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diff --git a/9068-h/9068-h.htm b/9068-h/9068-h.htm new file mode 100644 index 0000000..dfd7d32 --- /dev/null +++ b/9068-h/9068-h.htm @@ -0,0 +1,5330 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" +"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> +<head> +<meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> +<meta http-equiv="Content-Style-Type" content="text/css" /> +<title>The Project Gutenberg eBook of Apu Ollantay</title> + +<style type="text/css"> + +body { margin-left: 20%; + margin-right: 20%; + text-align: justify; } + +h1, h2, h3, h4, h5 {text-align: center; font-style: normal; font-weight: +normal; line-height: 1.5; margin-top: .5em; margin-bottom: .5em;} + +h1 {font-size: 300%; + margin-top: 0.6em; + margin-bottom: 0.6em; + letter-spacing: 0.12em; + word-spacing: 0.2em; + text-indent: 0em;} +h2 {font-size: 150%; margin-top: 2em; margin-bottom: 1em;} +h3 {font-size: 130%; margin-top: 1em;} +h4 {font-size: 120%;} +h5 {font-size: 110%;} + +.no-break {page-break-before: avoid;} /* for epubs */ + +div.chapter {page-break-before: always; margin-top: 4em;} + +hr {width: 80%; margin-top: 2em; margin-bottom: 2em;} + +p {text-indent: 1em; + margin-top: 0.25em; + margin-bottom: 0.25em; } + +.p2 {margin-top: 2em;} + +p.letter {text-indent: 0%; + margin-left: 10%; + margin-right: 10%; + margin-top: 1em; + margin-bottom: 1em; } + +p.center {text-align: center; + text-indent: 0em; + margin-top: 1em; + margin-bottom: 1em; } + +p.right {text-align: right; + margin-right: 10%; + margin-top: 1em; + margin-bottom: 1em; } + +p.footnote {font-size: 90%; + text-indent: 0%; + margin-left: 10%; + margin-right: 10%; + margin-top: 1em; + margin-bottom: 1em; } + +p.drama {text-indent: 0%; + margin-top: 0.6em; + margin-bottom: 0em; } + +a:link {color:blue; text-decoration:none} +a:visited {color:blue; text-decoration:none} +a:hover {color:red} + +</style> + +</head> + +<body> + +<div style='text-align:center; font-size:1.2em; font-weight:bold;'>The Project Gutenberg eBook of Apu Ollantay</div> +<div style='display:block; margin:1em 0'> +This eBook is for the use of anyone anywhere in the United States and +most other parts of the world at no cost and with almost no restrictions +whatsoever. You may copy it, give it away or re-use it under the terms +of the Project Gutenberg License included with this eBook or online +at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you +are not located in the United States, you will have to check the laws of the +country where you are located before using this eBook. +</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Apu Ollantay</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Anonymous</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Editor: Clements R. Markham</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Translator: Clements R. Markham</div> +<div style='display:block;margin:1em 0'>Release Date: September 2, 2003 [eBook #9068]<br /> +[Most recently updated: April 9, 2021]</div> +<div style='display:block;margin:1em 0'>Language: English</div> +<div style='display:block;margin:1em 0'>Character set encoding: UTF-8</div> +<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: John B. Hare and David Widger</div> +<div style='margin-top:2em;margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK APU OLLANTAY ***</div> + +<h1>Apu Ollantay</h1> + +<h2 class="no-break">A Drama of the Time of the Incas</h2> + +<h3> +Sovereigns Of Peru<br /><br /><br /> +About A.D. 1470</h3> + +<hr /> + +<h2>Contents</h2> + +<table summary="" style=""> + +<tr> +<td> <a href="#pref01">INTRODUCTION</a></td> +</tr> + +<tr> +<td> <a href="#pref02">MS. TEXTS</a></td> +</tr> + +<tr> +<td> <a href="#pref03">ACTS AND SCENES</a></td> +</tr> + +<tr> +<td> <a href="#pref04">DRAMATIS PERSONAE</a><br /><br /></td> +</tr> + +<tr> +<td> <a href="#act01"><b>ACT I</b></a></td> +</tr> + +<tr> +<td> <a href="#scene01">SCENE 1</a></td> +</tr> + +<tr> +<td> <a href="#scene02">SCENE 2</a></td> +</tr> + +<tr> +<td> <a href="#scene03">SCENE 3</a></td> +</tr> + +<tr> +<td> <a href="#scene04">SCENE 4</a></td> +</tr> + +<tr> +<td> <a href="#scene05">SCENE 5</a><br /><br /></td> +</tr> + +<tr> +<td> <a href="#act02"><b>ACT II</b></a></td> +</tr> + +<tr> +<td> <a href="#scene06">SCENE 1</a></td> +</tr> + +<tr> +<td> <a href="#scene07">SCENE 2</a></td> +</tr> + +<tr> +<td> <a href="#scene08">SCENE 3</a><br /><br /></td> +</tr> + +<tr> +<td> <a href="#act03"><b>ACT III</b></a></td> +</tr> + +<tr> +<td> <a href="#scene09">SCENE 1</a></td> +</tr> + +<tr> +<td> <a href="#scene10">SCENE 2</a></td> +</tr> + +<tr> +<td> <a href="#scene11">SCENE 3</a></td> +</tr> + +<tr> +<td> <a href="#scene12">SCENE 4</a></td> +</tr> + +<tr> +<td> <a href="#scene13">SCENE 5</a></td> +</tr> + +<tr> +<td> <a href="#scene14">SCENE 6</a></td> +</tr> + +<tr> +<td> <a href="#scene15">SCENE 7</a><br /><br /></td> +</tr> + +<tr> +<td> <a href="#foot01">FOOTNOTES</a><br /><br /></td> +</tr> + +</table> + +<p class="center"> +First Reduced To Writing By Dr. Valdez, Cuba Of Sicuani A.D. 1770 +</p> + +<p class="center"> +The Original Manuscript Copied By Dr. Justo Pastor Justiniani +</p> + +<p class="center"> +This Justiniani Text Copied At Laris, In April 1863, By Clements R. Markham +</p> + +<p class="center"> +A Free Translation Into English By Sir Clements Markham, K.C.B. [1910] +</p> + +<hr /> + +<div class="chapter"> + +<h2><a name="pref01"></a>INTRODUCTION</h2> + +<p> +The drama was cultivated by the Incas, and dramatic performances were enacted +before them. Garcilasso de la Vega, Molina, and Salcamayhua are the authorities +who received and have recorded the information given by the Amautas respecting +the Inca drama. Some of these dramas, and portions of others, were preserved in +the memories of members of Inca and Amauta families. The Spanish priests, +especially the Jesuits of Juli, soon discovered the dramatic aptitude of the +people. Plays were composed and acted, under priestly auspices, which contained +songs and other fragments of the ancient Inca drama. These plays were called +‘Autos Sacramentales.’ +</p> + +<p> +But complete Inca dramas were also preserved in the memories of members of the +Amauta caste and, until the rebellion of 1781, they were acted. The drama of +<i>Ollantay</i> was first reduced to writing and arranged for acting by Dr. Don +Antonio Valdez, the Cura of Tinto. It was acted before his friend José Gabriel +Condorcanqui<a href="#linknote-1" name="linknoteref-1" id="linknoteref-1">[1]</a> +in about 1775. Taking the name of his maternal ancestor, the Inca Tupac Amaru, +the ill-fated Condorcanqui rose in rebellion, was defeated, taken, and put to +death under torture, in the great square of Cuzco. In the monstrous sentence +‘the representation of dramas as well as all other festivals which the +Indians celebrate in memory of their Incas’ was prohibited.<a href="#linknote-2" name="linknoteref-2" id="linknoteref-2">[2]</a> +This is a clear proof that before 1781 these Quichua dramas were acted. +</p> + +<p> +The original manuscript of Valdez was copied by his friend Don Justo Pastor +Justiniani, and this copy was inherited by his son. There was another copy in +the convent of San Domingo at Cuzco, but it is corrupt, and there are several +omissions and mistakes of a copyist. Dr. Valdez died, at a very advanced age, +in 1816. In 1853 the original manuscript was in the possession of his nephew +and heir, Don Narciso Cuentas of Tinta. +</p> + +<p> +The Justiniani copy was, in 1853, in the possession of Dr. Don Pablo +Justiniani, Cura of Laris, and son of Don Justo Pastor Justiniani. He is a +descendant of the Incas.<a href="#linknote-3" name="linknoteref-3" id="linknoteref-3">[3]</a> +In April 1853 I went to Laris, a secluded valley of the Andes, and made a +careful copy of the drama of <i>Ollantay</i>. From this Justiniani text my +first very faulty line-for-line translation was made in 1871, as well as the +present free translation. +</p> + +<p> +The first printed notice of <i>Ollantay</i> appeared in the <i>Museo Erudito</i>, Nos. 5 to +9, published at Cuzco in 1837, and edited by Don José Palacios. The next +account of the drama, with extracts, was in the ‘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. +</p> + +<p> +In 1878 Gavino Pacheco Zegarra published his version of <i>Ollantay</i>, with a free +translation in French. His text is a manuscript of the drama which he found in +his uncle’s library. Zegarra, as a native of Peru whose language was +Quichua, had great advantages. He was a very severe, and often unfair, critic +of his predecessors. +</p> + +<p> +The work of Zegarra is, however, exceedingly valuable. He was not only a +Quichua scholar, but also accomplished and well read. His notes on special +words and on the construction of sentences are often very interesting. But his +conclusions respecting several passages which are in the Justiniani text, but +not in the others, are certainly erroneous. Thus he entirely spoils the +dialogue between the Uillac Uma and Piqui Chaqui by omitting the humorous part +contained in the Justiniani text; and makes other similar omissions merely +because the passages are not in his text. Zegarra gives a useful vocabulary at +the end of all the words which occur in the drama. +</p> + +<p> +The great drawback to the study of Zegarra’s work is that he invented a +number of letters to express the various modifications of sound as they +appealed to his ear. No one else can use them, while they render the reading of +his own works difficult and intolerably tiresome. +</p> + +<p> +The last publication of a text of <i>Ollantay</i> was by the Rev. J. H. Gybbon +Spilsbury, at Buenos Ayres in 1907, accompanied by Spanish, English, and French +translations in parallel columns. +</p> + +<p> +There is truth in what Zegarra says, that the attempts to translate line for +line, by von Tschudi and myself, ‘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. +</p> + +<p> +In the present translation I believe that I have always preserved the sense of +the original, without necessarily binding myself to the words. The original is +in octosyllabic lines. Songs and important speeches are in quatrains of +octosyllabic lines, the first and last rhyming, and the second and third. I +have endeavoured to keep to octosyllabic lines as far as possible, because they +give a better idea of the original; and I have also tried to preserve the form +of the songs and speeches. +</p> + +<p> +The drama opens towards the close of the reign of the Inca Pachacuti, the +greatest of all the Incas, and the scene is laid at Cuzco or at Ollantay-tampu, +in the valley of the Vilcamayu. The story turns on the love of a great chief, +but not of the blood-royal, with a daughter of the Inca. This would not have +been prohibited in former reigns, for the marriage of a sister by the sovereign +or his heir, and the marriage of princesses only with princes of the +blood-royal, were rules first introduced by Pachacuti.<a href="#linknote-4" +name="linknoteref-4" id="linknoteref-4">[4]</a> His imperial power and +greatness led him to endeavour to raise the royal family far above all others. +</p> + +<p> +The play opens with a dialogue between Ollantay and Piqui Chaqui, his page, a +witty and humorous lad. Ollantay talks of his love for the Princess Cusi +Coyllur, and wants Piqui Chaqui to take a message to her, while the page dwells +on the danger of loving in such a quarter, and evades the question of taking a +message. Then to them enters the Uillac Uma, or High Priest of the Sun, who +remonstrates with Ollantay—a scene of great solemnity, and very +effective. +</p> + +<p> +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. +</p> + +<p> +In the third scene Ollantay prefers his suit to the Inca Pachacuti in +octosyllabic quatrains, the first and last lines rhyming, and the second and +third. His suit is rejected with scorn and contempt. Ollantay next appears on +the heights above Cuzco. In a soliloquy he declares himself the implacable +enemy of Cuzco and the Inca. Then Piqui Chaqui arrives with the news that the +Queen’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 <i>chasqui</i>, or messenger, bringing the news that +Ollantay has collected a great army at Ollantay-tampu, and that the rebels have +proclaimed him Inca. +</p> + +<p> +The second act opens with a grand scene in the hall of the fortress-palace of +Ollantay-tampu. Ollantay is proclaimed Inca by the people, and he appoints the +Mountain Chief, Urco Huaranca, general of his army. Urco Huaranca explains the +dispositions he has made to oppose the army advancing from Cuzco, and his plan +of defence. In the next scene Rumi-ñaui, as a fugitive in the mountains, +describes his defeat and the complete success of the strategy of Ollantay and +Urco Huaranca. His soliloquy is in the octosyllabic quatrains. The last scene +of the second act is in the gardens of the Convent of Virgins of the Sun. A +young girl is standing by a gate which opens on the street. This, as afterwards +appears, is Yma Sumac, the daughter of Ollantay and Cusi Coyllur, aged ten, but +ignorant of her parentage. To her enters Pitu Salla, an attendant, who chides +her for being so fond of looking out at the gate. The conversation which +follows shows that Yma Sumac detests the convent and refuses to take the vows. +She also has heard the moans of some sufferer, and importunes Pitu Salla to +tell her who it is. Yma Sumac goes as Mama Ccacca enters and cross examines +Pitu Salla on her progress in persuading Yma Sumac to adopt convent life. This +Mama Ccacca is one of the Matrons or <i>Mama Cuna</i>, and she is also the jailer of +Cusi Coyllur. +</p> + +<p> +The third act opens with an amusing scene between the Uillac Uma and Piqui +Chaqui, who meet in a street in Cuzco. Piqui Chaqui wants to get news, but to +tell nothing, and in this he succeeds. The death of Inca Pachacuti is announced +to him, and the accession of Tupac Yupanqui, and with this news he departs. +</p> + +<p> +Next there is an interview between the new Inca Tupac Yupanqui, the Uillac Uma, +and the defeated general Rumi-ñaui, who promises to retrieve the former +disaster and bring the rebels to Cuzco, dead or alive. It after wards appears +that the scheme of Rumi-ñaui was one of treachery. He intended to conceal his +troops in eaves and gorges near Ollantay-tampu ready to rush in, when a signal +was made. Rumi-ñaui then cut and slashed his face, covered himself with mud, +and appeared at the gates of Ollantay-tampu, declaring that he had received +this treatment from the new Inca, and imploring protection.<a +href="#linknote-5" name="linknoteref-5" id="linknoteref-5">[5]</a> Ollantay +received him with the greatest kindness and hospitality. In a few days Ollantay +and his people celebrated the <i>Raymi</i> or great festival of the sun with much +rejoicing and drinking. Rumi-ñaui pretended to join in the festivities, but +when most of them were wrapped in drunken sleep, he opened the gates, let in +his own men, and made them all prisoners. +</p> + +<p> +There is next another scene in the garden of the convent, in which Yma Sumac +importunes Pitu Salla to tell her the secret of the prisoner. Pitu Salla at +last yields and opens a stone door. Cusi Coyllur is discovered, fastened to a +wall, and in a dying state. She had been imprisoned, by order of her father, +Inca Pachacuti on the birth of Yma Sumac. She is restored with food and water, +and the relationship is discovered when Cusi Coyllur hears the child’s +name, for she had given it to her. +</p> + +<p> +Next the Inca Tupac Yupanqui is discovered in the great hall of his palace, +seated on his <i>tiana</i> or throne, with the Uillac Uma in attendance. To them +enters a <i>chasqui</i>, or messenger, who describes the result of Rumi-ñaui’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. +</p> + +<p> +The final scene is in the gardens of the convent. The Inca enters with Yma +Sumac, followed by the whole strength of the company. Mama Ccacca is ordered to +open the stone door and Cusi Coyllur is brought out. She proves to be the +sister of the Inca and the wife of Ollantay. There are explanations, and all +ends happily. +</p> + +<p> +Of the antiquity of the drama of Ollantay there is now no question. General +Mitre wrote an elaborate paper on its authenticity, raising several points to +prove that it was of modern origin. But every point he raised has been +satisfactorily refuted. At the same time there are many other points, some of +them referred to by Zegarra, which establish the antiquity of the drama beyond +any doubt. The antiquity of the name Ollantay-tampu, applied to the fortress in +memory of the drama, is proved by its use in the narratives of Molina (1560) +and of Salcamayhua. +</p> + +<p> +An able review of the literature connected with the drama of Ollantay was +written by Don E. Larrabure y Unanue, the present Vice-President of Peru, who +considers that Ollantay would make a good acting play with magnificent scenic +effects. +</p> + +</div><!--end chapter--> + +<div class="chapter"> + +<h2><a name="pref02"></a>MS. TEXTS.