble bonds, +And when he came to ask my hand, +That King dismissed him in a rage, +And cruelly confined me here. +Many years have passed since then, +Yet, as you see, I’m still alive; +No single soul have I beheld +For all those sad and dismal years, +Nor have I found relief nor hope. +But who art thou, my dear, my love, +So young, so fresh, so pitiful? + +YMA SUMAC. +I too, like thee, am full of grief, +For long I’ve wished to see and love, +My poor forlorn and sad princess. +No father, no mother are mine, +And there are none to care for me. + +CUSI COYLLUR. +What age art thou? + +YMA SUMAC. +I ought to number many years, +For I detest this dreadful house, +And as it is a dreary place, +The time in it seems very long. + +PITU SALLA. +She ought to number just ten years +According to the account I’ve kept. + +CUSI COYLLUR. +And what is thy name? + +YMA SUMAC. +They call me Yma Sumac now, +But to give it me is a mistake. + +CUSI COYLLUR. +O my daughter! O my lost love, +Come to thy mother’s yearning heart. + +(Embraces Yma Sumac.) + + +Thou art all my happiness, +My daughter, come, O come to me; +This joy quite inundates my soul, +It is the name I gave to thee. + +YMA SUMAC. +O my mother, to find thee thus! +We must be parted never more. +Do not abandon me in grief. +To whom can I turn to free thee, +To whom can I appeal for right? + +PITU SALLA. +Make no noise, my dearest friend. +To find us thus would ruin me. +Let us go. I fear the Mothers. + +YMA SUMAC. +(to Cusi Coyllur). +Suffer a short time longer here, +Until I come to take thee hence, +Patience for a few more days. +Alas! my mother dear! I go, +But full of love, to seek for help. + +(Exeunt closing the stone door, all but Cusi Coyllur. They extinguish +the torch.) + +SCENE 6 + +Great hall in the palace of Tupac Yupanqui. + +(The INCA discovered seated on the tiana. To him enter the UILLAC UMA, +in full dress.) + + +TUPAC YUPANQUI. +I greet thee, great and noble Priest! +Hast thou no news of Rumi-ñaui. + +UILLAC UMA. +Last night, with guards, I wandered out +On heights towards Uilcanuta. +Far off I saw a crowd in chains, +No doubt the Anti prisoners,v For they are all defeated quite. +The cacti[68] on the mountains smoke, +E’en now the fortress is in flames. + +TUPAC YUPANQUI. +And Ollantay, is he taken? +Perhaps—I hope his life is saved. + +UILLAC UMA. +Ollantay was among the flames, +’Tis said that no one has escaped. + +TUPAC YUPANQUI. +The Sun, my Father, is my shield, +I am my father’s chosen child. +We must subdue the rebel host, +For that I am appointed here. + +(Enter a CHASQUI with a quipu in his hand.) + + +THE CHASQUI. +This morning at the dawn of day, +Rumi-ñaui despatched this quipu. + +TUPAC YUPANQUI. +(to the Uillac Uma). +See what it says. + +UILLAC UMA. +This knot, coloured burnt ahuarancu, +Tells us that Tampu too is burnt; +This triple knot to which is hung +Another which is quintuple, +In all of quintuples are three, +Denotes that Anti-suyu’s thine, +Its ruler prisoner of war. + +TUPAC YUPANQUI. +(to the Chasqui). +And thou. Where wert thou? + +THE CHASQUI. +Sole King and Lord! Child of the Sun! +I am the first to bring the news, +That thou mayst trample on the foe, +And in thine anger drink their blood. + +TUPAC YUPANQUI. +Did I not reiterate commands +To spare and not to shed their blood— +Not anger but pity is my rule. + +THE CHASQUI. +O Lord, we have not shed their blood; +They were all captured in the night, +Unable to resist our force. + +TUPAC YUPANQUI. +Recount to me in full detail +The circumstances of the war. + +THE CHASQUI. +For a signal thy warriors wait. +The nights passed at Tinquiqueru,[69] +Concealed in the cavern below, +Yanahuara[70] men joining us late. + +We waited within the large cave, +Thy men always ready to fight, +Behind foliage well out of sight, +Thy warriors patient and brave. + +But for three long days and dark nights, +No food for the zealous and bold; +Feeling hungry, thirsty, and cold, +We waited and watched for the lights.