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diff --git a/old/2005-10-apuol10.txt b/old/2005-10-apuol10.txt new file mode 100644 index 0000000..026b167 --- /dev/null +++ b/old/2005-10-apuol10.txt @@ -0,0 +1,5407 @@ +The Project Gutenberg EBook of Apu Ollantay, by Sir Clements R. Markham + +Copyright laws are changing all over the world. Be sure to check the +copyright laws for your country before downloading or redistributing +this or any other Project Gutenberg eBook. + +This header should be the first thing seen when viewing this Project +Gutenberg file. Please do not remove it. Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: Apu Ollantay + A Drama of the Time of the Incas + +Author: Sir Clements R. Markham + +Release Date: October, 2005 [EBook #9068] +[Yes, we are more than one year ahead of schedule] +[This file was first posted on September 2, 2003] + +Edition: 10 + +Language: English + +Character set encoding: ASCII + +*** START OF THE PROJECT GUTENBERG EBOOK APU OLLANTAY *** + + + + +Produced by John B. Hare + + + + +APU OLLANTAY + + +A DRAMA OF THE TIME OF THE INCAS + +SOVEREIGNS OF PERU + +ABOUT A.D. 1470 + + + +FIRST REDUCED TO WRITING BY +DR. VALDEZ, CUBA OF SICUANI +A.D. 1770 + + + +THE ORIGINAL MANUSCRIPT COPIED BY +DR. JUSTO PASTOR JUSTINIANI + + + +THIS JUSTINIANI TEXT +COPIED AT LARIS, IN APRIL 1863, BY +CLEMENTS R. MARKHAM + + + + +A FREE TRANSLATION INTO ENGLISH +BY +SIR CLEMENTS MARKHAM, K.C.B. +[1910] + + + + + +INTRODUCTION + + +The drama was cultivated by the Incas, and dramatic performances were +enacted before them. Garcilasso de la Vega, Molina, and Salcamayhua +are the authorities who received and have recorded the information given +by the Amautas respecting the Inca drama. Some of these dramas, and +portions of others, were preserved in the memories of members of Inca +and Amauta families. The Spanish priests, especially the Jesuits of +Juli, soon discovered the dramatic aptitude of the people. Plays were +composed and acted, under priestly auspices, which contained songs and +other fragments of the ancient Inca drama. These plays were called +'Autos Sacramentales.' + +But complete Inca dramas were also preserved in the memories of members +of the Amauta caste and, until the rebellion of 1781, they were acted. +The drama of Ollantay was first reduced to writing and arranged for +acting by Dr. Don Antonio Valdez, the Cura of Tinto. It was acted +before his friend Jose Gabriel Condorcanqui[FN#1] in about 1775. Taking +the name of his maternal ancestor, the Inca Tupac Amaru, the ill-fated +Condorcanqui rose in rebellion, was defeated, taken, and put to death +under torture, in the great square of Cuzco. In the monstrous sentence +'the representation of dramas as well as all other festivals which the +Indians celebrate in memory of their Incas' was prohibited.[FN#2] This +is a clear proof that before 1781 these Quichua dramas were acted. + + +[FN#1] +INCA-PACHACUTI +| +TUPAC YUPANQUI +| +INCA HUAYNA CCAPAC +| +MANCO INCA +| +TUPAC AMARU +| +JUANA NUSTA = DIEGO CONDORCANQUI +| +FELIPE CONDORCANQUI +| +PEDRO CONDORCANQUI +| +MIGUEL CONDORCANQUI +| +JOSE GABRIEL CONDORCANQUI (TUPAC AMARU) + +[FN#2] 'Sentencia pronunciada en el Cuzco por el Visitador Don Jose +Antonio de Areche, contra Jose Gabriel Tupac Amaru.' In Coleccion de +obras y documentos de Don Pedro de Angelis, vol. V. (Buenos Ayres, 1836- +7). + + +The original manuscript of Valdez was copied by his friend Don Justo +Pastor Justiniani, and this copy was inherited by his son. There was +another copy in the convent of San Domingo at Cuzco, but it is corrupt, +and there are several omissions and mistakes of a copyist. Dr. Valdez +died, at a very advanced age, in 1816. In 1853 the original manuscript +was in the possession of his nephew and heir, Don Narciso Cuentas of +Tinta. + +The Justiniani copy was, in 1853, in the possession of Dr. Don Pablo +Justiniani, Cura of Laris, and son of Don Justo Pastor Justiniani. He +is a descendant of the Incas.[FN#3] In April 1853 I went to Laris, a +secluded valley of the Andes, and made a careful copy of the drama of +Ollantay. From this Justiniani text my first very faulty line-for-line +translation was made in 1871, as well as the present free translation. + + +[FN#3] +INCA PACHACUTI. +| +TUPAC YUPANQUI +| +HUAYNA CCAPAC +| +MANCO INCA +| +MARIA TUPAC USCA = PEDRO ORTIZ DE ORUE +| +CATALINA ORTIZ =LUIS JUSTINIANI +| +LUIS JUSTINIANI +| +LUIS JUSTINIANI +| +NICOLO JUSTINIANI +| +JUSTO PASTOR JUSTINIANI +| +Dr. PABLO POLICARPO JUSTINIANI(Cura of Laris) + + +The first printed notice of Ollantay appeared in the Museo Erudito, Nos. +5 to 9, published at Cuzco in 1837, and edited by Don Jose Palacios. +The next account of the drama, with extracts, was in the 'Antiguedades +Peruanas,' a work published in 1851 jointly by Dr. von Tschudi and Don +Mariaiao Rivero of Arequipa. The complete text, from the copy in the +convent of San Domingo at Cuzco, was first published at Vienna in 1853 +by Dr. von Tschudi in his 'Die Kechua Sprache. It was obtained for him +by Dr. Ruggendas of Munich. The manuscript was a corrupt version, and +in very bad condition, in parts illegible from damp. In 1868 Don Jose +Barranca published a Spanish translation, from the Dominican text of von +Tschudi. The learned Swiss naturalist, von Tschudi, published a revised +edition of his translation at Vienna in 1875, with a parallel German +translation. In 18711 printed the Justiniani text with a literal, line- +for-line translation, but with many mistakes, since corrected; and in +1874, a Peruvian, Don Jose Fernandez Nodal, published the Quichua text +with a Spanish translation. + +In 1878 Gavino Pacheco Zegarra published his version of Ollantay, with a +free translation in French. His text is a manuscript of the drama which +he found in his uncle's library. Zegarra, as a native of Peru whose +language was Quichua, had great advantages. He was a very severe, and +often unfair, critic of his predecessors. + +The work of Zegarra is, however, exceedingly valuable. He was not only +a Quichua scholar, but also accomplished and well read. His notes on +special words and on the construction of sentences are often very +interesting. But his conclusions respecting several passages which are +in the Justiniani text, but not in the others, are certainly erroneous. +Thus he entirely spoils the dialogue between the Uillac Uma and Piqui +Chaqui by omitting the humorous part contained in the Justiniani text; +and makes other similar omissions merely because the passages are not in +his text. Zegarra gives a useful vocabulary at the end of all the words +which occur in the drama. + +The great drawback to the study of Zegarra's work is that he invented a +number of letters to express the various modifications of sound as they +appealed to his ear. No one else can use them, while they render the +reading of his own works difficult and intolerably tiresome. + +The last publication of a text of Ollantay was by the Rev. J. H. Gybbon +Spilsbury, at Buenos Ayres in 1907, accompanied by Spanish, English, and +French translations in parallel columns. + +There is truth in what Zegarra says, that the attempts to translate line +for line, by von Tschudi and myself, 'fail to convey a proper idea of +the original drama to European readers, the result being alike contrary +to the genius of the modern languages of Europe and to that of the +Quichua language.' Zegarra accordingly gives a very free translation in +French. + +In the present translation I believe that I have always preserved the +sense of the original, without necessarily binding myself to the words. +The original is in octosyllabic lines. Songs and important speeches are +in quatrains of octosyllabic lines, the first and last rhyming, and the +second and third. I have endeavoured to keep to octosyllabic lines as +far as possible, because they give a better idea of the original; and I +have also tried to preserve the form of the songs and speeches. + +The drama opens towards the close of the reign of the Inca Pachacuti, +the greatest of all the Incas, and the scene is laid at Cuzco or at +Ollantay-tampu, in the valley of the Vilcamayu. The story turns on the +love of a great chief, but not of the blood-royal, with a daughter of +the Inca. This would not have been prohibited in former reigns, for the +marriage of a sister by the sovereign or his heir, and the marriage of +princesses only with princes of the blood-royal, were rules first +introduced by Pachacuti.[FN#4] His imperial power and greatness led him +to endeavour to raise the royal family far above all others. + + +[FN#4] The wives of the Incas were called ccoya. The ccoya of the +second Inca was a daughter of the chief of Sanoc. The third Inca +married a daughter of the chief of Oma, the fourth married a girl of +Tacucaray, the wife of the fifth was a daughter of a Cuzco chief. The +sixth Inca married a daughter of the chief of Huayllacan, the seventh +married a daughter of the chief of Ayamarca, and the eighth went to Anta +for a wife. This Anta lady was the mother of Pachacuti. The wife of +Pachacuti, named Anahuarqui, was a daughter of the chief of Choco. +There was no rule about marrying sisters when Pachacuti succeeded. He +introduced it by making his son Tupac Yupanqui marry his daughter Mama +Ocllo, but this was quite unprecedented. The transgression of a rule +which he had just made may account for his extreme severity. + + +The play opens with a dialogue between Ollantay and Piqui Chaqui, his +page, a witty and humorous lad. Ollantay talks of his love for the +Princess Cusi Coyllur, and wants Piqui Chaqui to take a message to her, +while the page dwells on the danger of loving in such a quarter, and +evades the question of taking a message. Then to them enters the Uillac +Uma, or High Priest of the Sun, who remonstrates with Ollantay--a scene +of great solemnity, and very effective. + +The next scene is in the Queen's palace. Anahuarqui, the Queen, is +discovered with the Princess Cusi Coyllur, who bitterly laments the +absence of Ollantay. To them enters the Inca Pachacuti, quite ignorant +that his daughter has not only married Ollantay in secret, but that she +is actually with child by him. Her mother keeps her secret. The Inca +indulges in extravagant expressions of love for his daughter. Then boys +and girls enter dancing and singing a harvest song. Another very +melancholy yarahui is sung; both capable of being turned by the Princess +into presages of the fate of herself and her husband. + +In the third scene Ollantay prefers his suit to the Inca Pachacuti in +octosyllabic quatrains, the first and last lines rhyming, and the second +and third. His suit is rejected with scorn and contempt. Ollantay next +appears on the heights above Cuzco. In a soliloquy he declares himself +the implacable enemy of Cuzco and the Inca. Then Piqui Chaqui arrives +with the news that the Queen's palace is empty, and abandoned, and that +Cusi Coyllur has quite disappeared; while search is being made for +Ollantay. While they are together a song is sung behind some rocks, in +praise of Cusi Coyllur's beauty. Then the sound of clarions and people +approaching is heard, and Ollantay and Piqui Chaqui take to flight. The +next scene finds the Inca enraged at the escape of Ollantay, and +ordering his general Rumi-naui to march at once, and make him prisoner. +To them enters a chasqui, or messenger, bringing the news that Ollantay +has collected a great army at Ollantay-tampu, and that the rebels have +proclaimed him Inca. + +The second act opens with a grand scene in the hall of the fortress- +palace of Ollantay-tampu. Ollantay is proclaimed Inca by the people, and +he appoints the Mountain Chief, Urco Huaranca, general of his army. +Urco Huaranca explains the dispositions he has made to oppose the army +advancing from Cuzco, and his plan of defence. In the next scene Rumi- +naui, as a fugitive in the mountains, describes his defeat and the +complete success of the strategy of Ollantay and Urco Huaranca. His +soliloquy is in the octosyllabic quatrains. The last scene of the +second act is in the gardens of the Convent of Virgins of the Sun. A +young girl is standing by a gate which opens on the street. This, as +afterwards appears, is Yma Sumac, the daughter of Ollantay and Cusi +Coyllur, aged ten, but ignorant of her parentage. To her enters Pitu +Salla, an attendant, who chides her for being so fond of looking out at +the gate. The conversation which follows shows that Yma Sumac detests +the convent and refuses to take the vows. She also has heard the moans +of some sufferer, and importunes Pitu Salla to tell her who it is. Yma +Sumac goes as Mama Ccacca enters and cross examines Pitu Salla on her +progress in persuading Yma Sumac to adopt convent life. This Mama +Ccacca is one of the Matrons or Mama Cuna, and she is also the jailer of +Cusi Coyllur. + +The third act opens with an amusing scene between the Uillac Uma and +Piqui Chaqui, who meet in a street in Cuzco. Piqui Chaqui wants to get +news, but to tell nothing, and in this he succeeds. The death of Inca +Pachacuti is announced to him, and the accession of Tupac Yupanqui, and +with this news he departs. + +Next there is an interview between the new Inca Tupac Yupanqui, the +Uillac Uma, and the defeated general Rumi-naui, who promises to retrieve +the former disaster and bring the rebels to Cuzco, dead or alive. It +after wards appears that the scheme of Rumi-naui was one of treachery. +He intended to conceal his troops in eaves and gorges near Ollantay- +tampu ready to rush in, when a signal was made. Rumi-naui then cut and +slashed his face, covered himself with mud, and appeared at the gates of +Ollantay-tampu, declaring that he had received this treatment from the +new Inca, and imploring protection.[FN#5] Ollantay received him with +the greatest kindness and hospitality. In a few days Ollantay and his +people celebrated the Raymi or great festival of the sun with much +rejoicing and drinking. Rumi-naui pretended to join in the festivities, +but when most of them were wrapped in drunken sleep, he opened the +gates, let in his own men, and made them all prisoners. + + +[FN#5] A bust, on an earthen vase, was presented to Don Antonio Maria +Alvarez, the political chief of Cuzco, in 1837, by an Indian who +declared that it had been handed down in his family from time +immemorial, as a likeness of the general, Rumi-naui, who plays an +important part in this drama of Ollantay. The person represented must +have been a general, from the ornament on the forehead, called +mascapaycha, and there are wounds cut on the face.--Museo Erudito, No. +B. + + +There is next another scene in the garden of the convent, in which Yma +Sumac importunes Pitu Salla to tell her the secret of the prisoner. +Pitu Salla at last yields and opens a stone door. Cusi Coyllur is +discovered, fastened to a wall, and in a dying state. She had been +imprisoned, by order of her father, Inca Pachacuti on the birth of Yma +Sumac. She is restored with food and water, and the relationship is +discovered when Cusi Coyllur hears the child's name, for she had given +it to her. + +Next the Inca Tupac Yupanqui is discovered in the great hall of his +palace, seated on his tiana or throne, with the Uillac Uma in +attendance. To them enters a chasqui, or messenger, who describes the +result of Rumi-naui's treachery in octosyllabic quatrains. Rumi-naui +himself enters and receives the thanks of his sovereign. Then the +prisoners are brought in guarded-Ollantay, Hanco Huayllu, Urco Huaranca, +and Piqui Chaqui. The Inca upbraids them for their treason. He then +asks the Uillac Uma for his judgment. The High Priest recommends mercy. +Rumi-naui advises immediate execution: The Inca seems to concur and they +are ordered off, when suddenly the Inca cries 'Stop.' He causes them +all to be released, appoints Ollantay to the highest post in the empire +next to himself, and Urco Huaranca to a high command. There are +rejoicings, and in the midst of it all Yma Sumac forces her way into the +hall, and throws herself at the Inca's feet, entreating him to save her +mother from death. The Inca hands over the matter to Ollantay, but this +Yma Sumac will not have, and, the Uillac Uma intervening, the Inca +consents to go with the child. + +The final scene is in the gardens of the convent. The Inca enters with +Yma Sumac, followed by the whole strength of the company. Mama Ccacca +is ordered to open the stone door and Cusi Coyllur is brought out. She +proves to be the sister of the Inca and the wife of Ollantay. There are +explanations, and all ends happily. + +Of the antiquity of the drama of Ollantay there is now no question. +General Mitre wrote an elaborate paper on its authenticity, raising +several points to prove that it was of modern origin. But every point +he raised has been satisfactorily refuted. At the same time there are +many other points, some of them referred to by Zegarra, which establish +the antiquity of the drama beyond any doubt. The antiquity of the name +Ollantay-tampu, applied to the fortress in memory of the drama, is +proved by its use in the narratives of Molina (1560) and of Salcamayhua. + +An able review of the literature connected with the drama of Ollantay +was written by Don E. Larrabure y Unanue, the present Vice-President of +Peru, who considers that Ollantay would make a good acting play with +magnificent scenic effects. + + + + +MS. TEXTS. + + + + +1. The original text of Valdez. In 1853 the property of Don Narciso +Cuentas of Tinta, heir of Dr. Valdez. + + +2. The Justiniani text. In 1853 at Laris. Copy of the Valdez text. + + +3. Markham's copy of the Justiniani text (printed 1871). + + +4. Rosas copy of the Justiniani text. + + +5. Copy in the convent of San Domingo at Cuzco (the Dominican text). + + +6. Von Tschudi's copy of the Dominican text (printed 1853). + + +7. Text of Zegarra (printed 1878). + + +8. Second text of von Tschudi. + + +9. Text of Spilsbury. + + +10. Text of Sahuaraura penes Dr. Gonzalez de la Rosa. + + + + + +There is light thrown upon the name Ollantay by the evidence taken +during the journey of the Viceroy Toledo from Jauja to Cuzco, from +November 1570 to March 1571. He wanted information respecting the +origin of the Inca government, and 200 witnesses were examined, the +parentage or lineage of each witness being recorded. Among these we +find six witnesses of the Antasayac ayllu. Sayac means a station or +division, Anta is a small town near Cuzco. The names of the six Anta +witnesses were + + + +ANCAILLO; USCA; HUACRO; +MANCOY; AUCA PURI; ULLANTAY; + + +Besides ANTONIO PACROTRICA and PUNICU PAUCAR, +Chiefs of Anta. + + + +We thus find that the name of Ollantay belonged to Anta. Now the Incas +were under great obligations to the chief of Anta, for that chief had +rescued the eldest son of Inca Rocca from the chief of Ayamarca, and had +restored him to his father. For this great service the chief of Anta +was declared to be a noble of the highest rank and cousin to the Inca +family. Moreover, the daughter of the Anta chief was married to the +Inca Uira-cocha, and was the mother of Pachacuti. Assuming, as seems +probable, that Ollantay was a son of the chief of Anta, he would be a +cousin of the Inca, and of very high rank, though not an agnate of the +reigning family. This, I take it, is what is intended. Pachacuti +desired to raise his family high above all others, and that, +consequently, there should be no marriages with subjects even of the +highest rank; and his excessive severity on the transgression of his +rule by his daughter is thus explained. + + + + + +OLLANTAY + + + + +ACTS AND SCENES + + + +ACT 1. + + + +Sc. 1.--Open space near Cuzco. +Ollantay, Piqui Chaqui, Uillac Uma. + +Sc. 2.--Hall in the Colcampata. +Anahuarqui, Cusi Coyllur, Inca Pachacuti, Boys and Girls, Singers. + +Sc. 3.--Hall in the Inca's palace. +Pachacuti, Rumi-naui, Ollantay. + +Sc. 4.--Height above Cuzco. +Ollantay, Piqui Chaqui, Unseen Singer. + +Sc. 5.--Hall in the Inca's palace. +Pachacuti, Rumi-naui, and a Chasqui. + + +ACT II. + + + +Sc. 1.--Ollantay-tampu Hall. +Ollantay, Urco Huaranca, Hanco Huayllu, People and Soldiers. + +Sc. 2.--A wild place in the mountains. +Rumi-naui's soliloquy. + +Sc. 3.--Gardens of the Virgins. +Yma Sumac, Pitu Salla, Mama Ccacca. + + +ACT III. + + + +Sc. 1.--Pampa Maroni at Cuzco. +Uillac Uma and Piqui Chaqui. + +Sc. 2.--Palace of Tupac Yupanqui. +Tupac Yupanqui, Uillac Uma, Rumi-naui. + +Sc. 3.--Ollantay-tampu, Terrace. +Rumi-naui, Ollantay, Guards. + +Sc. 4.--House of Virgins, Corridor. +Yma Sumac, Pitu Salla. + +Sc. 5.--House of Virgins, Garden. +Yma Sumac, Pitu Salla, Cusi Coyllur. + +Sc. 6.--Palace of Tupac Yupanqui. +Tupac Yupanqui, Uillac Uma, a Chasqui, Rumi-naui, Ollantay, Urco +Huaranca, Hanco Huayllu, Piqui Chaqui, Chiefs and Guards. then Yma +Sumac. + +Sc. 7.--House of Virgins, Garden. +All of Scene 6, and Mama Ccacca, Cusi Coyllur, Pitu Salla. + + + + +OLLANTAY DRAMATIS PERSONAE + + + + +SCENE + + + + +In Cuzco and its environs, and Ollantay-tampu + + + + +DRAMATIS PERSONAE + + + + +APU OLLANTAY.--General of Anti-suyu, the eastern province of the empire. +A young chief, but not of the blood-royal. His rank was that of a +Tucuyricuo or Viceroy. The name occurs among the witnesses examined by +order of the Viceroy Toledo, being one of the six of the Antasayac +ayllu. + + +PACHACUTI.--The Sovereign Inca. + + +TUPAC YUPANQUI.--Sovereign. Inca, son and heir of Pachacuti. + + +RUMI-NAUI.--A great chief, General of Colla-suyu. The word means +'Stone-eye.' + + +UILLAC UMA.--High Priest of the Sun. The word Uma means head, and +Uillac, a councillor and diviner. + + +URCO HUARANCA.--A chief. The words mean' Mountain Chief.' The word +huaranca means 1000; hence, Chief of a Thousand. + + +HANCO HUAYLLU AUQUI.--An old officer, of the blood-royal. + + +PIQUI CHAQUI.