</h2> + +<p> +1. The original text of Valdez. In 1853 the property of Don Narciso Cuentas of +Tinta, heir of Dr. Valdez. +</p> + +<p> +2. The Justiniani text. In 1853 at Laris. Copy of the Valdez text. +</p> + +<p> +3. Markham’s copy of the Justiniani text (printed 1871). +</p> + +<p> +4. Rosas copy of the Justiniani text. +</p> + +<p> +5. Copy in the convent of San Domingo at Cuzco (the Dominican text). +</p> + +<p> +6. Von Tschudi’s copy of the Dominican text (printed 1853). +</p> + +<p> +7. Text of Zegarra (printed 1878). +</p> + +<p> +8. Second text of von Tschudi. +</p> + +<p> +9. Text of Spilsbury. +</p> + +<p> +10. Text of Sahuaraura <i>penes</i> Dr. Gonzalez de la Rosa. +</p> + +<p class="p2"> +There is light thrown upon the name <i>Ollantay</i> by the evidence taken during the +journey of the Viceroy Toledo from Jauja to Cuzco, from November 1570 to March +1571. He wanted information respecting the origin of the Inca government, and +200 witnesses were examined, the parentage or lineage of each witness being +recorded. Among these we find six witnesses of the <i>Antasayac ayllu. Sayac</i> means +a station or division, <i>Anta</i>is a small town near Cuzco. The names of the six +<i>Anta</i> witnesses were, +</p> + +<p class="letter"> +ANCAILLO; USCA; HUACRO; MANCOY; AUCA PURI; ULLANTAY;<br /> +Besides ANTONIO PACROTRICA and PUNICU PAUCAR, Chiefs of <i>Anta</i>. +</p> + +<p> +We thus find that the name of <i>Ollantay</i> belonged to <i>Anta</i>. Now the Incas were +under great obligations to the chief of Anta, for that chief had rescued the +eldest son of <i>Inca Rocca</i> from the chief of <i>Ayamarca</i>, and had restored him to +his father. For this great service the chief of <i>Anta</i> was declared to be a noble +of the highest rank and cousin to the Inca family. Moreover, the daughter of +the <i>Anta</i> chief was married to the <i>Inca Uira-cocha</i>, and was the mother of +Pachacuti. Assuming, as seems probable, that <i>Ollantay</i> was a son of the chief of +Anta, he would be a cousin of the Inca, and of very high rank, though not an +agnate of the reigning family. This, I take it, is what is intended. <i>Pachacuti</i> +desired to raise his family high above all others, and that, consequently, +there should be no marriages with subjects even of the highest rank; and his +excessive severity on the transgression of his rule by his daughter is thus +explained. +</p> + +</div><!--end chapter--> + +<div class="chapter"> + +<h2>OLLANTAY</h2> + +</div><!--end chapter--> + +<div class="chapter"> + +<h2><a name="pref03"></a>ACTS AND SCENES</h2> + +<p> +ACT 1. +</p> + +<p> +Sc. 1.—Open space near Cuzco.<br /> +Ollantay, Piqui Chaqui, Uillac Uma. +</p> + +<p> +Sc. 2.—Hall in the Colcampata.<br /> +Anahuarqui, Cusi Coyllur, Inca Pachacuti, Boys and Girls, Singers. +</p> + +<p> +Sc. 3.—Hall in the Inca’s palace.<br /> +Pachacuti, Rumi-ñaui, Ollantay. +</p> + +<p> +Sc. 4.—Height above Cuzco.<br /> +Ollantay, Piqui Chaqui, Unseen Singer. +</p> + +<p> +Sc. 5.—Hall in the Inca’s palace.<br /> +Pachacuti, Rumi-ñaui, and a Chasqui. +</p> + +<p class="p2"> +ACT II. +</p> + +<p> +Sc. 1.—Ollantay-tampu Hall.<br /> +Ollantay, Urco Huaranca, Hanco Huayllu, People and Soldiers. +</p> + +<p> +Sc. 2.—A wild place in the mountains.<br /> +Rumi-ñaui’s soliloquy. +</p> + +<p> +Sc. 3.—Gardens of the Virgins.<br /> +Yma Sumac, Pitu Salla, Mama Ccacca. +</p> + +<p class="p2"> +ACT III. +</p> + +<p> +Sc. 1.—Pampa Maroni at Cuzco.<br /> +Uillac Uma and Piqui Chaqui. +</p> + +<p> +Sc. 2.—Palace of Tupac Yupanqui.<br /> +Tupac Yupanqui, Uillac Uma, Rumi-ñaui. +</p> + +<p> +Sc. 3.—Ollantay-tampu, Terrace.<br /> +Rumi-ñaui, Ollantay, Guards. +</p> + +<p> +Sc. 4.—House of Virgins, Corridor.<br /> +Yma Sumac, Pitu Salla. +</p> + +<p> +Sc. 5.—House of Virgins, Garden.<br /> +Yma Sumac, Pitu Salla, Cusi Coyllur. +</p> + +<p> +Sc. 6.—Palace of Tupac Yupanqui.<br /> +Tupac Yupanqui, Uillac Uma, a Chasqui, Rumi-ñaui, Ollantay, Urco Huaranca, +Hanco Huayllu, Piqui Chaqui, Chiefs and Guards, then Yma Sumac. +</p> + +<p> +Sc. 7.—House of Virgins, Garden.<br /> +All of Scene 6, and Mama Ccacca, Cusi Coyllur, Pitu Salla. +</p> + +<p class="center"> +SCENE +</p> + +<p class="center"> +In Cuzco and its environs, and Ollantay-tampu +</p> + +</div><!--end chapter--> + +<div class="chapter"> + +<h2><a name="pref04"></a>DRAMATIS PERSONAE</h2> + +<p> +APU OLLANTAY.—General of Anti-suyu, the eastern province of the empire. A +young chief, but not of the blood-royal. His rank was that of a Tucuyricuo or +Viceroy. The name occurs among the witnesses examined by order of the Viceroy +Toledo, being one of the six of the Antasayac ayllu. +</p> + +<p> +PACHACUTI.—The Sovereign Inca. +</p> + +<p> +TUPAC YUPANQUI.—Sovereign. Inca, son and heir of Pachacuti. +</p> + +<p> +RUMI-ÑAUI.—A great chief, General of Colla-suyu. The word means +‘Stone-eye.’ +</p> + +<p> +UILLAC UMA.—High Priest of the Sun. The word Uma means head, and Uillac, +a councillor and diviner. +</p> + +<p> +URCO HUARANCA.—A chief. The words mean ‘Mountain Chief.’ The +word huaranca means 1000; hence, Chief of a Thousand. +</p> + +<p> +HANCO HUAYLLU AUQUI.—An old officer, of the blood-royal. +</p> + +<p> +PIQUI CHAQUI.—Page to Ollantay. The words mean +‘fleet-footed.’ +</p> + +<p> +ANAHUARQUI.—The Ccoya or Queen, wife of Pachacuti. +</p> + +<p> +CUSI COYLLUR ÑUSTA.—A Princess, daughter of Pachacuti. The words mean +‘the joyful star.’ +</p> + +<p> +YMA SUMAC.—Daughter of Cusi Coyllur. The words mean ‘How +beautiful.’ +</p> + +<p> +PITU SALLA.—A girl, companion of Yma Sumac. +</p> + +<p> +CCACCA MAMA.—A matron of Virgins of the Sun. Jailer of Cusi Coyllur. +</p> + +<p> +Nobles, captains, soldiers, boys and girls dancing, singers, attendants, +messengers or Chasqui. +</p> + +</div><!--end chapter--> + +<div class="chapter"> + +<h2><a name="act01"></a>ACT I</h2> + +<h3><a name="scene01"></a>SCENE 1</h3> + +<p> +An open space near the junction of the two torrents of Cuzco, the Huatanay +and Tullumayu or Rodadero, called Pumap Chupan, just outside the gardens +of the Sun. The Temple of the Sun beyond the gardens, and the Sacsahuaman +hill surmounted by the fortress, rising in the distance. The palace of +Colcampata on the hillside. +</p> + +<p> +(Enter OLLANTAY L. [in a gilded tunic, breeches of llama sinews, usutas or +shoes of llama hide, a red mantle of ccompi or fine cloth, and the chucu +or head-dress of his rank, holding a battle-axe (champi) and club +(macana)] and PIQUI CHAQUI coming up from the back R. [in a coarse brown +tunic of auasca or llama cloth, girdle used as a sling, and chucu or +head-dress of a Cuzqueño].) +</p> + +<p class="drama"> +OLLANTAY.<br/> +Where, young fleet-foot, hast thou been?<br/> +Hast thou the starry Ñusta seen? +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +The Sun forbids such sacrilege<br/> +’Tis not for me to see the star.<br/> +Dost thou, my master, fear no ill,<br/> +Thine eyes upon the Inca’s child? +</p> + +<p class="drama"> +OLLANTAY.<br/> +In spite of all I swear to love<br/> +That tender dove, that lovely star;<br/> +My heart is as a lamb<a href="#linknote-6" name="linknoteref-6" id="linknoteref-6">[6]</a> with her,<br/> +And ever will her presence seek. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Such thoughts are prompted by Supay<a href="#linknote-7" name="linknoteref-7" id="linknoteref-7">[7]</a>;<br/> +That evil being possesses thee.<br/> +All round are beauteous girls to choose<br/> +Before old age, and weakness come.<br/> +If the great Inca knew thy plot<br/> +And what thou seekest to attain,<br/> +Thy head would fall by his command,<br/> +Thy body would be quickly burnt. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Boy, do not dare to cross me thus.<br/> +One more such word and thou shalt die.<br/> +These hands will tear thee limb from limb,<br/> +If still thy councils are so base. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Well! treat thy servant as a dog,<br/> +But do not night and day repeat,<br/> +‘Piqui Chaqui! swift of foot!<br/> +Go once more to seek the star.’ +</p> + +<p class="drama"> +OLLANTAY.<br/> +Have I not already said<br/> +That e’en if death’s fell scythe<a href="#linknote-8" name="linknoteref-8" id="linknoteref-8">[8]</a> was here,<br/> +If mountains should oppose my path<br/> +Like two fierce foes<a href="#linknote-9" name="linknoteref-9" id="linknoteref-9">[9]</a> who block the way,<br/> +Yet will I fight all these combined<br/> +And risk all else to gain my end,<br/> +And whether it be life or death<br/> +I’ll cast myself at Coyllur’s feet. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +But if Supay himself should come? +</p> + +<p class="drama"> +OLLANTAY.<br/> +I’d strike the evil spirit down. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +If thou shouldst only see his nose,<br/> +Thou wouldst not speak as thou dost now. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Now, Piqui Chaqui, speak the truth,<br/> +Seek not evasion or deceit.<br/> +Dost thou not already know,<br/> +Of all the flowers in the field,<br/> +Not one can equal my Princess? +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Still, my master, thou dost rave.<br/> +I think I never saw thy love.<br/> +Stay! was it her who yesterday<br/> +Came forth with slow and faltering steps<br/> +And sought a solitary<a href="#linknote-10" name="linknoteref-10" id="linknoteref-10">[10]</a> path<a href="#linknote-11" name="linknoteref-11" id="linknoteref-11">[11]</a>?<br/> +If so, ’tis true she’s like the sun,<br/> +The moon less beauteous than her face.<a href="#linknote-12" name="linknoteref-12" id="linknoteref-12">[12]</a> +</p> + +<p class="drama"> +OLLANTAY.<br/> +It surely was my dearest love.<br/> +How beautiful, how bright is she<br/> +This very moment thou must go<br/> +And take my message to the Star. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +I dare not, master; in the day,<br/> +I fear to pass the palace gate.<br/> +With all the splendour of the court,<br/> +I could not tell her from the rest. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Didst thou not say thou sawest her? +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +I said so, but it was not sense.<br/> +A star can only shine at night<br/> +Only at night could I be sure. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Begone, thou lazy good-for-nought.<br/> +The joyful star that I adore,<br/> +If placed in presence of the Sun,<br/> +Would shine as brightly as before. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Lo! some person hither comes,<br/> +Perhaps an old crone seeking alms;<br/> +Yes! Look! he quite resembles one.<br/> +Lot him the dangerous message take.<br/> +Send it by him, O noble Chief!<br/> +From me they would not hear the tale;<br/> +Thy page is but a humble lad. +</p> + +<p class="drama"> +(Enter the UILLAC UMA, or High Priest of the Sun, at the back, arms +raised to the Sun. In a grey tunic and black mantle from the shoulders +to the ground, a long knife in his belt, the undress chucu on his head.) +</p> + +<p class="drama"> +UILLAC UMA.<br/> +O giver of all warmth and light<br/> +O Sun! I fall and worship thee.<br/> +For thee the victims are prepared,<br/> +A thousand llamas and their lambs<br/> +Are ready for thy festal day.<br/> +The sacred fire’ll lap their blood,<br/> +In thy dread presence, mighty one,<br/> +After long fast<a href="#linknote-13" name="linknoteref-13" id="linknoteref-13">[13]</a> thy victims fall. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Who comes hither, Piqui Chaqui?<br/> +Yes, ’tis the holy Uillac Uma;<br/> +He brings his tools of augury.<br/> +No puma<a href="#linknote-14" name="linknoteref-14" id="linknoteref-14">[14]</a> more astute and wise<br/> +I hate that ancient conjurer<br/> +Who prophesies of evil things,<br/> +I feel the evils he foretells;<br/> +’Tis he who ever brings ill-luck. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Silence, master, do not speak,<br/> +The old man doubly is informed;<br/> +Fore-knowing every word you say,<br/> +Already he has guessed it all. +</p> + +<p class="center"> +(He lies down on a bank.) +</p> + +<p class="drama"> +OLLANTAY.<br/> +(<i>aside</i>)<br/> +He sees me. I must speak to him. +</p> + +<p class="center"> +(The Uillac Uma comes forward.) +</p> + +<p class="drama"> +O Uillac Uma, Great High Priest,<br/> +I bow before thee with respect<br/> +May the skies be clear for thee,<br/> +And brightest sunshine meet thine eyes. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +Brave Ollantay! Princely one!<br/> +May all the teeming land be thine;<br/> +May thy far-reaching arm of might<br/> +Reduce the wide-spread universe. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Old man! thine aspect causes fear,<br/> +Thy presence here some ill forebodes;<br/> +All round thee dead men’s bones appear,<br/> +Baskets, flowers, sacrifice.<br/> +All men when they see thy face<br/> +Are filled with terror and alarm.<br/> +What means it all? why comest thou?<br/> +It wants some months before the least.<br/> +Is it that the Inca is ill?<br/> +Perchance hast thou some thought divined<br/> +Which soon will turn to flowing blood.<br/> +Why comest thou? the Sun’s great day,<br/> +The Moon’s libations are not yet<br/> +The moon has not yet nearly reached<br/> +The solemn time for sacrifice.<br/> +Uillac Uma. Why dost thou these questions put,<br/> +In tones of anger and reproach?<br/> +Am I, forsooth, thy humble slave?<br/> +That I know all I’ll quickly prove. +</p> + +<p class="drama"> +OLLANTAY.<br/> +My beating heart is filled with dread,<br/> +Beholding thee so suddenly;<br/> +Perchance thy coming is a sign,<br/> +Of evils overtaking me. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +Fear not, Ollantay! not for that,<br/> +The High Priest comes to thee this day.<br/> +It is perhaps for love of thee,<br/> +That, as a straw is blown by wind,<br/> +A friend, this day, encounters thee.<br/> +Speak to me as to a friend,<br/> +Hide nothing from my scrutiny.<br/> +This day I come to offer thee<br/> +A last and most momentous choice<br/> +’Tis nothing less than life or death. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Then make thy words more clear to me,<br/> +That I may understand the choice;<br/> +Till now ’tis but a tangled skein,<br/> +Unravel it that I may know. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +’Tis well. Now listen, warlike. Chief:<br/> +My science has enabled me,<br/> +To learn and see all hidden things<br/> +Unknown to other mortal men.<br/> +My power will enable me<br/> +To make of thee a greater prince.<br/> +I brought thee up from tender years,<br/> +And cherished thee with love and care<br/> +I now would guide thee in the right,<br/> +And ward off all that threatens thee.<br/> +As chief of Anti-suyu now,<br/> +The people venerate thy name;<br/> +Thy Sovereign trusts and honours thee,<br/> +E’en to sharing half his realm.<br/> +From all the rest he chose thee out,<br/> +And placed all power in thy hands;<br/> +He made thy armies great and strong,<br/> +And strengthened thee against thy foes<br/> +How numerous soe’er they be,<br/> +They have been hunted down by thee.<br/> +Are these good reasons for thy wish,<br/> +To wound thy Sovereign to the heart?<br/> +His daughter is beloved by thee;<br/> +Thy passion thou wouldst fain indulge,<br/> +Lawless and forbidden though it be.<br/> +I call upon thee, stop in time,<br/> +Tear this folly from thy heart.<br/> +If thy passion is immense,<br/> +Still let honour hold its place.<br/> +You reel, you stagger on the brink<br/> +I’d snatch thee from the very edge.<br/> +Thou knowest well it cannot be,<br/> +The Inca never would consent.<br/> +If thou didst e’en propose it now,<br/> +He would be overcome with rage;<br/> +From favoured prince and trusted chief,<br/> +Thou wouldst descend to lowest rank. +</p> + +<p class="drama"> +OLLANTAY.<br/> +How is it that thou canst surely know<br/> +What still is hidden in my heart?<br/> +Her mother only knows my love,<br/> +Yet thou revealest all to me. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +I read thy secret on the moon,<br/> +As if upon the Quipu knots;<br/> +And what thou wouldst most surely hide,<br/> +Is plain to me as all the rest. +</p> + +<p class="drama"> +OLLANTAY.<br/> +In my heart I had divined<br/> +That thou wouldst search me through and through<br/> +Thou knowest all, O Councillor,<br/> +And wilt thou now desert thy son? +</p> + +<p class="drama"> +UILLAC UMA.<br/> +How oft we mortals heedless drink,<br/> +A certain death from golden cup<br/> +Recall to mind how ills befall,<br/> +And that a stubborn heart ’s the cause. +</p> + +<p class="drama"> +OLLANTAY.<br/> +(<i>kneeling</i>).<br/> +Plunge that dagger in my breast,<br/> +Thou holdst it ready in thy belt;<br/> +Cut out my sad and broken heart<br/> +I ask the favour at thy feet. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +(to Piqui Chaqui).<br/> +Gather me that flower, boy. +</p> + +<p class="center"> +(Piqui Chaqui gives him a withered flower and lies down again, +pretending to sleep.) +</p> + +<p class="drama"> +(To Ollantay).<br/> +Behold, it is quite dead and dry.<br/> +Once more behold! e’en now it weeps,<br/> +It weeps. The water flows from it. +</p> + +<p class="center"> +(Water flows out of the flower.) +</p> + +<p class="drama"> +OLLANTAY.<br/> +More easy for the barren rocks<br/> +Or for sand to send forth water,<br/> +Than that I should cease to love<br/> +The fair princess, the joyful star. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +Put a seed into the ground,<br/> +It multiplies a hundredfold;<br/> +The more thy crime shall grow and swell,<br/> +The greater far thy sudden fall. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Once for all, I now confess<br/> +To thee, O great and mighty Priest;<br/> +Now learn my fault. To thee I speak,<br/> +Since thou hast torn it from my heart.<br/> +The lasso to tie me is long,<br/> +’Tis ready to twist round my throat<br/> +Yet its threads are woven with gold,<br/> +It avenges a brilliant crime.<br/> +Cusi Coyllur e’en now is my wife,<br/> +Already we’re bound and are one;<br/> +My blood now runs in her veins,<br/> +E’en now I am noble as she.<br/> +Her mother has knowledge of all,<br/> +The Queen can attest what I say;<br/> +Let me tell all this to the King,<br/> +I pray for thy help and advice.