[71] + +Rumi-ñaui sent orders at length, +When the Raymi[72] they carelessly keep, +And all of them drunk or asleep, +We were then to rush on with our strength. + +Word came to surprise our foes, +Rumi-ñaui had opened the gate, +As cautious and silent as fate— +We were masters with none to oppose. + +Those rebels fell into the trap, +The arrows came on them like rain, +Most died in their sleep without pain, +Not knowing their fatal mishap. + +Ollantay, still trusting, was ta’en, +The same Urco Huaranca befell; +Hanco Huayllu is captive as well, +We thy rebels in fetters detain. + +The Antis by thousands are slain, +A fearful example is made, +They are beaten, crushed, and betrayed, +Their women in sorrow and pain. + +TUPAC YUPANQUI. +As witness of what has occurred, +On Vilcamayu’s storied banks, +No doubt thou hast told me the truth. +It was a well designed attack. + +(Enter RUMI-ÑAUI followed by several chiefs.) + + +RUMI-ÑAUI. +Great Inca, I kneel at thy feet, +This time You will hear my report, +I beseech thee to deign to restore +The trust that I forfeited once. + +(Kneels.) + + +TUPAC YUPANQUI. +Rise, great Chief, receive my regard, +I accept thy great service with joy; +Thou didst cast o’er the waters thy net, +And hast captured a marvellous fish. + +RUMI-ÑAUI. +Our enemies perished in crowds, +Their chiefs were captured and bound, +Overwhelmed by my terrible force, +Like a rook detached from the heights. + +TUPAC YUPANQUI. +Was much blood shed in the assault? + +RUMI-ÑAUI. +No, Lord, not a drop has been shed, +To thine orders I strictly adhered. +Those Antis were strangled in sleep, +But the fort is entirely razed. + +TUPAC YUPANQUI. +Where are the rebels? + +RUMI-ÑAUI. +They are waiting with agonised fear, +For their fate, to perish by cords. +The people are sending up cries, +Demanding their deaths without fail. +Their women are now in their midst, +The children raise hideous cries; +It is well that thine order should pass +To finish their traitorous lives. + +TUPAC YUPANQUI. +It must be so without any doubt, +That the orphans may not be alone, +Let all perish, not sparing one, +Thus Cuzco recovers her peace, +Let the traitors be brought before me. +In my presence the sentence they’ll hear. + +(Exit Rumi-ñaui, and re-enter followed by guards in charge of OLLANTAY, +URCO HUARANCA, and HANCO HAUYLLU, bound and blindfold, followed by +guards with PIQUI CHAQUI bound.) + + +TUPAC YUPANQUI. +Take the bands off the eyes of those men. +And now, Ollantay, where art thou? +And where art thou, O Mountain Chief? +Soon thou wilt roll down from the heights. + +(To the soldiers who bring in Piqui Chaqui.) + + +Whom have we here? + +PIQUI CHAQUI. +Many fleas in the Yuncas abound, +And torment the people full sore, +With boiling water they are killed, +And I, poor flea,[73] must also die. + +TUPAC YUPANQUI. +Tell me, Hanco Huayllu, tell me, +Why art thou Ollantay’s man? +Did not my father honour thee? +Did he not grant thy requests? +Did he ever have a secret from thee? +Speak also, you, the other rebels, +Ollantay and the Mountain Chief. + +OLLANTAY. +O father, we have nought to say, +Our crimes are overwhelming us. + +TUPAC YUPANQUI. +(to the Uillac Uma). +Pronounce their sentence, great High Priest. + +UILLAC UMA. +The light that fills me from the Sun +Brings mercy and pardon to my heart. + +TUPAC YUPANQUI. +Now thy sentence, Rumi-ñaui. + +RUMI-ÑAUI. +For crimes enormous such as these +Death should ever be the doom +It is the only way, O King! +To warn all others from such guilt. +To stout tocarpus[74] they should be +Secured and bound with toughest rope, +Then should the warriors freely shoot +Their arrows until death is caused. + +PIQUI CHAQUI. +Must it be that evermore +The Antis must all perish thus? +Alas! then let the branches burn +What pouring out of blood is here.[75] + +RUMI-ÑAUI. +Silence, rash man, nor dare to speak, + +(General lamentation outside.) + + +Having been rolled just like a stone, +My heart has now become a stone.[76] + +TUPAC YUPANQUI. +Know that tocarpus are prepared. +Remove those traitors from my sight, +Let them all perish, and at once. + +RUMI-ÑAUI. +Take these three men without delay +To the dreaded execution stakes; +Secure them with unyielding ropes, +And hurl them from the lofty rocks. + +TUPAC YUPANQUI. +Stop! Cast off their bonds. + +(The guards unbind them. They all kneel.) + + +(To Ollantay, kneeling). +Rise from thy knees; come to my side. + +(Rises.) + + +Now thou hast seen death very near, +You that have shown ingratitude, +Learn how mercy flows from my heart; +I will raise thee higher than before. +Thou wert Chief of Anti-suyu, +Now see how far my love will go; +I make thee Chief in permanence. +Receive this plume as general, +This arrow[77] emblem of command.