--Page to Ollantay. The words mean 'fleet-footed.' + + +ANAHUARQUI.--The Ccoya or Queen, wife of Pachacuti. + +CUSI COYLLUR NUSTA.--A Princess, daughter of Pachacuti. The words mean +'the joyful star.' + + +YMA SUMAC.--Daughter of Cusi Coyllur. The words mean 'How beautiful.' + + +PITU SALLA.--A girl, companion of Yma Sumac. + + +CCACCA MAMA.--A matron of Virgins of the Sun. Jailer of Cusi Coyllur. + + +Nobles, captains, soldiers, boys and girls dancing, singers, attendants, +messengers or Chasqui. + + + + + +ACT I + + + + +SCENE I + + + +An open space near the junction of the two torrents of Cuzco, the +Huatanay and Tullumayu or Rodadero, called Pumap Chupan, just outside +the gardens of the Sun. The Temple of the Sun beyond the gardens, and +the Sacsahuaman hill surmounted by the fortress, rising in the distance. +The palace of Colcampata on the hillside. + + + +(Enter OLLANTAY L. [in a gilded tunic, breeches of llama sinews, usutas +or shoes of llama hide, a red mantle of ccompi or fine cloth, and the +chucu or head-dress of his rank, holding a battle-axe (champi) and club +(macana)] and PIQUI CHAQUI coming up from the back R. [in a coarse brown +tunic of auasca or llama cloth, girdle used as a sling, and chucu or +head-dress of a Cuzqueno].) + + + + +Ollantay. + +Where, young fleet-foot, hast thou been? +Hast thou the starry nusta seen? + + + +Piqui Chaqui. + +The Sun forbids such sacrilege +'Tis not for me to see the star. +Dost thou, my master, fear no ill, +Thine eyes upon the Inca's child? + + + +Ollantay. + +In spite of all I swear to love +That tender dove, that lovely star; +My heart is as a lamb[FN#6] with her, +And ever will her presence seek. + + + +[FN#6] Chita is the lamb of the llama. A lamb of two or three months +was a favourite pet in the time of the Incas. It followed its mistress, +adorned with a little bell and ribbons. + + + +Piqui Chaqui. + +Such thoughts are prompted by Supay[FN#7]; +That evil being possesses thee. +All round are beauteous girls to choose +Before old age, and weakness come. +If the great Inca knew thy plot +And what thou seekest to attain, +Thy head would fall by his command, +Thy body would be quickly burnt. + + + +[FN#7] Supay, an evil spirit, according to some authorities. + + + + +Ollantay. + +Boy, do not dare to cross me thus. +One more such word and thou shalt die. +These hands will tear thee limb from limb, +If still thy councils are so base. + + + +Piqui Chaqui. + +Well! treat thy servant as a dog, +But do not night and day repeat, +'Piqui Chaqui! swift of foot! +Go once more to seek the star.' + + + +Ollantay. + +Have I not already said +That e'en if death's fell scythe[FN#8] was here, +If mountains should oppose my path +Like two fierce foes[FN#9] who block the way, +Yet will I fight all these combined +And risk all else to gain my end, +And whether it be life or death +I'll cast myself at Coyllur's feet. + + + +[FN#8] Ichuna, a sickle or scythe. The expression has been cited by +General Mitre and others as an argument that the drama is modern, +because this is a metaphor confined to the old world. But ichuna was in +use, in Quichua, in this sense, before the Spaniards came. The word is +from Ichu, grass. + +[FN#9] The Peruvians personified a mountain as two spirits, good and +evil. In writing poetically of a mountain opposing, it would be +referred to in the persons of its genii or spirits, and spoken of as two +foes, not one. + + + + +Piqui Chaqui. + +Rut if Supay himself should come? + + + +Ollantay. + +I'd strike the evil spirit down. + + +Piqui Chaqui. + +If thou shouldst only see his nose, +Thou wouldst not speak as thou dost now. + + + +Ollantay. + +Now, Piqui Chaqui, speak the truth, +Seek not evasion or deceit. +Dost thou not already know, +Of all the flowers in the field, +Not one can equal my Princess? + + + +Piqui Chaqui. + +Still, my master, thou dost rave. +I think I never saw thy love. +Stay! was it her who yesterday +Came forth with slow and faltering steps +And sought a solitary[FN#10] path[FN#11]? +If so, 'tis true she's like the sun, +The moon less beauteous than her face.[FN#12] + + + +[FN#10] Rurun, desert, solitude. + +[FN#11] Tasquiy, to march; tasquina, promenade, path. + +[FN#12] Cusi Coyllur, while daylight lasted, was, in the eyes of Piqui +Chaqui, like the sun. A change takes place at twilight, and at night +she is like the moon. + + + + +Ollantay. + +It surely was my dearest love. +How beautiful, how bright is she +This very moment thou must go +And take my message to the Star. + + + +Piqui Chaqui. + +I dare not, master; in the day, +I fear to pass the palace gate. +With all the splendour of the court, +I could not tell her from the rest. + + + +Ollantay. + +Didst thou not say thou sawest her? + + + +Piqui Chaqui. + +I said so, but it was not sense. +A star can only shine at night +Only at night could I be sure. + + + +Ollantay. + +Begone, thou lazy good-for-nought. +The joyful star that I adore, +If placed in presence of the Sun, +Would shine as brightly as before. + + +Piqui Chaqui. + +Lo! some person hither comes, +Perhaps an old crone seeking alms; +Yes! Look! he quite resembles one. +Lot him the dangerous message take. +Send it by him, O noble Chief! +From me they would not hear the tale; +Thy page is but a humble lad. + + + + +(Enter the UILLAC UMA, or High Priest of the Sun, at the back, arms +raised to the Sun. In a grey tunic and black mantle from the shoulders +to the ground, a long knife in his belt, the undress chucu on his head.) + + + + +Uillac Uma. + +O giver of all warmth and light +O Sun! I fall and worship thee. +For thee the victims are prepared, +A thousand llamas and their lambs +Are ready for thy festal day. +The sacred fire'll lap their blood, +In thy dread presence, mighty one, +After long fast[FN#13] thy victims fall. + + + +[FN#13] Fasting was a preparation for all great religious ceremonies. +Victims for sacrifice underwent a previous fast, which was looked upon +in the fight of purification before being offered to the Deity. + + + + +Ollantay. + +Who comes hither, Piqui Chaqui? +Yes, 'tis the holy Uillac Uma; +He brings his tools of augury. +No puma[FN#14] more astute and wise +I hate that ancient conjurer +Who prophesies of evil things, +I feel the evils he foretells; +'Tis he who ever brings ill-luck. + + + + +[FN#14] They gave the attributes we usually assign to the fox to the +puma. + + + + +Piqui Chaqui. + +Silence, master, do not speak, +The old man doubly is informed; +Fore-knowing every word you say, +Already he has guessed it all. + + + + +(He lies down on a bank.) + + + +Ollantay (aside). + +He sees me. I must speak to him. + + + +(The Uillac Uma comes forward.) + + + +O Uillac Uma, Great High Priest, +I bow before thee with respect +May the skies be clear for thee, +And brightest sunshine meet thine eyes. + + +Uillac Uma. + +Brave Ollantay! Princely one! +May all the teeming land be thine; +May thy far-reaching arm of might +Reduce the wide-spread universe. + + + +Ollantay. + +Old man! thine aspect causes fear, +Thy presence here some ill forebodes; +All round thee dead men's bones appear, +Baskets, flowers, sacrifice. +All men when they see thy face +Are filled with terror and alarm. +What means it all? why comest thou? +It wants some months before the least. +Is it that the Inca is ill? +Perchance hast thou some thought divined +Which soon will turn to flowing blood. +Why comest thou? the Sun's great day, +The Moon's libations are not yet +The moon has not yet nearly reached +The solemn time for sacrifice. +Uillac Uma. Why dost thou these questions put, +In tones of anger and reproach? +Am I, forsooth, thy humble slave? +That I know all I'll quickly prove. + + + +Ollantay. + +My beating heart is filled with dread, +Beholding thee so suddenly; +Perchance thy coming is a sign, +Of evils overtaking me. + + + +Uillac Uma. + +Fear not, Ollantay! not for that, +The High Priest comes to thee this day. +It is perhaps for love of thee, +That, as a straw is blown by wind, +A friend, this day, encounters thee. +Speak to me as to a friend, +Hide nothing from my scrutiny. +This day I come to offer thee +A last and most momentous choice +'Tis nothing less than life or death. + + + +Ollantay. + +Then make thy words more clear to me, +That I may understand the choice +Till now 'tis but a tangled skein, +Unravel it that I may know. + + + +Uillac Uma. + +'Tis well. Now listen, warlike. Chief +My science has enabled me, +To learn and see all hidden things +Unknown to other mortal men. +My power will enable me +To make of thee a greater prince. +I brought thee up from tender years, +And cherished thee with love and care +I now would guide thee in the right, +And ward off all that threatens thee. +As chief of Anti-suyu now, +The people venerate thy name; +Thy Sovereign trusts and honours thee, +E'en to sharing half his realm. +From all the rest he chose thee out, +And placed all power in thy hands; +He made thy armies great and strong, +And strengthened thee against thy foes +How numerous soe'er they be, +They have been hunted down by thee. +Are these good reasons for thy wish, +To wound thy Sovereign to the heart? +His daughter is beloved by thee; +Thy passion thou wouldst fain indulge, +Lawless and forbidden though it be. +I call upon thee, stop in time, +Tear this folly from thy heart. +If thy passion is immense, +Still let honour hold its place. +You reel, you stagger on the brink +I'd snatch thee from the very edge. +Thou knowest well it cannot be, +The Inca never would consent. +If thou didst e'en propose it now, +He would be overcome with rage; +From favoured prince and trusted chief, +Thou wouldst descend to lowest rank. + + + +Ollantay. + +How is it that thou canst surely know +What still is hidden in my heart? +Her mother only knows my love, +Yet thou revealest all to me. + + + +Uillac Uma. + +I read thy secret on the moon, +As if upon the Quipu knots; +And what thou wouldst most surely hide, +Is plain to me as all the rest. + + + +Ollantay. + +In my heart I had divined +That thou wouldst search me through and through +Thou knowest all, O Councillor, +And wilt thou now desert thy son? + + + +Uillac Uma. + +How oft we mortals heedless drink, +A certain death from golden cup +Recall to mind how ills befall, +And that a stubborn heart 's the cause. +Ollantay (kneeling). + +Plunge that dagger in my breast, +Thou holdst it ready in thy belt; +Cut out my sad and broken heart +I ask the favour at thy feet. + + + +Uillac Uma (to Piqui Chaqui). + +Gather me that flower, boy. + + + + +(Piqui Chaqui gives him a withered flower and lies down again, +pretending to sleep.) + + + + +(To Ollantay). + +Behold, it is quite dead and dry. +Once more behold! e'en now it weeps, +It weeps. The water flows from it. + + + + +(Water flows out of the flower.) + + + +Ollantay. + +More easy for the barren rocks +Or for sand to send forth water, +Than that I should cease to love +The fair princess, the joyful star. + + +Uillac Uma. + +Put a seed into the ground, +It multiplies a hundredfold; +The more thy crime shall grow and swell, +The greater far thy sudden fall. + + + +Ollantay. + +Once for all, I now confess +To thee, O great and mighty Priest; +Now learn my fault. To thee I speak, +Since thou hast torn it from my heart. +The lasso to tie me is long, +'Tis ready to twist round my throat +Yet its threads are woven with gold, +It avenges a brilliant crime. +Cusi Coyllur e'en now is my wife, +Already we 're bound and are one; +My blood now runs in her veins, +E'en now I am noble as she. +Her mother has knowledge of all, +The Queen can attest what I say; +Let me tell all this to the King, +I pray for thy help and advice. +I will speak without fear and with force, +He may perhaps give way to his rage +Yet he may consider my youth, +May remember the battles I've fought; +The record is carved on my club. + + + + +(Holds up his macana.) + + + + +He may think of his enemies crushed, +The thousands I've thrown at his feet. + + + +Uillac Uma. + +Young Prince! thy words are too bold, +Thou hast twisted the thread of thy fate-- +Beware, before 'tis too late; +Disentangle and weave it afresh, +Go alone to speak to the King, +Alone bear the blow that you seek; +Above all let thy words be but few, +And say them with deepest respect; +Be it life, be it death that you find, +I will never forget thee, my son. + + + + +(Walks up and exit.) + + + + +Ollantay. + +Ollantay, thou art a man, +No place in thy heart for fear; +Cusi Coyllur, surround me with light. +Piqui Chaqui, where art thou? + + + +Piqui Chaqui (jumping up). + +I was asleep, my master, +And dreaming of evil things. + + + +Ollantay. + +Of what? + + +Piqui Chaqui. + +Of a fox with a rope round its neck. + + +Ollantay. + +Sure enough, thou art the fox. + + + +Piqui Chaqui. + +It is true that my nose is growing finer, +And my ears a good deal longer. + + + +Ollantay. + +Come, lead me to the Coyllur. + + + +Piqui Chaqui. + +It is still daylight. + + + + +(Exeunt.) + + + + +SCENE 2 + + + + +A great hall in the Colcampata, then the palace of the Queen or Ccoya +Anahuarqui. In the centre of the back scene a doorway, and seen through +it gardens with the snowy peak of Vilcanota in the distance. Walls +covered with golden slabs. On either side of the doorway three recesses, +with household gods in the shape of maize-cobs and llamas, and gold vases +in them. On R. a golden tiana or throne. On L. two lower seats covered +with cushions of fine woollen cloth. + + + + +(ANAHUARQUI, the Queen or Ccoya (in blue chucu, white cotton bodice, and +red mantle secured by a golden topu or pin, set with emeralds, and a blue +skirt), and the princess CUSI COYLLUR (in a chucu, with feathers of the +tunqui, white bodice and skirt, and grey mantle with topu, set with +pearls) discovered seated.) + + + + +Anahuarqui. + +Since when art thou feeling so sad, +Cusi Coyllur! great Inti's prunelle?[FN#15] +Since when hast thou lost all thy joy, +Thy smile and thy once merry laugh? + + + + +[FN#15] Intip llirpun, 'apple of the sun's eye.' There is no English +equivalent that is suitable. + + + +Tears of grief now pour down my face, +As I watch and mourn over my child; +Thy grief makes me ready to die. +Thy union filled thee with joy, +Already you're really his wife. +Is he not the man of thy choice? +O daughter, devotedly loved, +Why plunged in such terrible grief? + + + + +(Cusi Coyllur has had her face hidden in the pillows. She now rises to +her feet, throwing up her arms.) + + + + +Cusi Coyllur. + +O my mother! O most gracious Queen! +How can my tears o'er cease to flow, +How can my bitter sighs surcease, +While the valiant Chief I worship +For many days and sleepless nights, +All heedless of my tender years, +Seems quite to have forgotten me? +He has turned his regard from his wife +And no longer seeks for his love. +O my mother! O most gracious Queen! +O my husband so beloved! +Since the day when I last saw my love +The moon has been hidden from view; +The sun shines no more as of old, +In rising it rolls among mist; +At night the stars are all dim, +All nature seems sad and distressed +The comet with fiery tail, +Announces my sorrow and grief +Surrounded by darkness and tears, +Evil auguries fill me with fears. +O my mother! O most gracious Queen! +O my husband so beloved! + + +Anahuarqui. + +Compose thyself and dry thine eyes, +The King, thy father, has arrived. +Thou lovest Ollantay, my child? + + + + +(Enter the INCA PACHACUTI. On his head the mascapaycha, with the llautu +or imperial fringe. A tunic of cotton embroidered with gold; on his +breast the golden breastplate representing the sun, surrounded by the +calendar of months. Round his waist the fourfold belt of tocapu. A +crimson mantle of fine vicuna wool, fastened on his shoulders by golden +puma's heads. Shoes of cloth of gold. He sits down on the golden tiana.) + + + + +Inca Pachacuti. + +Cusi Coyllur! Star of joy, +Most lovely of my progeny! +Thou symbol of parental love-- +Thy lips are like the huayruru.[FN#16] +Rest upon thy father's breast, +Repose, my child, within mine arms. + + + +[FN#16] Huayruru is the seed of a thorny bush, erythrina rubra, of a +bright red colour. Zegarra has coral as the equivalent for huayruru. + + + + +(Cusi Coyllur comes across. They embrace.) + + + + +Unwind thyself, my precious one, +A thread of gold within the woof. +All my happiness rests upon thee, +Thou art my greatest delight. +Thine eyes are lovely and bright, +As the rays of my father the Sun. +When thy lips are moving to speak, +When thine eyelids are raised with a smile, +The wide world is fairly entranced. +Thy breathing embalms the fresh air; +Without thee thy father would pine, +Life to him would be dreary and waste. +He seeks for thy happiness, child, +Thy welfare is ever his care. + + + + +(Cusi Coyllur throws herself at his feet.) + + + + +Cusi Coyllur. + +O father, thy kindness to me +I feel; and embracing thy knees +All the grief of thy daughter will cease, +At peace when protected by thee. +Pachacuti. How is this! my daughter before me +On knees at my feet, and in tears? +I fear some evil is near-- +Such emotion must needs be explained. + + + +Cusi Coyllur. + +The star does weep before Inti, +The limpid tears wash grief away. +Pachacuti. Rise, my beloved, my star, +Thy place is on thy dear father's knee. + + + + +(Cusi Coyllur rises and sits on a stool by her father. An attendant +approaches.) + + + +Attendant. + +O King! thy servants come to please thee. + + + +Pachacuti. + +Let them all enter. + + + + +(Boys and girls enter dancing. After the dance they sing a harvest song.) + + + + +Thou must not feed, +O Tuyallay,[FN#17] +In nusta's field, +O Tuyallay. +Thou must not rob, +O Tuyallay, +The harvest maize, +O Tuyallay. + + + + +[FN#17] The tuya (coccoborus chrysogaster) is a small finch, and +tuyallay means 'my little tuya.' + + + + +The grains are white, +O Tuyallay, +So sweet for food, +O Tuyallay. +The fruit is sweet, +O Tuyallay, +The leaves are green +O Tuyallay; +But the trap is set, +O Tuyallay. +The lime is there, +O Tuyallay. +We'll cut thy claws, +O Tuyallay, +To seize thee quick, +O Tuyallay. +Ask Piscaca,[FN#18] +O Tuyallay, +Nailed on a branch, +O Tuyallay. +Where is her heart, +O Tuyallay? +Where her plumes, +O Tuyallay? +She is cut up, +O Tuyallay, +For stealing grain, +O Tuyallay. +See the fate, +O Tuyallay, +Of robber birds, +O Tuyallay. + + + + +[FN#18] The piscaca is a much larger bird than the tuya. These piscacas +(coccoborus torridus) are nailed to trees as a warning to other birds. +They are black, with white breasts. + + + +Pachacuti. + +Cusi Coyllur, remain thou here, +Thy mother's palace is thy home +Fail not to amuse thyself, +Surrounded by thy maiden friends. + + + + +(Exeunt the Inca Pachacuti, the Ccoya Anahuarqui, and attendants.) + + + + +Cusi Coyllur. + +I should better like a sadder song. +My dearest friends, the last you sang +To me foreshadowed evil things;[FN#19] +You who sang it leave me now. + + + +[FN#19] In the tuya she sees her husband Ollantay, while the poor +princess herself is the forbidden grain. + + + + +(Exeunt boys and girls, except one girl who sings.) + + + + +Two loving birds are in despair,[FN#20] +They moan, they weep, they sigh; +For snow has fallen on the pair, +To hollow tree they fly. + + + +[FN#20] This is a yarahui or mournful elegy, of which there are so many +in the Quichua language. The singers of them were known as yarahuec. + + + + +But lo! one dove is left alone +And mourns her cruel fate; +She makes a sad and piteous moan, +Alone without a mate. +She fears her friend is dead and gone-- +Confirmed in her belief, +Her sorrow finds relief in song, +And thus she tells her grief. +'Sweet mate! Alas, where art thou now? +I miss thine eyes so bright, +Thy feet upon the tender bough, +Thy breast so pure and bright.' +She wanders forth from stone to stone, +She seeks her mate in vain; +'My love! my love!' she makes her moan, +She falls, she dies in pain. +Cusi Coyllur. That yarahui is too sad, +Leave me alone. + + + + +(Exit the girl who sang the yarahui.) + + + + +Now my tears can freely flow. + + + + +SCENE 3 + + + + +Great hall in the palace of Pachacuti. The INCA, as before, discovered +seated on a golden tiana L. Enter to him R. OLLANTAY and RUMI-NAUI. + + + + +Pachacuti. + +The time has arrived, O great Chiefs, +To decide on the coming campaign. +The spring is approaching us now, +And our army must start for the war. +To the province of Colla[FN#21] we march-- +There is news of Chayanta's[FN#22] advance. +The enemies muster in strength, +They sharpen their arrows and spears. + + + +[FN#21] Colla-suyu, the basin of lake Titicaca. + +[FN#22] Chayanta, a tribe in the montana south of the Collas. + + + + +Ollantay. O King, that wild rabble untaught +Can never resist thine array; +Cuzco alone with its height +Is a barrier that cannot be stormed. +Twenty four thousand of mine, +With their champis[FN#23] selected with care, +Impatiently wait for the sign, +The sound of the beat of my drums,[FN#24] +The strains of my clarion and fife. + + + +[FN#23] Champi, a one-handed battle-axe. + + +[FN#24] Huancar, a drum; pututu, fife. + + + + +Pachacuti. + +Strive then to stir them to fight, +Arouse them to join in the fray, +Lest some should desire to yield, +To escape the effusion of blood. + + + +Rumi-naui. + +The enemies gather in force, +The Yuncas[FN#25] are called to their aid; +They have put on their garbs for the war, +And have stopped up the principal roads. +All this is to hide their defects-- +The men of Chayanta are base. +We hear they're destroying the roads, +But we can force open the way; +Our llamas are laden with food-- +We are ready to traverse the wilds. + + + +[FN#25] Yunca, inhabitant of warm valley. Here it refers to the wild +tribes of the montana. + + + + +Pachacuti. + +Are you really ready to start +To punish those angry snakes? +But first you must give them a chance +To surrender, retiring in peace, +So that blood may not flow without cause, +That no deaths of my soldiers befall. + + + +Ollantay. + +I am ready to march with my men, +Every detail prepared and in place, +But alas! I am heavy with care, +Almost mad with anxious suspense. + + + +Pachacuti. + +Speak, Ollantay. Tell thy wish-- +'Tis granted, e'en my royal fringe. + + + +Ollantay. + +Hear me in secret, O King. + + + +Pachacuti (to Rumi-naui). + +Noble Chief of Colla, retire; +Seek repose in thy house for a time. +I will call thee before very long, +Having need of thy valour and skill. + + + +Rumi-naui. + +With respect I obey thy command. + + + + +(Exit Rumi-naui.) + + + + +Ollantay. + +Thou knowest, O most gracious Lord, +That I have served thee from a youth, +Have worked with fortitude and truth, +Thy treasured praise was my reward.