<br/> +I will speak without fear and with force,<br/> +He may perhaps give way to his rage<br/> +Yet he may consider my youth,<br/> +May remember the battles I’ve fought;<br/> +The record is carved on my club. +</p> + +<p class="center"> +(Holds up his macana.) +</p> + +<p class="drama"> +He may think of his enemies crushed,<br/> +The thousands I’ve thrown at his feet. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +Young Prince! thy words are too bold,<br/> +Thou hast twisted the thread of thy fate—<br/> +Beware, before ’tis too late;<br/> +Disentangle and weave it afresh,<br/> +Go alone to speak to the King,<br/> +Alone bear the blow that you seek;<br/> +Above all let thy words be but few,<br/> +And say them with deepest respect;<br/> +Be it life, be it death that you find,<br/> +I will never forget thee, my son. +</p> + +<p class="right"> +(Walks up and exit.) +</p> + +<p class="drama"> +OLLANTAY.<br/> +Ollantay, thou art a man,<br/> +No place in thy heart for fear;<br/> +Cusi Coyllur, surround me with light.<br/> +Piqui Chaqui, where art thou? +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +(jumping up).<br/> +I was asleep, my master,<br/> +And dreaming of evil things. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Of what? +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Of a fox with a rope round its neck. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Sure enough, thou art the fox. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +It is true that my nose is growing finer,<br/> +And my ears a good deal longer. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Come, lead me to the Coyllur. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +It is still daylight. +</p> + +<p class="right"> +(Exeunt.) +</p> + +<h3><a name="scene02"></a>SCENE 2</h3> + +<p> +A great hall in the Colcampata, then the palace of the Queen or Ccoya +Anahuarqui. In the centre of the back scene a doorway, and seen through it +gardens with the snowy peak of Vilcanota in the distance. Walls covered +with golden slabs. On either side of the doorway three recesses, with +household gods in the shape of maize-cobs and llamas, and gold vases in +them. On R. a golden tiana or throne. On L. two lower seats covered with +cushions of fine woollen cloth. +</p> + +<p> +(ANAHUARQUI, the Queen or Ccoya (in blue chucu, white cotton bodice, and +red mantle secured by a golden topu or pin, set with emeralds, and a blue +skirt), and the princess CUSI COYLLUR (in a chucu, with feathers of the +tunqui, white bodice and skirt, and grey mantle with topu, set with +pearls) discovered seated.) +</p> + +<p class="drama"> +ANAHUARQUI.<br/> +Since when art thou feeling so sad,<br/> +Cusi Coyllur! great Inti’s prunelle?<a href="#linknote-15" +name="linknoteref-15" id="linknoteref-15">[15]</a><br/> +Since when hast thou lost all thy joy,<br/> +Thy smile and thy once merry laugh?<br/> +Tears of grief now pour down my face,<br/> +As I watch and mourn over my child;<br/> +Thy grief makes me ready to die.<br/> +Thy union filled thee with joy,<br/> +Already you’re really his wife.<br/> +Is he not the man of thy choice?<br/> +O daughter, devotedly loved,<br/> +Why plunged in such terrible grief? +</p> + +<p class="center"> +(Cusi Coyllur has had her face hidden in the pillows. She now rises to +her feet, throwing up her arms.) +</p> + +<p class="drama"> +CUSI COYLLUR.<br/> +O my mother! O most gracious Queen!<br/> +How can my tears o’er cease to flow,<br/> +How can my bitter sighs surcease,<br/> +While the valiant Chief I worship<br/> +For many days and sleepless nights,<br/> +All heedless of my tender years,<br/> +Seems quite to have forgotten me?<br/> +He has turned his regard from his wife<br/> +And no longer seeks for his love.<br/> +O my mother! O most gracious Queen!<br/> +O my husband so beloved!<br/> +Since the day when I last saw my love<br/> +The moon has been hidden from view;<br/> +The sun shines no more as of old,<br/> +In rising it rolls among mist;<br/> +At night the stars are all dim,<br/> +All nature seems sad and distressed<br/> +The comet with fiery tail,<br/> +Announces my sorrow and grief<br/> +Surrounded by darkness and tears,<br/> +Evil auguries fill me with fears.<br/> +O my mother! O most gracious Queen!<br/> +O my husband so beloved! +</p> + +<p class="drama"> +ANAHUARQUI.<br/> +Compose thyself and dry thine eyes,<br/> +The King, thy father, has arrived.<br/> +Thou lovest Ollantay, my child? +</p> + +<p class="drama"> +(Enter the INCA PACHACUTI. On his head the mascapaycha, with the llautu +or imperial fringe. A tunic of cotton embroidered with gold; on his +breast the golden breastplate representing the sun, surrounded by the +calendar of months. Round his waist the fourfold belt of tocapu. A +crimson mantle of fine vicuna wool, fastened on his shoulders by golden +puma’s heads. Shoes of cloth of gold. He sits down on the golden tiana.) +</p> + +<p class="drama"> +INCA PACHACUTI.<br/> +Cusi Coyllur! Star of joy,<br/> +Most lovely of my progeny!<br/> +Thou symbol of parental love—<br/> +Thy lips are like the huayruru.<a href="#linknote-16" name="linknoteref-16" id="linknoteref-16">[16]</a><br/> +Rest upon thy father’s breast,<br/> +Repose, my child, within mine arms. +</p> + +<p class="center"> +(Cusi Coyllur comes across. They embrace.) +</p> + +<p class="drama"> +Unwind thyself, my precious one,<br/> +A thread of gold within the woof.<br/> +All my happiness rests upon thee,<br/> +Thou art my greatest delight.<br/> +Thine eyes are lovely and bright,<br/> +As the rays of my father the Sun.<br/> +When thy lips are moving to speak,<br/> +When thine eyelids are raised with a smile,<br/> +The wide world is fairly entranced.<br/> +Thy breathing embalms the fresh air;<br/> +Without thee thy father would pine,<br/> +Life to him would be dreary and waste.<br/> +He seeks for thy happiness, child,<br/> +Thy welfare is ever his care. +</p> + +<p class="center"> +(Cusi Coyllur throws herself at his feet.) +</p> + +<p class="drama"> +CUSI COYLLUR.<br/> +O father, thy kindness to me<br/> +I feel; and embracing thy knees<br/> +All the grief of thy daughter will cease,<br/> +At peace when protected by thee.<br/> +</p> + +<p class="drama"> +PACHACUTI.<br/> +How is this! my daughter before me<br/> +On knees at my feet, and in tears?<br/> +I fear some evil is near—<br/> +Such emotion must needs be explained. +</p> + +<p class="drama"> +CUSI COYLLUR.<br/> +The star does weep before Inti,<br/> +The limpid tears wash grief away.<br/> +</p> + +<p class="drama"> +PACHACUTI.<br/> +Rise, my beloved, my star,<br/> +Thy place is on thy dear father’s knee. +</p> + +<p class="center"> +(Cusi Coyllur rises and sits on a stool by her father. An attendant +approaches.) +</p> + +<p class="drama"> +ATTENDANT.<br/> +O King! thy servants come to please thee. +</p> + +<p class="drama"> +PACHACUTI.<br/> +Let them all enter. +</p> + +<p class="center"> +(Boys and girls enter dancing. After the dance they sing a harvest song.) +</p> + +<p class="drama"> +Thou must not feed,<br/> +O Tuyallay,<a href="#linknote-17" name="linknoteref-17" id="linknoteref-17">[17]</a><br/> +In Ñusta’s field,<br/> +O Tuyallay.<br/> +Thou must not rob,<br/> +O Tuyallay,<br/> +The harvest maize,<br/> +O Tuyallay.<br/> +The grains are white,<br/> +O Tuyallay,<br/> +So sweet for food,<br/> +O Tuyallay.<br/> +The fruit is sweet,<br/> +O Tuyallay,<br/> +The leaves are green<br/> +O Tuyallay;<br/> +But the trap is set,<br/> +O Tuyallay.<br/> +The lime is there,<br/> +O Tuyallay.<br/> +We’ll cut thy claws,<br/> +O Tuyallay,<br/> +To seize thee quick,<br/> +O Tuyallay.<br/> +Ask Piscaca,<a href="#linknote-18" name="linknoteref-18" id="linknoteref-18">[18]</a><br/> +O Tuyallay,<br/> +Nailed on a branch,<br/> +O Tuyallay.<br/> +Where is her heart,<br/> +O Tuyallay?<br/> +Where her plumes,<br/> +O Tuyallay?<br/> +She is cut up,<br/> +O Tuyallay,<br/> +For stealing grain,<br/> +O Tuyallay.<br/> +See the fate,<br/> +O Tuyallay,<br/> +Of robber birds,<br/> +O Tuyallay. +</p> + +<p class="drama"> +PACHACUTI.<br/> +Cusi Coyllur, remain thou here,<br/> +Thy mother’s palace is thy home<br/> +Fail not to amuse thyself,<br/> +Surrounded by thy maiden friends. +</p> + +<p class="right"> +(Exeunt the Inca Pachacuti, the Ccoya Anahuarqui, and attendants.) +</p> + +<p class="drama"> +CUSI COYLLUR.<br/> +I should better like a sadder song.<br/> +My dearest friends, the last you sang<br/> +To me foreshadowed evil things;<a href="#linknote-19" name="linknoteref-19" id="linknoteref-19">[19]</a><br/> +You who sang it leave me now. +</p> + +<p class="right"> +(Exeunt boys and girls, except one girl who sings.) +</p> + +<p class="drama"> +Two loving birds are in despair,<a href="#linknote-20" name="linknoteref-20" id="linknoteref-20">[20]</a><br/> + They moan, they weep, they sigh;<br/> +For snow has fallen on the pair,<br/> + To hollow tree they fly.<br/> +<br/> +But lo! one dove is left alone<br/> + And mourns her cruel fate;<br/> +She makes a sad and piteous moan,<br/> + Alone without a mate.<br/> +<br/> +She fears her friend is dead and gone—<br/> + Confirmed in her belief,<br/> +Her sorrow finds relief in song,<br/> + And thus she tells her grief.<br/> +<br/> +‘Sweet mate! Alas, where art thou now?<br/> + I miss thine eyes so bright,<br/> +Thy feet upon the tender bough,<br/> + Thy breast so pure and bright.’<br/> +<br/> +She wanders forth from stone to stone,<br/> + She seeks her mate in vain;<br/> +‘My love! my love!’ she makes her moan,<br/> + She falls, she dies in pain.<br/> +</p> + +<p class="drama"> +CUSI COYLLUR.<br/> +That yarahui is too sad,<br/> +Leave me alone. +</p> + +<p class="right"> +(Exit the girl who sang the yarahui.) +</p> + +<p class="drama"> +Now my tears can freely flow. +</p> + +<h3><a name="scene03"></a>SCENE 3</h3> + +<p> +Great hall in the palace of Pachacuti. The INCA, as before, discovered +seated on a golden tiana L. Enter to him R. OLLANTAY and RUMI-ÑAUI. +</p> + +<p class="drama"> +PACHACUTI.<br/> +The time has arrived, O great Chiefs,<br/> +To decide on the coming campaign.<br/> +The spring is approaching us now,<br/> +And our army must start for the war.<br/> +To the province of Colla<a href="#linknote-21" name="linknoteref-21" id="linknoteref-21">[21]</a> we march—<br/> +There is news of Chayanta’s<a href="#linknote-22" name="linknoteref-22" id="linknoteref-22">[22]</a> advance.<br/> +The enemies muster in strength,<br/> +They sharpen their arrows and spears. +</p> + +<p class="drama"> +OLLANTAY.<br/> +O King, that wild rabble untaught<br/> +Can never resist thine array;<br/> +Cuzco alone with its height<br/> +Is a barrier that cannot be stormed.<br/> +Twenty four thousand of mine,<br/> +With their champis<a href="#linknote-23" name="linknoteref-23" id="linknoteref-23">[23]</a> selected with care,<br/> +Impatiently wait for the sign,<br/> +The sound of the beat of my drums,<a href="#linknote-24" name="linknoteref-24" id="linknoteref-24">[24]</a><br/> +The strains of my clarion and fife. +</p> + +<p class="drama"> +PACHACUTI.<br/> +Strive then to stir them to fight,<br/> +Arouse them to join in the fray,<br/> +Lest some should desire to yield,<br/> +To escape the effusion of blood. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +The enemies gather in force,<br/> +The Yuncas<a href="#linknote-25" name="linknoteref-25" id="linknoteref-25">[25]</a> are called to their aid;<br/> +They have put on their garbs for the war,<br/> +And have stopped up the principal roads.<br/> +All this is to hide their defects—<br/> +The men of Chayanta are base.<br/> +We hear they’re destroying the roads,<br/> +But we can force open the way;<br/> +Our llamas are laden with food—<br/> +We are ready to traverse the wilds. +</p> + +<p class="drama"> +PACHACUTI.<br/> +Are you really ready to start<br/> +To punish those angry snakes?<br/> +But first you must give them a chance<br/> +To surrender, retiring in peace,<br/> +So that blood may not flow without cause,<br/> +That no deaths of my soldiers befall. +</p> + +<p class="drama"> +OLLANTAY.<br/> +I am ready to march with my men,<br/> +Every detail prepared and in place,<br/> +But alas! I am heavy with care,<br/> +Almost mad with anxious suspense. +</p> + +<p class="drama"> +PACHACUTI.<br/> +Speak, Ollantay. Tell thy wish—<br/> +’Tis granted, e’en my royal fringe. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Hear me in secret, O King. +</p> + +<p class="drama"> +PACHACUTI.<br/> +(to Rumi-ñaui).<br/> +Noble Chief of Colla, retire;<br/> +Seek repose in thy house for a time.<br/> +I will call thee before very long,<br/> +Having need of thy valour and skill. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +With respect I obey thy command. +</p> + +<p class="right"> +(Exit Rumi-ñaui.) +</p> + +<p class="drama"> +OLLANTAY.<br/> +Thou knowest, O most gracious Lord,<br/> +That I have served thee from a youth,<br/> +Have worked with fortitude and truth,<br/> +Thy treasured praise was my reward.<a href="#linknote-26" name="linknoteref-26" id="linknoteref-26">[26]</a><br/> +<br/> +All dangers I have gladly met,<br/> +For thee I always watched by night,<br/> +For thee was forward in the fight,<br/> +My forehead ever bathed in sweat.<br/> +<br/> +For thee I’ve been a savage foe,<br/> +Urging my Antis<a href="#linknote-27" name="linknoteref-27" id="linknoteref-27">[27]</a> not to spare,<br/> +But kill and fill the land with fear,<br/> +And make the blood of conquered flow.<br/> +<br/> +My name is as a dreaded rope,<a href="#linknote-28" name="linknoteref-28" id="linknoteref-28">[28]</a><br/> +I’ve made the hardy Yuncas<a href="#linknote-29" name="linknoteref-29" id="linknoteref-29">[29]</a> yield,<br/> +By me the fate of Chancas<a href="#linknote-30" name="linknoteref-30" id="linknoteref-30">[30]</a> sealed,<br/> +They are thy thralls without a hope.<br/> +<br/> +’Twas I who struck the fatal blow,<br/> +When warlike Huancavilca<a href="#linknote-31" name="linknoteref-31" id="linknoteref-31">[31]</a> rose,<br/> +Disturbing thy august repose,<br/> +And laid the mighty traitor low.<br/> +<br/> +Ollantay ever led the van,<br/> +Wherever men were doomed to die;<br/> +When stubborn foes were forced to fly,<br/> +Ollantay ever was the man.<br/> +<br/> +Now every tribe bows down to thee—<br/> +Some nations peacefully were led,<br/> +Those that resist their blood is shed—<br/> +But all, O King, was due to me.<br/> +<br/> +O Sovereign Inca, great and brave,<br/> +Rewards I know were also mine,<br/> +My gratitude and thanks are thine,<br/> +To me the golden axe you gave.<br/> +<br/> +Inca! thou gavest me command<br/> +And rule o’er all the Anti race,<br/> +To me they ever yield with grace,<br/> +And thine, great King, is all their land<br/> +<br/> +My deeds, my merits are thine own<br/> +To thee alone my work is due.<br/> +For one more favour I would sue,<br/> +My faithful service—thy renown. +</p> + +<p class="center"> +(Ollantay kneels before the Inca.) +</p> + +<p class="drama"> +Thy thrall: I bow to thy behest,<br/> +Thy fiat now will seal my fate.<br/> +O King, my services are great,<br/> +I pray thee grant one last request.<br/> +<br/> +I ask for Cusi Coyllur’s hand<br/> +If the Ñusta’s<a href="#linknote-32" name="linknoteref-32" id="linknoteref-32">[32]</a> love I’ve won.<br/> +O King! you’ll have a faithful son,<br/> +Fearless, well tried, at thy command.<br/> +</p> + +<p class="drama"> +PACHACUTI.<br/> +Ollantay, thou dost now presume.<br/> +Thou art a subject, nothing more.<br/> +Remember, bold one, who thou art,<br/> +And learn to keep thy proper place. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Strike me to the heart. +</p> + +<p class="drama"> +PACHACUTI.<br/> +’Tis for me to see to that,<br/> +And not for thee to choose.<br/> +Thy presumption is absurd. +Be gone! +</p> + +<p class="right"> +(Ollantay rises and exit R.) +</p> + +<h3><a name="scene04"></a>SCENE 4</h3> + +<p> +A rocky height above Cuzco to the NE. Distant view of the city of Cuzco +and of the Sacsahuaman hill, crowned by the fortress. +</p> + +<p class="center"> +(Enter OLLANTAY armed.) +</p> + +<p class="drama"> +OLLANTAY.<br/> +Alas, Ollantay! Ollantay!<br/> +Thou master of so many lands,<br/> +Insulted by him thou servedst well.<br/> +O my thrice-beloved Coyllur,<br/> +Thee too I shall lose for ever.<br/> +O the void<a href="#linknote-33" name="linknoteref-33" id="linknoteref-33">[33]</a> within my heart,<br/> +O my princess! O precious dove!<br/> +Cuzco! O thou beautiful city!<br/> +Henceforth behold thine enemy.<br/> +I’ll bare thy breast to stab thy heart,<br/> +And throw it as food for condors;<br/> +Thy cruel Inca I will slay.<br/> +I will call my men in thousands,<br/> +The Antis will be assembled,<br/> +Collected as with a lasso.<br/> +All will be trained, all fully armed,<br/> +I will guide them to Sacsahuaman.<br/> +They will be as a cloud of curses,<br/> +When flames rise to the heavens.<br/> +Cuzco shall sleep on a bloody couch,<br/> +The King shall perish in its fall;<br/> +Then shall my insulter see<br/> +How numerous are my followers.<br/> +When thou, proud King, art at my feet,<br/> +We then shall see if thou wilt say,<br/> +‘Thou art too base for Coyllur’s hand.’<br/> +Not then will I bow down and ask,<br/> +For I, not thou, will be the King—<br/> +Yet, until then, let prudence rule. +</p> + +<p class="center"> +(Enter PIQUI CHAQUI from back, R.) +</p> + +<p class="drama"> +Piqui Chaqui, go back with speed,<br/> +Tell the Princess I come to-night. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +I have only just come from there—<br/> +The palace was deserted quite,<br/> +No soul to tell me what had passed,<br/> +Not even a dog<a href="#linknote-34" name="linknoteref-34" id="linknoteref-34">[34]</a> was there.<br/> +All the doors were closed and fastened,<br/> +Except the principal doorway,<br/> +And that was left without a guard. +</p> + +<p class="drama"> +OLLANTAY.<br/> +And the servants? +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Even the mice had fled and gone,<br/> +For nothing had been left to eat.