[78] + +TUPAC YUPANQUI. +(to the Uillac Uma). +Thou mighty Pontiff of the Sun, +Robe him in the regal dress. +Raise up the others from their knees, +And free them from the doom of death. + +(Urco Huaranca, Hanco Huayllu, and Piqui Chaqui rise, the latter +looking much relieved. The Uillac Uma places the robe on Ollantay’s +shoulders.) + + +UILLAC UMA. +Ollantay, learn to recognise +Tupac Yupanqui’s generous mind; +From this day forth be thou his friend, +And bless his magnanimity. +This ring contains my potent charm, +For this I place it on thy hand. + +(Gives him a ring, or bracelet.) + + +This mace receive, ’tis from the king, + +(Gives him a mace (champi).) + + +It is his gracious gift to thee. + +OLLANTAY. +With tears I shall nearly consume +That mace thus presented to me; +I am tenfold the great Inca’s slave, +In this world no equal is found, +My heart’s fibres his latchets shall be; +From this moment my body and soul +To his service alone shall belong. + +TUPAC YUPANQUI. +Now, Mountain Chief! come near to me, +Ollantay is given the arrow and plume, +Though to me he gave fury and war. +Notwithstanding all that has passed +He continues the Andean chief, +And will lead his rebels to peace; +Thee also I choose for the plume; +From this day thou art a great chief, +And never forget in thy thoughts, +I saved thee from death and disgrace. + +URCO HUARANCA. +Great King and most merciful Lord, +But now, expecting my death, +I am ever thy most faithful slave. + +(Uillac Uma gives him the plume and arrow.) + + +UILLAC UMA. +O Urco, the Inca has made +A great and a powerful chief, +And grants thee with marvellous grace +The arrow and also the plume. + +RUMI-ÑAUI. +Illustrious King, I venture to ask, +Will Anti-suyu have two chiefs. + +TUPAC YUPANQUI. +There will not be two, O Rumi-ñaui +The Mountain Chief will rule the Antis; +In Cuzco Ollantay will reign— +As Viceroy deputed by me +His duties will call him to act +As ruler throughout the whole realm. + +OLLANTAY. +O King! thou dost raise me too high, +A man without service or claim; +I am thy obedient slave— +Mayst thou live for a thousand years. + +TUPAC YUPANQUI. +The mascapaycha now bring forth, +And to it the llautu attach. +Uillac Uma, adorn him with these, +And proclaim his state to the world. +Yes, Ollantay shall stand in my place, +Raised up like the star of the morn, +For Colla this month I shall start; +All preparations are made. +In Cuzco Ollantay will stay, +My Ranti[79] and Viceroy and friend. + +OLLANTAY. +I would fain, O magnanimous King, +Follow thee in the Chayanta war; +Thou knowest my love for such work. +Peaceful Cuzco is not to my taste, +I prefer to be thy Canari,[80] +To march in the van of thy force, +And not to be left in the rear. + +TUPAC YUPANQUI. +Thou shouldst find the wife of thy choice, +And with her reign happily here +In Cuzco; repose without care; +Rest here while I’m absent in war. + +OLLANTAY. +Great King, thy sorrowful slave +Already had chosen a wife. + +TUPAC YUPANQUI. +How is it I know not of this? +It should be reported to me. +I will load her with suitable gifts; +Why was this concealed from my eyes? + +OLLANTAY. +In Cuzco itself disappeared +That sweet and adorable dove; +One day she did rest in my arms, +And the next no more to be seen. +In grief I made search far and near, +Earth seemed to have swallowed her up, +To have buried her far from my sight; +O such, mighty King, is my grief. + +TUPAC YUPANQUI. +Ollantay! afflict not thyself, +For now thou must take up thy place +Without turning thy eyes from thy work. + +(To Uillac Uma.) + + +High priest, obey my command. + +(The Uillac Uma goes to the wings (R.) and addresses the people +outside.) + + +UILLAC UMA. +O people, hear what I say: +The Inca, our King and our Lord, +Thus declares his imperial will: +Ollantay shall reign in his place. + +PEOPLE outside. +Ollantay Ranti! Ollantay Ranti! + +(Shouts and acclamations.) + + +TUPAC YUPANQUI. +(to Rumi-ñaui and other chiefs.) +You also render him homage. + +RUMI-ÑAUI. +Prince Ollantay! Incap Ranti! +Thy promotion gives me joy. +All the Antis now released, +Return rejoicing to their homes. + +(He and all the Chiefs bow to Ollantay.) + + +GUARDS WITHOUT. +You cannot pass. Go back! go back! +Voice without. Why, is this a festive day? +Let me pass. I must see the king; +I pray you do not stop me, +Do not drive me from the door; +If you stop me I shall die. +Have a care. You will kill me. + +TUPAC YUPANQUI. +What noise is that without? + +GUARD. +It is a young girl who comes weeping +And insists upon seeing the king. + +TUPAC YUPANQUI. +Let her come in. + +(Enter Yma Sumac.) + + +YMA SUMAC. +Which is the Inca, my lord, +That I may kneel down at his feet? + +UILLAC UMA. +Who art thou, charming maid? +Behold the King. + +(Yma Sumac throws herself at the King’s feet.) + + +YMA SUMAC. +O my King! be thou my father, +Snatch from evil thy poor servant. +Extend thy royal hand to me. +O merciful child of the Sun, +My mother is dying at this hour +In a foul and loathsome cave; +She is killed in cruel martyrdom— +Alas! she is bathed in her own blood. + +TUPAC YUPANQUI. +What inhumanity, poor child! +Ollantay, take this case in hand. + +OLLANTAY. +Young maiden, take me quickly there; +We will see who it is that suffers. + +YMA SUMAC. +No, sir. Not so. It is the King himself +Should go with me. +Perhaps he may recognise her; + +(To Ollantay.) + + +For you, I know not who you are. +O King, arise, do not delay, +I fear my mother breathes her last, +At least may be in mortal pain; +O Inca! Father! grant my prayer. + +UILLAC UMA. +Illustrious King, thou wilt consent; +Let us all seek this luckless one— +Thou canst release from cruel bonds. +Lot us go, O King! + +TUPAC YUPANQUI. +(rising). +Come all! Come all! +In midst of reconciliations +This young maid assaults my heart. + +(Exeunt.) + +SCENE 7 + +The garden in the palace of Virgins of the Sun (same scene as Act III, +Scene 5). Stone door more visible. + +(Enter the INCA TUPAC YUPANQUI with YMA SUMAC, OLLANTAY, UILLAC UMA and +RUMI nAUI; URCO HUARANCA, HANCO HUAYLLU and PIQUI CHAQUI in the +background.) + +TUPAC YUPANQUI. +But this is the Aclla Huasi;[81] +My child, art thou not mistaken? +Where is thy imprisoned mother? + +YMA SUMAC. +In a dungeon within these bounds +My mother has suffered for years, +Perhaps even now she is dead. + +(She points to the stone door.) + + +TUPAC YUPANQUI. +What door is this? + +(Enter MAMA CCACCA and PITU SALLA. Mama Ccacca kneels and kisses the +Inca’s hand.) + + +MAMA CCACCA. +Is it a dream or reality, +That I behold my sovereign? +Tupac Yupanqui. Open that door. + +(Mama Ccacca opens the door.) + + +(CUSI COYLLUR discovered chained and fainting, with a puma and a snake, +one on each side of her.) + + +YMA SUMAC. +O my mother, I feared to find +That you had already passed away; +Pitu Salla! Haste. Bring water. +Perhaps my dove may still revive. + +(Exit Pitu Salla.) + + +TUPAC YUPANQUI. +What horrid cavern do I see? +Who is this woman? what means it? +What cruel wretch thus tortures her? +What means that chain bound around her? +Mama Ccacca, come near to me +What hast thou to say to this?v Is it the effect of malice +That this poor creature lingers here? + +MAMA CCACCA. +It was thy father’s dread command; +A punishment for lawless love. + +TUPAC YUPANQUI. +Begone! begone! harder than rock.[82] +Turn out that puma and the snake,[83] +Break down that door of carved stone. +(To Mama Ccacca.) +Let me not see thy face again. +A woman living as a bat; +This child has brought it all to light. + +(Enter Pitu Salla with water. She sprinkles it over Cusi Coyllur, who +revives.) + + +CUSI COYLLUR. +Where am I? who are these people? +Yma Sumac, my beloved child, +Come to me, my most precious dove. +Who are all these men before me? + +(She begins to faint again and is restored by water.) + + +YMA SUMAC. +Fear not, my mother, ’tis the King; +The King himself comes to see you. +The great Yupanqui is now here. +Speak to him. Awake from thy trance. + +TUPAC YUPANQUI. +My heart is torn and sorrowful +At sight of so much misery. +Who art thou, my poor sufferer? +Child, tell me now thy mother’s name? + +YMA SUMAC. +Father! Inca! Clement Prince! +Have those cruel bonds removed. + +UILLAC UMA. +It is for me to remove them, +And to relieve this sore distress. + +(Cuts the rope fastening Cusi Coyllur to the wall.) + + +OLLANTAY. +(to Yma Sumac). +What is thy mother’s name? + +YMA SUMAC. +Her name was once Cusi Coyllur, +But it seems a mistake. Her joy +Was gone when she was prisoned here. + +OLLANTAY. +O renowned King, great Yupanqui, +In her you see my long lost wife. + +(Prostrates himself before the Inca.) + + +TUPAC YUPANQUI. +It all appears a dream to me. +The ‘Star’! my sister![84] and thy wife. +O sister! what newly found joy. +O Cusi Coyllur, my sister, +Come here to me, and embrace me, +Now thou art delivered from woe. + +(Music.) + + +Thou hast found thy loving brother; +Joy calms the