[FN#26] +All dangers I have gladly met, +For thee I always watched by night, +For thee was forward in the fight, +My forehead ever bathed in sweat. +For thee I've been a savage foe, +Urging my Antis[FN#27] not to spare, +But kill and fill the land with fear, +And make the blood of conquered flow. +My name is as a dreaded rope,[FN#28] +I've made the hardy Yuncas[FN#29] yield, +By me the fate of Chancas[FN#30] sealed, +They are thy thralls without a hope. + + + + +[FN#26] In the original Quichua, Ollantay makes his appeal to the Inca +in quatrains of octosyllabic verses, the first line rhyming with the +last, and the second with the third. Garcilasso de la Vega and others +testify to the proficiency of the Incas in this form of composition. + + +[FN#27] Ollantay was Viceroy of Anti-suyu. + + +[FN#28] Chahuar, a rope of aloe fibre. A curb or restraint. + + +[FN#29] Raprancutan cuchurcani: literally, 'I have clipped their wings.' +Rapra, a wing. + + +[FN#30] The powerful nation of Chancas, with their chief, Huancavilca, +inhabited the great valley of Andahuaylas and were formidable rivals of +the Incas. But they were subdued by Pachacuti long before Ollantay can +have been born. An allowable dramatic anachronism. + + + +'Twas I who struck the fatal blow, +When warlike Huancavilca[FN#31] rose, +Disturbing thy august repose, +And laid the mighty traitor low. + + + +[FN#31] Huancavilca was chief of the powerful nation of Chancas. + + + + + +Ollantay ever led the van, +Wherever men were doomed to die; +When stubborn foes were forced to fly, +Ollantay ever was the man. + +Now every tribe bows down to thee-- +Some nations peacefully were led, +Those that resist their blood is shed-- +But all, O King, was due to me. +O Sovereign Inca, great and brave, +Rewards I know were also mine, +My gratitude and thanks are thine, +To me the golden axe you gave. +Inca! thou gavest me command +And rule o'er all the Anti race, +To me they ever yield with grace, +And thine, great King, is all their land +My deeds, my merits are thine own +To thee alone my work is due. +For one more favour I would sue, +My faithful service--thy renown. + + + + +(Ollantay kneels before the Inca.) + + + +Thy thrall: I bow to thy behest, +Thy fiat now will seal my fate. +O King, my services are great, +I pray thee grant one last request. +I ask for Cusi Coyllur's hand +If the Nusta's[FN#32] love I've won. +O King! you'll have a faithful son, +Fearless, well tried, at thy command. + + + +[FN#32] Nusta, Princess. + + + + +Pachacuti. + +Ollantay, thou dost now presume. +Thou art a subject, nothing more. +Remember, bold one, who thou art, +And learn to keep thy proper place. + + + +Ollantay. + +Strike me to the heart. + + + +Pachacuti. + +'Tis for me to see to that, +And not for thee to choose. +Thy presumption is absurd. +Be gone! + + + + +(Ollantay rises and exit R.) + + + + +SCENE 4 + + + + +A rocky height above Cuzco to the NE. Distant view of the city of Cuzco +and of the Sacsahuaman hill, crowned by the fortress. + + + + +(Enter OLLANTAY armed.) + + + + +Ollantay. + +Alas, Ollantay! Ollantay! +Thou master of so many lands, +Insulted by him thou servedst well. +O my thrice-beloved Coyllur, +Thee too I shall lose for ever. +O the void[FN#33] within my heart, +O my princess! O precious dove! +Cuzco! O thou beautiful city! +Henceforth behold thine enemy. + + + +[FN#33] Pisipachiyqui, to suffer from the void caused by absence. +Pisipay, to regret the absence of, to miss any one. + + + + +I'll bare thy breast to stab thy heart, +And throw it as food for condors; +Thy cruel Inca I will slay. +I will call my men in thousands, +The Antis will be assembled, +Collected as with a lasso. +All will be trained, all fully armed, +I will guide them to Sacsahuaman. +They will be as a cloud of curses, +When flames rise to the heavens. +Cuzco shall sleep on a bloody couch, +The King shall perish in its fall; +Then shall my insulter see +How numerous are my followers. +When thou, proud King, art at my feet, +We then shall see if thou wilt say, +'Thou art too base for Coyllur's hand.' +Not then will I bow down and ask, +For I, not thou, will be the King-- +Yet, until then, let prudence rule. + + + + +(Enter PIQUI CHAQUI from back, R.) + + + + +Piqui Chaqui, go back with speed, +Tell the Princess I come to-night. + + + +Piqui Chaqui. + +I have only just come from there-- +The palace was deserted quite, +No soul to tell me what had passed, +Not even a dog[FN#34] was there. + + + +[FN#34] The Dominican text has misi, a cat, instead of allco, a dog. +Von Tschudi thought that misi was a word of Spanish origin. Zegarra says +that it is not. Before the Spaniards came, there was a small wild cat in +the Andes called misi-puna. But the Justiniani text has allco, a dog. + + + +All the doors were closed and fastened, +Except the principal doorway, +And that was left without a guard. + + + +Ollantay. + +And the servants? + + + +Piqui Chaqui. + +Even the mice had fled and gone, +For nothing had been left to eat. +Only an owl was brooding there, +Uttering its cry of evil omen. + + + +Ollantay. + +Perhaps then her father has taken her, +To hide her in his palace bounds. + + + +Piqui Chaqui. + +The Inca may have strangled her; +Her mother too has disappeared. + + + +Ollantay. + +Did no one ask for me +Before you went away? + + + +Piqui Chaqui. + +Near a thousand men are seeking +For you, and all are enemies, +Armed with their miserable clubs. + + + +Ollantay. + +If they all arose against me, +With this arm I'd fight them all +No one yet has beat this hand, +Wielding the champi sharp and true. + + + +Piqui Chaqui. + +I too would like to give a stroke +At least, if my enemy was unarmed. + + + +Ollantay. + +To whom? + + + +Piqui Chaqui. + +I mean that Urco Huaranca chief, +Who lately was in search of thee. + + + +Ollantay. + +Perhaps the Inca sends him here +If so my anger is aroused. + + + +Piqui Chaqui. + +Not from the King, I am assured, +He cometh of his own accord +And yet he is an ignoble man. + + +Ollantay. + +He has left Cuzco, I believe; +My own heart tells me it is so +I'm sure that owl announces it. +We'll take to the hills, at once. + + + +Piqui Chaqui. + +But wilt thou abandon the Star? + + + +Ollantay. + +What can I do, alas! +Since she has disappeared? +Alas, my dove! my sweet princess. + + + + +(Music heard among the rocks.) + + + + +Piqui Chaqui. + +Listen to that yarahui, +The sound comes from somewhere near. + + + + +(They sit on rocks.) + + + + +SONG + + + + +In a moment I lost my beloved, +She was gone, and I never knew where; +I sought her in fields and in woods, +Asking all if they 'd seen the Coyllur. +Her face was so lovely and fair, +They called her the beautiful Star. +No one else can be taken for her, +With her beauty no girl can compare. +Both the sun and the moon seem to shine, +Resplendent they shine from a height, +Their rays to her beauty resign +Their brilliant light with delight. +Her hair is a soft raven black, +Her tresses are bound with gold thread, +They fall in long folds down her back, +And add charm to her beautiful head. +Her eyelashes brighten her face, +Two rainbows less brilliant and fair, +Her eyes full of mercy and grace, +With nought but two, suns can compare. +The eyelids with arrows concealed, +Gaily shoot their rays into the heart +They open, lo! beauty revealed, +Pierces through like a glittering dart. +Her cheeks Achancara[FN#35] on snow, +Her face more fair than the dawn, +From her mouth the laughter doth flow, +Between pearls as bright as the morn. + + + +[FN#35] Achancara, a begonia. A red flower in the neighbourhood of +Cuzco, according to Zegarra. One variety is red and white. + + + + +Smooth as crystal and spotlessly clear +Is her throat, like the corn in a sheaf +Her bosoms, which scarcely appear, +Like flowers concealed by a leaf. +Her beautiful hand is a sight, +As it rests from all dangers secure, +Her fingers transparently white, +Like icicles spotless and pure. + + +Ollantay (rising). + +That singer, unseen and unknown, +Has declared Coyllur's beauty and grace; +He should fly hence, where grief overwhelms. +O Princess! O loveliest Star, +I alone am the cause of thy death, +I also should die with my love. + + + +Piqui Chaqui. + +Perhaps thy star has passed away, +For the heavens are sombre and grey. + + + +Ollantay. + +When they know that their Chief has fled, +My people will rise at my call, +They will leave the tyrant in crowds +And he will be nearly alone. + + + +Piqui Chaqui. + +Thou hast love and affection from men, +For thy kindness endears thee to all, +For thy hand's always open with gifts, +And is closely shut only to me. + + + +Ollantay. + +Of what hast thou need? + + + +Piqui Chaqui. + +What? the means to got this and that, +To offer a gift to my girl, +To let others see what I have, +So that I may be held in esteem. + + + +Ollantay. + +Be as brave as thou art covetous, +And all the world will fear thee. + + + +Piqui Chaqui. + +My face is not suited for that; +Always gay and ready to laugh, +My features are not shaped that way. +To look brave! not becoming to me. +What clarions sound on the hills? +It quickly cometh near to us. + + + + +(Both look out at different sides.) + + + + +Ollantay. + +I doubt not those who seek me--come, +Let us depart and quickly march. + + + +Piqui Chaqui. + +When flight is the word, I am here. + + + +(Exeunt.) + + + + +SCENE 5 + + + + +The great hall of the palace of Pachacuti. The INCA, as before, seated +on the tiana. Enter to him RUMI-NAUI. + + + + +Pachacuti. + +I ordered a search to be made, +But Ollantay was not to be found. +My rage I can scarcely control-- +Hast thou found this infamous wretch? + + +Rumi-naui. + +His fear makes him hide from thy wrath. + + + +Pachacuti. + +Take a thousand men fully armed, +And at once commence the pursuit. + + + +Rumi-naui. + +Who can tell what direction to take? +Three days have gone by since his flight, +Perchance he's concealed in some house, +And till now he is there, safely hid. + + + + +(Enter a chasqui or messenger with quipus.) + + + + +Behold, O King, a messenger +From Urubamba he has come. + + +Chasqui. + +I was ordered to come to my King, +Swift as the wind, and behold me. + + + +Pachacuti. + +What news bringest thou? + + + +Chasqui. + +This quipu will tell thee, O King. + + + +Pachacuti. + +Examine it, O Rumi-naui. + + + +Rumi-naui. + +Behold the llanta, and the knots[FN#36] +Announce the number of his men. + + + +[FN#36] The llanta is the main rope of the quipu, about a yard long. +The small cords of llama wool, of various colours, denoting different +subjects, each with various kinds of knots, recording numbers. + + + + +Pachacuti (to Chasqui). + +And thou, what hast thou seen? + + + +Chasqui. + +'Tis said that all the Anti host +Received Ollantay with acclaim; +Many have seen, and they recount, +Ollantay wears the royal fringe. + + + +Rumi-naui. + +The quipu record says the same. + + + +Pachacuti. + +Scarcely can I restrain my rage! +Brave chief, commence thy march at once, +Before the traitor gathers strength. +If thy force is not enough, +Add fifty thousand men of mine. +Advance at once with lightning speed, +And halt not till the foe is reached. + + + +Rumi-naui. + +To-morrow sees me on the route, +I go to call the troops at once +The rebels on the Colla road, +I drive them flying down the rocks. +Thine enemy I bring to thee, +Dead or alive, Ollantay falls. +Meanwhile, O Inca, mighty Lord, +Rest and rely upon thy thrall. + + + + +(Exeunt.) + + + + + +END OF ACT I. + + + + + +ACT II + + + + +SCENE 1 + + + + +Ollantay-tampu. Hall of the fortress-palace. Back scene seven immense +stone, slabs, resting on them a monolith right across. Above masonry. +At sides masonry with recesses; in the R. centre a great doorway. A +golden tiana against the central slab. + + + + +(Enter OLLANTAY and URCO HUARANCA, both fully armed.) + + + + +Urco Huaranca. + +Ollantay, thou hast been proclaimed +By all the Antis as their Lord. +The women weep, as you will see-- +They lose their husbands and their sons, +Ordered to the Chayanta war. +When will there be a final stop +To distant wars? Year after year +They send us all to far-off lands, +Where blood is made to flow like rain. +The King himself is well supplied +With coca and all kinds of food. +What cares he that his people starve? +Crossing the wilds our llamas die, +Our feet are wounded by the thorns, +And if we would not die of thirst +We carry water on our backs. + + + +Ollantay. + +Gallant friends! Ye hear those words, +Ye listen to the mountain chief. +Filled with compassion for my men, +I thus, with sore and heavy heart, +Have spoken to the cruel king: +'The Anti-suyu must have rest; +All her best men shan't die for thee, +By battle, fire, and disease-- +They die in numbers terrible. +How many men have ne'er returned, +How many chiefs have met their death +For enterprises far away?' +For this I left the Inca's court,[FN#37] +Saying that we must rest in peace; +Lot none of us forsake our hearths, +And if the Inca still persists, +Proclaim with him a mortal feud. + + + +[FN#37] This, as we have seen, was not the reason why Ollantay fled from +Cuzco; but, from a leader's point of view, it was an excellent reason to +give to the people of Anti-suyu. The great wars of the Incas were, to +some extent, a heavy drain upon the people, but the recruiting was +managed with such skill, and was so equally divided among a number of +provinces, that it was not much felt. + + + +(Enter HANCO HUAYLLU, several chiefs, and a great crowd of soldiers and +people.) + + + + +People. + +Long Eve our king, Ollantay +Bring forth the standard and the fringe, +Invest him with the crimson fringe +In Tampu now the Inca reigns, +He rises like the star of day. + + + + +(The chiefs, soldiers, and people range them selves round. Ollantay is +seated on the tiana by Hanco Huayllu, an aged Auqui or Prince.) + + + + +Hanco Huayllu. + +Receive from me the royal fringe, +'Tis given by the people's will. +Uilcanota[FN#38] is a distant land, +Yet, even now, her people come +To range themselves beneath thy law. + + + +[FN#38] The snowy mountain far to the south, in sight from Cuzco. +Uilca, sacred; unuta, water. Here is the source of the river Uilcamayu, +which flows by Ollantay-tampu. + + + +(Ollantay is invested with the fringe. He rises.) + + + + +Ollantay. + +Urco Huaranca, thee I name +Of Anti-suyu Chief and Lord; +Receive the arrows and the plume, + + + + +(Gives them.) + + + + +Henceforth thou art our general. +People. Long life to the Mountain Chief. + + +Ollantay. + +Hanco Huayllu,[FN#39] of all my lords +Thou art most venerable and wise, +Being kin to the august High Priest, +It is my wish that thou shouldst give +The ring unto the Mountain Chief. + + + +[FN#39] The aged Hanco Huayllu as Auqui, or Prince of the Blood, and +relation of the High Priest, gave eclat to these ceremonies. + + + + +(Urco Huaranca kneels, and Hanco Huayllu addresses him.) + + + + +Hanco Huayllu. + +This ring around thy finger's placed +That thou mayst feel, and ne'er forget, +That when in fight thou art engaged, +Clemency becomes a hero chief. + + + +Urco Huaranca. + +A thousand times, illustrious king, +I bless thee for thy trust in me. + + + +Hanco Huayllu. + +Behold the valiant Mountain Chief, +Now fully armed from head to foot, +And bristling like the quiscahuan,[FN#40] +Accoutred as becomes a knight. + + + +[FN#40] Quiscahuan. anything full of thorns. + + + +(Turning to Urco Huaranca.) + + + +Ne'er let thine enemies take thee in rear +Man of the Puna,[FN#41] it ne'er can be said +You fled or trembled as a reed. + + + +[FN#41] Puna, the loftier parts of the Andes. + + + + +Urco Huaranca. + +Hear me, warriors of the Andes! +Already we have a valiant king, +It might be he will be attacked; +'Tis said th' old Inca sends a force, +The men of Cuzco now advance. +We have not a single day to lose; +Call from the heights our Puna men, +Prepare their arms without delay, +Make Tampu strong with rampart walls, +No outlet leave without a guard; +On hill slopes gather pois'nous herbs +To shoot our arrows, carrying death. + + + +Ollantay (to Urco Huaranca). + +Select the chiefs! +Fix all the posts for different tribes; +Our foes keep marching without sleep-- +Contrive to check them by surprise. +The compi[FN#42] ruse may cause their flight. + + + +[FN#42] Compi, cloth or a cloak. This was an expression of the ancient +Peruvians, perhaps equivalent to our 'hoodwinking.' + + + + +Urco Huaranca. + +Thirty thousand brave Antis are here, +Amongst them no weakling is found; +Apu Maruti,[FN#43] the mighty in war, +From high Uilcapampa[FN#44] will come, +On steep Tinquiqueru[FN#45] he'll stand +To march when the signal appears; + + + +[FN#43] Apu Maruti was the head of the ayllu of the Inca Yahuar Huaccac, +grandfather of Pachacuti. It was called the ayllu Aucaylli +Panaca.--Mesa, Anales del Cuzco, quoted by Zegarra. + +[FN#44] Uilcapampa, mass of mountains between the Uilcamayu and +Apurimac. + +[FN#45] Tinqui Queru, between Urupampa and Tampu. The word means 'two +vases coupled.' Here are two rounded hills connected by a saddle, three +and a half miles from Tampu. + + + + +On the opposite side of the stream +Prince Chara[FN#46] has mustered his force; +In the gorge Charamuni[FN#47] I post +Ten thousand armed Antis on watch; +Another such force is in wait +On the left, in the vale of Pachar.[FN#48] +We are ready to meet our foes, +We await them with resolute calm; +They will march in their confident pride +Until their retreat is out off, +Then the trumpet of war shall resound, +From the mountains the stones shall pour down, +Great blocks will be hurled from above. + + + +[FN#46] Chara, was another descendant of Yahuar Huaccac. + + +[FN#47] A ravine on the right bank of the Vilcamayu. + + +[FN#48] Pachar is on the left bank of the Vilcamayu opposite +Ollantay-tampu, with which it is connected by a rope bridge. + + + + +The Huancas[FN#49] are crushed or dispersed, +Then the knife shall do its fell work, +All will perish by blows from our hands, +Our arrows will follow their flight. + + + +[FN#49] Huancas, natives of the valley of Jauja--Inca recruits. + + + + +People and soldiers. + +It is well! It is very well! + + + + +(Cheers and martial music.) + + + + +(Exeunt.) + + + + +SCENE 2 + + + + +A wild place the mountains. Distant view of Ollantay-tampu. + + + + +(Enter Rumi-naui, torn and ragged, and covered with blood, with two +attendants.) + + + + +Rumi-naui. + +Ah! Rumi-naui--Rumi-naui,[FN#50] +Thou art a fated rolling stone,[FN#51] +Escaped indeed, but quite alone, +And this is now thy yarahui. + + + +[FN#50] Like Ollantay in his appeal to the Inca, Rumi-naui, in the +original Quichua, has recourse to octosyllabic quatrains, the first and +last lines rhyming, and the second and third. + + +[FN#51] Rumi, a stone. + + + + +Ollantay posted on the height, +Thou couldst not either fight or see, +Thy men did quickly fall or flee; +No room was there to move or fight. +Thou knowest now thy heart did beat +And flutter like a butterfly; +Thy skill thou couldst not then apply, +No course was left thee but retreat. +They had recourse to a surprise, +Our warriors immolated quite. +Ah! that alone could turn thee white-- +From shame like that, canst e'er arise? +By thousands did thy warriors fall, +I hardly could alone escape, +With open mouth fell death did gape, +A great disaster did befall. +Holding that traitor to be brave, +I sought to meet him face to face-- +Rushing to seek him with my mace, +I nearly found a warrior's grave. +My army then was near the hill, +When suddenly the massive stones +Came crashing down, with cries and moans, +While clarions sounded loud and shrill. +A rain of stones both great and small +Down on the crowd of warriors crashed, +On every side destruction flashed, +Thy heart the slaughter did appal. +Like a strong flood the blood did flow, +Inundating the ravine; +So sad a sight thou ne'er hast seen-- +No man survived to strike a blow. +O thou who art by this disgraced, +What figure canst thou ever show +Before the king, who seeks to know +The truth, which must be faced? +'Tis better far myself to kill, +Or losing every scrap of hope, +To hang my body with this rope. + + + + +(Takes a sling off his cap--going.) + + + + +Yet may it not be useful still? + + + + +(Turns again.) + + + + +When bold Ollantay's end has come.