<br/> +Only an owl was brooding there,<br/> +Uttering its cry of evil omen. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Perhaps then her father has taken her,<br/> +To hide her in his palace bounds. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +The Inca may have strangled her;<br/> +Her mother too has disappeared. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Did no one ask for me<br/> +Before you went away? +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Near a thousand men are seeking<br/> +For you, and all are enemies,<br/> +Armed with their miserable clubs. +</p> + +<p class="drama"> +OLLANTAY.<br/> +If they all arose against me,<br/> +With this arm I’d fight them all<br/> +No one yet has beat this hand,<br/> +Wielding the champi sharp and true. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +I too would like to give a stroke<br/> +At least, if my enemy was unarmed. +</p> + +<p class="drama"> +OLLANTAY.<br/> +To whom? +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +I mean that Urco Huaranca chief,<br/> +Who lately was in search of thee. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Perhaps the Inca sends him here<br/> +If so my anger is aroused. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Not from the King, I am assured,<br/> +He cometh of his own accord<br/> +And yet he is an ignoble man. +</p> + +<p class="drama"> +OLLANTAY.<br/> +He has left Cuzco, I believe;<br/> +My own heart tells me it is so<br/> +I’m sure that owl announces it.<br/> +We’ll take to the hills, at once. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +But wilt thou abandon the Star? +</p> + +<p class="drama"> +OLLANTAY.<br/> +What can I do, alas!<br/> +Since she has disappeared?<br/> +Alas, my dove! my sweet princess. +</p> + +<p class="center"> +(Music heard among the rocks.) +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Listen to that yarahui,<br/> +The sound comes from somewhere near. +</p> + +<p class="right"> +(They sit on rocks.) +</p> + +<p class="drama"> +SONG +</p> + +<p class="drama"> +In a moment I lost my beloved,<br/> + She was gone, and I never knew where;<br/> +I sought her in fields and in woods,<br/> + Asking all if they’d seen the Coyllur.<br/> +<br/> +Her face was so lovely and fair,<br/> + They called her the beautiful Star.<br/> +No one else can be taken for her,<br/> + With her beauty no girl can compare.<br/> +<br/> +Both the sun and the moon seem to shine,<br/> + Resplendent they shine from a height,<br/> +Their rays to her beauty resign<br/> + Their brilliant light with delight.<br/> +<br/> +Her hair is a soft raven black,<br/> + Her tresses are bound with gold thread,<br/> +They fall in long folds down her back,<br/> + And add charm to her beautiful head.<br/> +<br/> +Her eyelashes brighten her face,<br/> + Two rainbows less brilliant and fair,<br/> +Her eyes full of mercy and grace,<br/> + With nought but two, suns can compare.<br/> +<br/> +The eyelids with arrows concealed,<br/> + Gaily shoot their rays into the heart<br/> +They open, lo! beauty revealed,<br/> + Pierces through like a glittering dart.<br/> +<br/> +Her cheeks Achancara<a href="#linknote-35" name="linknoteref-35" id="linknoteref-35">[35]</a> on snow,<br/> + Her face more fair than the dawn,<br/> +From her mouth the laughter doth flow,<br/> + Between pearls as bright as the morn.<br/> +<br/> +Smooth as crystal and spotlessly clear<br/> + Is her throat, like the corn in a sheaf<br/> +Her bosoms, which scarcely appear,<br/> + Like flowers concealed by a leaf.<br/> +<br/> +Her beautiful hand is a sight,<br/> + As it rests from all dangers secure,<br/> +Her fingers transparently white,<br/> + Like icicles spotless and pure. +</p> + +<p class="drama"> +OLLANTAY.<br/> +(<i>rising</i>).<br/> +That singer, unseen and unknown,<br/> +Has declared Coyllur’s beauty and grace;<br/> +He should fly hence, where grief overwhelms.<br/> +O Princess! O loveliest Star,<br/> +I alone am the cause of thy death,<br/> +I also should die with my love. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Perhaps thy star has passed away,<br/> +For the heavens are sombre and grey. +</p> + +<p class="drama"> +OLLANTAY.<br/> +When they know that their Chief has fled,<br/> +My people will rise at my call,<br/> +They will leave the tyrant in crowds<br/> +And he will be nearly alone. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Thou hast love and affection from men,<br/> +For thy kindness endears thee to all,<br/> +For thy hand’s always open with gifts,<br/> +And is closely shut only to me. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Of what hast thou need? +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +What? the means to got this and that,<br/> +To offer a gift to my girl,<br/> +To let others see what I have,<br/> +So that I may be held in esteem. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Be as brave as thou art covetous,<br/> +And all the world will fear thee. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +My face is not suited for that;<br/> +Always gay and ready to laugh,<br/> +My features are not shaped that way.<br/> +To look brave! not becoming to me.<br/> +What clarions sound on the hills?<br/> +It quickly cometh near to us. +</p> + +<p class="center"> +(Both look out at different sides.) +</p> + +<p class="drama"> +OLLANTAY.<br/> +I doubt not those who seek me—come,<br/> +Let us depart and quickly march. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +When flight is the word, I am here. +</p> + +<p class="right"> +(Exeunt.) +</p> + +<h3><a name="scene05"></a>SCENE 5</h3> + +<p> +The great hall of the palace of Pachacuti. The INCA, as before, seated on +the tiana. Enter to him RUMI-ÑAUI. +</p> + +<p class="drama"> +PACHACUTI.<br/> +I ordered a search to be made,<br/> +But Ollantay was not to be found.<br/> +My rage I can scarcely control—<br/> +Hast thou found this infamous wretch? +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +His fear makes him hide from thy wrath. +</p> + +<p class="drama"> +PACHACUTI.<br/> +Take a thousand men fully armed,<br/> +And at once commence the pursuit. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Who can tell what direction to take?<br/> +Three days have gone by since his flight,<br/> +Perchance he’s concealed in some house,<br/> +And till now he is there, safely hid. +</p> + +<p class="center"> +(Enter a chasqui or messenger with quipus.) +</p> + +<p class="drama"> +Behold, O King, a messenger<br/> +From Urubamba he has come. +</p> + +<p class="drama"> +CHASQUI.<br/> +I was ordered to come to my King,<br/> +Swift as the wind, and behold me. +</p> + +<p class="drama"> +PACHACUTI.<br/> +What news bringest thou? +</p> + +<p class="drama"> +CHASQUI.<br/> +This quipu will tell thee, O King. +</p> + +<p class="drama"> +PACHACUTI.<br/> +Examine it, O Rumi-ñaui. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Behold the llanta, and the knots<a href="#linknote-36" name="linknoteref-36" id="linknoteref-36">[36]</a><br/> +Announce the number of his men. +</p> + +<p class="drama"> +PACHACUTI.<br/> +(to Chasqui).<br/> +And thou, what hast thou seen? +</p> + +<p class="drama"> +CHASQUI.<br/> +’Tis said that all the Anti host<br/> +Received Ollantay with acclaim;<br/> +Many have seen, and they recount,<br/> +Ollantay wears the royal fringe. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +The quipu record says the same. +</p> + +<p class="drama"> +PACHACUTI.<br/> +Scarcely can I restrain my rage!<br/> +Brave chief, commence thy march at once,<br/> +Before the traitor gathers strength.<br/> +If thy force is not enough,<br/> +Add fifty thousand men of mine.<br/> +Advance at once with lightning speed,<br/> +And halt not till the foe is reached. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +To-morrow sees me on the route,<br/> +I go to call the troops at once<br/> +The rebels on the Colla road,<br/> +I drive them flying down the rocks.<br/> +Thine enemy I bring to thee,<br/> +Dead or alive, Ollantay falls.<br/> +Meanwhile, O Inca, mighty Lord,<br/> +Rest and rely upon thy thrall. +</p> + +<p class="right"> +(Exeunt.) +</p> + +<p class="center"> +END OF ACT I. +</p> + +</div><!--end chapter--> + +<div class="chapter"> + +<h2><a name="act02"></a>ACT II</h2> + +<h3><a name="scene06"></a>SCENE 1</h3> + +<p> +Ollantay-tampu. Hall of the fortress-palace. Back scene seven immense stone, +slabs, resting on them a monolith right across. Above masonry. At sides masonry +with recesses; in the R. centre a great doorway. A golden tiana against the +central slab. +</p> + +<p class="center"> +(Enter OLLANTAY and URCO HUARANCA, both fully armed.) +</p> + +<p class="drama"> +URCO HUARANCA.<br/> +Ollantay, thou hast been proclaimed<br/> +By all the Antis as their Lord.<br/> +The women weep, as you will see—<br/> +They lose their husbands and their sons,<br/> +Ordered to the Chayanta war.<br/> +When will there be a final stop<br/> +To distant wars? Year after year<br/> +They send us all to far-off lands,<br/> +Where blood is made to flow like rain.<br/> +The King himself is well supplied<br/> +With coca and all kinds of food.<br/> +What cares he that his people starve?<br/> +Crossing the wilds our llamas die,<br/> +Our feet are wounded by the thorns,<br/> +And if we would not die of thirst<br/> +We carry water on our backs. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Gallant friends! Ye hear those words,<br/> +Ye listen to the mountain chief.<br/> +Filled with compassion for my men,<br/> +I thus, with sore and heavy heart,<br/> +Have spoken to the cruel king:<br/> +‘The Anti-suyu must have rest;<br/> +All her best men shan’t die for thee,<br/> +By battle, fire, and disease—<br/> +They die in numbers terrible.<br/> +How many men have ne’er returned,<br/> +How many chiefs have met their death<br/> +For enterprises far away?’<br/> +For this I left the Inca’s court,<a href="#linknote-37" name="linknoteref-37" id="linknoteref-37">[37]</a><br/> +Saying that we must rest in peace;<br/> +Lot none of us forsake our hearths,<br/> +And if the Inca still persists,<br/> +Proclaim with him a mortal feud. +</p> + +<p class="center"> +(Enter HANCO HUAYLLU, several chiefs, and a great crowd of soldiers and +people.) +</p> + +<p class="drama"> +PEOPLE.<br/> +Long live our king, Ollantay<br/> +Bring forth the standard and the fringe,<br/> +Invest him with the crimson fringe<br/> +In Tampu now the Inca reigns,<br/> +He rises like the star of day. +</p> + +<p class="right"> +(The chiefs, soldiers, and people range them selves round. Ollantay is +seated on the tiana by Hanco Huayllu, an aged Auqui or Prince.) +</p> + +<p class="drama"> +HANCO HUAYLLU.<br/> +Receive from me the royal fringe,<br/> +’Tis given by the people’s will.<br/> +Uilcanota<a href="#linknote-38" name="linknoteref-38" id="linknoteref-38">[38]</a> is a distant land,<br/> +Yet, even now, her people come<br/> +To range themselves beneath thy law. +</p> + +<p class="center"> +(Ollantay is invested with the fringe. He rises.) +</p> + +<p class="drama"> +OLLANTAY.<br/> +Urco Huaranca, thee I name<br/> +Of Anti-suyu Chief and Lord;<br/> +Receive the arrows and the plume, +</p> + +<p class="center"> +(Gives them.) +</p> + +<p class="drama"> +Henceforth thou art our general. +</p> + +<p class="drama"> +PEOPLE.<br/> +Long life to the Mountain Chief. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Hanco Huayllu,<a href="#linknote-39" name="linknoteref-39" id="linknoteref-39">[39]</a> of all my lords<br/> +Thou art most venerable and wise,<br/> +Being kin to the august High Priest,<br/> +It is my wish that thou shouldst give<br/> +The ring unto the Mountain Chief. +</p> + +<p class="center"> +(Urco Huaranca kneels, and Hanco Huayllu addresses him.) +</p> + +<p class="drama"> +HANCO HUAYLLU.<br/> +This ring around thy finger’s placed<br/> +That thou mayst feel, and ne’er forget,<br/> +That when in fight thou art engaged,<br/> +Clemency becomes a hero chief. +</p> + +<p class="drama"> +URCO HUARANCA.<br/> +A thousand times, illustrious king,<br/> +I bless thee for thy trust in me. +</p> + +<p class="drama"> +HANCO HUAYLLU.<br/> +Behold the valiant Mountain Chief,<br/> +Now fully armed from head to foot,<br/> +And bristling like the quiscahuan,<a href="#linknote-40" name="linknoteref-40" id="linknoteref-40">[40]</a><br/> +Accoutred as becomes a knight. +</p> + +<p class="center"> +(Turning to Urco Huaranca.) +</p> + +<p class="drama"> +Ne’er let thine enemies take thee in rear<br/> +Man of the Puna,<a href="#linknote-41" name="linknoteref-41" id="linknoteref-41">[41]</a> it ne’er can be said<br/> +You fled or trembled as a reed. +</p> + +<p class="drama"> +URCO HUARANCA.<br/> +Hear me, warriors of the Andes!<br/> +Already we have a valiant king,<br/> +It might be he will be attacked;<br/> +’Tis said th’ old Inca sends a force,<br/> +The men of Cuzco now advance.<br/> +We have not a single day to lose;<br/> +Call from the heights our Puna men,<br/> +Prepare their arms without delay,<br/> +Make Tampu strong with rampart walls,<br/> +No outlet leave without a guard;<br/> +On hill slopes gather pois’nous herbs<br/> +To shoot our arrows, carrying death. +</p> + +<p class="drama"> +OLLANTAY.<br/> +(to Urco Huaranca).<br/> +Select the chiefs!<br/> +Fix all the posts for different tribes;<br/> +Our foes keep marching without sleep—<br/> +Contrive to check them by surprise.<br/> +The compi<a href="#linknote-42" name="linknoteref-42" id="linknoteref-42">[42]</a> ruse may cause their flight. +</p> + +<p class="drama"> +URCO HUARANCA.<br/> +Thirty thousand brave Antis are here,<br/> +Amongst them no weakling is found;<br/> +Apu Maruti,<a href="#linknote-43" name="linknoteref-43" id="linknoteref-43">[43]</a> the mighty in war,<br/> +From high Uilcapampa<a href="#linknote-44" name="linknoteref-44" id="linknoteref-44">[44]</a> will come,<br/> +On steep Tinquiqueru<a href="#linknote-45" name="linknoteref-45" id="linknoteref-45">[45]</a> he’ll stand<br/> +To march when the signal appears;<br/> +On the opposite side of the stream<br/> +Prince Chara<a href="#linknote-46" name="linknoteref-46" id="linknoteref-46">[46]</a> has mustered his force;<br/> +In the gorge Charamuni<a href="#linknote-47" name="linknoteref-47" id="linknoteref-47">[47]</a> I post<br/> +Ten thousand armed Antis on watch;<br/> +Another such force is in wait<br/> +On the left, in the vale of Pachar.<a href="#linknote-48" name="linknoteref-48" id="linknoteref-48">[48]</a><br/> +We are ready to meet our foes,<br/> +We await them with resolute calm;<br/> +They will march in their confident pride<br/> +Until their retreat is cut off,<br/> +Then the trumpet of war shall resound,<br/> +From the mountains the stones shall pour down,<br/> +Great blocks will be hurled from above.<br/> +The Huancas<a href="#linknote-49" name="linknoteref-49" id="linknoteref-49">[49]</a> are crushed or dispersed,<br/> +Then the knife shall do its fell work,<br/> +All will perish by blows from our hands,<br/> +Our arrows will follow their flight. +</p> + +<p class="drama"> +PEOPLE and SOLDIERS.<br/> +It is well! It is very well! +</p> + +<p class="center"> +(Cheers and martial music.) +</p> + +<p class="right"> +(Exeunt.) +</p> + +<h3><a name="scene07"></a>SCENE 2</h3> + +<p> +A wild place the mountains. Distant view of Ollantay-tampu. +</p> + +<p> +(Enter Rumi-ñaui, torn and ragged, and covered with blood, with two +attendants.) +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Ah! Rumi-ñaui—Rumi-ñaui,<a href="#linknote-50" name="linknoteref-50" id="linknoteref-50">[50]</a><br/> +Thou art a fated rolling stone,<a href="#linknote-51" name="linknoteref-51" id="linknoteref-51">[51]</a><br/> +Escaped indeed, but quite alone,<br/> +And this is now thy <i>yarahui</i>.<br/> +<br/> +Ollantay posted on the height,<br/> +Thou couldst not either fight or see,<br/> +Thy men did quickly fall or flee;<br/> +No room was there to move or fight.<br/> +<br/> +Thou knowest now thy heart did beat<br/> +And flutter like a butterfly;<br/> +Thy skill thou couldst not then apply,<br/> +No course was left thee but retreat.<br/> +<br/> +They had recourse to a surprise,<br/> +Our warriors immolated quite.<br/> +Ah! that alone could turn thee white—<br/> +From shame like that, canst e’er arise?<br/> +<br/> +By thousands did thy warriors fall,<br/> +I hardly could alone escape,<br/> +With open mouth fell death did gape,<br/> +A great disaster did befall.<br/> +<br/> +Holding that traitor to be brave,<br/> +I sought to meet him face to face—<br/> +Rushing to seek him with my mace,<br/> +I nearly found a warrior’s grave.<br/> +<br/> +My army then was near the hill,<br/> +When suddenly the massive stones<br/> +Came crashing down, with cries and moans,<br/> +While clarions sounded loud and shrill.<br/> +<br/> +A rain of stones both great and small<br/> +Down on the crowd of warriors crashed,<br/> +On every side destruction flashed,<br/> +Thy heart the slaughter did appal.<br/> +<br/> +Like a strong flood the blood did flow,<br/> +Inundating the ravine;<br/> +So sad a sight thou ne’er hast seen—<br/> +No man survived to strike a blow.<br/> +<br/> +O thou who art by this disgraced,<br/> +What figure canst thou ever show<br/> +Before the king, who seeks to know<br/> +The truth, which must be faced?<br/> +<br/> +’Tis better far myself to kill,<br/> +Or losing every scrap of hope,<br/> +To hang my body with this rope. +</p> + +<p class="center"> +(Takes a sling off his cap—going.) +</p> + +<p class="drama"> +Yet may it not be useful still? +</p> + +<p class="center"> +(Turns again.) +</p> + +<p class="drama"> +When bold Ollantay’s end has come.<a href="#linknote-52" name="linknoteref-52" id="linknoteref-52">[52]</a> +</p> + +<p class="right"> +(Exit.) +</p> + +<h3><a name="scene08"></a>SCENE 3</h3> + +<p> +A garden in the house of the Virgins of the Sun. Chilca shrubs and mulli +trees (Schinus Molle) with panicles of red berries. The walls of the house +at the back, with a door. A gate (L.) opening on the street. +</p> + +<p> +(YMA SUMAC discovered at the gate looking out. To her enters (R.) PITU +SALLA. Both dressed in white with golden belts.) +</p> + +<p class="drama"> +PITU SALLA.