anguish of my heart. + +(Embraces Cusi Coyllur.) + + +CUSI COYLLUR. +Alas! my brother, now you know +The cruel tortures I endured +During those years of agony; +Thy compassion now has saved me. + +TUPAC YUPANQUI. +Who art thou, dove, that hast suffered? +For what sin were you prisoned here? +Thou mightest have lost thy reason. +Thy face is worn, thy beauty gone, +Thy looks as one risen from death. + +OLLANTAY. +Cusi Coyllur, I had lost thee, +Thou wast quite hidden from my sight, +But thou art brought again to life— +Thy father should have killed us both. +My whole heart is torn with sorrow. +Star of joy, where is now thy joy? +Where now thy beauty as a star? +Art thou under thy father’s curse? + +CUSI COYLLUR. +Ollantay, for ten dreary years +That dungeon has kept us apart; +But now, united for new life, +Some happiness may yet be ours. +Yupanqui makes joy succeed grief, +He may well count[85] for many years. + +UILLAC UMA. +Bring new robes to dress the princess. + +(They put on her royal robes. The High Priest kisses her hand.) + + +TUPAC YUPANQUI. +Ollantay, behold thy royal wife, +Honour and cherish her henceforth. +And thou, Yma Sumac, come to me, +I enlace you in the thread of love; +Thou art the pure essence of Coyllur. + +(Embraces her.) + + +OLLANTAY. +Thou art our protector, great King, +Thy noble hands disperse our grief; +Thou art our faith and only hope— +Thou workest by virtue’s force. + +TUPAC YUPANQUI. +Thy wife is now in thy arms; +All sorrow now should disappear, +Joy, new born, shall take its place. + +(Acclamations from the Chiefs, and Piqui Chaqui. Music: huancars +(drums), pincullus (flutes), and pututus (clarions).) + + + + +FOOTNOTES: + + +1 (return) [ INCA-PACHACUTI | TUPAC YUPANQUI +| INCA HUAYNA CCAPAC | MANCO INCA | TUPAC AMARU | JUANA ÑUSTA = DIEGO +CONDORCANQUI | FELIPE CONDORCANQUI | PEDRO CONDORCANQUI | MIGUEL +CONDORCANQUI | JOSÉ GABRIEL CONDORCANQUI (TUPAC AMARU)] + +2 (return) [ ‘Sentencia pronunciada en el Cuzco por el Visitador Don +José Antonio de Areche, contra José Gabriel Tupac Amaru.’ In Coleccion +de obras y documentos de Don Pedro de Angelis, vol. V. (Buenos Ayres, +1836- 7).] + +3 (return) [ INCA PACHACUTI. | TUPAC YUPANQUI | HUAYNA CCAPAC | MANCO +INCA | MARIA TUPAC USCA = PEDRO ORTIZ DE ORUE +| CATALINA ORTIZ =LUIS JUSTINIANI | LUIS JUSTINIANI | LUIS JUSTINIANI +| NICOLO JUSTINIANI | JUSTO PASTOR JUSTINIANI | Dr. PABLO POLICARPO +JUSTINIANI(Cura of Laris)] + +4 (return) [ The wives of the Incas were called _ccoya_. The ccoya of +the second Inca was a daughter of the chief of _Sanoc_. The third Inca +married a daughter of the chief of Oma, the fourth married a girl of +_Tacucaray_, the wife of the fifth was a daughter of a _Cuzco_ chief. +The sixth Inca married a daughter of the chief of _Huayllacan_, the +seventh married a daughter of the chief of Ayamarca, and the eighth +went to _Anta_ for a wife. This Anta lady was the mother of Pachacuti. +The wife of Pachacuti, named _Anahuarqui_, was a daughter of the chief +of _Choco_. There was no rule about marrying sisters when Pachacuti +succeeded. He introduced it by making his son Tupac Yupanqui marry his +daughter Mama Ocllo, but this was quite unprecedented. The +transgression of a rule which he had just made may account for his +extreme severity.] + +5 (return) [ A bust, on an earthen vase, was presented to Don Antonio +Maria Alvarez, the political chief of Cuzco, in 1837, by an Indian who +declared that it had been handed down in his family from time +immemorial, as a likeness of the general, Rumi-ñaui, who plays an +important part in this drama of Ollantay. The person represented must +have been a general, from the ornament on the forehead, called +mascapaycha, and there are wounds cut on the face.—Museo Erudito, No. +B.] + +6 (return) [ _Chita_ is the lamb of the llama. A lamb of two or three +months was a favourite pet in the time of the Incas. It followed its +mistress, adorned with a little bell and ribbons.] + +7 (return) [ Supay, an evil spirit, according to some authorities.] + +8 (return) [ Ichuna, a sickle or scythe. The expression has been cited +by General Mitre and others as an argument that the drama is modern, +because this is a metaphor confined to the old world. But ichuna was in +use, in Quichua, in this sense, before the Spaniards came. The word is +from Ichu, grass.] + +9 (return) [ The Peruvians personified a mountain as two spirits, good +and evil. In