[FN#52] + + + +[FN#52] Clearly, from Rumi-naui's own account, the strategy of Urco +Huaranca had been a complete and brilliant success. + + + +(Exit.) + + + + +SCENE 3 + + + +A garden in the house of the Virgins of the Sun. Chilca shrubs and mulli +trees (Schinus Molle) with panicles of red berries. The walls of the +house at the back, with a door. A gate (L.) opening on the street. + + + + +(YMA SUMAC discovered at the gate looking out. To her enters (R.) PITU +SALLA. Both dressed in white with golden belts.) + + + + +Pitu Salla. + +Yma Sumac, do not approach +So near that gate, and so often; +It might arouse the Mother's wrath. +Thy name, which is so dear to me, +Will surely pass from mouth to mouth. +Honour shall be shown to chosen ones,[FN#53] +Who wish to close the outer gate. + + + +[FN#53] Aclla Cuna, the selected ones, the Virgins of the Sun. They +were under the supervision of so called Mothers--Mama Cuna. The novices +were not obliged to take the oaths at the end of their novitiate. + + + + +Amuse thyself within the walls, +And no one then can say a word. +Think well what you can find within-- +It gives you all you can desire, +Of dresses, gold, and dainty food. +Thou art beloved by every one, +E'en Virgins of the royal blood. +The Mothers love to carry thee, +They give thee kisses and caress-- +You they prefer to all the rest. +What more could any one desire, +Than always to remain with them, +Destined to be servant of the Sun? +In contemplating Him there's peace. + + + +Yma Sumac. + +Pitu Salla, ever you repeat +The same thing and the same advice; +I will open to thee my whole heart, +And say exactly what I think. +Know that to me this court and house +Are insupportable--no less; +The place oppresses--frightens me-- +Each day I curse my destiny. +The faces of all the Mama Cuna +Fill me with hatred and disgust, + + +And from the place they make me sit, +Nothing else is visible. +Around me there is nothing bright, +All are weeping and ne'er cease +If I could ever have my way, +No person should remain within. +I see the people pass outside, +Laughing as they walk along. +The reason it is plain to see-- +They are not mewed and cloistered here. +Is it because I have no mother, +That I am kept a prisoner? +Or is it I 'm a rich novice? +Then from to-day I would be poor. +Last night I could not get to sleep, +I wandered down a, garden walk; +In the dead silence of the night, +I heard one mourn. A bitter cry, +As one who sought and prayed for death. +On every side I looked about, +My hair almost on end with fright, +Trembling, I cried, 'Who canst thou be?' +Then the voice murmured these sad words: +'O Sun, release me from this place!' +And this, amidst such sighs and groans! +I searched about, but nothing found-- +The grass was rustling in the wind. +I joined my tears to that sad sound, +My heart was torn with trembling fear. +When now the recollection comes, +I'm filled with sorrow and with dread. +You know now why I hate this place. +Speak no more, my dearest friend, +Of reasons for remaining here. + + +Pitu Salla. + +At least go in. The Mother may appear. +Yma Sumac. But pleasant is the light of day. + + + + +(Exit, R.) + + + + +(Enter MAMA CCACCA, L., in grey with black edges and belt.) + + + + +Mama Ccacca. + +Pitu Salla, hast thou spoken +All I told thee to that child? + + + +Pitu Salla. + +I have said all to her. + + + +Mama Ccacca. + +And she, does she answer freely? + + + +Pitu Salla. + +She has wept and asked for pity, +Refusing to comply at all. +She will not take the virgin's oath. + + + +Mama Ccacca. + +And this in spite of thy advice? + + + +Pitu Salla. + +I showed her the dress she will wear, +Telling her misfortune would befall +If she refused to be a chosen one-- +That she would ever be an outcast, +And for us a child accursed. + + + +Mama Ccacca. + +What can she imagine, +Wretched child of an unknown father, +A maid without a mother, +Just a fluttering butterfly? +Tell her plainly, very plainly, +That these walls offer her a home, +Suited for outcasts such as she, +And here no light is seen. + + + + +(Exit, L.) + + + + +Pitu Salla. + +Ay, my Sumac! Yma Sumac! +These walls will be cruel indeed, +To hide thy surpassing beauty. + + + + +(Glancing to where Mama Ccacca went out.) + + + + +What a serpent! What a puma! + + + + +ACT III + + + + +SCENE 1 + + + + +The Pampa Moroni, a street in Cuzco. Enter RUMI-nAUI (L.)[FN#54] in a +long black cloak with a train, and PIQUI CHAQUI (R.), meeting each other. + + + +[FN#54] Rumi-naui is the interlocutor in the Justiniani text, in the +Dominican text, and in the text of Spilsbury. Yet Zegarra would +substitute the Uillac Uma or High Priest for Rumi-naui. His argument is +that the interlocutor was of the blood-royal, and that the High Priest +was always of the blood-royal, while Rumi-naui was not. But the text +does not say that the interlocutor was of the royal blood. Zegarra also +says that the interlocutor wore a black cloak with a long train, and that +this was the dress of the High Priest. But it was not the dress of the +High Priest as described by the best authorities. It was probably the +general mourning dress. The threats addressed to Piqui Chaqui were +likely enough to come from a soldier, but not from the High Priest as he +is portrayed in this drama. + + + + +Rumi-naui. + +Whence, Piqui Chaqui, comest thou? +Dost thou here seek Ollantay's fate? + + + +Piqui Chaqui. + +Cuzco, great lord, is my birthplace; +I hasten back unto my home. +I care not more to pass my days +In dismal and profound ravines. + + + +Rumi-naui. + +Tell me, Ollantay--what does he? + + + +Piqui Chaqui. + +He is busy now entangling +An already entangled skein. + + + +Rumi-naui. + +What skein? + + +Piqui Chaqui. + +Should you not give me some present +If you want me to talk to you. + + + +Rumi-naui. + +With a stick will I give thee blows, +With a rope I will hang thee. + + + +Piqui Chaqui. + +O, do not frighten me! + + + +Rumi-naui. + +Speak then. + + + +Piqui Chaqui. + +Ollantay. Is it Ollantay? +I can remember no more. + + + +Rumi-naui. + +Piqui Chaqui! Take care! + + + +Piqui Chaqui. + +But you will not listen! +I am turning blind, +My ears are getting deaf, +My grandmother is dead, +My mother is left alone. + + + +Rumi-naui. + +Where is Ollantay? Tell me. + + + +Piqui Chaqui. + +I am in want of bread, +And the Paccays[FN#55] are not ripe. +I have a long journey to-day-- +The desert is very far off. + + + +[FN#55] Paccay (mimosa incana), a tree with large pods, having a +snow-white woolly substance round the seeds, with sweet juice. + + + + +Rumi-naui. + +If you continue to vex me +I will take your life. + + +Piqui Chaqui. + +Ollantay, is it? He is at work. + +Ollantay! He is building a wall, +With very small stones indeed; +They are brought by little dwarfs-- +So small that to be a man's size +They have to climb on each other's backs. +But tell me, O friend of the King,[FN#56] +Why art thou in such long clothes, +Trailing like the wings of a sick bird[FN#57]-- +As they are black it is better. + + + +[FN#56] The Zegarra and Spilsbury texts have Ccan Incacri, which Zegarra +translates, 'relation of the Inca, of the royal family.' Spilsbury is +more correct. He has 'partisan of the Inca.' The more authentic +Justiniani text has Ccan Pana. The particle ri is one of emphasis or +repetition. It does not mean a relation. + +[FN#57] The Zegarra and Spilsbury texts have hualpa, a game bird. The +Justiniani text has anca, an eagle, which is the correct reading. + + + +Rumi-naui. + +Hast thou not seen already +That Cuzco is plunged in grief? +The great Inca Pachacuti[FN#58] is dead, +All the people are in mourning, +Every soul is shedding tears. + + + +[FN#58] The Inca Pachacuti does not appear to advantage in the drama. +But he was the greatest man of his dynasty, indeed the greatest that the +red race has produced. He was a hero in his youth, a most able +administrator in mature age. As a very old man some needless cruelties +are reported of him which annoyed his son. + + + + +Piqui Chaqui. + +Who, then, succeeds to the place +Which Pachacuti has left vacant? +If Tupac Yupanqui succeeds, +That Prince is the youngest +There are some others older.[FN#59] + + + +[FN#59] The eldest son was Amaru Tupac. He was passed over by his +father with his own consent, and was ever faithful to his younger +brother. He was an able general. + + + + +Rumi-naui. + +All Cuzco has elected him, +For the late king chose him, +Giving him the royal fringe; +We could elect no other. + + + +Piqui Chaqui. + +I hasten to bring my bed here.[FN#60] + + + +[FN#60] This was exactly what Piqui Chaqui was sent to Cuzco to find +out. The expression Apumusac pununayta, 'I go to fetch my bed,' is one +of joy at any fortunate event, in Quichua. + + + + +(Exit running.) + + + + + +SCENE 2 + + + +Great hall of the palace of Tupac Yupanqui. The INCA seated on golden +tiana (C.). + + + + +(Enter the HIGH PRIEST or UILLAC UMA, with priests and chosen Virgins of +the Sun. The INCA dressed as his father. Uillac Uma in full dress, +wearing the huampar chucu. Virgins in white with gold belts and diadems. +They range themselves by the throne (L.). Then enter RUMI-NAUI and a +crowd of chiefs, all in full dress, ranging themselves by the throne +(R.).) + + + + +Tupac Yupanqui. + +This day, O Councillors and Chiefs, +Let all receive my benison; +You Holy Virgins of the Sun[FN#61] +Receive our father's tenderest care. + +The realm, rejoicing, hails me king; +From deep recesses of my heart +I swear to seek the good of all. + + + +[FN#61] Intic Huamin Caccunan (Intic Huarminca Caycuna, correct), 'Ye +women of the Sun.' Zegarra thought, on the authority of Garcilasso de la +Vega, that these could not be select Virgins of the Sun, because the +virgins were never allowed outside their convent, and not even women +might enter. He is clearly wrong. Much higher authorities than +Garcilasso, as regards this point, especially Valera, tell us that the +virgins were treated with the greatest honour and respect. They took +part in great receptions and festivals, and when they passed along the +streets they had a guard of honour. + + + + +Uillac Uma. + +To-day the smoke of many beasts +Ascends on high towards the sun, +The Deity with joy accepts +The sacrifice of prayer and praise. +We found in ashes of the birds +Our only Inca, King, and Lord, +In the great llama sacrifice; +All there beheld an eagle's form, +We opened it for augury, +But lo! the heart and entrails gone. +The eagle Anti-suyu means-- +To thy allegiance they return. + + + + +(Bowing to the Inca.) + + + + +Thus I, thy augur, prophesy. + + + + +(Acclamation.) (Exeunt all but Uillac Uma and Rumi-naui.) + + + + +Tupac Yupanqui (turning to Rumi-naui). + +Behold the Hanan-suyu Chief +Who let the enemy escape, +Who led to almost certain death +So many thousands of my men. + + + +Rumi-naui. + +Before his death thy father knew +Disaster had befallen me; +'Tis true, O King, it was my fault, +Like a stone[FN#62] I gave my orders, +And volleying stones soon beat me down; +It was with stones I had to fight, +And in the end they crushed my men. +Oh! grant me, Lord, a single chance, +Give perfect freedom to my plans, +Myself will to the fortress march, +And I will leave it desolate. + + + +[FN#62] Rumi. He keeps playing upon his name. + + + + + +Tupac Yupanqui. + +For thee to strive with all thy might, +For thee thine honour to regain, +For thou shalt ne'er command my men +Unless thy worthiness is proved. + + +Uillac Uma. + +Not many days shall pass, O King, +E'er all the Antis are subdued. +I've seen it in the quipu roll, +Haste! Haste! thou Rumi Tunqui. [FN#63] + + + +[FN#63] Again playing upon the name of Rumi-naui. The High Priest calls +for haste, so he substitutes Tunqui for naui (eye), the tunqui (Rupicola +Peruviana) being one of the most beautiful birds in the forests. + + + + + +(Exeunt.) + + + + +SCENE 3 + + + +The great terrace entrance to Ollantay-tampu. On R. a long masonry wall +with recesses at intervals. At back a great entrance doorway. On L. +terraces descend, with view of valley and mountains. + + + + +(Guards discovered at entrance doorway. To them enter RUMI-NAUI in rags, +his face cut and slashed with wounds, and covered with blood.) + + + + +Rumi-naui. + +Will no one here have pity on me? +One of the Guards. Who art thou, man? +Who has ill-treated thee? +Thou comest in a frightful state, +Covered with blood and gaping wounds. + + +Rumi-naui. + +Go quickly to thy king and say +That one he loves has come to him. +One of the Guards. Thy name? + + + +Rumi-naui. + +There is no need to give a name. +One of the Guards. Wait here. + + + + +(Exit one of the guards.) + + + +(Enter OLLANTAY with guards, R. front.) + + + +Rumi-naui. + +A thousand times I thee salute, +Ollantay, great and puissant king! +Have pity on a fugitive +Who seeks a refuge here with thee. + + + +Ollantay. + +Who art thou, man? Approach nearer. +Who has thus ill-treated thee? +Were such deep and fearful wounds +Caused by a fall, or what mishap? + + + +Rumi-naui. + +Thou knowest me, O mighty chief. +I am that stone that fell down once, +But now I fall before thy feet; +O Inca! mercy! Raise me up! + + + + +(Kneels.) + + + + +Ollantay. + +Art thou the noble Rumi-naui, +Great Chief and Lord of Hanan-suyu? + + + +Rumi-naui. + +Yes, I was that well-known Chief-- +A bleeding fugitive to-day. +Ollantay. Rise, comrade mine. Let us embrace. + + + + +(Rises.) + + + + +Who has dared to treat thee thus, +And who has brought thee here to me +Within my fortress, on my hearth? + + + + +(To attendants.) + + + + +Bring new clothes for my oldest friend. + + + + +(Exit an attendant.) + + + + +How is it that thou art alone? +Camest thou not fearing death? + + + +Rumi-naui. + +A new king reigns in Cuzco now-- +Tupac Yupanqui is installed. +Against the universal wish, +He rose upon a wave of blood; +Safety he sees in headless trunks, +The sunchu[FN#64] and the nucchu[FN#65] red +Are sent to all he would destroy. + + + +[FN#64] Sunchu, a very large composita with a yellow flower, growing +round Cuzco. It was one of those which were used on sacred festivals. + +[FN#65] Nucchu is a salvia, also considered sacred. A red flower. +Perhaps these flowers were sent as a summons from the Inca, but I have +not seen the custom mentioned elsewhere. + + + + +Doubtless you have not forgot +That I was Hanan-suyu's Chief. +Yupanqui ordered me to come; +Arrived, I came before the king, +And as he has a cruel heart, +He had me wounded as you see; +And now thou knowest, king and friend, +How this new Inca treated me. + + + + +Ollantay. + +Grieve not, old friend Rumi-naui, +Thy wounds before all must be cured; +I see in thee th' avenging knife, +To use against the tyrant's heart. +At Tampu now we celebrate +The Sun's great Raymi festival; +On that day all who love my name, +Throughout my realms hold festival. + + + +Rumi-naui. + +Those three days of festival +To me will be a time of joy, +Perhaps I may be healed by then, +So that my heart may pleasure seek. + + + +Ollantay. + +It will be so. For three whole nights +We drink and feast, to praise the Sun, +The better to cast all care aside +We shall be shut in Tampu fort. + + + +Rumi-naui. + +The youths, as is their wont, will find +Their great delight in those three nights, +Then will they rest from all their toils, +And carry off the willing girls. + + + + +SCENE 4 + + + + +A corridor in the palace of Chosen Virgins. + + + + +(Enter YMA SUMAC and PITU SALLA.) + + + + +Yma Sumac. + +Pitu Salla, beloved friend, +How long wilt thou conceal from me +The secret that I long to know? +Think, dearest, of my anxious heart, +How I shall be in constant grief +Until you tell the truth to me. +Within these hard and cruel bounds +Does some one suffer for my sins? +My sweet companion, do not hide +From me, who 'tis that mourns and weeps +Somewhere within the garden walls. +How is it she is so concealed +That I can never find the place? + + + +Pitu Salla. + +My Sumac, now I'll tell thee all-- +Only concerning what you hear, +And still more surely what you see, +You must be dumb as any stone; +And you too must be well prepared +For a most sad heart-rending sight-- +'Twill make thee weep for many days. + + + +Yma Sumac. + +I will not tell a living soul +What you divulge. But tell me all, +I'll shut it closely in my heart. + + + + +SCENE 5 + + + + +A secluded part of the gardens of the Virgins, (L.) flowers, (R.) a +thicket of mulli[FN#66] and chilca,[FN#67] concealing a stone door. + + + +[FN#66] Schineus Molle, a tree with pinnate leaves, and panicles of red +berries, well known in the Mediterranean countries, into which it was +introduced from Peru. Called by the English 'pepper tree.' + +[FN#67] Several bushes are called chilca in Peru. Eupatorium chilca (R. +P.), baccharis scandens, and molina latifolia. Stereoxylon pendulum is +called puna chilca. + + + + +(PITU SALLA and YMA SUMAC.) + + + + +Pitu Salla. + +In this garden is a door of stone, +But wait until the Mothers sleep, +The night comes on. Wait here for me. + + + +(Exit.) + + + + +(Yma Sumac reclines on a bank and sleeps. Night comes on, Yma Sumac +awakes.) + + + + +Yma Sumac. + +A thousand strange presentiments +Crowd on me now, I scarce know what-- +Perhaps I shall see that mournful one +Whose fate already breaks my heart. + + + + +(Pitu Salla returns with a cup of water, a small covered vase containing +food, and a torch which she gives to Yma Sumac. She leads Yma Sumac +through bushes to the stone door, fixes the torch, presses something, and +the door swings round.) + + + + +(CUSI COYLLUR is discovered senseless, extended on the ground, a snake +twining itself round her waist.) + + + + +Pitu Salla. + +Behold the princess for whom you seek. +Well! is thy heart now satisfied? + + +Yma Sumac. + +Oh, my friend, what do I behold? +Is it a corpse that I must see? +Oh, horror! A dungeon for the dead! + + + + +(She faints.) + + + + +Pitu Salla. + +What misfortune has now arrived? +O my Sumac, my dearest love, +O come to thyself without delay! +Arouse thee. Arise, my lovely flower. + + + + +(Yma Sumac revives.) + + + + +Fear not, my dove, my lovely friend, +'Tis not a corpse. The princess lives, +Unhappy, forlorn, she lingers here. + + + +Yma Sumac. + +Is she, then, still a living being? + + + +Pitu Salla. + +Approach nearer, and you can help. +She lives indeed. Look. Watch her now. +Give me the water and the food. + + + + +(To Cusi Coyllur, while helping her to sit up.) + + + + +O fair princess, I bring thee food +And cooling water to refresh. +Try to sit up. I come with help. + + + +Yma Sumac. + +Who art thou, my sweetest dove? +Why art thou shut in such a place? + + + +Pitu Salla. + +Take a little food, we pray. +Perchance without it, you may die. + + + +Cusi Coyllur. + +How happy am I now to see, +After these long and dismal years, +The new and lovely face of one +Who comes with thee and gives me joy. + + + +Yma Sumac. + +O my princess, my sister dear, +Sweet bird, with bosom of pure gold, +What crime can they accuse thee of, +That they can make thee suffer thus? +What cruel fate has placed thee here +With death on watch in serpent's form? + + +Cusi Coyllur. + +O charming child, the seed of love, +Sweet flower for my broken heart, +I have been thrust in this abyss. +I once was joined to a man +As pupil is part of the eye; +But alas! has he forgotten me? +The King know not that we were joined +By such indissoluble bonds, +And when he came to ask my hand, +That King dismissed him in a rage, +And cruelly confined me here. +Many years have passed since then, +Yet, as you see, I'm still alive; +No single soul have I beheld +For all those sad and dismal years, +Nor have I found relief nor hope. +But who art thou, my dear, my love, +So young, so fresh, so pitiful? + + + +Yma Sumac. + +I too, like thee, am full of grief, +For long I've wished to see and love, +My poor forlorn and sad princess. +No father, no mother are mine, +And there are none to care for me. + + + +Cusi Coyllur. + +What age art thou? + + + +Yma Sumac. + +I ought to number many years, +For I detest this dreadful house, +And as it is a dreary place, +The time in it seems very long. + + + +Pitu Salla. + +She ought to number just ten years +According to the account I've kept. + + + +Cusi Coyllur. + +And what is thy name? + + + +Yma Sumac. + +They call me Yma Sumac now, +But to give it me is a mistake. + + + +Cusi Coyllur. + +O my daughter! O my lost love, +Come to thy mother's yearning heart. + + + + +(Embraces Yma Sumac.) + + + + +Thou art all my happiness, +My daughter, come, O come to me; +This joy quite inundates my soul, +It is the name I gave to thee. + + + +Yma Sumac. + +O my mother, to find thee thus! +We must be parted never more. +Do not abandon me in grief. +To whom can I turn to free thee, +To whom can I appeal for right? + + + +Pitu Salla. + +Make no noise, my dearest friend.: +To find us thus would ruin me. +Let us go. I fear the Mothers. + + + +Yma Sumac (to Cusi Coyllur). + +Suffer a short time longer here, +Until I come to take thee hence, +Patience for a few more days. +Alas! my mother dear! I go, +But full of love, to seek for help. + + + + +(Exeunt closing the stone door, all but Cusi Coyllur. They extinguish +the torch.) + + + + + +SCENE 6 + + + + +Great hall in the palace of Tupac Yupanqui. + + + + +(The INCA discovered seated on the tiana. To him enter the UILLAC UMA, +in full dress.) + + + + +Tupac Yupanqui. + +I greet thee, great and noble Priest! +Hast thou no news of Rumi-naui. + + + +Uillac Uma. + +Last night, with guards, I wandered out +On heights towards Uilcanuta. +Far off I saw a crowd in chains, +No doubt the Anti prisoners, +For they are all defeated quite. +The cacti[FN#68] on the mountains smoke, +E'en now the fortress is in flames. + + + +[FN#68] A kind of cactus, of which they make needles, grows abundantly +on the mountains round Ollantay-tampu. It is called ahuarancu. They set +fire to the cacti as a war signal. Zegarra calls it a thistle. The word +in the Justiniani text is ahuarancu. + + + + +Tupac Yupanqui. + +And Ollantay, is he taken? +Perhaps--I hope his life is saved. + + + +Uillac Uma. + +Ollantay was among the flames, +'Tis said that no one has escaped. + + + +Tupac Yupanqui. + +The Sun, my Father, is my shield, +I am my father's chosen child. +We must subdue the rebel host, +For that I am appointed here. + + + + +(Enter a CHASQUI with a quipu in his hand.) + + + + +The Chasqui. + +This morning at the dawn of day, +Rumi-naui despatched this quipu. + + + +Tupac Yupanqui (to the Uillac Uma). + +See what it says. + + + +Uillac Uma. + +This knot, coloured burnt ahuarancu, +Tells us that Tampu too is burnt; +This triple knot to which is hung +Another which is quintuple, +In all of quintuples are three, +Denotes that Anti-suyu's thine, +Its ruler prisoner of war. + + + +Tupac Yupanqui (to the Chasqui). + +And thou. Where wert thou? + + + +The Chasqui. + +Sole King and Lord! Child of the Sun! +I am the first to bring the news, +That thou mayst trample on the foe, +And in thine anger drink their blood. + + + +Tupac Yupanqui. + +Did I not reiterate commands +To spare and not to shed their blood-- +Not anger but pity is my rule. + + + +The Chasqui. + +O Lord, we have not shed their blood; +They were all captured in the night, +Unable to resist our force. + + + +Tupac Yupanqui. + +Recount to me in full detail +The circumstances of the war. + + + +The Chasqui. + +For a signal thy warriors wait. +The nights passed at Tinquiqueru,[FN#69] +Concealed in the cavern below, +Yanahuara[FN#70] men joining us late. +We waited within the large cave, +Thy men always ready to fight, +Behind foliage well out of sight, +Thy warriors patient and brave. + + + +[FN#69] Tinqui Queru, between Urupampa and Tampu. The word means 'two +vases coupled.' Here are two rounded hills connected by a saddle, three +and a half miles from Tampu. [Taken from FN#45.] + +[FN#70] Yanahuara, a ravine near Urubamba, where some of the troops of +Rumi-naui had been posted. + + + + +But for three long days and dark nights, +No food for the zealous and bold; +Feeling hungry, thirsty, and cold, +We waited and watched for the lights.