<br/> +Yma Sumac, do not approach<br/> +So near that gate, and so often;<br/> +It might arouse the Mother’s wrath.<br/> +Thy name, which is so dear to me,<br/> +Will surely pass from mouth to mouth.<br/> +Honour shall be shown to chosen ones,<a href="#linknote-53" name="linknoteref-53" id="linknoteref-53">[53]</a><br/> +Who wish to close the outer gate.<br/> +Amuse thyself within the walls,<br/> +And no one then can say a word.<br/> +Think well what you can find within—<br/> +It gives you all you can desire,<br/> +Of dresses, gold, and dainty food.<br/> +Thou art beloved by every one,<br/> +E’en Virgins of the royal blood.<br/> +The Mothers love to carry thee,<br/> +They give thee kisses and caress—<br/> +You they prefer to all the rest.<br/> +What more could any one desire,<br/> +Than always to remain with them,<br/> +Destined to be servant of the Sun?<br/> +In contemplating Him there’s peace. +</p> + +<p class="drama"> +YMA SUMAC.<br/> +Pitu Salla, ever you repeat<br/> +The same thing and the same advice;<br/> +I will open to thee my whole heart,<br/> +And say exactly what I think.<br/> +Know that to me this court and house<br/> +Are insupportable—no less;<br/> +The place oppresses—frightens me—<br/> +Each day I curse my destiny.<br/> +The faces of all the Mama Cuna<br/> +Fill me with hatred and disgust,<br/> +And from the place they make me sit,<br/> +Nothing else is visible.<br/> +Around me there is nothing bright,<br/> +All are weeping and ne’er cease<br/> +If I could ever have my way,<br/> +No person should remain within.<br/> +I see the people pass outside,<br/> +Laughing as they walk along.<br/> +The reason it is plain to see—<br/> +They are not mewed and cloistered here.<br/> +Is it because I have no mother,<br/> +That I am kept a prisoner?<br/> +Or is it I’m a rich novice?<br/> +Then from to-day I would be poor.<br/> +Last night I could not get to sleep,<br/> +I wandered down a garden walk;<br/> +In the dead silence of the night,<br/> +I heard one mourn. A bitter cry,<br/> +As one who sought and prayed for death.<br/> +On every side I looked about,<br/> +My hair almost on end with fright,<br/> +Trembling, I cried, ‘Who canst thou be?’<br/> +Then the voice murmured these sad words:<br/> +‘O Sun, release me from this place!’<br/> +And this, amidst such sighs and groans!<br/> +I searched about, but nothing found—<br/> +The grass was rustling in the wind.<br/> +I joined my tears to that sad sound,<br/> +My heart was torn with trembling fear.<br/> +When now the recollection comes,<br/> +I’m filled with sorrow and with dread.<br/> +You know now why I hate this place.<br/> +Speak no more, my dearest friend,<br/> +Of reasons for remaining here. +</p> + +<p class="drama"> +PITU SALLA.<br/> +At least go in. The Mother may appear.<br/> +</p> + +<p class="drama"> +YMA SUMAC.<br/> +But pleasant is the light of day. +</p> + +<p class="right"> +(Exit, R.) +</p> + +<p class="center"> +(Enter MAMA CCACCA, L., in grey with black edges and belt.) +</p> + +<p class="drama"> +MAMA CCACCA.<br/> +Pitu Salla, hast thou spoken<br/> +All I told thee to that child? +</p> + +<p class="drama"> +PITU SALLA.<br/> +I have said all to her. +</p> + +<p class="drama"> +MAMA CCACCA.<br/> +And she, does she answer freely? +</p> + +<p class="drama"> +PITU SALLA.<br/> +She has wept and asked for pity,<br/> +Refusing to comply at all.<br/> +She will not take the virgin’s oath. +</p> + +<p class="drama"> +MAMA CCACCA.<br/> +And this in spite of thy advice? +</p> + +<p class="drama"> +PITU SALLA.<br/> +I showed her the dress she will wear,<br/> +Telling her misfortune would befall<br/> +If she refused to be a chosen one—<br/> +That she would ever be an outcast,<br/> +And for us a child accursed. +</p> + +<p class="drama"> +MAMA CCACCA.<br/> +What can she imagine,<br/> +Wretched child of an unknown father,<br/> +A maid without a mother,<br/> +Just a fluttering butterfly?<br/> +Tell her plainly, very plainly,<br/> +That these walls offer her a home,<br/> +Suited for outcasts such as she,<br/> +And here no light is seen. +</p> + +<p class="right"> +(Exit, L.) +</p> + +<p class="drama"> +PITU SALLA.<br/> +Ay, my Sumac! Yma Sumac!<br/> +These walls will be cruel indeed,<br/> +To hide thy surpassing beauty. +</p> + +<p class="center"> +(Glancing to where Mama Ccacca went out.) +</p> + +<p class="drama"> +What a serpent! What a puma! +</p> + +</div><!--end chapter--> + +<div class="chapter"> + +<h2><a name="act03"></a>ACT III</h2> + +<h3><a name="scene09"></a>SCENE 1</h3> + +<p> +The Pampa Moroni, a street in Cuzco. Enter RUMI-ÑAUI (L.)<a +href="#linknote-54" name="linknoteref-54" id="linknoteref-54">[54]</a> in +a long black cloak with a train, and PIQUI CHAQUI (R.), meeting each +other. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Whence, Piqui Chaqui, comest thou?<br/> +Dost thou here seek Ollantay’s fate? +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Cuzco, great lord, is my birthplace;<br/> +I hasten back unto my home.<br/> +I care not more to pass my days<br/> +In dismal and profound ravines. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Tell me, Ollantay—what does he? +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +He is busy now entangling<br/> +An already entangled skein. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +What skein? +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Should you not give me some present<br/> +If you want me to talk to you. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +With a stick will I give thee blows,<br/> +With a rope I will hang thee. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +O, do not frighten me! +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Speak then. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Ollantay. Is it Ollantay?<br/> +I can remember no more. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Piqui Chaqui! Take care! +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +But you will not listen!<br/> +I am turning blind,<br/> +My ears are getting deaf,<br/> +My grandmother is dead,<br/> +My mother is left alone. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Where is Ollantay? Tell me. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +I am in want of bread,<br/> +And the Paccays<a href="#linknote-55" name="linknoteref-55" id="linknoteref-55">[55]</a> are not ripe.<br/> +I have a long journey to-day—<br/> +The desert is very far off. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +If you continue to vex me<br/> +I will take your life. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Ollantay, is it? He is at work.<br/> +Ollantay! He is building a wall,<br/> +With very small stones indeed;<br/> +They are brought by little dwarfs—<br/> +So small that to be a man’s size<br/> +They have to climb on each other’s backs.<br/> +But tell me, O friend of the King,<a href="#linknote-56" name="linknoteref-56" id="linknoteref-56">[56]</a><br/> +Why art thou in such long clothes,<br/> +Trailing like the wings of a sick bird<a href="#linknote-57" name="linknoteref-57" id="linknoteref-57">[57]</a>—<br/> +As they are black it is better. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Hast thou not seen already<br/> +That Cuzco is plunged in grief?<br/> +The great Inca Pachacuti<a href="#linknote-58" name="linknoteref-58" id="linknoteref-58">[58]</a> is dead,<br/> +All the people are in mourning,<br/> +Every soul is shedding tears. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Who, then, succeeds to the place<br/> +Which Pachacuti has left vacant?<br/> +If Tupac Yupanqui succeeds,<br/> +That Prince is the youngest<br/> +There are some others older.<a href="#linknote-59" name="linknoteref-59" id="linknoteref-59">[59]</a> +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +All Cuzco has elected him,<br/> +For the late king chose him,<br/> +Giving him the royal fringe;<br/> +We could elect no other. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +I hasten to bring my bed here.<a href="#linknote-60" name="linknoteref-60" id="linknoteref-60">[60]</a> +</p> + +<p class="right"> +(Exit running.) +</p> + +<h3><a name="scene10"></a>SCENE 2</h3> + +<p> +Great hall of the palace of Tupac Yupanqui. The INCA seated on golden +tiana (C.). +</p> + +<p> +(Enter the HIGH PRIEST or UILLAC UMA, with priests and chosen Virgins of +the Sun. The INCA dressed as his father. Uillac Uma in full dress, wearing +the huampar chucu. Virgins in white with gold belts and diadems. They +range themselves by the throne (L.). Then enter RUMI-ÑAUI and a crowd of +chiefs, all in full dress, ranging themselves by the throne (R.).) +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +This day, O Councillors and Chiefs,<br/> +Let all receive my benison;<br/> +You Holy Virgins of the Sun<a href="#linknote-61" name="linknoteref-61" id="linknoteref-61">[61]</a><br/> +Receive our father’s tenderest care.<br/> +The realm, rejoicing, hails me king;<br/> +From deep recesses of my heart<br/> +I swear to seek the good of all. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +To-day the smoke of many beasts<br/> +Ascends on high towards the sun,<br/> +The Deity with joy accepts<br/> +The sacrifice of prayer and praise.<br/> +We found in ashes of the birds<br/> +Our only Inca, King, and Lord,<br/> +In the great llama sacrifice;<br/> +All there beheld an eagle’s form,<br/> +We opened it for augury,<br/> +But lo! the heart and entrails gone.<br/> +The eagle Anti-suyu means—<br/> +To thy allegiance they return. +</p> + +<p class="center"> +(Bowing to the Inca.) +</p> + +<p class="drama"> +Thus I, thy augur, prophesy. +</p> + +<p class="right"> +(Acclamation.) (Exeunt all but Uillac Uma and Rumi-ñaui.) +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +(turning to Rumi-ñaui).<br/> +Behold the Hanan-suyu Chief<br/> +Who let the enemy escape,<br/> +Who led to almost certain death<br/> +So many thousands of my men. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Before his death thy father knew<br/> +Disaster had befallen me;<br/> +’Tis true, O King, it was my fault,<br/> +Like a stone<a href="#linknote-62" name="linknoteref-62" id="linknoteref-62">[62]</a> I gave my orders,<br/> +And volleying stones soon beat me down;<br/> +It was with stones I had to fight,<br/> +And in the end they crushed my men.<br/> +Oh! grant me, Lord, a single chance,<br/> +Give perfect freedom to my plans,<br/> +Myself will to the fortress march,<br/> +And I will leave it desolate. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +For thee to strive with all thy might,<br/> +For thee thine honour to regain,<br/> +For thou shalt ne’er command my men<br/> +Unless thy worthiness is proved. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +Not many days shall pass, O King,<br/> +E’er all the Antis are subdued.<br/> +I’ve seen it in the quipu roll,<br/> +Haste! Haste! thou Rumi Tunqui. <a href="#linknote-63" name="linknoteref-63" id="linknoteref-63">[63]</a> +</p> + +<p class="right"> +(Exeunt.) +</p> + +<h3><a name="scene11"></a>SCENE 3</h3> + +<p> +The great terrace entrance to Ollantay-tampu. On R. a long masonry wall +with recesses at intervals. At back a great entrance doorway. On L. +terraces descend, with view of valley and mountains. +</p> + +<p> +(Guards discovered at entrance doorway. To them enter RUMI-ÑAUI in rags, +his face cut and slashed with wounds, and covered with blood.) +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Will no one here have pity on me? +</p> + +<p class="drama"> +ONE OF THE GUARDS.<br/> +Who art thou, man?<br/> +Who has ill-treated thee?<br/> +Thou comest in a frightful state,<br/> +Covered with blood and gaping wounds. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Go quickly to thy king and say<br/> +That one he loves has come to him.<br/> +</p> + +<p class="drama"> +ONE OF THE GUARDS.<br/> +Thy name? +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +There is no need to give a name.<br/> +</p> + +<p class="drama"> +ONE OF THE GUARDS.<br/> +Wait here. +</p> + +<p class="right"> +(Exit one of the guards.) +</p> + +<p class="center"> +(Enter OLLANTAY with guards, R. front.) +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +A thousand times I thee salute,<br/> +Ollantay, great and puissant king!<br/> +Have pity on a fugitive<br/> +Who seeks a refuge here with thee. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Who art thou, man? Approach nearer.<br/> +Who has thus ill-treated thee?<br/> +Were such deep and fearful wounds<br/> +Caused by a fall, or what mishap? +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Thou knowest me, O mighty chief.<br/> +I am that stone that fell down once,<br/> +But now I fall before thy feet;<br/> +O Inca! mercy! Raise me up! +</p> + +<p class="center"> +(Kneels.) +</p> + +<p class="drama"> +OLLANTAY.<br/> +Art thou the noble Rumi-ñaui,<br/> +Great Chief and Lord of Hanan-suyu? +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Yes, I was that well-known Chief—<br/> +A bleeding fugitive to-day.<br/> +Ollantay. Rise, comrade mine. Let us embrace. +</p> + +<p class="center"> +(Rises.) +</p> + +<p class="drama"> +Who has dared to treat thee thus,<br/> +And who has brought thee here to me<br/> +Within my fortress, on my hearth? +</p> + +<p class="center"> +(To attendants.) +</p> + +<p class="drama"> +Bring new clothes for my oldest friend. +</p> + +<p class="right"> +(Exit an attendant.) +</p> + +<p class="drama"> +How is it that thou art alone?<br/> +Camest thou not fearing death? +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +A new king reigns in Cuzco now—<br/> +Tupac Yupanqui is installed.<br/> +Against the universal wish,<br/> +He rose upon a wave of blood;<br/> +Safety he sees in headless trunks,<br/> +The sunchu<a href="#linknote-64" name="linknoteref-64" id="linknoteref-64">[64]</a> and the nucchu<a href="#linknote-65" name="linknoteref-65" id="linknoteref-65">[65]</a> red<br/> +Are sent to all he would destroy.<br/> +Doubtless you have not forgot<br/> +That I was Hanan-suyu’s Chief.<br/> +Yupanqui ordered me to come;<br/> +Arrived, I came before the king,<br/> +And as he has a cruel heart,<br/> +He had me wounded as you see;<br/> +And now thou knowest, king and friend,<br/> +How this new Inca treated me. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Grieve not, old friend Rumi-ñaui,<br/> +Thy wounds before all must be cured;<br/> +I see in thee th’ avenging knife,<br/> +To use against the tyrant’s heart.<br/> +At Tampu now we celebrate<br/> +The Sun’s great Raymi festival;<br/> +On that day all who love my name,<br/> +Throughout my realms hold festival. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Those three days of festival<br/> +To me will be a time of joy,<br/> +Perhaps I may be healed by then,<br/> +So that my heart may pleasure seek. +</p> + +<p class="drama"> +OLLANTAY.<br/> +It will be so. For three whole nights<br/> +We drink and feast, to praise the Sun,<br/> +The better to cast all care aside<br/> +We shall be shut in Tampu fort. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +The youths, as is their wont, will find<br/> +Their great delight in those three nights,<br/> +Then will they rest from all their toils,<br/> +And carry off the willing girls. +</p> + +<h3><a name="scene12"></a>SCENE 4</h3> + +<p> +A corridor in the palace of Chosen Virgins. +</p> + +<p class="center"> +(Enter YMA SUMAC and PITU SALLA.) +</p> + +<p class="drama"> +YMA SUMAC.<br/> +Pitu Salla, beloved friend,<br/> +How long wilt thou conceal from me<br/> +The secret that I long to know?<br/> +Think, dearest, of my anxious heart,<br/> +How I shall be in constant grief<br/> +Until you tell the truth to me.<br/> +Within these hard and cruel bounds<br/> +Does some one suffer for my sins?<br/> +My sweet companion, do not hide<br/> +From me, who ’tis that mourns and weeps<br/> +Somewhere within the garden walls.<br/> +How is it she is so concealed<br/> +That I can never find the place? +</p> + +<p class="drama"> +PITU SALLA.<br/> +My Sumac, now I’ll tell thee all—<br/> +Only concerning what you hear,<br/> +And still more surely what you see,<br/> +You must be dumb as any stone;<br/> +And you too must be well prepared<br/> +For a most sad heart-rending sight—<br/> +’Twill make thee weep for many days. +</p> + +<p class="drama"> +YMA SUMAC.<br/> +I will not tell a living soul<br/> +What you divulge. But tell me all,<br/> +I’ll shut it closely in my heart. +</p> + +<h3><a name="scene13"></a>SCENE 5</h3> + +<p> +A secluded part of the gardens of the Virgins, (L.) flowers, (R.) a +thicket of mulli<a href="#linknote-66" name="linknoteref-66" id="linknoteref-66">[66]</a> and chilca,<a href="#linknote-67" name="linknoteref-67" id="linknoteref-67">[67]</a> concealing a stone +door. +</p> + +<p class="center"> +(PITU SALLA and YMA SUMAC.) +</p> + +<p class="drama"> +PITU SALLA.<br/> +In this garden is a door of stone,<br/> +But wait until the Mothers sleep,<br/> +The night comes on. Wait here for me. +</p> + +<p class="right"> +(Exit.) +</p> + +<p class="center"> +(Yma Sumac reclines on a bank and sleeps.<br/> +Night comes on, Yma Sumac awakes.) +</p> + +<p class="drama"> +YMA SUMAC.<br/> +A thousand strange presentiments<br/> +Crowd on me now, I scarce know what—<br/> +Perhaps I shall see that mournful one<br/> +Whose fate already breaks my heart. +</p> + +<p class="center"> +(Pitu Salla returns with a cup of water, a small covered vase containing +food, and a torch which she gives to Yma Sumac. She leads Yma Sumac +through bushes to the stone door, fixes the torch, presses something, and +the door swings round.) +</p> + +<p class="center"> +(CUSI COYLLUR is discovered senseless, extended on the ground, a snake +twining itself round her waist.) +</p> + +<p class="drama"> +PITU SALLA.