writing poetically of a mountain opposing, it would be +referred to in the persons of its genii or spirits, and spoken of as +two foes, not one.] + +10 (return) [ Rurun, desert, solitude.] + +11 (return) [ Tasquiy, to march; tasquina, promenade, path.] + +12 (return) [ Cusi Coyllur, while daylight lasted, was, in the eyes of +Piqui Chaqui, like the sun. A change takes place at twilight, and at +night she is like the moon.] + +13 (return) [ Fasting was a preparation for all great religious +ceremonies. Victims for sacrifice underwent a previous fast, which was +looked upon in the fight of purification before being offered to the +Deity.] + +14 (return) [ They gave the attributes we usually assign to the fox to +the puma.] + +15 (return) [ Intip llirpun, ‘apple of the sun’s eye.’ There is no +English equivalent that is suitable.] + +16 (return) [ Huayruru is the seed of a thorny bush, erythrina rubra, +of a bright red colour. Zegarra has coral as the equivalent for +huayruru.] + +17 (return) [ The tuya (coccoborus chrysogaster) is a small finch, and +tuyallay means ‘my little tuya.’] + +18 (return) [ The piscaca is a much larger bird than the tuya. These +piscacas (coccoborus torridus) are nailed to trees as a warning to +other birds. They are black, with white breasts.] + +19 (return) [ In the tuya she sees her husband Ollantay, while the poor +princess herself is the forbidden grain.] + +20 (return) [ This is a yarahui or mournful elegy, of which there are +so many in the Quichua language. The singers of them were known as +yarahuec.] + +21 (return) [ Colla-suyu, the basin of lake Titicaca.] + +22 (return) [ Chayanta, a tribe in the montana south of the Collas.] + +23 (return) [ Champi, a one-handed battle-axe.] + +24 (return) [ Huancar, a drum; pututu, fife.] + +25 (return) [ Yunca, inhabitant of warm valley. Here it refers to the +wild tribes of the montana.] + +26 (return) [ In the original Quichua, Ollantay makes his appeal to the +Inca in quatrains of octosyllabic verses, the first line rhyming with +the last, and the second with the third. Garcilasso de la Vega and +others testify to the proficiency of the Incas in this form of +composition.] + +27 (return) [ Ollantay was Viceroy of Anti-suyu.] + +28 (return) [ Chahuar, a rope of aloe fibre. A curb or restraint.] + +29 (return) [ Raprancutan cuchurcani: literally, ‘I have clipped their +wings.’ Rapra, a wing.] + +30 (return) [ The powerful nation of Chancas, with their chief, +Huancavilca, inhabited the great valley of Andahuaylas and were +formidable rivals of the Incas. But they were subdued by Pachacuti long +before Ollantay can have been born. An allowable dramatic anachronism.] + +31 (return) [ Huancavilca was chief of the powerful nation of Chancas.] + +32 (return) [ Ñusta, Princess.] + +33 (return) [ Pisipachiyqui, to suffer from the void caused by absence. +Pisipay, to regret the absence of, to miss any one.] + +34 (return) [ The Dominican text has misi, a cat, instead of allco, a +dog. Von Tschudi thought that misi was a word of Spanish origin. +Zegarra says that it is not. Before the Spaniards came, there was a +small wild cat in the Andes called misi-puna. But the Justiniani text +has allco, a dog.] + +35 (return) [ Achancara, a begonia. A red flower in the neighbourhood +of Cuzco, according to Zegarra. One variety is red and white.] + +36 (return) [ The llanta is the main rope of the quipu, about a yard +long. The small cords of llama wool, of various colours, denoting +different subjects, each with various kinds of knots, recording +numbers.] + +37 (return) [ This, as we have seen, was not the reason why Ollantay +fled from Cuzco; but, from a leader’s point of view, it was an +excellent reason to give to the people of Anti-suyu. The great wars of +the Incas were, to some extent, a heavy drain upon the people, but the +recruiting was managed with such skill, and was so equally divided +among a number of provinces, that it was not much felt.] + +38 (return) [ The snowy mountain far to the south, in sight from Cuzco. +Uilca, sacred; unuta, water. Here is the source of the river Uilcamayu, +which flows by Ollantay-tampu.] + +39 (return) [ The aged Hanco Huayllu as Auqui, or Prince of the Blood, +and relation of the High Priest, gave eclat to these ceremonies.] + +40 (return) [ Quiscahuan. anything full of thorns.] + +41 (return) [ Puna, the loftier parts of the Andes.] + +42 (return) [ Compi, cloth or a cloak. This was an expression of the +ancient Peruvians, perhaps equivalent to our ‘hoodwinking.’] + +43 (return) [ Apu Maruti was the head of the ayllu of the Inca Yahuar +Huaccac, grandfather of Pachacuti. It was called the ayllu Aucaylli +Panaca.