[FN#71] +Rumi-naui sent orders at length, +When the Raymi[FN#72] they carelessly keep, +And all of them drunk or asleep, +We were then to rush on with our strength. +Word came to surprise our foes, +Rumi-naui had opened the gate, +As cautious and silent as fate-- +We were masters with none to oppose. + + + +[FN#71] Signal lights. + +[FN#72] Ccapac Raymi, the great festival of the Sun. December 22. + + + +Those rebels fell into the trap, +The arrows came on them like rain, +Most died in their sleep without pain, +Not knowing their fatal mishap. +Ollantay, still trusting, was ta'en, +The same Urco Huaranca befell; +Hanco Huayllu is captive as well, +We thy rebels in fetters detain. +The Antis by thousands are slain, +A fearful example is made, +They are beaten, crushed, and betrayed, +Their women in sorrow and pain. + + + +Tupac Yupanqui. + +As witness of what has occurred, +On Vilcamayu's storied banks, +No doubt thou hast told me the truth. +It was a well designed attack. + + + + +(Enter RUMI-nAUI followed by several chiefs.) + + + + +Rumi-naui. + +Great Inca, I kneel at thy feet, +This time You will hear my report, +I beseech thee to deign to restore +The trust that I forfeited once. + + + + +(Kneels.) + + + + +Tupac Yupanqui. + +Rise, great Chief, receive my regard, +I accept thy great service with joy; +Thou didst cast o'er the waters. thy net, + + +And hast captured a marvellous fish. + + + + +Rumi-naui. + +Our enemies perished in crowds, +Their chiefs were captured and bound, +Overwhelmed by my terrible force, +Like a rook detached from the heights. + + + +Tupac Yupanqui. + +Was much blood shed in the assault? + + +Rumi-naui. + +No, Lord, not a drop has been shed, +To thine orders I strictly adhered. +Those Antis were strangled in sleep, +But the fort is entirely razed. + + + +Tupac Yupanqui. + +Where are the rebels? + + + +Rumi-naui. + +They are waiting with agonised fear, +For their fate, to perish by cords. +The people are sending up cries, +Demanding their deaths without fail. +Their women are now in their midst, +The children raise hideous cries; +It is well that thine order should pass +To finish their traitorous lives. + + + +Tupac Yupanqui. + +It must be so without any doubt, +That the orphans may not be alone, +Let all perish, not sparing one, +Thus Cuzco recovers her peace, +Let the traitors be brought before me. +In my presence the sentence they'll hear. + + + + +(Exit Rumi-naui, and re-enter followed by guards in charge of OLLANTAY, +URCO HUARANCA, and HANCO HAUYLLU, bound and blindfold, followed by guards +with PIQUI CHAQUI bound.) + + + + +Tupac Yupanqui. + +Take the bands off the eyes of those men. +And now, Ollantay, where art thou? +And where art thou, O Mountain Chief? +Soon thou wilt roll down from the heights. + + + + +(To the soldiers who bring in Piqui Chaqui.) + + + + +Whom have we here? + + + +Piqui Chaqui. + +Many fleas in the Yuncas abound, +And torment the people full sore, +With boiling water they are killed, +And I, poor flea,[FN#73] must also die. + + + +[FN#73] Piqui Chaqui is literally 'flea foot.' He is punning on his +name. + + + + +Tupac Yupanqui. + +Tell me, Hanco Huayllu, tell me, +Why art thou Ollantay's man? +Did not my father honour thee? +Did he not grant thy requests? +Did he ever have a secret from thee? +Speak also, you, the other rebels, +Ollantay and the Mountain Chief. + + + +Ollantay. + +O father, we have nought to say, +Our crimes are overwhelming us. + + + +Tupac Yupanqui (to the Uillac Uma). + +Pronounce their sentence, great High Priest. + + + +Uillac Uma. + +The light that fills me from the Sun +Brings mercy and pardon to my heart. + + + +Tupac Yupanqui. + +Now thy sentence, Rumi-naui. + + + +Rumi-naui. + +For crimes enormous such as these +Death should ever be the doom +It is the only way, O King! +To warn all others from such guilt. +To stout tocarpus[FN#74] they should be +Secured and bound with toughest rope, +Then should the warriors freely shoot +Their arrows until death is caused. + + + +[FN#74] Tocarpu, a pole or stake used at executions. Condemned +prisoners were fastened to a tocarpu before being hurled over a +precipice. + + + + +Piqui Chaqui. + +Must it be that evermore +The Antis must all perish thus? +Alas! then let the branches burn +What pouring out of blood is here.[FN#75] + + + +Rumi-naui. + +Silence, rash man, nor dare to speak, + + + +[FN#75] Piqui Chaqui had an inkling that the Inca had expressed dislike +at the shedding of blood. He ventured to say these words in the faint +hope that they might remind the Inca of this dislike. + + + +(General lamentation outside.) + + + + +Having been rolled just like a stone, +My heart has now become a stone.[FN#76] + + + +[FN#76] Rumi-naui at it again: for ever ringing changes on his name +rumi, a stone. + + + + +Tupac Yupanqui. + +Know that tocarpus are prepared. +Remove those traitors from my sight, +Let them all perish, and at once. + + + +Rumi-naui. + +Take these three men without delay +To the dreaded execution stakes; +Secure them with unyielding ropes, +And hurl them from the lofty rocks. + + + +Tupac Yupanqui. + +Stop! Cast off their bonds. + + + + +(The guards unbind them. They all kneel.) + + + + +(To Ollantay, kneeling). + +Rise from thy knees; come to my side. + + + + +(Rises.) + + + + +Now thou hast seen death very near, +You that have shown ingratitude, +Learn how mercy flows from my heart; +I will raise thee higher than before. +Thou wert Chief of Anti-suyu, +Now see how far my love will go; +I make thee Chief in permanence. +Receive this plume[FN#77] as general, +This arrow[FN#77] emblem of command.[FN#78] + + + +[FN#77] The plume and the arrow were the insignia of a general. + +[FN#78] Rather a staggerer for Rumi-naui! Perhaps, too, the change is +too sudden, and infringes the probabilities. Tupac Yupanqui may have +thought that his father had been unjust and that there were excuses. It +is known that the young Inca was indignant at some other cruelties of his +father. As a magnanimous warrior he may have despised the treacherous +methods of Rumi-naui. He may have valued Ollantay's known valour and +ability, and have been loth to lose his services. All these +considerations may have influenced him more or less. The rebels were the +best men he had. + + + + +Tupac Yupanqui (to the Uillac Uma). + +Thou mighty Pontiff of the Sun, +Robe him in the regal dress. +Raise up the others from their knees, +And free them from the doom of death. + + + + +(Urco Huaranca, Hanco Huayllu, and Piqui Chaqui rise, the latter looking +much relieved. The Uillac Uma places the robe on Ollantay's shoulders.) + + + + +Uillac Uma. + +Ollantay, learn to recognise +Tupac Yupanqui's generous mind; +From this day forth be thou his friend, +And bless his magnanimity. +This ring contains my potent charm, +For this I place it on thy hand. + + + + +(Gives him a ring, or bracelet.) + + + + +This mace receive, 'tis from the king, + + + + +(Gives him a mace (champi).) + + + + +It is his gracious gift to thee. + + + +Ollantay. + +With tears I shall nearly consume +That mace thus presented to me; +I am tenfold the great Inca's slave, +In this world no equal is found, +My heart's fibres his latchets shall be; +From this moment my body and soul +To his service alone shall belong. + + + +Tupac Yupanqui. + +Now, Mountain Chief! come near to me, +Ollantay is given the arrow and plume, +Though to me he gave fury and war. +Notwithstanding all that has passed +He continues the Andean chief, +And will lead his rebels to peace; +Thee also I choose for the plume; +From this day thou art a great chief, +And never forget in thy thoughts, +I saved thee from death and disgrace. + + + +Urco Huaranca. + +Great King and most merciful Lord, +But now, expecting my death, +I am ever thy most faithful slave. + + + + +(Uillac Uma gives him the plume and arrow.) + + + + +Uillac Uma. + +O Urco, the Inca has made +A great and a powerful chief, +And grants thee with marvellous grace +The arrow and also the plume. + + + +Rumi-naui. + +Illustrious King, I venture to ask, +Will Anti-suyu have two chiefs. + + + +Tupac Yupanqui. + +There will not be two, O Rumi-naui +The Mountain Chief will rule the Antis; +In Cuzco Ollantay will reign-- +As Viceroy deputed by me +His duties will call him to act +As ruler throughout the whole realm. + + + +Ollantay. + +O King! thou dost raise me too high, +A man without service or claim; +I am thy obedient slave-- +Mayst thou live for a thousand years. + + + +Tupac Yupanqui. + +The mascapaycha now bring forth, +And to it the llautu attach. +Uillac Uma, adorn him with these, +And proclaim his state to the world. +Yes, Ollantay shall stand in my place, +Raised up like the star of the morn, +For Colla this month I shall start; +All preparations are made. +In Cuzco Ollantay will stay, +My Ranti[FN#79] and Viceroy and friend. + + + + +[FN#79] Ranti, a deputy. + + + +Ollantay. + +I would fain, O magnanimous King, +Follow thee in the Chayanta war; +Thou knowest my love for such work. +Peaceful Cuzco is not to my taste, +I prefer to be thy Canari,[FN#80] +To march in the van of thy force, +And not to be left in the rear. + + + +[FN#80] Canari, a warlike tribe of Indians, in the south part of the +kingdom of Quito. They were first conquered by Tupac Yupanqui, and they +became devoted to him. + + + +Tupac Yupanqui. + +Thou shouldst find the wife of thy choice, +And with her reign happily here +In Cuzco; repose without care; +Rest here while I'm absent in war. + + +Ollantay. + +Great King, thy sorrowful slave +Already had chosen a wife. + + +Tupac Yupanqui. + +How is it I know not of this? +It should be reported to me. +I will load her with suitable gifts; +Why was this concealed from my eyes? + + +Ollantay. + +In Cuzco itself disappeared +That sweet and adorable dove; +One day she did rest in my arms, +And the next no more to be seen. +In grief I made search far and near, +Earth seemed to have swallowed her up, +To have buried her far from my sight; +O such, mighty King, is my grief. + + +Tupac Yupanqui. + +Ollantay! afflict not thyself, +For now thou must take up thy place +Without turning thy eyes from thy work. + + + +(To Uillac Uma.) + + + +High priest, obey my command. + + + +(The Uillac Uma goes to the wings (R.) and addresses the people outside.) + + + +Uillac Uma. + +O people, hear what I say: +The Inca, our King and our Lord, +Thus declares his imperial will: +Ollantay shall reign in his place. + + +People outside. + +Ollantay Ranti! Ollantay Ranti! + + + +(Shouts and acclamations.) + + + +Tupac Yupanqui (to Rumi-naui and other chiefs.) + +You also render him homage. + + +Rumi-naui. + +Prince Ollantay! Incap Ranti! +Thy promotion gives me joy. +All the Antis now released, +Return rejoicing to their homes. + + + +(He and all the Chiefs bow to Ollantay.) + + + +Guards without. + +You cannot pass. Go back! go back! +Voice without. Why, is this a festive day? +Let me pass. I must see the king; +I pray you do not stop me, +Do not drive me from the door; +If you stop me I shall die. +Have a care. You will kill me. + + +Tupac Yupanqui. + +What noise is that without? + + +Guard. + +It is a young girl who comes weeping +And insists upon seeing the king. + + +Tupac Yupanqui. + +Let her come in. + + + +(Enter Yma Sumac.) + + + +Yma Sumac. + +Which is the Inca, my lord, +That I may kneel down at his feet? + + +Uillac Uma. + +Who art thou, charming maid? +Behold the King. + + + +(Yma Sumac throws herself at the King's feet.) + + + +Yma Sumac. O my King! be thou my father, +Snatch from evil thy poor servant. +Extend thy royal hand to me. +O merciful child of the Sun, +My mother is dying at this hour +In a foul and loathsome cave; +She is killed in cruel martyrdom-- +Alas I she is bathed in her own blood. + + +Tupac Yupanqui. + +What inhumanity, poor child! +Ollantay, take this case in hand. + + +Ollantay. + +Young maiden, take me quickly there; +We will see who it is that suffers. + + +Yma Sumac. + +No, sir. Not so. It is the King himself +Should go with me. +Perhaps he may recognise her; + + + +(To Ollantay.) + + + +For you, I know not who you are. +O King, arise, do not delay, +I fear my mother breathes her last, +At least may be in mortal pain; +O Inca! Father! grant my prayer. + + +Uillac Uma. + +Illustrious King, thou wilt consent; +Let us all seek this luckless one-- +Thou canst release from cruel bonds. +Lot us go, O King! + + +Tupac Yupanqui (rising). + +Come all! Come all! +In midst of reconciliations +This young maid assaults my heart. + + + +(Exeunt.) + + + + +SCENE 7 + + + +The garden in the palace of Virgins of the Sun (same scene as Act III, +Scene 5). Stone door more visible. + + +(Enter the INCA TUPAC YUPANQUI with YMA SUMAC, OLLANTAY, UILLAC UMA and +RUMI nAUI; URCO HUARANCA, HANCO HUAYLLU and PIQUI CHAQUI in the +background.) + + + +Tupac Yupanqui. + +But this is the Aclla Huasi;[FN#81] +My child, art thou not mistaken? +Where is thy imprisoned mother? + + + +[FN#81] Aclla, chosen; Huasi, house: palace of the Virgins of the sun. + + + +Yma Sumac. + +In a dungeon within these bounds +My mother has suffered for years, +Perhaps even now she is dead. + + + +(She points to the stone door.) + + + +Tupac Yupanqui. + +What door is this? + + + +(Enter MAMA CCACCA and PITU SALLA. Mama Ccacca kneels and kisses the +Inca's hand.) + + + +Mama Ccacca. + +Is it a dream or reality, +That I behold my sovereign? +Tupac Yupanqui. Open that door. + + + +(Mama Ccacca opens the door.) + + + +(CUSI COYLLUR discovered chained and fainting, with a puma and a snake, +one on each side of her.) + + + +Yma Sumac. + +O my mother, I feared to find +That you had already passed away; +Pitu Salla! Haste. Bring water. +Perhaps my dove may still revive. + + + +(Exit Pitu Salla.) + + + +Tupac Yupanqui. + +What horrid cavern do I see? +Who is this woman? what means it? +What cruel wretch thus tortures her? +What means that chain bound around her? +Mama Ccacca, come near to me +What hast thou to say to this? +Is it the effect of malice +That this poor creature lingers here? + + +Mama Ccacca. + +It was thy father's dread command; +A punishment for lawless love. + + +Tupac Yupanqui. + +Begone! begone! harder than rock.[FN#82] +Turn out that puma and the snake,[FN#83] +Break down that door of carved stone. + + + +[FN#82] Ccacca means a rock. + +[FN#83] My former translation, and those of Barranca and Tschudi, +treated puma and amaru (snake) as epithets applied to Mama Ccacca. +Zegarra considers that the puma and snake were intended to be actually in +the dungeon, and I believe he is right. The puma would not have hurt his +fellow-prisoner. Unpleasant animals were occasionally put into the +prisons of criminals. The Incas kept pumas as pets. + + + +(To Mama Ccacca.) + + + +Let me not see thy face again. +A woman living as a bat; +This child has brought it all to light. + + + +(Enter Pitu Salla with water. She sprinkles it over Cusi Coyllur, who +revives.) + + + +Cusi Coyllur. + +Where am I? who are these people? +Yma Sumac, my beloved child, +Come to me, my most precious dove. +Who are all these men before me? + + + +(She begins to faint again and is restored by water.) + + + +Yma Sumac. + +Fear not, my mother, 'tis the King; +The King himself comes to see you. +The great Yupanqui is now here. +Speak to him. Awake from thy trance. + + +Tupac Yupanqui. + +My heart is torn and sorrowful +At sight of so much misery. +Who art thou, my poor sufferer? +Child, tell me now thy mother's name? + + +Yma Sumac. + +Father! Inca! Clement Prince! +Have those cruel bonds removed. + + +The Uillac Uma. + +It is for me to remove them, +And to relieve this sore distress. + + + +(Cuts the rope fastening Cusi Coyllur to the wall.) + + + +Ollantay (to Yma Sumac). + +What is thy mother's name? + + +Yma Sumac. + +Her name was once Cusi Coyllur, +But it seems a mistake. Her joy +Was gone when she was prisoned here. + + +Ollantay. + +O renowned King, great Yupanqui, +In her you see my long lost wife. + + + +(Prostrates himself before the Inca.) + + + +Tupac Yupanqui. + +It all appears a dream to me. +The 'Star'! my sister![FN#84] and thy wife. +O sister! what newly found joy. +O Cusi Coyllur, my sister, +Come here to me, and embrace me, +Now thou art delivered from woe. + + +[FN#84] The early Incas never married their sisters or relations. +Pachacuti's mother was daughter of the chief of Anta. His wife, +Anahuarqui, was no relation. But the wife of Tupac Yupanqui was his +sister Mama Ocllo. + + + +(Music.) + + + +Thou hast found thy loving brother; +Joy calms the anguish of my heart. + + + +(Embraces Cusi Coyllur.) + + + +Cusi Coyllur. + +Alas! my brother, now you know +The cruel tortures I endured +During those years of agony; +Thy compassion now has saved me. + + +Tupac Yupanqui. + +Who art thou, dove, that hast suffered? +For what sin were you prisoned here? +Thou mightest have lost thy reason. +Thy face is worn, thy beauty gone, +Thy looks as one risen from death. + + +Ollantay. + +Cusi Coyllur, I had lost thee, +Thou wast quite hidden from my sight, +But thou art brought again to life-- +Thy father should have killed us both. +My whole heart is torn with sorrow. +Star of joy, where is now thy joy? +Where now thy beauty as a star? +Art thou under thy father's curse? + + +Cusi Coyllur. + +Ollantay, for ten dreary years +That dungeon has kept us apart; +But now, united for new life, +Some happiness may yet be ours. +Yupanqui makes joy succeed grief, +He may well count[FN#85] for many years. + + +[FN#85] A play upon the word yupanqui, which means literally, 'you will +count.' The word was a title of the Incas, meaning, 'you will count as +virtuous, brave,' &c. + + + +Uillac Uma. + +Bring new robes to dress the princess. + + + +(They put on her royal robes. The High Priest kisses her hand.) + + + +Tupac Yupanqui. + +Ollantay, behold thy royal wife, +Honour and cherish her henceforth. +And thou, Yma Sumac, come to me, +I enlace you in the thread of love; +Thou art the pure essence of Coyllur. + + + +(Embraces her.) + + + +Ollantay. + +Thou art our protector, great King, +Thy noble hands disperse our grief; +Thou art our faith and only hope-- +Thou workest by virtue's force. + + +Tupac Yupanqui. + +Thy wife is now in thy arms; +All sorrow now should disappear, +Joy, new born, shall take its place. + + + +(Acclamations from the Chiefs, and Piqui Chaqui. Music: huancars +(drums), pincullus (flutes), and pututus (clarions).) + + + + + + + +End of the Project Gutenberg EBook of Apu Ollantay, +by Sir Clements R. 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Markham + +Translator: Clements R. Markham + +Release Date: October, 2005 [EBook #9068] +Last Updated: August 23, 2012 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK APU OLLANTAY *** + + + + +Produced by John B. Hare + + + + + + +APU OLLANTAY + +A Drama Of The Time Of The Incas + +Sovereigns Of Peru + +About A.D. 1470 + + +First Reduced To Writing By Dr. Valdez, Cuba Of Sicuani A.D. 1770 + + +The Original Manuscript Copied By Dr. Justo Pastor Justiniani + + +This Justiniani Text Copied At Laris, In April 1863, By Clements R. Markham + + +A Free Translation Into English By Sir Clements Markham, K.C.B. [1910] + + + +INTRODUCTION + + +The drama was cultivated by the Incas, and dramatic performances were +enacted before them. Garcilasso de la Vega, Molina, and Salcamayhua +are the authorities who received and have recorded the information given +by the Amautas respecting the Inca drama. Some of these dramas, and +portions of others, were preserved in the memories of members of Inca +and Amauta families. The Spanish priests, especially the Jesuits of +Juli, soon discovered the dramatic aptitude of the people. Plays were +composed and acted, under priestly auspices, which contained songs and +other fragments of the ancient Inca drama. These plays were called +'Autos Sacramentales.' + +But complete Inca dramas were also preserved in the memories of members +of the Amauta caste and, until the rebellion of 1781, they were acted. +The drama of Ollantay was first reduced to writing and arranged for +acting by Dr. Don Antonio Valdez, the Cura of Tinto. It was acted +before his friend Jose Gabriel Condorcanqui[1] in about 1775. Taking +the name of his maternal ancestor, the Inca Tupac Amaru, the ill-fated +Condorcanqui rose in rebellion, was defeated, taken, and put to death +under torture, in the great square of Cuzco. In the monstrous sentence +'the representation of dramas as well as all other festivals which the +Indians celebrate in memory of their Incas' was prohibited.