<br/> +Behold the princess for whom you seek.<br/> +Well! is thy heart now satisfied? +</p> + +<p class="drama"> +YMA SUMAC.<br/> +Oh, my friend, what do I behold?<br/> +Is it a corpse that I must see?<br/> +Oh, horror! A dungeon for the dead! +</p> + +<p class="center"> +(She faints.) +</p> + +<p class="drama"> +PITU SALLA.<br/> +What misfortune has now arrived?<br/> +O my Sumac, my dearest love,<br/> +O come to thyself without delay!<br/> +Arouse thee. Arise, my lovely flower. +</p> + +<p class="center"> +(Yma Sumac revives.) +</p> + +<p class="drama"> +Fear not, my dove, my lovely friend,<br/> +’Tis not a corpse. The princess lives,<br/> +Unhappy, forlorn, she lingers here. +</p> + +<p class="drama"> +YMA SUMAC.<br/> +Is she, then, still a living being? +</p> + +<p class="drama"> +PITU SALLA.<br/> +Approach nearer, and you can help.<br/> +She lives indeed. Look. Watch her now.<br/> +Give me the water and the food. +</p> + +<p class="center"> +(To Cusi Coyllur, while helping her to sit up.) +</p> + +<p class="drama"> +O fair princess, I bring thee food<br/> +And cooling water to refresh.<br/> +Try to sit up. I come with help. +</p> + +<p class="drama"> +YMA SUMAC.<br/> +Who art thou, my sweetest dove?<br/> +Why art thou shut in such a place? +</p> + +<p class="drama"> +PITU SALLA.<br/> +Take a little food, we pray.<br/> +Perchance without it, you may die. +</p> + +<p class="drama"> +CUSI COYLLUR.<br/> +How happy am I now to see,<br/> +After these long and dismal years,<br/> +The new and lovely face of one<br/> +Who comes with thee and gives me joy. +</p> + +<p class="drama"> +YMA SUMAC.<br/> +O my princess, my sister dear,<br/> +Sweet bird, with bosom of pure gold,<br/> +What crime can they accuse thee of,<br/> +That they can make thee suffer thus?<br/> +What cruel fate has placed thee here<br/> +With death on watch in serpent’s form? +</p> + +<p class="drama"> +CUSI COYLLUR.<br/> +O charming child, the seed of love,<br/> +Sweet flower for my broken heart,<br/> +I have been thrust in this abyss.<br/> +I once was joined to a man<br/> +As pupil is part of the eye;<br/> +But alas! has he forgotten me?<br/> +The King know not that we were joined<br/> +By such indissoluble bonds,<br/> +And when he came to ask my hand,<br/> +That King dismissed him in a rage,<br/> +And cruelly confined me here.<br/> +Many years have passed since then,<br/> +Yet, as you see, I’m still alive;<br/> +No single soul have I beheld<br/> +For all those sad and dismal years,<br/> +Nor have I found relief nor hope.<br/> +But who art thou, my dear, my love,<br/> +So young, so fresh, so pitiful? +</p> + +<p class="drama"> +YMA SUMAC.<br/> +I too, like thee, am full of grief,<br/> +For long I’ve wished to see and love,<br/> +My poor forlorn and sad princess.<br/> +No father, no mother are mine,<br/> +And there are none to care for me. +</p> + +<p class="drama"> +CUSI COYLLUR.<br/> +What age art thou? +</p> + +<p class="drama"> +YMA SUMAC.<br/> +I ought to number many years,<br/> +For I detest this dreadful house,<br/> +And as it is a dreary place,<br/> +The time in it seems very long. +</p> + +<p class="drama"> +PITU SALLA.<br/> +She ought to number just ten years<br/> +According to the account I’ve kept. +</p> + +<p class="drama"> +CUSI COYLLUR.<br/> +And what is thy name? +</p> + +<p class="drama"> +YMA SUMAC.<br/> +They call me Yma Sumac now,<br/> +But to give it me is a mistake. +</p> + +<p class="drama"> +CUSI COYLLUR.<br/> +O my daughter! O my lost love,<br/> +Come to thy mother’s yearning heart. +</p> + +<p class="center"> +(Embraces Yma Sumac.) +</p> + +<p class="drama"> +Thou art all my happiness,<br/> +My daughter, come, O come to me;<br/> +This joy quite inundates my soul,<br/> +It is the name I gave to thee. +</p> + +<p class="drama"> +YMA SUMAC.<br/> +O my mother, to find thee thus!<br/> +We must be parted never more.<br/> +Do not abandon me in grief.<br/> +To whom can I turn to free thee,<br/> +To whom can I appeal for right? +</p> + +<p class="drama"> +PITU SALLA.<br/> +Make no noise, my dearest friend.<br/> +To find us thus would ruin me.<br/> +Let us go. I fear the Mothers. +</p> + +<p class="drama"> +YMA SUMAC.<br/> +(to Cusi Coyllur).<br/> +Suffer a short time longer here,<br/> +Until I come to take thee hence,<br/> +Patience for a few more days.<br/> +Alas! my mother dear! I go,<br/> +But full of love, to seek for help. +</p> + +<p class="right"> +(Exeunt closing the stone door, all but Cusi Coyllur. They extinguish +the torch.) +</p> + +<h3><a name="scene14"></a>SCENE 6</h3> + +<p> +Great hall in the palace of Tupac Yupanqui. +</p> + +<p class="center"> +(The INCA discovered seated on the tiana. To him enter the UILLAC UMA, in +full dress.) +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +I greet thee, great and noble Priest!<br/> +Hast thou no news of Rumi-ñaui. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +Last night, with guards, I wandered out<br/> +On heights towards Uilcanuta.<br/> +Far off I saw a crowd in chains,<br/> +No doubt the Anti prisoners,v +For they are all defeated quite.<br/> +The cacti<a href="#linknote-68" name="linknoteref-68" id="linknoteref-68">[68]</a> on the mountains smoke,<br/> +E’en now the fortress is in flames. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +And Ollantay, is he taken?<br/> +Perhaps—I hope his life is saved. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +Ollantay was among the flames,<br/> +’Tis said that no one has escaped. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +The Sun, my Father, is my shield,<br/> +I am my father’s chosen child.<br/> +We must subdue the rebel host,<br/> +For that I am appointed here. +</p> + +<p class="center"> +(Enter a CHASQUI with a quipu in his hand.) +</p> + +<p class="drama"> +THE CHASQUI.<br/> +This morning at the dawn of day,<br/> +Rumi-ñaui despatched this quipu. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +(to the Uillac Uma).<br/> +See what it says. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +This knot, coloured burnt ahuarancu,<br/> +Tells us that Tampu too is burnt;<br/> +This triple knot to which is hung<br/> +Another which is quintuple,<br/> +In all of quintuples are three,<br/> +Denotes that Anti-suyu’s thine,<br/> +Its ruler prisoner of war. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +(to the Chasqui).<br/> +And thou. Where wert thou? +</p> + +<p class="drama"> +THE CHASQUI.<br/> +Sole King and Lord! Child of the Sun!<br/> +I am the first to bring the news,<br/> +That thou mayst trample on the foe,<br/> +And in thine anger drink their blood. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Did I not reiterate commands<br/> +To spare and not to shed their blood—<br/> +Not anger but pity is my rule. +</p> + +<p class="drama"> +THE CHASQUI.<br/> +O Lord, we have not shed their blood;<br/> +They were all captured in the night,<br/> +Unable to resist our force. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Recount to me in full detail<br/> +The circumstances of the war. +</p> + +<p class="drama"> +THE CHASQUI.<br/> +For a signal thy warriors wait.<br/> +The nights passed at Tinquiqueru,<a href="#linknote-69" name="linknoteref-69" id="linknoteref-69">[69]</a><br/> +Concealed in the cavern below,<br/> +Yanahuara<a href="#linknote-70" name="linknoteref-70" id="linknoteref-70">[70]</a> men joining us late.<br/> +<br/> +We waited within the large cave,<br/> +Thy men always ready to fight,<br/> +Behind foliage well out of sight,<br/> +Thy warriors patient and brave.<br/> +<br/> +But for three long days and dark nights,<br/> +No food for the zealous and bold;<br/> +Feeling hungry, thirsty, and cold,<br/> +We waited and watched for the lights.<a href="#linknote-71" name="linknoteref-71" id="linknoteref-71">[71]</a><br/> +<br/> +Rumi-ñaui sent orders at length,<br/> +When the Raymi<a href="#linknote-72" name="linknoteref-72" id="linknoteref-72">[72]</a> they carelessly keep,<br/> +And all of them drunk or asleep,<br/> +We were then to rush on with our strength.<br/> +<br/> +Word came to surprise our foes,<br/> +Rumi-ñaui had opened the gate,<br/> +As cautious and silent as fate—<br/> +We were masters with none to oppose.<br/> +<br/> +Those rebels fell into the trap,<br/> +The arrows came on them like rain,<br/> +Most died in their sleep without pain,<br/> +Not knowing their fatal mishap.<br/> +<br/> +Ollantay, still trusting, was ta’en,<br/> +The same Urco Huaranca befell;<br/> +Hanco Huayllu is captive as well,<br/> +We thy rebels in fetters detain.<br/> +<br/> +The Antis by thousands are slain,<br/> +A fearful example is made,<br/> +They are beaten, crushed, and betrayed,<br/> +Their women in sorrow and pain. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +As witness of what has occurred,<br/> +On Vilcamayu’s storied banks,<br/> +No doubt thou hast told me the truth.<br/> +It was a well designed attack. +</p> + +<p class="center"> +(Enter RUMI-ÑAUI followed by several chiefs.) +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Great Inca, I kneel at thy feet,<br/> +This time You will hear my report,<br/> +I beseech thee to deign to restore<br/> +The trust that I forfeited once. +</p> + +<p class="center"> +(Kneels.) +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Rise, great Chief, receive my regard,<br/> +I accept thy great service with joy;<br/> +Thou didst cast o’er the waters thy net,<br/> +And hast captured a marvellous fish. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Our enemies perished in crowds,<br/> +Their chiefs were captured and bound,<br/> +Overwhelmed by my terrible force,<br/> +Like a rook detached from the heights. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Was much blood shed in the assault? +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +No, Lord, not a drop has been shed,<br/> +To thine orders I strictly adhered.<br/> +Those Antis were strangled in sleep,<br/> +But the fort is entirely razed. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Where are the rebels? +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +They are waiting with agonised fear,<br/> +For their fate, to perish by cords.<br/> +The people are sending up cries,<br/> +Demanding their deaths without fail.<br/> +Their women are now in their midst,<br/> +The children raise hideous cries;<br/> +It is well that thine order should pass<br/> +To finish their traitorous lives. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +It must be so without any doubt,<br/> +That the orphans may not be alone,<br/> +Let all perish, not sparing one,<br/> +Thus Cuzco recovers her peace,<br/> +Let the traitors be brought before me.<br/> +In my presence the sentence they’ll hear. +</p> + +<p class="right"> +(Exit Rumi-ñaui, and re-enter followed by guards in charge of OLLANTAY, +URCO HUARANCA, and HANCO HAUYLLU, bound and blindfold, followed by guards +with PIQUI CHAQUI bound.) +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Take the bands off the eyes of those men.<br/> +And now, Ollantay, where art thou?<br/> +And where art thou, O Mountain Chief?<br/> +Soon thou wilt roll down from the heights. +</p> + +<p class="center"> +(To the soldiers who bring in Piqui Chaqui.) +</p> + +<p class="drama"> +Whom have we here? +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Many fleas in the Yuncas abound,<br/> +And torment the people full sore,<br/> +With boiling water they are killed,<br/> +And I, poor flea,<a href="#linknote-73" name="linknoteref-73" id="linknoteref-73">[73]</a> must also die. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Tell me, Hanco Huayllu, tell me,<br/> +Why art thou Ollantay’s man?<br/> +Did not my father honour thee?<br/> +Did he not grant thy requests?<br/> +Did he ever have a secret from thee?<br/> +Speak also, you, the other rebels,<br/> +Ollantay and the Mountain Chief. +</p> + +<p class="drama"> +OLLANTAY.<br/> +O father, we have nought to say,<br/> +Our crimes are overwhelming us. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +(to the Uillac Uma).<br/> +Pronounce their sentence, great High Priest. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +The light that fills me from the Sun<br/> +Brings mercy and pardon to my heart. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Now thy sentence, Rumi-ñaui. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +For crimes enormous such as these<br/> +Death should ever be the doom<br/> +It is the only way, O King!<br/> +To warn all others from such guilt.<br/> +To stout tocarpus<a href="#linknote-74" name="linknoteref-74" id="linknoteref-74">[74]</a> they should be<br/> +Secured and bound with toughest rope,<br/> +Then should the warriors freely shoot<br/> +Their arrows until death is caused. +</p> + +<p class="drama"> +PIQUI CHAQUI.<br/> +Must it be that evermore<br/> +The Antis must all perish thus?<br/> +Alas! then let the branches burn<br/> +What pouring out of blood is here.<a href="#linknote-75" name="linknoteref-75" id="linknoteref-75">[75]</a> +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Silence, rash man, nor dare to speak, +</p> + +<p class="center"> +(General lamentation outside.) +</p> + +<p class="drama"> +Having been rolled just like a stone,<br/> +My heart has now become a stone.<a href="#linknote-76" name="linknoteref-76" id="linknoteref-76">[76]</a> +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Know that tocarpus are prepared.<br/> +Remove those traitors from my sight,<br/> +Let them all perish, and at once. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Take these three men without delay<br/> +To the dreaded execution stakes;<br/> +Secure them with unyielding ropes,<br/> +And hurl them from the lofty rocks. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Stop! Cast off their bonds. +</p> + +<p class="center"> +(The guards unbind them. They all kneel.) +</p> + +<p class="drama"> +(To Ollantay, kneeling).<br/> +Rise from thy knees; come to my side. +</p> + +<p class="center"> +(Rises.) +</p> + +<p class="drama"> +Now thou hast seen death very near,<br/> +You that have shown ingratitude,<br/> +Learn how mercy flows from my heart;<br/> +I will raise thee higher than before.<br/> +Thou wert Chief of Anti-suyu,<br/> +Now see how far my love will go;<br/> +I make thee Chief in permanence.<br/> +Receive this plume as general,<br/> +This arrow<a href="#linknote-77" name="linknoteref-77" id="linknoteref-77">[77]</a> emblem of command.<a href="#linknote-78" name="linknoteref-78" id="linknoteref-78">[78]</a> +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +(to the Uillac Uma).<br/> +Thou mighty Pontiff of the Sun,<br/> +Robe him in the regal dress.<br/> +Raise up the others from their knees,<br/> +And free them from the doom of death. +</p> + +<p class="center"> +(Urco Huaranca, Hanco Huayllu, and Piqui Chaqui rise, the latter looking +much relieved. The Uillac Uma places the robe on Ollantay’s shoulders.) +</p> + +<p class="drama"> +UILLAC UMA.<br/> +Ollantay, learn to recognise<br/> +Tupac Yupanqui’s generous mind;<br/> +From this day forth be thou his friend,<br/> +And bless his magnanimity.<br/> +This ring contains my potent charm,<br/> +For this I place it on thy hand. +</p> + +<p class="center"> +(Gives him a ring, or bracelet.) +</p> + +<p class="drama"> +This mace receive, ’tis from the king, +</p> + +<p class="center"> +(Gives him a mace (champi).) +</p> + +<p class="drama"> +It is his gracious gift to thee. +</p> + +<p class="drama"> +OLLANTAY.<br/> +With tears I shall nearly consume<br/> +That mace thus presented to me;<br/> +I am tenfold the great Inca’s slave,<br/> +In this world no equal is found,<br/> +My heart’s fibres his latchets shall be;<br/> +From this moment my body and soul<br/> +To his service alone shall belong. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Now, Mountain Chief! come near to me,<br/> +Ollantay is given the arrow and plume,<br/> +Though to me he gave fury and war.<br/> +Notwithstanding all that has passed<br/> +He continues the Andean chief,<br/> +And will lead his rebels to peace;<br/> +Thee also I choose for the plume;<br/> +From this day thou art a great chief,<br/> +And never forget in thy thoughts,<br/> +I saved thee from death and disgrace. +</p> + +<p class="drama"> +URCO HUARANCA.<br/> +Great King and most merciful Lord,<br/> +But now, expecting my death,<br/> +I am ever thy most faithful slave. +</p> + +<p class="center"> +(Uillac Uma gives him the plume and arrow.) +</p> + +<p class="drama"> +UILLAC UMA.<br/> +O Urco, the Inca has made<br/> +A great and a powerful chief,<br/> +And grants thee with marvellous grace<br/> +The arrow and also the plume. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Illustrious King, I venture to ask,<br/> +Will Anti-suyu have two chiefs. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +There will not be two, O Rumi-ñaui<br/> +The Mountain Chief will rule the Antis;<br/> +In Cuzco Ollantay will reign—<br/> +As Viceroy deputed by me<br/> +His duties will call him to act<br/> +As ruler throughout the whole realm. +</p> + +<p class="drama"> +OLLANTAY.<br/> +O King! thou dost raise me too high,<br/> +A man without service or claim;<br/> +I am thy obedient slave—<br/> +Mayst thou live for a thousand years. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +The mascapaycha now bring forth,<br/> +And to it the llautu attach.<br/> +Uillac Uma, adorn him with these,<br/> +And proclaim his state to the world.<br/> +Yes, Ollantay shall stand in my place,<br/> +Raised up like the star of the morn,<br/> +For Colla this month I shall start;<br/> +All preparations are made.<br/> +In Cuzco Ollantay will stay,<br/> +My Ranti<a href="#linknote-79" name="linknoteref-79" id="linknoteref-79">[79]</a> and Viceroy and friend. +</p> + +<p class="drama"> +OLLANTAY.