—Mesa, Anales del Cuzco, quoted by Zegarra.] + +44 (return) [ Uilcapampa, mass of mountains between the Uilcamayu and +Apurimac.] + +45 (return) [ Tinqui Queru, between Urupampa and Tampu. The word means +‘two vases coupled.’ Here are two rounded hills connected by a saddle, +three and a half miles from Tampu.] + +46 (return) [ Chara, was another descendant of Yahuar Huaccac.] + +47 (return) [ A ravine on the right bank of the Vilcamayu.] + +48 (return) [ Pachar is on the left bank of the Vilcamayu opposite +Ollantay-tampu, with which it is connected by a rope bridge.] + +49 (return) [ Huancas, natives of the valley of Jauja—Inca recruits.] + +50 (return) [ Like Ollantay in his appeal to the Inca, Rumi-ñaui, in +the original Quichua, has recourse to octosyllabic quatrains, the first +and last lines rhyming, and the second and third.] + +51 (return) [ Rumi, a stone.] + +52 (return) [ Clearly, from Rumi-ñaui’s own account, the strategy of +Urco Huaranca had been a complete and brilliant success.] + +53 (return) [ Aclla Cuna, the selected ones, the Virgins of the Sun. +They were under the supervision of so called Mothers—Mama Cuna. The +novices were not obliged to take the oaths at the end of their +novitiate.] + +54 (return) [ Rumi-ñaui is the interlocutor in the Justiniani text, in +the Dominican text, and in the text of Spilsbury. Yet Zegarra would +substitute the Uillac Uma or High Priest for Rumi-ñaui. His argument is +that the interlocutor was of the blood-royal, and that the High Priest +was always of the blood-royal, while Rumi-ñaui was not. But the text +does not say that the interlocutor was of the royal blood. Zegarra also +says that the interlocutor wore a black cloak with a long train, and +that this was the dress of the High Priest. But it was not the dress of +the High Priest as described by the best authorities. It was probably +the general mourning dress. The threats addressed to Piqui Chaqui were +likely enough to come from a soldier, but not from the High Priest as +he is portrayed in this drama.] + +55 (return) [ Paccay (mimosa incana), a tree with large pods, having a +snow-white woolly substance round the seeds, with sweet juice.] + +56 (return) [ The Zegarra and Spilsbury texts have Ccan Incacri, which +Zegarra translates, ‘relation of the Inca, of the royal family.’ +Spilsbury is more correct. He has ‘partisan of the Inca.’ The more +authentic Justiniani text has Ccan Pana. The particle ri is one of +emphasis or repetition. It does not mean a relation.] + +57 (return) [ The Zegarra and Spilsbury texts have hualpa, a game bird. +The Justiniani text has anca, an eagle, which is the correct reading.] + +58 (return) [ The Inca Pachacuti does not appear to advantage in the +drama. But he was the greatest man of his dynasty, indeed the greatest +that the red race has produced. He was a hero in his youth, a most able +administrator in mature age. As a very old man some needless cruelties +are reported of him which annoyed his son.] + +59 (return) [ The eldest son was Amaru Tupac. He was passed over by his +father with his own consent, and was ever faithful to his younger +brother. He was an able general.] + +60 (return) [ This was exactly what Piqui Chaqui was sent to Cuzco to +find out. The expression Apumusac pununayta, ‘I go to fetch my bed,’ is +one of joy at any fortunate event, in Quichua.] + +61 (return) [ Intic Huamin Caccunan (Intic Huarminca Caycuna, correct), +‘Ye women of the Sun.’ Zegarra thought, on the authority of Garcilasso +de la Vega, that these could not be select Virgins of the Sun, because +the virgins were never allowed outside their convent, and not even +women might enter. He is clearly wrong. Much higher authorities than +Garcilasso, as regards this point, especially Valera, tell us that the +virgins were treated with the greatest honour and respect. They took +part in great receptions and festivals, and when they passed along the +streets they had a guard of honour.] + +62 (return) [ Rumi. He keeps playing upon his name.] + +63 (return) [ Again playing upon the name of Rumi-ñaui. The High Priest +calls for haste, so he substitutes Tunqui for naui (eye), the tunqui +(Rupicola