[2] This +is a clear proof that before 1781 these Quichua dramas were acted. + + + +The original manuscript of Valdez was copied by his friend Don Justo +Pastor Justiniani, and this copy was inherited by his son. There was +another copy in the convent of San Domingo at Cuzco, but it is corrupt, +and there are several omissions and mistakes of a copyist. Dr. Valdez +died, at a very advanced age, in 1816. In 1853 the original manuscript +was in the possession of his nephew and heir, Don Narciso Cuentas of +Tinta. + +The Justiniani copy was, in 1853, in the possession of Dr. Don Pablo +Justiniani, Cura of Laris, and son of Don Justo Pastor Justiniani. He +is a descendant of the Incas.[3] In April 1853 I went to Laris, a +secluded valley of the Andes, and made a careful copy of the drama of +Ollantay. From this Justiniani text my first very faulty line-for-line +translation was made in 1871, as well as the present free translation. + +The first printed notice of Ollantay appeared in the Museo Erudito, Nos. +5 to 9, published at Cuzco in 1837, and edited by Don Jose Palacios. +The next account of the drama, with extracts, was in the 'Antiguedades +Peruanas,' a work published in 1851 jointly by Dr. von Tschudi and Don +Mariaiao Rivero of Arequipa. The complete text, from the copy in the +convent of San Domingo at Cuzco, was first published at Vienna in 1853 +by Dr. von Tschudi in his 'Die Kechua Sprache. It was obtained for him +by Dr. Ruggendas of Munich. The manuscript was a corrupt version, and +in very bad condition, in parts illegible from damp. In 1868 Don Jose +Barranca published a Spanish translation, from the Dominican text of von +Tschudi. The learned Swiss naturalist, von Tschudi, published a revised +edition of his translation at Vienna in 1875, with a parallel German +translation. In 1871 I printed the Justiniani text with a literal, +line-for-line translation, but with many mistakes, since corrected; and +in 1874, a Peruvian, Don Jose Fernandez Nodal, published the Quichua +text with a Spanish translation. + +In 1878 Gavino Pacheco Zegarra published his version of Ollantay, with a +free translation in French. His text is a manuscript of the drama which +he found in his uncle's library. Zegarra, as a native of Peru whose +language was Quichua, had great advantages. He was a very severe, and +often unfair, critic of his predecessors. + +The work of Zegarra is, however, exceedingly valuable. He was not only +a Quichua scholar, but also accomplished and well read. His notes on +special words and on the construction of sentences are often very +interesting. But his conclusions respecting several passages which are +in the Justiniani text, but not in the others, are certainly erroneous. +Thus he entirely spoils the dialogue between the Uillac Uma and Piqui +Chaqui by omitting the humorous part contained in the Justiniani text; +and makes other similar omissions merely because the passages are not in +his text. Zegarra gives a useful vocabulary at the end of all the words +which occur in the drama. + +The great drawback to the study of Zegarra's work is that he invented a +number of letters to express the various modifications of sound as they +appealed to his ear. No one else can use them, while they render the +reading of his own works difficult and intolerably tiresome. + +The last publication of a text of Ollantay was by the Rev. J. H. Gybbon +Spilsbury, at Buenos Ayres in 1907, accompanied by Spanish, English, and +French translations in parallel columns. + +There is truth in what Zegarra says, that the attempts to translate line +for line, by von Tschudi and myself, 'fail to convey a proper idea of +the original drama to European readers, the result being alike contrary +to the genius of the modern languages of Europe and to that of the +Quichua language.' Zegarra accordingly gives a very free translation in +French. + +In the present translation I believe that I have always preserved the +sense of the original, without necessarily binding myself to the words. +The original is in octosyllabic lines. Songs and important speeches are +in quatrains of octosyllabic lines, the first and last rhyming, and the +second and third. I have endeavoured to keep to octosyllabic lines as +far as possible, because they give a better idea of the original; and I +have also tried to preserve the form of the songs and speeches. + +The drama opens towards the close of the reign of the Inca Pachacuti, +the greatest of all the Incas, and the scene is laid at Cuzco or at +Ollantay-tampu, in the valley of the Vilcamayu. The story turns on the +love of a great chief, but not of the blood-royal, with a daughter of +the Inca. This would not have been prohibited in former reigns, for the +marriage of a sister by the sovereign or his heir, and the marriage of +princesses only with princes of the blood-royal, were rules first +introduced by Pachacuti.[4] His imperial power and greatness led him +to endeavour to raise the royal family far above all others. + +The play opens with a dialogue between Ollantay and Piqui Chaqui, his +page, a witty and humorous lad. Ollantay talks of his love for the +Princess Cusi Coyllur, and wants Piqui Chaqui to take a message to her, +while the page dwells on the danger of loving in such a quarter, and +evades the question of taking a message. Then to them enters the Uillac +Uma, or High Priest of the Sun, who remonstrates with Ollantay--a scene +of great solemnity, and very effective. + +The next scene is in the Queen's palace. Anahuarqui, the Queen, is +discovered with the Princess Cusi Coyllur, who bitterly laments the +absence of Ollantay. To them enters the Inca Pachacuti, quite ignorant +that his daughter has not only married Ollantay in secret, but that she +is actually with child by him. Her mother keeps her secret. The Inca +indulges in extravagant expressions of love for his daughter. Then boys +and girls enter dancing and singing a harvest song. Another very +melancholy yarahui is sung; both capable of being turned by the Princess +into presages of the fate of herself and her husband. + +In the third scene Ollantay prefers his suit to the Inca Pachacuti in +octosyllabic quatrains, the first and last lines rhyming, and the second +and third. His suit is rejected with scorn and contempt. Ollantay next +appears on the heights above Cuzco. In a soliloquy he declares himself +the implacable enemy of Cuzco and the Inca. Then Piqui Chaqui arrives +with the news that the Queen's palace is empty, and abandoned, and that +Cusi Coyllur has quite disappeared; while search is being made for +Ollantay. While they are together a song is sung behind some rocks, in +praise of Cusi Coyllur's beauty. Then the sound of clarions and people +approaching is heard, and Ollantay and Piqui Chaqui take to flight. The +next scene finds the Inca enraged at the escape of Ollantay, and +ordering his general Rumi-naui to march at once, and make him prisoner. +To them enters a chasqui, or messenger, bringing the news that Ollantay +has collected a great army at Ollantay-tampu, and that the rebels have +proclaimed him Inca. + +The second act opens with a grand scene in the hall of the +fortress-palace of Ollantay-tampu. Ollantay is proclaimed Inca by the +people, and he appoints the Mountain Chief, Urco Huaranca, general of +his army. Urco Huaranca explains the dispositions he has made to oppose +the army advancing from Cuzco, and his plan of defence. In the next +scene Rumi-naui, as a fugitive in the mountains, describes his defeat +and the complete success of the strategy of Ollantay and Urco Huaranca. +His soliloquy is in the octosyllabic quatrains. The last scene of the +second act is in the gardens of the Convent of Virgins of the Sun. A +young girl is standing by a gate which opens on the street. This, as +afterwards appears, is Yma Sumac, the daughter of Ollantay and Cusi +Coyllur, aged ten, but ignorant of her parentage. To her enters Pitu +Salla, an attendant, who chides her for being so fond of looking out at +the gate. The conversation which follows shows that Yma Sumac detests +the convent and refuses to take the vows. She also has heard the moans +of some sufferer, and importunes Pitu Salla to tell her who it is. Yma +Sumac goes as Mama Ccacca enters and cross examines Pitu Salla on her +progress in persuading Yma Sumac to adopt convent life. This Mama +Ccacca is one of the Matrons or Mama Cuna, and she is also the jailer of +Cusi Coyllur. + +The third act opens with an amusing scene between the Uillac Uma and +Piqui Chaqui, who meet in a street in Cuzco. Piqui Chaqui wants to get +news, but to tell nothing, and in this he succeeds. The death of Inca +Pachacuti is announced to him, and the accession of Tupac Yupanqui, and +with this news he departs. + +Next there is an interview between the new Inca Tupac Yupanqui, the +Uillac Uma, and the defeated general Rumi-naui, who promises to retrieve +the former disaster and bring the rebels to Cuzco, dead or alive. It +after wards appears that the scheme of Rumi-naui was one of treachery. +He intended to conceal his troops in eaves and gorges near +Ollantay-tampu ready to rush in, when a signal was made. Rumi-naui then +cut and slashed his face, covered himself with mud, and appeared at the +gates of Ollantay-tampu, declaring that he had received this treatment +from the new Inca, and imploring protection.[5] Ollantay received him +with the greatest kindness and hospitality. In a few days Ollantay and +his people celebrated the Raymi or great festival of the sun with much +rejoicing and drinking. Rumi-naui pretended to join in the festivities, +but when most of them were wrapped in drunken sleep, he opened the +gates, let in his own men, and made them all prisoners. + +There is next another scene in the garden of the convent, in which Yma +Sumac importunes Pitu Salla to tell her the secret of the prisoner. +Pitu Salla at last yields and opens a stone door. Cusi Coyllur is +discovered, fastened to a wall, and in a dying state. She had been +imprisoned, by order of her father, Inca Pachacuti on the birth of Yma +Sumac. She is restored with food and water, and the relationship is +discovered when Cusi Coyllur hears the child's name, for she had given +it to her. + +Next the Inca Tupac Yupanqui is discovered in the great hall of his +palace, seated on his tiana or throne, with the Uillac Uma in +attendance. To them enters a chasqui, or messenger, who describes the +result of Rumi-naui's treachery in octosyllabic quatrains. Rumi-naui +himself enters and receives the thanks of his sovereign. Then the +prisoners are brought in guarded-Ollantay, Hanco Huayllu, Urco Huaranca, +and Piqui Chaqui. The Inca upbraids them for their treason. He then +asks the Uillac Uma for his judgment. The High Priest recommends mercy. +Rumi-naui advises immediate execution: The Inca seems to concur and they +are ordered off, when suddenly the Inca cries 'Stop.' He causes them +all to be released, appoints Ollantay to the highest post in the empire +next to himself, and Urco Huaranca to a high command. There are +rejoicings, and in the midst of it all Yma Sumac forces her way into the +hall, and throws herself at the Inca's feet, entreating him to save her +mother from death. The Inca hands over the matter to Ollantay, but this +Yma Sumac will not have, and, the Uillac Uma intervening, the Inca +consents to go with the child. + +The final scene is in the gardens of the convent. The Inca enters with +Yma Sumac, followed by the whole strength of the company. Mama Ccacca +is ordered to open the stone door and Cusi Coyllur is brought out. She +proves to be the sister of the Inca and the wife of Ollantay. There are +explanations, and all ends happily. + +Of the antiquity of the drama of Ollantay there is now no question. +General Mitre wrote an elaborate paper on its authenticity, raising +several points to prove that it was of modern origin. But every point +he raised has been satisfactorily refuted. At the same time there are +many other points, some of them referred to by Zegarra, which establish +the antiquity of the drama beyond any doubt. The antiquity of the name +Ollantay-tampu, applied to the fortress in memory of the drama, is +proved by its use in the narratives of Molina (1560) and of Salcamayhua. + +An able review of the literature connected with the drama of Ollantay +was written by Don E. Larrabure y Unanue, the present Vice-President of +Peru, who considers that Ollantay would make a good acting play with +magnificent scenic effects. + + + + +MS. TEXTS. + + +1. The original text of Valdez. In 1853 the property of Don Narciso +Cuentas of Tinta, heir of Dr. Valdez. + + +2. The Justiniani text. In 1853 at Laris. Copy of the Valdez text. + + +3. Markham's copy of the Justiniani text (printed 1871). + + +4. Rosas copy of the Justiniani text. + + +5. Copy in the convent of San Domingo at Cuzco (the Dominican text). + + +6. Von Tschudi's copy of the Dominican text (printed 1853). + + +7. Text of Zegarra (printed 1878). + + +8. Second text of von Tschudi. + + +9. Text of Spilsbury. + + +10. Text of Sahuaraura penes Dr. Gonzalez de la Rosa. + + + +There is light thrown upon the name Ollantay by the evidence taken +during the journey of the Viceroy Toledo from Jauja to Cuzco, from +November 1570 to March 1571. He wanted information respecting the +origin of the Inca government, and 200 witnesses were examined, the +parentage or lineage of each witness being recorded. Among these we +find six witnesses of the Antasayac ayllu. Sayac means a station or +division, Anta is a small town near Cuzco. The names of the six Anta +witnesses were, + +ANCAILLO; USCA; HUACRO; MANCOY; AUCA PURI; ULLANTAY; + +Besides ANTONIO PACROTRICA and PUNICU PAUCAR, Chiefs of Anta. + +We thus find that the name of Ollantay belonged to Anta. Now the Incas +were under great obligations to the chief of Anta, for that chief had +rescued the eldest son of Inca Rocca from the chief of Ayamarca, and had +restored him to his father. For this great service the chief of Anta +was declared to be a noble of the highest rank and cousin to the Inca +family. Moreover, the daughter of the Anta chief was married to the +Inca Uira-cocha, and was the mother of Pachacuti. Assuming, as seems +probable, that Ollantay was a son of the chief of Anta, he would be a +cousin of the Inca, and of very high rank, though not an agnate of the +reigning family. This, I take it, is what is intended. Pachacuti +desired to raise his family high above all others, and that, +consequently, there should be no marriages with subjects even of the +highest rank; and his excessive severity on the transgression of his +rule by his daughter is thus explained. + + + + +OLLANTAY + + + + +ACTS AND SCENES + + +ACT 1. + + +Sc. 1.--Open space near Cuzco. +Ollantay, Piqui Chaqui, Uillac Uma. + +Sc. 2.--Hall in the Colcampata. +Anahuarqui, Cusi Coyllur, Inca Pachacuti, Boys and Girls, Singers. + +Sc. 3.--Hall in the Inca's palace. +Pachacuti, Rumi-naui, Ollantay. + +Sc. 4.--Height above Cuzco. +Ollantay, Piqui Chaqui, Unseen Singer. + +Sc. 5.--Hall in the Inca's palace. +Pachacuti, Rumi-naui, and a Chasqui. + + + +ACT II. + + +Sc. 1.--Ollantay-tampu Hall. +Ollantay, Urco Huaranca, Hanco Huayllu, People and Soldiers. + +Sc. 2.--A wild place in the mountains. +Rumi-naui's soliloquy. + +Sc. 3.--Gardens of the Virgins. +Yma Sumac, Pitu Salla, Mama Ccacca. + + + +ACT III. + + +Sc. 1.--Pampa Maroni at Cuzco. +Uillac Uma and Piqui Chaqui. + +Sc. 2.--Palace of Tupac Yupanqui. +Tupac Yupanqui, Uillac Uma, Rumi-naui. + +Sc. 3.--Ollantay-tampu, Terrace. +Rumi-naui, Ollantay, Guards. + +Sc. 4.--House of Virgins, Corridor. +Yma Sumac, Pitu Salla. + +Sc. 5.--House of Virgins, Garden. +Yma Sumac, Pitu Salla, Cusi Coyllur. + +Sc. 6.--Palace of Tupac Yupanqui. +Tupac Yupanqui, Uillac Uma, a Chasqui, Rumi-naui, Ollantay, Urco +Huaranca, Hanco Huayllu, Piqui Chaqui, Chiefs and Guards, then Yma +Sumac. + +Sc. 7.--House of Virgins, Garden. +All of Scene 6, and Mama Ccacca, Cusi Coyllur, Pitu Salla. + + + +SCENE + +In Cuzco and its environs, and Ollantay-tampu + + + + +DRAMATIS PERSONAE + + +APU OLLANTAY.--General of Anti-suyu, the eastern province of the empire. +A young chief, but not of the blood-royal. His rank was that of a +Tucuyricuo or Viceroy. The name occurs among the witnesses examined by +order of the Viceroy Toledo, being one of the six of the Antasayac +ayllu. + + +PACHACUTI.--The Sovereign Inca. + + +TUPAC YUPANQUI.--Sovereign. Inca, son and heir of Pachacuti. + + +RUMI-NAUI.--A great chief, General of Colla-suyu. The word means +'Stone-eye.' + + +UILLAC UMA.--High Priest of the Sun. The word Uma means head, and +Uillac, a councillor and diviner. + + +URCO HUARANCA.--A chief. The words mean' Mountain Chief.' The word +huaranca means 1000; hence, Chief of a Thousand. + + +HANCO HUAYLLU AUQUI.--An old officer, of the blood-royal. + + +PIQUI CHAQUI.--Page to Ollantay. The words mean 'fleet-footed.' + + +ANAHUARQUI.--The Ccoya or Queen, wife of Pachacuti. + +CUSI COYLLUR NUSTA.--A Princess, daughter of Pachacuti. The words mean +'the joyful star.' + + +YMA SUMAC.--Daughter of Cusi Coyllur. The words mean 'How beautiful.' + + +PITU SALLA.--A girl, companion of Yma Sumac. + + +CCACCA MAMA.--A matron of Virgins of the Sun. Jailer of Cusi Coyllur. + + +Nobles, captains, soldiers, boys and girls dancing, singers, attendants, +messengers or Chasqui. + + + + +ACT I + + + + +SCENE I + + +An open space near the junction of the two torrents of Cuzco, the +Huatanay and Tullumayu or Rodadero, called Pumap Chupan, just outside +the gardens of the Sun. The Temple of the Sun beyond the gardens, and +the Sacsahuaman hill surmounted by the fortress, rising in the distance. +The palace of Colcampata on the hillside. + + + +(Enter OLLANTAY L. [in a gilded tunic, breeches of llama sinews, usutas +or shoes of llama hide, a red mantle of ccompi or fine cloth, and the +chucu or head-dress of his rank, holding a battle-axe (champi) and club +(macana)] and PIQUI CHAQUI coming up from the back R. [in a coarse brown +tunic of auasca or llama cloth, girdle used as a sling, and chucu or +head-dress of a Cuzqueno].) + + + + Ollantay. + + Where, young fleet-foot, hast thou been? + Hast thou the starry nusta seen? + + + + Piqui Chaqui. + + The Sun forbids such sacrilege + 'Tis not for me to see the star. + Dost thou, my master, fear no ill, + Thine eyes upon the Inca's child? + + + + Ollantay. + + In spite of all I swear to love + That tender dove, that lovely star; + My heart is as a lamb[6] with her, + And ever will her presence seek. + + + + Piqui Chaqui. + + Such thoughts are prompted by Supay[7]; + That evil being possesses thee. + All round are beauteous girls to choose + Before old age, and weakness come. + If the great Inca knew thy plot + And what thou seekest to attain, + Thy head would fall by his command, + Thy body would be quickly burnt. + + + + Ollantay. + + Boy, do not dare to cross me thus. + One more such word and thou shalt die. + These hands will tear thee limb from limb, + If still thy councils are so base. + + + + Piqui Chaqui. + + Well! treat thy servant as a dog, + But do not night and day repeat, + 'Piqui Chaqui! swift of foot! + Go once more to seek the star.' + + + + Ollantay. + + Have I not already said + That e'en if death's fell scythe[8] was here, + If mountains should oppose my path + Like two fierce foes[9] who block the way, + Yet will I fight all these combined + And risk all else to gain my end, + And whether it be life or death + I'll cast myself at Coyllur's feet. + + + + Piqui Chaqui. + + But if Supay himself should come? + + + + Ollantay. + + I'd strike the evil spirit down. + + + + Piqui Chaqui. + + If thou shouldst only see his nose, + Thou wouldst not speak as thou dost now. + + + + Ollantay. + + Now, Piqui Chaqui, speak the truth, + Seek not evasion or deceit. + Dost thou not already know, + Of all the flowers in the field, + Not one can equal my Princess? + + + + Piqui Chaqui. + + Still, my master, thou dost rave. + I think I never saw thy love. + Stay! was it her who yesterday + Came forth with slow and faltering steps + And sought a solitary[10] path[11]? + If so, 'tis true she's like the sun, + The moon less beauteous than her face.