<br/> +I would fain, O magnanimous King,<br/> +Follow thee in the Chayanta war;<br/> +Thou knowest my love for such work.<br/> +Peaceful Cuzco is not to my taste,<br/> +I prefer to be thy Canari,<a href="#linknote-80" name="linknoteref-80" id="linknoteref-80">[80]</a><br/> +To march in the van of thy force,<br/> +And not to be left in the rear. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Thou shouldst find the wife of thy choice,<br/> +And with her reign happily here<br/> +In Cuzco; repose without care;<br/> +Rest here while I’m absent in war. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Great King, thy sorrowful slave<br/> +Already had chosen a wife. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +How is it I know not of this?<br/> +It should be reported to me.<br/> +I will load her with suitable gifts;<br/> +Why was this concealed from my eyes? +</p> + +<p class="drama"> +OLLANTAY.<br/> +In Cuzco itself disappeared<br/> +That sweet and adorable dove;<br/> +One day she did rest in my arms,<br/> +And the next no more to be seen.<br/> +In grief I made search far and near,<br/> +Earth seemed to have swallowed her up,<br/> +To have buried her far from my sight;<br/> +O such, mighty King, is my grief. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Ollantay! afflict not thyself,<br/> +For now thou must take up thy place<br/> +Without turning thy eyes from thy work. +</p> + +<p class="center"> +(To Uillac Uma.) +</p> + +<p class="drama"> +High priest, obey my command. +</p> + +<p class="right"> +(The Uillac Uma goes to the wings (R.) and addresses the people outside.) +</p> + +<p class="drama"> +UILLAC UMA.<br/> +O people, hear what I say:<br/> +The Inca, our King and our Lord,<br/> +Thus declares his imperial will:<br/> +Ollantay shall reign in his place. +</p> + +<p class="drama"> +PEOPLE outside.<br/> +Ollantay Ranti! Ollantay Ranti! +</p> + +<p class="center"> +(Shouts and acclamations.) +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +(to Rumi-ñaui and other chiefs.)<br/> +You also render him homage. +</p> + +<p class="drama"> +RUMI-ÑAUI.<br/> +Prince Ollantay! Incap Ranti!<br/> +Thy promotion gives me joy.<br/> +All the Antis now released,<br/> +Return rejoicing to their homes. +</p> + +<p class="center"> +(He and all the Chiefs bow to Ollantay.) +</p> + +<p class="drama"> +GUARDS WITHOUT.<br/> +You cannot pass. Go back! go back!<br/> +Voice without. Why, is this a festive day?<br/> +Let me pass. I must see the king;<br/> +I pray you do not stop me,<br/> +Do not drive me from the door;<br/> +If you stop me I shall die.<br/> +Have a care. You will kill me. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +What noise is that without? +</p> + +<p class="drama"> +GUARD.<br/> +It is a young girl who comes weeping<br/> +And insists upon seeing the king. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Let her come in. +</p> + +<p class="center"> +(Enter Yma Sumac.) +</p> + +<p class="drama"> +YMA SUMAC.<br/> +Which is the Inca, my lord,<br/> +That I may kneel down at his feet? +</p> + +<p class="drama"> +UILLAC UMA.<br/> +Who art thou, charming maid?<br/> +Behold the King. +</p> + +<p class="center"> +(Yma Sumac throws herself at the King’s feet.) +</p> + +<p class="drama"> +YMA SUMAC.<br/> +O my King! be thou my father,<br/> +Snatch from evil thy poor servant.<br/> +Extend thy royal hand to me.<br/> +O merciful child of the Sun,<br/> +My mother is dying at this hour<br/> +In a foul and loathsome cave;<br/> +She is killed in cruel martyrdom—<br/> +Alas! she is bathed in her own blood. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +What inhumanity, poor child!<br/> +Ollantay, take this case in hand. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Young maiden, take me quickly there;<br/> +We will see who it is that suffers. +</p> + +<p class="drama"> +YMA SUMAC.<br/> +No, sir. Not so. It is the King himself<br/> +Should go with me.<br/> +Perhaps he may recognise her; +</p> + +<p class="center"> +(To Ollantay.) +</p> + +<p class="drama"> +For you, I know not who you are.<br/> +O King, arise, do not delay,<br/> +I fear my mother breathes her last,<br/> +At least may be in mortal pain;<br/> +O Inca! Father! grant my prayer. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +Illustrious King, thou wilt consent;<br/> +Let us all seek this luckless one—<br/> +Thou canst release from cruel bonds.<br/> +Lot us go, O King! +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +(rising).<br/> +Come all! Come all!<br/> +In midst of reconciliations<br/> +This young maid assaults my heart. +</p> + +<p class="right"> +(Exeunt.) +</p> + +<h3><a name="scene15"></a>SCENE 7</h3> + +<p> +The garden in the palace of Virgins of the Sun (same scene as Act III, +Scene 5). Stone door more visible. +</p> + +<p> +(Enter the INCA TUPAC YUPANQUI with YMA SUMAC, OLLANTAY, UILLAC UMA and +RUMI nAUI; URCO HUARANCA, HANCO HUAYLLU and PIQUI CHAQUI in the +background.) +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +But this is the Aclla Huasi;<a href="#linknote-81" name="linknoteref-81" id="linknoteref-81">[81]</a><br/> +My child, art thou not mistaken?<br/> +Where is thy imprisoned mother? +</p> + +<p class="drama"> +YMA SUMAC.<br/> +In a dungeon within these bounds<br/> +My mother has suffered for years,<br/> +Perhaps even now she is dead. +</p> + +<p class="center"> +(She points to the stone door.) +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +What door is this? +</p> + +<p class="center"> +(Enter MAMA CCACCA and PITU SALLA. Mama Ccacca kneels and kisses the +Inca’s hand.) +</p> + +<p class="drama"> +MAMA CCACCA.<br/> +Is it a dream or reality,<br/> +That I behold my sovereign?<br/> +Tupac Yupanqui. Open that door. +</p> + +<p class="center"> +(Mama Ccacca opens the door.) +</p> + +<p class="center"> +(CUSI COYLLUR discovered chained and fainting, with a puma and a snake, +one on each side of her.) +</p> + +<p class="drama"> +YMA SUMAC.<br/> +O my mother, I feared to find<br/> +That you had already passed away;<br/> +Pitu Salla! Haste. Bring water.<br/> +Perhaps my dove may still revive. +</p> + +<p class="right"> +(Exit Pitu Salla.) +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +What horrid cavern do I see?<br/> +Who is this woman? what means it?<br/> +What cruel wretch thus tortures her?<br/> +What means that chain bound around her?<br/> +Mama Ccacca, come near to me<br/> +What hast thou to say to this?v +Is it the effect of malice<br/> +That this poor creature lingers here? +</p> + +<p class="drama"> +MAMA CCACCA.<br/> +It was thy father’s dread command;<br/> +A punishment for lawless love. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Begone! begone! harder than rock.<a href="#linknote-82" name="linknoteref-82" id="linknoteref-82">[82]</a><br/> +Turn out that puma and the snake,<a href="#linknote-83" name="linknoteref-83" id="linknoteref-83">[83]</a><br/> +Break down that door of carved stone.<br/> +(To Mama Ccacca.)<br/> +Let me not see thy face again.<br/> +A woman living as a bat;<br/> +This child has brought it all to light. +</p> + +<p class="center"> +(Enter Pitu Salla with water. She sprinkles it over Cusi Coyllur, who +revives.) +</p> + +<p class="drama"> +CUSI COYLLUR.<br/> +Where am I? who are these people?<br/> +Yma Sumac, my beloved child,<br/> +Come to me, my most precious dove.<br/> +Who are all these men before me? +</p> + +<p class="center"> +(She begins to faint again and is restored by water.) +</p> + +<p class="drama"> +YMA SUMAC.<br/> +Fear not, my mother, ’tis the King;<br/> +The King himself comes to see you.<br/> +The great Yupanqui is now here.<br/> +Speak to him. Awake from thy trance. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +My heart is torn and sorrowful<br/> +At sight of so much misery.<br/> +Who art thou, my poor sufferer?<br/> +Child, tell me now thy mother’s name? +</p> + +<p class="drama"> +YMA SUMAC.<br/> +Father! Inca! Clement Prince!<br/> +Have those cruel bonds removed. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +It is for me to remove them,<br/> +And to relieve this sore distress. +</p> + +<p class="center"> +(Cuts the rope fastening Cusi Coyllur to the wall.) +</p> + +<p class="drama"> +OLLANTAY.<br/> +(to Yma Sumac).<br/> +What is thy mother’s name? +</p> + +<p class="drama"> +YMA SUMAC.<br/> +Her name was once Cusi Coyllur,<br/> +But it seems a mistake. Her joy<br/> +Was gone when she was prisoned here. +</p> + +<p class="drama"> +OLLANTAY.<br/> +O renowned King, great Yupanqui,<br/> +In her you see my long lost wife. +</p> + +<p class="center"> +(Prostrates himself before the Inca.) +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +It all appears a dream to me.<br/> +The ‘Star’! my sister!<a href="#linknote-84" name="linknoteref-84" id="linknoteref-84">[84]</a> and thy wife.<br/> +O sister! what newly found joy.<br/> +O Cusi Coyllur, my sister,<br/> +Come here to me, and embrace me,<br/> +Now thou art delivered from woe. +</p> + +<p class="center"> +(Music.) +</p> + +<p class="drama"> +Thou hast found thy loving brother;<br/> +Joy calms the anguish of my heart. +</p> + +<p class="center"> +(Embraces Cusi Coyllur.) +</p> + +<p class="drama"> +CUSI COYLLUR.<br/> +Alas! my brother, now you know<br/> +The cruel tortures I endured<br/> +During those years of agony;<br/> +Thy compassion now has saved me. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Who art thou, dove, that hast suffered?<br/> +For what sin were you prisoned here?<br/> +Thou mightest have lost thy reason.<br/> +Thy face is worn, thy beauty gone,<br/> +Thy looks as one risen from death. +</p> + +<p class="drama"> +OLLANTAY.<br/> +Cusi Coyllur, I had lost thee,<br/> +Thou wast quite hidden from my sight,<br/> +But thou art brought again to life—<br/> +Thy father should have killed us both.<br/> +My whole heart is torn with sorrow.<br/> +Star of joy, where is now thy joy?<br/> +Where now thy beauty as a star?<br/> +Art thou under thy father’s curse? +</p> + +<p class="drama"> +CUSI COYLLUR.<br/> +Ollantay, for ten dreary years<br/> +That dungeon has kept us apart;<br/> +But now, united for new life,<br/> +Some happiness may yet be ours.<br/> +Yupanqui makes joy succeed grief,<br/> +He may well count<a href="#linknote-85" name="linknoteref-85" id="linknoteref-85">[85]</a> for many years. +</p> + +<p class="drama"> +UILLAC UMA.<br/> +Bring new robes to dress the princess. +</p> + +<p class="center"> +(They put on her royal robes. The High Priest kisses her hand.) +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Ollantay, behold thy royal wife,<br/> +Honour and cherish her henceforth.<br/> +And thou, Yma Sumac, come to me,<br/> +I enlace you in the thread of love;<br/> +Thou art the pure essence of Coyllur. +</p> + +<p class="center"> +(Embraces her.) +</p> + +<p class="drama"> +OLLANTAY.<br/> +Thou art our protector, great King,<br/> +Thy noble hands disperse our grief;<br/> +Thou art our faith and only hope—<br/> +Thou workest by virtue’s force. +</p> + +<p class="drama"> +TUPAC YUPANQUI.<br/> +Thy wife is now in thy arms;<br/> +All sorrow now should disappear,<br/> +Joy, new born, shall take its place. +</p> + +<p class="center"> +(Acclamations from the Chiefs, and Piqui Chaqui. Music: huancars +(drums), pincullus (flutes), and pututus (clarions).) +</p> + +</div><!--end chapter--> + +<div class="chapter"> + +<h2><a name="foot01"></a>FOOTNOTES:</h2> + +<p class="footnote"><a name="linknote-1" id="linknote-1"></a> +1 (<a href="#linknoteref-1">return</a>)<br /> [ INCA-PACHACUTI | TUPAC YUPANQUI +| INCA HUAYNA CCAPAC | MANCO INCA | TUPAC AMARU | JUANA ÑUSTA = DIEGO +CONDORCANQUI | FELIPE CONDORCANQUI | PEDRO CONDORCANQUI | MIGUEL CONDORCANQUI | +JOSÉ GABRIEL CONDORCANQUI (TUPAC AMARU)] +</p> + +<p class="footnote"><a name="linknote-2" id="linknote-2"></a> +2 (<a href="#linknoteref-2">return</a>)<br /> [ ‘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).] +</p> + +<p class="footnote"><a name="linknote-3" id="linknote-3"></a> +3 (<a href="#linknoteref-3">return</a>)<br /> [ INCA PACHACUTI. | TUPAC +YUPANQUI | HUAYNA CCAPAC | MANCO INCA | MARIA TUPAC USCA = PEDRO ORTIZ DE ORUE +| CATALINA ORTIZ =LUIS JUSTINIANI | LUIS JUSTINIANI | LUIS JUSTINIANI +| NICOLO JUSTINIANI | JUSTO PASTOR JUSTINIANI | Dr. PABLO POLICARPO +JUSTINIANI(Cura of Laris)] +</p> + +<p class="footnote"><a name="linknote-4" id="linknote-4"></a> +4 (<a href="#linknoteref-4">return</a>)<br /> [ The wives of the Incas were +called <i>ccoya</i>. The ccoya of the second Inca was a daughter of the chief of +<i>Sanoc</i>. The third Inca married a daughter of the chief of Oma, the fourth +married a girl of <i>Tacucaray</i>, the wife of the fifth was a daughter of a <i>Cuzco</i> +chief. The sixth Inca married a daughter of the chief of <i>Huayllacan</i>, the +seventh married a daughter of the chief of Ayamarca, and the eighth went to +<i>Anta</i> for a wife. This Anta lady was the mother of Pachacuti. The wife of +Pachacuti, named <i>Anahuarqui</i>, was a daughter of the chief of <i>Choco</i>. There was no +rule about marrying sisters when Pachacuti succeeded. He introduced it by +making his son Tupac Yupanqui marry his daughter Mama Ocllo, but this was quite +unprecedented. The transgression of a rule which he had just made may account +for his extreme severity.] +</p> + +<p class="footnote"><a name="linknote-5" id="linknote-5"></a> +5 (<a href="#linknoteref-5">return</a>)<br /> [ A bust, on an earthen vase, was +presented to Don Antonio Maria Alvarez, the political chief of Cuzco, in 1837, +by an Indian who declared that it had been handed down in his family from time +immemorial, as a likeness of the general, Rumi-ñaui, who plays an important +part in this drama of Ollantay. The person represented must have been a +general, from the ornament on the forehead, called mascapaycha, and there are +wounds cut on the face.—Museo Erudito, No. B.] +</p> + +<p class="footnote"><a name="linknote-6" id="linknote-6"></a> +6 (<a href="#linknoteref-6">return</a>)<br /> [ <i>Chita</i> is the lamb of the llama. +A lamb of two or three months was a favourite pet in the time of the Incas. It +followed its mistress, adorned with a little bell and ribbons.] +</p> + +<p class="footnote"><a name="linknote-7" id="linknote-7"></a> +7 (<a href="#linknoteref-7">return</a>)<br /> [ Supay, an evil spirit, +according to some authorities.] +</p> + +<p class="footnote"><a name="linknote-8" id="linknote-8"></a> +8 (<a href="#linknoteref-8">return</a>)<br /> [ Ichuna, a sickle or scythe. The +expression has been cited by General Mitre and others as an argument that the +drama is modern, because this is a metaphor confined to the old world. But +ichuna was in use, in Quichua, in this sense, before the Spaniards came. The +word is from Ichu, grass.] +</p> + +<p class="footnote"><a name="linknote-9" id="linknote-9"></a> +9 (<a href="#linknoteref-9">return</a>)<br /> [ The Peruvians personified a +mountain as two spirits, good and evil. In writing poetically of a mountain +opposing, it would be referred to in the persons of its genii or spirits, and +spoken of as two foes, not one.] +</p> + +<p class="footnote"><a name="linknote-10" id="linknote-10"></a> +10 (<a href="#linknoteref-10">return</a>)<br /> [ Rurun, desert, solitude.] +</p> + +<p class="footnote"><a name="linknote-11" id="linknote-11"></a> +11 (<a href="#linknoteref-11">return</a>)<br /> [ Tasquiy, to march; tasquina, +promenade, path.] +</p> + +<p class="footnote"><a name="linknote-12" id="linknote-12"></a> +12 (<a href="#linknoteref-12">return</a>)<br /> [ Cusi Coyllur, while daylight +lasted, was, in the eyes of Piqui Chaqui, like the sun. A change takes place at +twilight, and at night she is like the moon.] +</p> + +<p class="footnote"><a name="linknote-13" id="linknote-13"></a> +13 (<a href="#linknoteref-13">return</a>)<br /> [ Fasting was a preparation for +all great religious ceremonies. Victims for sacrifice underwent a previous +fast, which was looked upon in the fight of purification before being offered +to the Deity.] +</p> + +<p class="footnote"><a name="linknote-14" id="linknote-14"></a> +14 (<a href="#linknoteref-14">return</a>)<br /> [ They gave the attributes we +usually assign to the fox to the puma.] +</p> + +<p class="footnote"><a name="linknote-15" id="linknote-15"></a> +15 (<a href="#linknoteref-15">return</a>)<br /> [ Intip llirpun, ‘apple of the +sun’s eye.’ There is no English equivalent that is suitable.] +</p> + +<p class="footnote"><a name="linknote-16" id="linknote-16"></a> +16 (<a href="#linknoteref-16">return</a>)<br /> [ Huayruru is the seed of a +thorny bush, erythrina rubra, of a bright red colour. Zegarra has coral as the +equivalent for huayruru.] +</p> + +<p class="footnote"><a name="linknote-17" id="linknote-17"></a> +17 (<a href="#linknoteref-17">return</a>)<br /> [ The tuya (coccoborus +chrysogaster) is a small finch, and tuyallay means ‘my little tuya.’] +</p> + +<p class="footnote"><a name="linknote-18" id="linknote-18"></a> +18 (<a href="#linknoteref-18">return</a>)<br /> [ The piscaca is a much larger +bird than the tuya. These piscacas (coccoborus torridus) are nailed to trees as +a warning to other birds. They are black, with white breasts.] +</p> + +<p class="footnote"><a name="linknote-19" id="linknote-19"></a> +19 (<a href="#linknoteref-19">return</a>)<br /> [ In the tuya she sees her +husband Ollantay, while the poor princess herself is the forbidden grain.] +</p> + +<p class="footnote"><a name="linknote-20" id="linknote-20"></a> +20 (<a href="#linknoteref-20">return</a>)<br /> [ This is a yarahui or mournful +elegy, of which there are so many in the Quichua language. The singers of them +were known as yarahuec.] +</p> + +<p class="footnote"><a name="linknote-21" id="linknote-21"></a> +21 (<a href="#linknoteref-21">return</a>)<br /> [ Colla-suyu, the basin of lake +Titicaca.] +</p> + +<p class="footnote"><a name="linknote-22" id="linknote-22"></a> +22 (<a href="#linknoteref-22">return</a>)<br /> [ Chayanta, a tribe in the +montana south of the Collas.] +</p> + +<p class="footnote"><a name="linknote-23" id="linknote-23"></a> +23 (<a href="#linknoteref-23">return</a>)<br /> [ Champi, a one-handed +battle-axe.] +</p> + +<p class="footnote"><a name="linknote-24" id="linknote-24"></a> +24 (<a href="#linknoteref-24">return</a>)<br /> [ Huancar, a drum; pututu, +fife.] +</p> + +<p class="footnote"><a name="linknote-25" id="linknote-25"></a> +25 (<a href="#linknoteref-25">return</a>)<br /> [ Yunca, inhabitant of warm +valley. Here it refers to the wild tribes of the montana.] +</p> + +<p class="footnote"><a name="linknote-26" id="linknote-26"></a> +26 (<a href="#linknoteref-26">return</a>)<br /> [ In the original Quichua, +Ollantay makes his appeal to the Inca in quatrains of octosyllabic verses, the +first line rhyming with the last, and the second with the third. Garcilasso de +la Vega and others testify to the proficiency of the Incas in this form of +composition.] +</p> + +<p class="footnote"><a name="linknote-27" id="linknote-27"></a> +27 (<a href="#linknoteref-27">return</a>)<br /> [ Ollantay was Viceroy of +Anti-suyu.] +</p> + +<p class="footnote"><a name="linknote-28" id="linknote-28"></a> +28 (<a href="#linknoteref-28">return</a>)<br /> [ Chahuar, a rope of aloe +fibre. A curb or restraint.] +</p> + +<p class="footnote"><a name="linknote-29" id="linknote-29"></a> +29 (<a href="#linknoteref-29">return</a>)<br /> [ Raprancutan cuchurcani: +literally, ‘I have clipped their wings.’ Rapra, a wing.] +</p> + +<p class="footnote"><a name="linknote-30" id="linknote-30"></a> +30 (<a href="#linknoteref-30">return</a>)<br /> [ The powerful nation of +Chancas, with their chief, Huancavilca, inhabited the great valley of +Andahuaylas and were formidable rivals of the Incas. But they were subdued by +Pachacuti long before Ollantay can have been born. An allowable dramatic +anachronism.] +</p> + +<p class="footnote"><a name="linknote-31" id="linknote-31"></a> +31 (<a href="#linknoteref-31">return</a>)<br /> [ Huancavilca was chief of the +powerful nation of Chancas.] +</p> + +<p class="footnote"><a name="linknote-32" id="linknote-32"></a> +32 (<a href="#linknoteref-32">return</a>)<br /> [ Ñusta, Princess.] +</p> + +<p class="footnote"><a name="linknote-33" id="linknote-33"></a> +33 (<a href="#linknoteref-33">return</a>)<br /> [ Pisipachiyqui, to suffer from +the void caused by absence. Pisipay, to regret the absence of, to miss any +one.] +</p> + +<p class="footnote"><a name="linknote-34" id="linknote-34"></a> +34 (<a href="#linknoteref-34">return</a>)<br /> [ The Dominican text has misi, +a cat, instead of allco, a dog. Von Tschudi thought that misi was a word of +Spanish origin. Zegarra says that it is not. Before the Spaniards came, there +was a small wild cat in the Andes called misi-puna. But the Justiniani text has +allco, a dog.] +</p> + +<p class="footnote"><a name="linknote-35" id="linknote-35"></a> +35 (<a href="#linknoteref-35">return</a>)<br /> [ Achancara, a begonia. A red +flower in the neighbourhood of Cuzco, according to Zegarra. One variety is red +and white.] +</p> + +<p class="footnote"><a name="linknote-36" id="linknote-36"></a> +36 (<a href="#linknoteref-36">return</a>)<br /> [ The llanta is the main rope +of the quipu, about a yard long. The small cords of llama wool, of various +colours, denoting different subjects, each with various kinds of knots, +recording numbers.] +</p> + +<p class="footnote"><a name="linknote-37" id="linknote-37"></a> +37 (<a href="#linknoteref-37">return</a>)<br /> [ This, as we have seen, was +not the reason why Ollantay fled from Cuzco; but, from a leader’s point of +view, it was an excellent reason to give to the people of Anti-suyu. The great +wars of the Incas were, to some extent, a heavy drain upon the people, but the +recruiting was managed with such skill, and was so equally divided among a +number of provinces, that it was not much felt.] +</p> + +<p class="footnote"><a name="linknote-38" id="linknote-38"></a> +38 (<a href="#linknoteref-38">return</a>)<br /> [ The snowy mountain far to the +south, in sight from Cuzco. Uilca, sacred; unuta, water. Here is the source of +the river Uilcamayu, which flows by Ollantay-tampu.] +</p> + +<p class="footnote"><a name="linknote-39" id="linknote-39"></a> +39 (<a href="#linknoteref-39">return</a>)<br /> [ The aged Hanco Huayllu as +Auqui, or Prince of the Blood, and relation of the High Priest, gave eclat to +these ceremonies.] +</p> + +<p class="footnote"><a name="linknote-40" id="linknote-40"></a> +40 (<a href="#linknoteref-40">return</a>)<br /> [ Quiscahuan. anything full of +thorns.] +</p> + +<p class="footnote"><a name="linknote-41" id="linknote-41"></a> +41 (<a href="#linknoteref-41">return</a>)<br /> [ Puna, the loftier parts of +the Andes.] +</p> + +<p class="footnote"><a name="linknote-42" id="linknote-42"></a> +42 (<a href="#linknoteref-42">return</a>)<br /> [ Compi, cloth or a cloak. This +was an expression of the ancient Peruvians, perhaps equivalent to our +‘hoodwinking.’] +</p> + +<p class="footnote"><a name="linknote-43" id="linknote-43"></a> +43 (<a href="#linknoteref-43">return</a>)<br /> [ Apu Maruti was the head of +the ayllu of the Inca Yahuar Huaccac, grandfather of Pachacuti. It was called +the ayllu Aucaylli Panaca.—Mesa, Anales del Cuzco, quoted by Zegarra.] +</p> + +<p class="footnote"><a name="linknote-44" id="linknote-44"></a> +44 (<a href="#linknoteref-44">return</a>)<br /> [ Uilcapampa, mass of mountains +between the Uilcamayu and Apurimac.] +</p> + +<p class="footnote"><a name="linknote-45" id="linknote-45"></a> +45 (<a href="#linknoteref-45">return</a>)<br /> [ Tinqui Queru, between +Urupampa and Tampu. The word means ‘two vases coupled.’ Here are two rounded +hills connected by a saddle, three and a half miles from Tampu.] +</p> + +<p class="footnote"><a name="linknote-46" id="linknote-46"></a> +46 (<a href="#linknoteref-46">return</a>)<br /> [ Chara, was another descendant +of Yahuar Huaccac.] +</p> + +<p class="footnote"><a name="linknote-47" id="linknote-47"></a> +47 (<a href="#linknoteref-47">return</a>)<br /> [ A ravine on the right bank of +the Vilcamayu.] +</p> + +<p class="footnote"><a name="linknote-48" id="linknote-48"></a> +48 (<a href="#linknoteref-48">return</a>)<br /> [ Pachar is on the left bank of +the Vilcamayu opposite Ollantay-tampu, with which it is connected by a rope +bridge.] +</p> + +<p class="footnote"><a name="linknote-49" id="linknote-49"></a> +49 (<a href="#linknoteref-49">return</a>)<br /> [ Huancas, natives of the +valley of Jauja—Inca recruits.] +</p> + +<p class="footnote"><a name="linknote-50" id="linknote-50"></a> +50 (<a href="#linknoteref-50">return</a>)<br /> [ Like Ollantay in his appeal +to the Inca, Rumi-ñaui, in the original Quichua, has recourse to octosyllabic +quatrains, the first and last lines rhyming, and the second and third.] +</p> + +<p class="footnote"><a name="linknote-51" id="linknote-51"></a> +51 (<a href="#linknoteref-51">return</a>)<br /> [ Rumi, a stone.] +</p> + +<p class="footnote"><a name="linknote-52" id="linknote-52"></a> +52 (<a href="#linknoteref-52">return</a>)<br /> [ Clearly, from Rumi-ñaui’s own +account, the strategy of Urco Huaranca had been a complete and brilliant +success.] +</p> + +<p class="footnote"><a name="linknote-53" id="linknote-53"></a> +53 (<a href="#linknoteref-53">return</a>)<br /> [ Aclla Cuna, the selected +ones, the Virgins of the Sun. They were under the supervision of so called +Mothers—Mama Cuna. The novices were not obliged to take the oaths at the +end of their novitiate.] +</p> + +<p class="footnote"><a name="linknote-54" id="linknote-54"></a> +54 (<a href="#linknoteref-54">return</a>)<br /> [ Rumi-ñaui is the interlocutor +in the Justiniani text, in the Dominican text, and in the text of Spilsbury. +Yet Zegarra would substitute the Uillac Uma or High Priest for Rumi-ñaui. His +argument is that the interlocutor was of the blood-royal, and that the High +Priest was always of the blood-royal, while Rumi-ñaui was not. But the text +does not say that the interlocutor was of the royal blood. Zegarra also says +that the interlocutor wore a black cloak with a long train, and that this was +the dress of the High Priest. But it was not the dress of the High Priest as +described by the best authorities. It was probably the general mourning dress. +The threats addressed to Piqui Chaqui were likely enough to come from a +soldier, but not from the High Priest as he is portrayed in this drama.] +</p> + +<p class="footnote"><a name="linknote-55" id="linknote-55"></a> +55 (<a href="#linknoteref-55">return</a>)<br /> [ Paccay (mimosa incana), a +tree with large pods, having a snow-white woolly substance round the seeds, +with sweet juice.] +</p> + +<p class="footnote"><a name="linknote-56" id="linknote-56"></a> +56 (<a href="#linknoteref-56">return</a>)<br /> [ The Zegarra and Spilsbury +texts have Ccan Incacri, which Zegarra translates, ‘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.] +</p> + +<p class="footnote"><a name="linknote-57" id="linknote-57"></a> +57 (<a href="#linknoteref-57">return</a>)<br /> [ The Zegarra and Spilsbury +texts have hualpa, a game bird. The Justiniani text has anca, an eagle, which +is the correct reading.] +</p> + +<p class="footnote"><a name="linknote-58" id="linknote-58"></a> +58 (<a href="#linknoteref-58">return</a>)<br /> [ The Inca Pachacuti does not +appear to advantage in the drama. But he was the greatest man of his dynasty, +indeed the greatest that the red race has produced. He was a hero in his youth, +a most able administrator in mature age. As a very old man some needless +cruelties are reported of him which annoyed his son.] +</p> + +<p class="footnote"><a name="linknote-59" id="linknote-59"></a> +59 (<a href="#linknoteref-59">return</a>)<br /> [ The eldest son was Amaru +Tupac. He was passed over by his father with his own consent, and was ever +faithful to his younger brother. He was an able general.] +</p> + +<p class="footnote"><a name="linknote-60" id="linknote-60"></a> +60 (<a href="#linknoteref-60">return</a>)<br /> [ This was exactly what Piqui +Chaqui was sent to Cuzco to find out. The expression Apumusac pununayta, ‘I go +to fetch my bed,’ is one of joy at any fortunate event, in Quichua.] +</p> + +<p class="footnote"><a name="linknote-61" id="linknote-61"></a> +61 (<a href="#linknoteref-61">return</a>)<br /> [ Intic Huamin Caccunan (Intic +Huarminca Caycuna, correct), ‘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.] +</p> + +<p class="footnote"><a name="linknote-62" id="linknote-62"></a> +62 (<a href="#linknoteref-62">return</a>)<br /> [ Rumi. He keeps playing upon +his name.] +</p> + +<p class="footnote"><a name="linknote-63" id="linknote-63"></a> +63 (<a href="#linknoteref-63">return</a>)<br /> [ Again playing upon the name +of Rumi-ñaui. The High Priest calls for haste, so he substitutes Tunqui for +naui (eye), the tunqui (Rupicola Peruviana) being one of the most beautiful +birds in the forests.] +</p> + +<p class="footnote"><a name="linknote-64" id="linknote-64"></a> +64 (<a href="#linknoteref-64">return</a>)<br /> [ Sunchu, a very large +composita with a yellow flower, growing round Cuzco. It was one of those which +were used on sacred festivals.] +</p> + +<p class="footnote"><a name="linknote-65" id="linknote-65"></a> +65 (<a href="#linknoteref-65">return</a>)<br /> [ Nucchu is a salvia, also +considered sacred. A red flower. Perhaps these flowers were sent as a summons +from the Inca, but I have not seen the custom mentioned elsewhere.] +</p> + +<p class="footnote"><a name="linknote-66" id="linknote-66"></a> +66 (<a href="#linknoteref-66">return</a>)<br /> [ Schineus Molle, a tree with +pinnate leaves, and panicles of red berries, well known in the Mediterranean +countries, into which it was introduced from Peru. Called by the English +‘pepper tree.’] +</p> + +<p class="footnote"><a name="linknote-67" id="linknote-67"></a> +67 (<a href="#linknoteref-67">return</a>)<br /> [ Several bushes are called +chilca in Peru. Eupatorium chilca (R. P.), baccharis scandens, and molina +latifolia. Stereoxylon pendulum is called puna chilca.] +</p> + +<p class="footnote"><a name="linknote-68" id="linknote-68"></a> +68 (<a href="#linknoteref-68">return</a>)<br /> [ A kind of cactus, of which +they make needles, grows abundantly on the mountains round Ollantay-tampu. It +is called ahuarancu. They set fire to the cacti as a war signal. Zegarra calls +it a thistle. The word in the Justiniani text is ahuarancu.] +</p> + +<p class="footnote"><a name="linknote-69" id="linknote-69"></a> +69 (<a href="#linknoteref-69">return</a>)<br /> [ Tinqui Queru, between +Urupampa and Tampu. The word means ‘two vases coupled.’ Here are two rounded +hills connected by a saddle, three and a half miles from Tampu. (Taken from +FN#45.)] +</p> + +<p class="footnote"><a name="linknote-70" id="linknote-70"></a> +70 (<a href="#linknoteref-70">return</a>)<br /> [ Yanahuara, a ravine near +Urubamba, where some of the troops of Rumi-ñaui had been posted.] +</p> + +<p class="footnote"><a name="linknote-71" id="linknote-71"></a> +71 (<a href="#linknoteref-71">return</a>)<br /> [ Signal lights.] +</p> + +<p class="footnote"><a name="linknote-72" id="linknote-72"></a> +72 (<a href="#linknoteref-72">return</a>)<br /> [ Ccapac Raymi, the great +festival of the Sun. December 22.] +</p> + +<p class="footnote"><a name="linknote-73" id="linknote-73"></a> +73 (<a href="#linknoteref-73">return</a>)<br /> [ Piqui Chaqui is literally +‘flea foot.’ He is punning on his name.] +</p> + +<p class="footnote"><a name="linknote-74" id="linknote-74"></a> +74 (<a href="#linknoteref-74">return</a>)<br /> [ Tocarpu, a pole or stake used +at executions. Condemned prisoners were fastened to a tocarpu before being +hurled over a precipice.] +</p> + +<p class="footnote"><a name="linknote-75" id="linknote-75"></a> +75 (<a href="#linknoteref-75">return</a>)<br /> [ Piqui Chaqui had an inkling +that the Inca had expressed dislike at the shedding of blood. He ventured to +say these words in the faint hope that they might remind the Inca of this +dislike.] +</p> + +<p class="footnote"><a name="linknote-76" id="linknote-76"></a> +76 (<a href="#linknoteref-76">return</a>)<br /> [ Rumi-ñaui at it again: for +ever ringing changes on his name rumi, a stone.] +</p> + +<p class="footnote"><a name="linknote-77" id="linknote-77"></a> +77 (<a href="#linknoteref-77">return</a>)<br /> [ The plume and the arrow were +the insignia of a general.] +</p> + +<p class="footnote"><a name="linknote-78" id="linknote-78"></a> +78 (<a href="#linknoteref-78">return</a>)<br /> [ Rather a staggerer for +Rumi-ñaui! Perhaps, too, the change is too sudden, and infringes the +probabilities. Tupac Yupanqui may have thought that his father had been unjust +and that there were excuses. It is known that the young Inca was indignant at +some other cruelties of his father. As a magnanimous warrior he may have +despised the treacherous methods of Rumi-ñaui. He may have valued Ollantay’s +known valour and ability, and have been loth to lose his services. All these +considerations may have influenced him more or less. The rebels were the best +men he had.] +</p> + +<p class="footnote"><a name="linknote-79" id="linknote-79"></a> +79 (<a href="#linknoteref-79">return</a>)<br /> [ Ranti, a deputy.] +</p> + +<p class="footnote"><a name="linknote-80" id="linknote-80"></a> +80 (<a href="#linknoteref-80">return</a>)<br /> [ Canari, a warlike tribe of +Indians, in the south part of the kingdom of Quito. They were first conquered +by Tupac Yupanqui, and they became devoted to him.] +</p> + +<p class="footnote"><a name="linknote-81" id="linknote-81"></a> +81 (<a href="#linknoteref-81">return</a>)<br /> [ Aclla, chosen; Huasi, house: +palace of the Virgins of the sun.] +</p> + +<p class="footnote"><a name="linknote-82" id="linknote-82"></a> +82 (<a href="#linknoteref-82">return</a>)<br /> [ Ccacca means a rock.] +</p> + +<p class="footnote"><a name="linknote-83" id="linknote-83"></a> +83 (<a href="#linknoteref-83">return</a>)<br /> [ My former translation, and +those of Barranca and Tschudi, treated puma and amaru (snake) as epithets +applied to Mama Ccacca. Zegarra considers that the puma and snake were intended +to be actually in the dungeon, and I believe he is right. The puma would not +have hurt his fellow-prisoner. Unpleasant animals were occasionally put into +the prisons of criminals. The Incas kept pumas as pets.] +</p> + +<p class="footnote"><a name="linknote-84" id="linknote-84"></a> +84 (<a href="#linknoteref-84">return</a>)<br /> [ The early Incas never married +their sisters or relations. Pachacuti’s mother was daughter of the chief of +Anta. His wife, Anahuarqui, was no relation. But the wife of Tupac Yupanqui was +his sister Mama Ocllo.] +</p> + +<p class="footnote"><a name="linknote-85" id="linknote-85"></a> +85 (<a href="#linknoteref-85">return</a>)<br /> [ A play upon the word +yupanqui, which means literally, ‘you will count.’ The word was a title of the +Incas, meaning, ‘you will count as virtuous, brave,’ &c.] +</p> + +</div><!--end chapter--> + +<div style='display:block;margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK APU OLLANTAY ***</div> +<div style='display:block;margin:1em 0;'>This file should be named 9068-h.htm or 9068-h.zip</div> +<div style='display:block;margin:1em 0;'>This and all associated files of various formats will be found in https://www.gutenberg.org/9/0/6/9068/</div> +<div style='display:block; margin:1em 0'> +Updated editions will replace the previous one—the old editions will +be renamed. +</div> + +<div style='display:block; margin:1em 0'> +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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