Peruviana) being one of the most beautiful birds in the +forests.] + +64 (return) [ Sunchu, a very large composita with a yellow flower, +growing round Cuzco. It was one of those which were used on sacred +festivals.] + +65 (return) [ Nucchu is a salvia, also considered sacred. A red flower. +Perhaps these flowers were sent as a summons from the Inca, but I have +not seen the custom mentioned elsewhere.] + +66 (return) [ Schineus Molle, a tree with pinnate leaves, and panicles +of red berries, well known in the Mediterranean countries, into which +it was introduced from Peru. Called by the English ‘pepper tree.’] + +67 (return) [ Several bushes are called chilca in Peru. Eupatorium +chilca (R. P.), baccharis scandens, and molina latifolia. Stereoxylon +pendulum is called puna chilca.] + +68 (return) [ A kind of cactus, of which they make needles, grows +abundantly on the mountains round Ollantay-tampu. It is called +ahuarancu. They set fire to the cacti as a war signal. Zegarra calls it +a thistle. The word in the Justiniani text is ahuarancu.] + +69 (return) [ Tinqui Queru, between Urupampa and Tampu. The word means +‘two vases coupled.’ Here are two rounded hills connected by a saddle, +three and a half miles from Tampu. (Taken from FN#45.)] + +70 (return) [ Yanahuara, a ravine near Urubamba, where some of the +troops of Rumi-ñaui had been posted.] + +71 (return) [ Signal lights.] + +72 (return) [ Ccapac Raymi, the great festival of the Sun. December +22.] + +73 (return) [ Piqui Chaqui is literally ‘flea foot.’ He is punning on +his name.] + +74 (return) [ Tocarpu, a pole or stake used at executions. Condemned +prisoners were fastened to a tocarpu before being hurled over a +precipice.] + +75 (return) [ Piqui Chaqui had an inkling that the Inca had expressed +dislike at the shedding of blood. He ventured to say these words in the +faint hope that they might remind the Inca of this dislike.] + +76 (return) [ Rumi-ñaui at it again: for ever ringing changes on his +name rumi, a stone.] + +77 (return) [ The plume and the arrow were the insignia of a general.] + +78 (return) [ Rather a staggerer for Rumi-ñaui! Perhaps, too, the +change is too sudden, and infringes the probabilities. Tupac Yupanqui +may have thought that his father had been unjust and that there were +excuses. It is known that the young Inca was indignant at some other +cruelties of his father. As a magnanimous warrior he may have despised +the treacherous methods of Rumi-ñaui. He may have valued Ollantay’s +known valour and ability, and have been loth to lose his services. All +these considerations may have influenced him more or less. The rebels +were the best men he had.] + +79 (return) [ Ranti, a deputy.] + +80 (return) [ Canari, a warlike tribe of Indians, in the south part of +the kingdom of Quito. They were first conquered by Tupac Yupanqui, and +they became devoted to him.] + +81 (return) [ Aclla, chosen; Huasi, house: palace of the Virgins of the +sun.] + +82 (return) [ Ccacca means a rock.] + +83 (return) [ My former translation, and those of Barranca and Tschudi, +treated puma and amaru (snake) as epithets applied to Mama Ccacca. +Zegarra considers that the puma and snake were intended to be actually +in the dungeon, and I believe he is right. The puma would not have hurt +his fellow-prisoner. Unpleasant animals were occasionally put into the +prisons of criminals. The Incas kept pumas as pets.] + +84 (return) [ The early Incas never married their sisters or relations. +Pachacuti’s mother was daughter of the chief of Anta. His wife, +Anahuarqui, was no relation. But the wife of Tupac Yupanqui was his +sister Mama Ocllo.] + +85 (return) [ A play upon the word yupanqui, which means literally, +‘you will count.’ The word was a title of the Incas, meaning, ‘you will +count as virtuous, brave,’ &c.] + + + + +*** END OF THE PROJECT GUTENBERG EBOOK APU OLLANTAY *** + +***** This file should be named 9068-0.txt or 9068-0.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/9/0/6/9068/ + +Updated editions will replace the previous one--the old editions will +be renamed. + +Creating the works from print editions not protected by U.S. copyright +law means that no one owns a United States copyright in these works, +so the Foundation (and you!) can copy and distribute it in the +United States without permission and without paying copyright +royalties. 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