[12] + + + + Ollantay. + + It surely was my dearest love. + How beautiful, how bright is she + This very moment thou must go + And take my message to the Star. + + + + Piqui Chaqui. + + I dare not, master; in the day, + I fear to pass the palace gate. + With all the splendour of the court, + I could not tell her from the rest. + + + + Ollantay. + + Didst thou not say thou sawest her? + + + + Piqui Chaqui. + + I said so, but it was not sense. + A star can only shine at night + Only at night could I be sure. + + + + Ollantay. + + Begone, thou lazy good-for-nought. + The joyful star that I adore, + If placed in presence of the Sun, + Would shine as brightly as before. + + + + Piqui Chaqui. + + Lo! some person hither comes, + Perhaps an old crone seeking alms; + Yes! Look! he quite resembles one. + Lot him the dangerous message take. + Send it by him, O noble Chief! + From me they would not hear the tale; + Thy page is but a humble lad. + + + + (Enter the UILLAC UMA, or High Priest of the Sun, at the back, arms + raised to the Sun. In a grey tunic and black mantle from the shoulders + to the ground, a long knife in his belt, the undress chucu on his head.) + + + + Uillac Uma. + + O giver of all warmth and light + O Sun! I fall and worship thee. + For thee the victims are prepared, + A thousand llamas and their lambs + Are ready for thy festal day. + The sacred fire'll lap their blood, + In thy dread presence, mighty one, + After long fast[13] thy victims fall. + + + + Ollantay. + + Who comes hither, Piqui Chaqui? + Yes, 'tis the holy Uillac Uma; + He brings his tools of augury. + No puma[14] more astute and wise + I hate that ancient conjurer + Who prophesies of evil things, + I feel the evils he foretells; + 'Tis he who ever brings ill-luck. + + + + Piqui Chaqui. + + Silence, master, do not speak, + The old man doubly is informed; + Fore-knowing every word you say, + Already he has guessed it all. + + + + (He lies down on a bank.) + + + + Ollantay (aside). + + He sees me. I must speak to him. + + + + (The Uillac Uma comes forward.) + + + + O Uillac Uma, Great High Priest, + I bow before thee with respect + May the skies be clear for thee, + And brightest sunshine meet thine eyes. + + + Uillac Uma. + + Brave Ollantay! Princely one! + May all the teeming land be thine; + May thy far-reaching arm of might + Reduce the wide-spread universe. + + + + Ollantay. + + Old man! thine aspect causes fear, + Thy presence here some ill forebodes; + All round thee dead men's bones appear, + Baskets, flowers, sacrifice. + All men when they see thy face + Are filled with terror and alarm. + What means it all? why comest thou? + It wants some months before the least. + Is it that the Inca is ill? + Perchance hast thou some thought divined + Which soon will turn to flowing blood. + Why comest thou? the Sun's great day, + The Moon's libations are not yet + The moon has not yet nearly reached + The solemn time for sacrifice. + Uillac Uma. Why dost thou these questions put, + In tones of anger and reproach? + Am I, forsooth, thy humble slave? + That I know all I'll quickly prove. + + + + Ollantay. + + My beating heart is filled with dread, + Beholding thee so suddenly; + Perchance thy coming is a sign, + Of evils overtaking me. + + + + Uillac Uma. + + Fear not, Ollantay! not for that, + The High Priest comes to thee this day. + It is perhaps for love of thee, + That, as a straw is blown by wind, + A friend, this day, encounters thee. + Speak to me as to a friend, + Hide nothing from my scrutiny. + This day I come to offer thee + A last and most momentous choice + 'Tis nothing less than life or death. + + + + Ollantay. + + Then make thy words more clear to me, + That I may understand the choice + Till now 'tis but a tangled skein, + Unravel it that I may know. + + + + Uillac Uma. + + 'Tis well. Now listen, warlike. Chief + My science has enabled me, + To learn and see all hidden things + Unknown to other mortal men. + My power will enable me + To make of thee a greater prince. + I brought thee up from tender years, + And cherished thee with love and care + I now would guide thee in the right, + And ward off all that threatens thee. + As chief of Anti-suyu now, + The people venerate thy name; + Thy Sovereign trusts and honours thee, + E'en to sharing half his realm. + From all the rest he chose thee out, + And placed all power in thy hands; + He made thy armies great and strong, + And strengthened thee against thy foes + How numerous soe'er they be, + They have been hunted down by thee. + Are these good reasons for thy wish, + To wound thy Sovereign to the heart? + His daughter is beloved by thee; + Thy passion thou wouldst fain indulge, + Lawless and forbidden though it be. + I call upon thee, stop in time, + Tear this folly from thy heart. + If thy passion is immense, + Still let honour hold its place. + You reel, you stagger on the brink + I'd snatch thee from the very edge. + Thou knowest well it cannot be, + The Inca never would consent. + If thou didst e'en propose it now, + He would be overcome with rage; + From favoured prince and trusted chief, + Thou wouldst descend to lowest rank. + + + + Ollantay. + + How is it that thou canst surely know + What still is hidden in my heart? + Her mother only knows my love, + Yet thou revealest all to me. + + + + Uillac Uma. + + I read thy secret on the moon, + As if upon the Quipu knots; + And what thou wouldst most surely hide, + Is plain to me as all the rest. + + + + Ollantay. + + In my heart I had divined + That thou wouldst search me through and through + Thou knowest all, O Councillor, + And wilt thou now desert thy son? + + + + Uillac Uma. + + How oft we mortals heedless drink, + A certain death from golden cup + Recall to mind how ills befall, + And that a stubborn heart 's the cause. + Ollantay (kneeling). + + Plunge that dagger in my breast, + Thou holdst it ready in thy belt; + Cut out my sad and broken heart + I ask the favour at thy feet. + + + + Uillac Uma (to Piqui Chaqui). + + Gather me that flower, boy. + + + + (Piqui Chaqui gives him a withered flower and lies down again, + pretending to sleep.) + + + + (To Ollantay). + + Behold, it is quite dead and dry. + Once more behold! e'en now it weeps, + It weeps. The water flows from it. + + + + (Water flows out of the flower.) + + + + Ollantay. + + More easy for the barren rocks + Or for sand to send forth water, + Than that I should cease to love + The fair princess, the joyful star. + + + Uillac Uma. + + Put a seed into the ground, + It multiplies a hundredfold; + The more thy crime shall grow and swell, + The greater far thy sudden fall. + + + + Ollantay. + + Once for all, I now confess + To thee, O great and mighty Priest; + Now learn my fault. To thee I speak, + Since thou hast torn it from my heart. + The lasso to tie me is long, + 'Tis ready to twist round my throat + Yet its threads are woven with gold, + It avenges a brilliant crime. + Cusi Coyllur e'en now is my wife, + Already we 're bound and are one; + My blood now runs in her veins, + E'en now I am noble as she. + Her mother has knowledge of all, + The Queen can attest what I say; + Let me tell all this to the King, + I pray for thy help and advice. + I will speak without fear and with force, + He may perhaps give way to his rage + Yet he may consider my youth, + May remember the battles I've fought; + The record is carved on my club. + + + + (Holds up his macana.) + + + + He may think of his enemies crushed, + The thousands I've thrown at his feet. + + + + Uillac Uma. + + Young Prince! thy words are too bold, + Thou hast twisted the thread of thy fate-- + Beware, before 'tis too late; + Disentangle and weave it afresh, + Go alone to speak to the King, + Alone bear the blow that you seek; + Above all let thy words be but few, + And say them with deepest respect; + Be it life, be it death that you find, + I will never forget thee, my son. + + + + (Walks up and exit.) + + + + Ollantay. + + Ollantay, thou art a man, + No place in thy heart for fear; + Cusi Coyllur, surround me with light. + Piqui Chaqui, where art thou? + + + + Piqui Chaqui (jumping up). + + I was asleep, my master, + And dreaming of evil things. + + + + Ollantay. + + Of what? + + + Piqui Chaqui. + + Of a fox with a rope round its neck. + + + Ollantay. + + Sure enough, thou art the fox. + + + + Piqui Chaqui. + + It is true that my nose is growing finer, + And my ears a good deal longer. + + + + Ollantay. + + Come, lead me to the Coyllur. + + + + Piqui Chaqui. + + It is still daylight. + + + + (Exeunt.) + + + + +SCENE 2 + + +A great hall in the Colcampata, then the palace of the Queen or Ccoya +Anahuarqui. In the centre of the back scene a doorway, and seen through +it gardens with the snowy peak of Vilcanota in the distance. Walls +covered with golden slabs. On either side of the doorway three recesses, +with household gods in the shape of maize-cobs and llamas, and gold vases +in them. On R. a golden tiana or throne. On L. two lower seats covered +with cushions of fine woollen cloth. + + + +(ANAHUARQUI, the Queen or Ccoya (in blue chucu, white cotton bodice, and +red mantle secured by a golden topu or pin, set with emeralds, and a blue +skirt), and the princess CUSI COYLLUR (in a chucu, with feathers of the +tunqui, white bodice and skirt, and grey mantle with topu, set with +pearls) discovered seated.) + + + + Anahuarqui. + + Since when art thou feeling so sad, + Cusi Coyllur! great Inti's prunelle?[15] + Since when hast thou lost all thy joy, + Thy smile and thy once merry laugh? + Tears of grief now pour down my face, + As I watch and mourn over my child; + Thy grief makes me ready to die. + Thy union filled thee with joy, + Already you're really his wife. + Is he not the man of thy choice? + O daughter, devotedly loved, + Why plunged in such terrible grief? + + + + (Cusi Coyllur has had her face hidden in the pillows. She now rises to + her feet, throwing up her arms.) + + + + Cusi Coyllur. + + O my mother! O most gracious Queen! + How can my tears o'er cease to flow, + How can my bitter sighs surcease, + While the valiant Chief I worship + For many days and sleepless nights, + All heedless of my tender years, + Seems quite to have forgotten me? + He has turned his regard from his wife + And no longer seeks for his love. + O my mother! O most gracious Queen! + O my husband so beloved! + Since the day when I last saw my love + The moon has been hidden from view; + The sun shines no more as of old, + In rising it rolls among mist; + At night the stars are all dim, + All nature seems sad and distressed + The comet with fiery tail, + Announces my sorrow and grief + Surrounded by darkness and tears, + Evil auguries fill me with fears. + O my mother! O most gracious Queen! + O my husband so beloved! + + + Anahuarqui. + + Compose thyself and dry thine eyes, + The King, thy father, has arrived. + Thou lovest Ollantay, my child? + + + + (Enter the INCA PACHACUTI. On his head the mascapaycha, with the llautu + or imperial fringe. A tunic of cotton embroidered with gold; on his + breast the golden breastplate representing the sun, surrounded by the + calendar of months. Round his waist the fourfold belt of tocapu. A + crimson mantle of fine vicuna wool, fastened on his shoulders by golden + puma's heads. Shoes of cloth of gold. He sits down on the golden tiana.) + + + + Inca Pachacuti. + + Cusi Coyllur! Star of joy, + Most lovely of my progeny! + Thou symbol of parental love-- + Thy lips are like the huayruru.[16] + Rest upon thy father's breast, + Repose, my child, within mine arms. + + + + (Cusi Coyllur comes across. They embrace.) + + + + Unwind thyself, my precious one, + A thread of gold within the woof. + All my happiness rests upon thee, + Thou art my greatest delight. + Thine eyes are lovely and bright, + As the rays of my father the Sun. + When thy lips are moving to speak, + When thine eyelids are raised with a smile, + The wide world is fairly entranced. + Thy breathing embalms the fresh air; + Without thee thy father would pine, + Life to him would be dreary and waste. + He seeks for thy happiness, child, + Thy welfare is ever his care. + + + + (Cusi Coyllur throws herself at his feet.) + + + + Cusi Coyllur. + + O father, thy kindness to me + I feel; and embracing thy knees + All the grief of thy daughter will cease, + At peace when protected by thee. + Pachacuti. How is this! my daughter before me + On knees at my feet, and in tears? + I fear some evil is near-- + Such emotion must needs be explained. + + + + Cusi Coyllur. + + The star does weep before Inti, + The limpid tears wash grief away. + Pachacuti. Rise, my beloved, my star, + Thy place is on thy dear father's knee. + + + + (Cusi Coyllur rises and sits on a stool by her father. An attendant + approaches.) + + + + Attendant. + + O King! thy servants come to please thee. + + + + Pachacuti. + + Let them all enter. + + + + (Boys and girls enter dancing. After the dance they sing a harvest song.) + + + + Thou must not feed, + O Tuyallay,[17] + In nusta's field, + O Tuyallay. + Thou must not rob, + O Tuyallay, + The harvest maize, + O Tuyallay. + The grains are white, + O Tuyallay, + So sweet for food, + O Tuyallay. + The fruit is sweet, + O Tuyallay, + The leaves are green + O Tuyallay; + But the trap is set, + O Tuyallay. + The lime is there, + O Tuyallay. + We'll cut thy claws, + O Tuyallay, + To seize thee quick, + O Tuyallay. + Ask Piscaca,[18] + O Tuyallay, + Nailed on a branch, + O Tuyallay. + Where is her heart, + O Tuyallay? + Where her plumes, + O Tuyallay? + She is cut up, + O Tuyallay, + For stealing grain, + O Tuyallay. + See the fate, + O Tuyallay, + Of robber birds, + O Tuyallay. + + + + Pachacuti. + + Cusi Coyllur, remain thou here, + Thy mother's palace is thy home + Fail not to amuse thyself, + Surrounded by thy maiden friends. + + + + (Exeunt the Inca Pachacuti, the Ccoya Anahuarqui, and attendants.) + + + + Cusi Coyllur. + + I should better like a sadder song. + My dearest friends, the last you sang + To me foreshadowed evil things;[19] + You who sang it leave me now. + + + + (Exeunt boys and girls, except one girl who sings.) + + + + Two loving birds are in despair,[20] + They moan, they weep, they sigh; + For snow has fallen on the pair, + To hollow tree they fly. + But lo! one dove is left alone + And mourns her cruel fate; + She makes a sad and piteous moan, + Alone without a mate. + She fears her friend is dead and gone-- + Confirmed in her belief, + Her sorrow finds relief in song, + And thus she tells her grief. + 'Sweet mate! Alas, where art thou now? + I miss thine eyes so bright, + Thy feet upon the tender bough, + Thy breast so pure and bright.' + She wanders forth from stone to stone, + She seeks her mate in vain; + 'My love! my love!' she makes her moan, + She falls, she dies in pain. + Cusi Coyllur. That yarahui is too sad, + Leave me alone. + + + + (Exit the girl who sang the yarahui.) + + + + Now my tears can freely flow. + + + + +SCENE 3 + + + +Great hall in the palace of Pachacuti. The INCA, as before, discovered +seated on a golden tiana L. Enter to him R. OLLANTAY and RUMI-NAUI. + + + + Pachacuti. + + The time has arrived, O great Chiefs, + To decide on the coming campaign. + The spring is approaching us now, + And our army must start for the war. + To the province of Colla[21] we march-- + There is news of Chayanta's[22] advance. + The enemies muster in strength, + They sharpen their arrows and spears. + + + + Ollantay. + + + + O King, that wild rabble untaught + Can never resist thine array; + Cuzco alone with its height + Is a barrier that cannot be stormed. + Twenty four thousand of mine, + With their champis[23] selected with care, + Impatiently wait for the sign, + The sound of the beat of my drums,[24] + The strains of my clarion and fife. + + + + Pachacuti. + + Strive then to stir them to fight, + Arouse them to join in the fray, + Lest some should desire to yield, + To escape the effusion of blood. + + + + Rumi-naui. + + The enemies gather in force, + The Yuncas[25] are called to their aid; + They have put on their garbs for the war, + And have stopped up the principal roads. + All this is to hide their defects-- + The men of Chayanta are base. + We hear they're destroying the roads, + But we can force open the way; + Our llamas are laden with food-- + We are ready to traverse the wilds. + + + + Pachacuti. + + Are you really ready to start + To punish those angry snakes? + But first you must give them a chance + To surrender, retiring in peace, + So that blood may not flow without cause, + That no deaths of my soldiers befall. + + + + Ollantay. + + I am ready to march with my men, + Every detail prepared and in place, + But alas! I am heavy with care, + Almost mad with anxious suspense. + + + + Pachacuti. + + Speak, Ollantay. Tell thy wish-- + 'Tis granted, e'en my royal fringe. + + + + Ollantay. + + Hear me in secret, O King. + + + + Pachacuti (to Rumi-naui). + + Noble Chief of Colla, retire; + Seek repose in thy house for a time. + I will call thee before very long, + Having need of thy valour and skill. + + + + Rumi-naui. + + With respect I obey thy command. + + + + (Exit Rumi-naui.) + + + + Ollantay. + + Thou knowest, O most gracious Lord, + That I have served thee from a youth, + Have worked with fortitude and truth, + Thy treasured praise was my reward.[26] + All dangers I have gladly met, + For thee I always watched by night, + For thee was forward in the fight, + My forehead ever bathed in sweat. + For thee I've been a savage foe, + Urging my Antis[27] not to spare, + But kill and fill the land with fear, + And make the blood of conquered flow. + My name is as a dreaded rope,[28] + I've made the hardy Yuncas[29] yield, + By me the fate of Chancas[30] sealed, + They are thy thralls without a hope. + 'Twas I who struck the fatal blow, + When warlike Huancavilca[31] rose, + Disturbing thy august repose, + And laid the mighty traitor low. + Ollantay ever led the van, + Wherever men were doomed to die; + When stubborn foes were forced to fly, + Ollantay ever was the man. + + Now every tribe bows down to thee-- + Some nations peacefully were led, + Those that resist their blood is shed-- + But all, O King, was due to me. + O Sovereign Inca, great and brave, + Rewards I know were also mine, + My gratitude and thanks are thine, + To me the golden axe you gave. + Inca! thou gavest me command + And rule o'er all the Anti race, + To me they ever yield with grace, + And thine, great King, is all their land + My deeds, my merits are thine own + To thee alone my work is due. + For one more favour I would sue, + My faithful service--thy renown. + + + + (Ollantay kneels before the Inca.) + + + + Thy thrall: I bow to thy behest, + Thy fiat now will seal my fate. + O King, my services are great, + I pray thee grant one last request. + I ask for Cusi Coyllur's hand + If the Nusta's[32] love I've won. + O King! you'll have a faithful son, + Fearless, well tried, at thy command. + + + + Pachacuti. + + Ollantay, thou dost now presume. + Thou art a subject, nothing more. + Remember, bold one, who thou art, + And learn to keep thy proper place. + + + + Ollantay. + + Strike me to the heart. + + + + Pachacuti. + + 'Tis for me to see to that, + And not for thee to choose. + Thy presumption is absurd. + Be gone! + + + + (Ollantay rises and exit R.) + + + + +SCENE 4 + + + +A rocky height above Cuzco to the NE. Distant view of the city of Cuzco +and of the Sacsahuaman hill, crowned by the fortress. + + + +(Enter OLLANTAY armed.) + + + + Ollantay. + + Alas, Ollantay! Ollantay! + Thou master of so many lands, + Insulted by him thou servedst well. + O my thrice-beloved Coyllur, + Thee too I shall lose for ever. + O the void[33] within my heart, + O my princess! O precious dove! + Cuzco! O thou beautiful city! + Henceforth behold thine enemy. + I'll bare thy breast to stab thy heart, + And throw it as food for condors; + Thy cruel Inca I will slay. + I will call my men in thousands, + The Antis will be assembled, + Collected as with a lasso. + All will be trained, all fully armed, + I will guide them to Sacsahuaman. + They will be as a cloud of curses, + When flames rise to the heavens. + Cuzco shall sleep on a bloody couch, + The King shall perish in its fall; + Then shall my insulter see + How numerous are my followers. + When thou, proud King, art at my feet, + We then shall see if thou wilt say, + 'Thou art too base for Coyllur's hand.' + Not then will I bow down and ask, + For I, not thou, will be the King-- + Yet, until then, let prudence rule. + + + + (Enter PIQUI CHAQUI from back, R.) + + + + Piqui Chaqui, go back with speed, + Tell the Princess I come to-night. + + + + Piqui Chaqui. + + I have only just come from there-- + The palace was deserted quite, + No soul to tell me what had passed, + Not even a dog[34] was there. + All the doors were closed and fastened, + Except the principal doorway, + And that was left without a guard. + + + + Ollantay. + + And the servants? + + + + Piqui Chaqui. + + Even the mice had fled and gone, + For nothing had been left to eat. + Only an owl was brooding there, + Uttering its cry of evil omen. + + + + Ollantay. + + Perhaps then her father has taken her, + To hide her in his palace bounds. + + + + Piqui Chaqui. + + The Inca may have strangled her; + Her mother too has disappeared. + + + + Ollantay. + + Did no one ask for me + Before you went away? + + + + Piqui Chaqui. + + Near a thousand men are seeking + For you, and all are enemies, + Armed with their miserable clubs. + + + + Ollantay. + + If they all arose against me, + With this arm I'd fight them all + No one yet has beat this hand, + Wielding the champi sharp and true. + + + + Piqui Chaqui. + + I too would like to give a stroke + At least, if my enemy was unarmed. + + + + Ollantay. + + To whom? + + + + Piqui Chaqui. + + I mean that Urco Huaranca chief, + Who lately was in search of thee. + + + + Ollantay. + + Perhaps the Inca sends him here + If so my anger is aroused. + + + + Piqui Chaqui. + + Not from the King, I am assured, + He cometh of his own accord + And yet he is an ignoble man. + + + Ollantay. + + He has left Cuzco, I believe; + My own heart tells me it is so + I'm sure that owl announces it. + We'll take to the hills, at once. + + + + Piqui Chaqui. + + But wilt thou abandon the Star? + + + + Ollantay. + + What can I do, alas! + Since she has disappeared? + Alas, my dove! my sweet princess. + + + + (Music heard among the rocks.) + + + + Piqui Chaqui. + + Listen to that yarahui, + The sound comes from somewhere near. + + + + (They sit on rocks.) + + + + SONG + + + + In a moment I lost my beloved, + She was gone, and I never knew where; + I sought her in fields and in woods, + Asking all if they 'd seen the Coyllur. + Her face was so lovely and fair, + They called her the beautiful Star. + No one else can be taken for her, + With her beauty no girl can compare. + Both the sun and the moon seem to shine, + Resplendent they shine from a height, + Their rays to her beauty resign + Their brilliant light with delight. + Her hair is a soft raven black, + Her tresses are bound with gold thread, + They fall in long folds down her back, + And add charm to her beautiful head. + Her eyelashes brighten her face, + Two rainbows less brilliant and fair, + Her eyes full of mercy and grace, + With nought but two, suns can compare. + The eyelids with arrows concealed, + Gaily shoot their rays into the heart + They open, lo! beauty revealed, + Pierces through like a glittering dart. + Her cheeks Achancara[35] on snow, + Her face more fair than the dawn, + From her mouth the laughter doth flow, + Between pearls as bright as the morn. + Smooth as crystal and spotlessly clear + Is her throat, like the corn in a sheaf + Her bosoms, which scarcely appear, + Like flowers concealed by a leaf. + Her beautiful hand is a sight, + As it rests from all dangers secure, + Her fingers transparently white, + Like icicles spotless and pure. + + + + Ollantay (rising). + + That singer, unseen and unknown, + Has declared Coyllur's beauty and grace; + He should fly hence, where grief overwhelms. + O Princess! O loveliest Star, + I alone am the cause of thy death, + I also should die with my love. + + + + Piqui Chaqui. + + Perhaps thy star has passed away, + For the heavens are sombre and grey. + + + + Ollantay. + + When they know that their Chief has fled, + My people will rise at my call, + They will leave the tyrant in crowds + And he will be nearly alone. + + + + Piqui Chaqui. + + Thou hast love and affection from men, + For thy kindness endears thee to all, + For thy hand's always open with gifts, + And is closely shut only to me. + + + + Ollantay. + + Of what hast thou need? + + + + Piqui Chaqui. + + What? the means to got this and that, + To offer a gift to my girl, + To let others see what I have, + So that I may be held in esteem. + + + + Ollantay. + + Be as brave as thou art covetous, + And all the world will fear thee. + + + + Piqui Chaqui. + + My face is not suited for that; + Always gay and ready to laugh, + My features are not shaped that way. + To look brave! not becoming to me. + What clarions sound on the hills? + It quickly cometh near to us. + + + + (Both look out at different sides.) + + + + Ollantay. + + I doubt not those who seek me--come, + Let us depart and quickly march. + + + + Piqui Chaqui. + + When flight is the word, I am here. + + + + (Exeunt.) + + + + +SCENE 5 + + + +The great hall of the palace of Pachacuti. The INCA, as before, seated +on the tiana. Enter to him RUMI-NAUI. + + + + Pachacuti. + + I ordered a search to be made, + But Ollantay was not to be found. + My rage I can scarcely control-- + Hast thou found this infamous wretch? + + + Rumi-naui. + + His fear makes him hide from thy wrath. + + + + Pachacuti. + + Take a thousand men fully armed, + And at once commence the pursuit. + + + + Rumi-naui. + + Who can tell what direction to take? + Three days have gone by since his flight, + Perchance he's concealed in some house, + And till now he is there, safely hid. + + + + (Enter a chasqui or messenger with quipus.) + + + + Behold, O King, a messenger + From Urubamba he has come. + + + + Chasqui. + + I was ordered to come to my King, + Swift as the wind, and behold me. + + + + Pachacuti. + + What news bringest thou? + + + + Chasqui. + + This quipu will tell thee, O King. + + + + Pachacuti. + + Examine it, O Rumi-naui. + + + + Rumi-naui. + + Behold the llanta, and the knots[36] + Announce the number of his men. + + + + Pachacuti (to Chasqui). + + And thou, what hast thou seen? + + + + Chasqui. + + 'Tis said that all the Anti host + Received Ollantay with acclaim; + Many have seen, and they recount, + Ollantay wears the royal fringe. + + + + Rumi-naui. + + The quipu record says the same. + + + + Pachacuti. + + Scarcely can I restrain my rage! + Brave chief, commence thy march at once, + Before the traitor gathers strength. + If thy force is not enough, + Add fifty thousand men of mine. + Advance at once with lightning speed, + And halt not till the foe is reached. + + + + Rumi-naui. + + To-morrow sees me on the route, + I go to call the troops at once + The rebels on the Colla road, + I drive them flying down the rocks. + Thine enemy I bring to thee, + Dead or alive, Ollantay falls. + Meanwhile, O Inca, mighty Lord, + Rest and rely upon thy thrall. + + + + (Exeunt.) + + + + END OF ACT I. + + + + +ACT II + + + + +SCENE 1 + + + +Ollantay-tampu. Hall of the fortress-palace. Back scene seven immense +stone, slabs, resting on them a monolith right across. Above masonry. +At sides masonry with recesses; in the R. centre a great doorway. A +golden tiana against the central slab. + + + +(Enter OLLANTAY and URCO HUARANCA, both fully armed.) + + + + Urco Huaranca. + + Ollantay, thou hast been proclaimed + By all the Antis as their Lord. + The women weep, as you will see-- + They lose their husbands and their sons, + Ordered to the Chayanta war. + When will there be a final stop + To distant wars? Year after year + They send us all to far-off lands, + Where blood is made to flow like rain. + The King himself is well supplied + With coca and all kinds of food. + What cares he that his people starve? + Crossing the wilds our llamas die, + Our feet are wounded by the thorns, + And if we would not die of thirst + We carry water on our backs. + + + + Ollantay. + + Gallant friends! Ye hear those words, + Ye listen to the mountain chief. + Filled with compassion for my men, + I thus, with sore and heavy heart, + Have spoken to the cruel king: + 'The Anti-suyu must have rest; + All her best men shan't die for thee, + By battle, fire, and disease-- + They die in numbers terrible. + How many men have ne'er returned, + How many chiefs have met their death + For enterprises far away?' + For this I left the Inca's court,[37] + Saying that we must rest in peace; + Lot none of us forsake our hearths, + And if the Inca still persists, + Proclaim with him a mortal feud. + + + + (Enter HANCO HUAYLLU, several chiefs, and a great crowd of soldiers and + people.) + + + + People. + + Long Eve our king, Ollantay + Bring forth the standard and the fringe, + Invest him with the crimson fringe + In Tampu now the Inca reigns, + He rises like the star of day. + + + + (The chiefs, soldiers, and people range them selves round. Ollantay is + seated on the tiana by Hanco Huayllu, an aged Auqui or Prince.) + + + + Hanco Huayllu. + + Receive from me the royal fringe, + 'Tis given by the people's will. + Uilcanota[38] is a distant land, + Yet, even now, her people come + To range themselves beneath thy law. + + + + (Ollantay is invested with the fringe. He rises.) + + + + Ollantay. + + Urco Huaranca, thee I name + Of Anti-suyu Chief and Lord; + Receive the arrows and the plume, + + + + (Gives them.) + + + + Henceforth thou art our general. + People. Long life to the Mountain Chief. + + + Ollantay. + + Hanco Huayllu,[39] of all my lords + Thou art most venerable and wise, + Being kin to the august High Priest, + It is my wish that thou shouldst give + The ring unto the Mountain Chief. + + + + (Urco Huaranca kneels, and Hanco Huayllu addresses him.) + + + + Hanco Huayllu. + + This ring around thy finger's placed + That thou mayst feel, and ne'er forget, + That when in fight thou art engaged, + Clemency becomes a hero chief. + + + + Urco Huaranca. + + A thousand times, illustrious king, + I bless thee for thy trust in me. + + + + Hanco Huayllu. + + Behold the valiant Mountain Chief, + Now fully armed from head to foot, + And bristling like the quiscahuan,[40] + Accoutred as becomes a knight. + + + + (Turning to Urco Huaranca.) + + + + Ne'er let thine enemies take thee in rear + Man of the Puna,[41] it ne'er can be said + You fled or trembled as a reed. + + + + Urco Huaranca. + + Hear me, warriors of the Andes! + Already we have a valiant king, + It might be he will be attacked; + 'Tis said th' old Inca sends a force, + The men of Cuzco now advance. + We have not a single day to lose; + Call from the heights our Puna men, + Prepare their arms without delay, + Make Tampu strong with rampart walls, + No outlet leave without a guard; + On hill slopes gather pois'nous herbs + To shoot our arrows, carrying death. + + + + Ollantay (to Urco Huaranca). + + Select the chiefs! + Fix all the posts for different tribes; + Our foes keep marching without sleep-- + Contrive to check them by surprise. + The compi[42] ruse may cause their flight. + + + + Urco Huaranca. + + Thirty thousand brave Antis are here, + Amongst them no weakling is found; + Apu Maruti,[43] the mighty in war, + From high Uilcapampa[44] will come, + On steep Tinquiqueru[45] he'll stand + To march when the signal appears; + On the opposite side of the stream + Prince Chara[46] has mustered his force; + In the gorge Charamuni[47] I post + Ten thousand armed Antis on watch; + Another such force is in wait + On the left, in the vale of Pachar.[48] + We are ready to meet our foes, + We await them with resolute calm; + They will march in their confident pride + Until their retreat is out off, + Then the trumpet of war shall resound, + From the mountains the stones shall pour down, + Great blocks will be hurled from above. + The Huancas[49] are crushed or dispersed, + Then the knife shall do its fell work, + All will perish by blows from our hands, + Our arrows will follow their flight. + + + + People and soldiers. + + It is well! It is very well! + + + + (Cheers and martial music.) + + + + (Exeunt.) + + + + +SCENE 2 + + + +A wild place the mountains. Distant view of Ollantay-tampu. + + + +(Enter Rumi-naui, torn and ragged, and covered with blood, with two +attendants.) + + + + Rumi-naui. + + Ah! Rumi-naui--Rumi-naui,[50] + Thou art a fated rolling stone,[51] + Escaped indeed, but quite alone, + And this is now thy yarahui. + Ollantay posted on the height, + Thou couldst not either fight or see, + Thy men did quickly fall or flee; + No room was there to move or fight. + Thou knowest now thy heart did beat + And flutter like a butterfly; + Thy skill thou couldst not then apply, + No course was left thee but retreat. + They had recourse to a surprise, + Our warriors immolated quite. + Ah! that alone could turn thee white-- + From shame like that, canst e'er arise? + By thousands did thy warriors fall, + I hardly could alone escape, + With open mouth fell death did gape, + A great disaster did befall. + Holding that traitor to be brave, + I sought to meet him face to face-- + Rushing to seek him with my mace, + I nearly found a warrior's grave. + My army then was near the hill, + When suddenly the massive stones + Came crashing down, with cries and moans, + While clarions sounded loud and shrill. + A rain of stones both great and small + Down on the crowd of warriors crashed, + On every side destruction flashed, + Thy heart the slaughter did appal. + Like a strong flood the blood did flow, + Inundating the ravine; + So sad a sight thou ne'er hast seen-- + No man survived to strike a blow. + O thou who art by this disgraced, + What figure canst thou ever show + Before the king, who seeks to know + The truth, which must be faced? + 'Tis better far myself to kill, + Or losing every scrap of hope, + To hang my body with this rope. + + + + (Takes a sling off his cap--going.) + + + + Yet may it not be useful still? + + + + (Turns again.) + + + + When bold Ollantay's end has come.[52] + + + + (Exit.) + + + + +SCENE 3 + + + +A garden in the house of the Virgins of the Sun. Chilca shrubs and mulli +trees (Schinus Molle) with panicles of red berries. The walls of the +house at the back, with a door. A gate (L.) opening on the street. + + + +(YMA SUMAC discovered at the gate looking out. To her enters (R.) PITU +SALLA. Both dressed in white with golden belts.) + + + + Pitu Salla. + + Yma Sumac, do not approach + So near that gate, and so often; + It might arouse the Mother's wrath. + Thy name, which is so dear to me, + Will surely pass from mouth to mouth. + Honour shall be shown to chosen ones,[53] + Who wish to close the outer gate. + Amuse thyself within the walls, + And no one then can say a word. + Think well what you can find within-- + It gives you all you can desire, + Of dresses, gold, and dainty food. + Thou art beloved by every one, + E'en Virgins of the royal blood. + The Mothers love to carry thee, + They give thee kisses and caress-- + You they prefer to all the rest. + What more could any one desire, + Than always to remain with them, + Destined to be servant of the Sun? + In contemplating Him there's peace. + + + + Yma Sumac. + + Pitu Salla, ever you repeat + The same thing and the same advice; + I will open to thee my whole heart, + And say exactly what I think. + Know that to me this court and house + Are insupportable--no less; + The place oppresses--frightens me-- + Each day I curse my destiny. + The faces of all the Mama Cuna + Fill me with hatred and disgust, + + + And from the place they make me sit, + Nothing else is visible. + Around me there is nothing bright, + All are weeping and ne'er cease + If I could ever have my way, + No person should remain within. + I see the people pass outside, + Laughing as they walk along. + The reason it is plain to see-- + They are not mewed and cloistered here. + Is it because I have no mother, + That I am kept a prisoner? + Or is it I 'm a rich novice? + Then from to-day I would be poor. + Last night I could not get to sleep, + I wandered down a garden walk; + In the dead silence of the night, + I heard one mourn. A bitter cry, + As one who sought and prayed for death. + On every side I looked about, + My hair almost on end with fright, + Trembling, I cried, 'Who canst thou be?' + Then the voice murmured these sad words: + 'O Sun, release me from this place!' + And this, amidst such sighs and groans! + I searched about, but nothing found-- + The grass was rustling in the wind. + I joined my tears to that sad sound, + My heart was torn with trembling fear. + When now the recollection comes, + I'm filled with sorrow and with dread. + You know now why I hate this place. + Speak no more, my dearest friend, + Of reasons for remaining here. + + + Pitu Salla. + + At least go in. The Mother may appear. + Yma Sumac. But pleasant is the light of day. + + + + (Exit, R.) + + + + (Enter MAMA CCACCA, L., in grey with black edges and belt.) + + + + Mama Ccacca. + + Pitu Salla, hast thou spoken + All I told thee to that child? + + + + Pitu Salla. + + I have said all to her. + + + + Mama Ccacca. + + And she, does she answer freely? + + + + Pitu Salla. + + She has wept and asked for pity, + Refusing to comply at all. + She will not take the virgin's oath. + + + + Mama Ccacca. + + And this in spite of thy advice? + + + + Pitu Salla. + + I showed her the dress she will wear, + Telling her misfortune would befall + If she refused to be a chosen one-- + That she would ever be an outcast, + And for us a child accursed. + + + + Mama Ccacca. + + What can she imagine, + Wretched child of an unknown father, + A maid without a mother, + Just a fluttering butterfly? + Tell her plainly, very plainly, + That these walls offer her a home, + Suited for outcasts such as she, + And here no light is seen. + + + + (Exit, L.) + + + + Pitu Salla. + + Ay, my Sumac! Yma Sumac! + These walls will be cruel indeed, + To hide thy surpassing beauty. + + + + (Glancing to where Mama Ccacca went out.) + + + + What a serpent! What a puma! + + + + +ACT III + + + + +SCENE 1 + + + +The Pampa Moroni, a street in Cuzco. Enter RUMI-NAUI (L.)[54] in a +long black cloak with a train, and PIQUI CHAQUI (R.), meeting each other. + + + + Rumi-naui. + + Whence, Piqui Chaqui, comest thou? + Dost thou here seek Ollantay's fate? + + + + Piqui Chaqui. + + Cuzco, great lord, is my birthplace; + I hasten back unto my home. + I care not more to pass my days + In dismal and profound ravines. + + + + Rumi-naui. + + Tell me, Ollantay--what does he? + + + + Piqui Chaqui. + + He is busy now entangling + An already entangled skein. + + + + Rumi-naui. + + What skein? + + + Piqui Chaqui. + + Should you not give me some present + If you want me to talk to you. + + + + Rumi-naui. + + With a stick will I give thee blows, + With a rope I will hang thee. + + + + Piqui Chaqui. + + O, do not frighten me! + + + + Rumi-naui. + + Speak then. + + + + Piqui Chaqui. + + Ollantay. Is it Ollantay? + I can remember no more. + + + + Rumi-naui. + + Piqui Chaqui! Take care! + + + + Piqui Chaqui. + + But you will not listen! + I am turning blind, + My ears are getting deaf, + My grandmother is dead, + My mother is left alone. + + + + Rumi-naui. + + Where is Ollantay? Tell me. + + + + Piqui Chaqui. + + I am in want of bread, + And the Paccays[55] are not ripe. + I have a long journey to-day-- + The desert is very far off. + + + + Rumi-naui. + + If you continue to vex me + I will take your life. + + + + Piqui Chaqui. + + Ollantay, is it? He is at work. + + Ollantay! He is building a wall, + With very small stones indeed; + They are brought by little dwarfs-- + So small that to be a man's size + They have to climb on each other's backs. + But tell me, O friend of the King,[56] + Why art thou in such long clothes, + Trailing like the wings of a sick bird[57]-- + As they are black it is better. + + + + Rumi-naui. + + Hast thou not seen already + That Cuzco is plunged in grief? + The great Inca Pachacuti[58] is dead, + All the people are in mourning, + Every soul is shedding tears. + + + + Piqui Chaqui. + + Who, then, succeeds to the place + Which Pachacuti has left vacant? + If Tupac Yupanqui succeeds, + That Prince is the youngest + There are some others older.[59] + + + + Rumi-naui. + + All Cuzco has elected him, + For the late king chose him, + Giving him the royal fringe; + We could elect no other. + + + + Piqui Chaqui. + + I hasten to bring my bed here.[60] + + + + (Exit running.) + + + + +SCENE 2 + + + +Great hall of the palace of Tupac Yupanqui. The INCA seated on golden +tiana (C.). + + + +(Enter the HIGH PRIEST or UILLAC UMA, with priests and chosen Virgins of +the Sun. The INCA dressed as his father. Uillac Uma in full dress, +wearing the huampar chucu. Virgins in white with gold belts and diadems. +They range themselves by the throne (L.). Then enter RUMI-NAUI and a +crowd of chiefs, all in full dress, ranging themselves by the throne +(R.).) + + + + Tupac Yupanqui. + + This day, O Councillors and Chiefs, + Let all receive my benison; + You Holy Virgins of the Sun[61] + Receive our father's tenderest care. + + The realm, rejoicing, hails me king; + From deep recesses of my heart + I swear to seek the good of all. + + + + Uillac Uma. + + To-day the smoke of many beasts + Ascends on high towards the sun, + The Deity with joy accepts + The sacrifice of prayer and praise. + We found in ashes of the birds + Our only Inca, King, and Lord, + In the great llama sacrifice; + All there beheld an eagle's form, + We opened it for augury, + But lo! the heart and entrails gone. + The eagle Anti-suyu means-- + To thy allegiance they return. + + + + (Bowing to the Inca.) + + + + Thus I, thy augur, prophesy. + + + + (Acclamation.) (Exeunt all but Uillac Uma and Rumi-naui.) + + + + Tupac Yupanqui (turning to Rumi-naui). + + Behold the Hanan-suyu Chief + Who let the enemy escape, + Who led to almost certain death + So many thousands of my men. + + + + Rumi-naui. + + Before his death thy father knew + Disaster had befallen me; + 'Tis true, O King, it was my fault, + Like a stone[62] I gave my orders, + And volleying stones soon beat me down; + It was with stones I had to fight, + And in the end they crushed my men. + Oh! grant me, Lord, a single chance, + Give perfect freedom to my plans, + Myself will to the fortress march, + And I will leave it desolate. + + + + Tupac Yupanqui. + + For thee to strive with all thy might, + For thee thine honour to regain, + For thou shalt ne'er command my men + Unless thy worthiness is proved. + + + + Uillac Uma. + + Not many days shall pass, O King, + E'er all the Antis are subdued. + I've seen it in the quipu roll, + Haste! Haste! thou Rumi Tunqui. [63] + + + + (Exeunt.) + + + + +SCENE 3 + + + +The great terrace entrance to Ollantay-tampu. On R. a long masonry wall +with recesses at intervals. At back a great entrance doorway. On L. +terraces descend, with view of valley and mountains. + + + +(Guards discovered at entrance doorway. To them enter RUMI-NAUI in rags, +his face cut and slashed with wounds, and covered with blood.) + + + + Rumi-naui. + + Will no one here have pity on me? + One of the Guards. Who art thou, man? + Who has ill-treated thee? + Thou comest in a frightful state, + Covered with blood and gaping wounds. + + + Rumi-naui. + + Go quickly to thy king and say + That one he loves has come to him. + One of the Guards. Thy name? + + + + Rumi-naui. + + There is no need to give a name. + One of the Guards. Wait here. + + + + (Exit one of the guards.) + + + + (Enter OLLANTAY with guards, R. front.) + + + + Rumi-naui. + + A thousand times I thee salute, + Ollantay, great and puissant king! + Have pity on a fugitive + Who seeks a refuge here with thee. + + + + Ollantay. + + Who art thou, man? Approach nearer. + Who has thus ill-treated thee? + Were such deep and fearful wounds + Caused by a fall, or what mishap? + + + + Rumi-naui. + + Thou knowest me, O mighty chief. + I am that stone that fell down once, + But now I fall before thy feet; + O Inca! mercy! Raise me up! + + + + (Kneels.) + + + + Ollantay. + + Art thou the noble Rumi-naui, + Great Chief and Lord of Hanan-suyu? + + + + Rumi-naui. + + Yes, I was that well-known Chief-- + A bleeding fugitive to-day. + Ollantay. Rise, comrade mine. Let us embrace. + + + + (Rises.) + + + + Who has dared to treat thee thus, + And who has brought thee here to me + Within my fortress, on my hearth? + + + + (To attendants.) + + + + Bring new clothes for my oldest friend. + + + + (Exit an attendant.) + + + + How is it that thou art alone? + Camest thou not fearing death? + + + + Rumi-naui. + + A new king reigns in Cuzco now-- + Tupac Yupanqui is installed. + Against the universal wish, + He rose upon a wave of blood; + Safety he sees in headless trunks, + The sunchu[64] and the nucchu[65] red + Are sent to all he would destroy. + Doubtless you have not forgot + That I was Hanan-suyu's Chief. + Yupanqui ordered me to come; + Arrived, I came before the king, + And as he has a cruel heart, + He had me wounded as you see; + And now thou knowest, king and friend, + How this new Inca treated me. + + + + Ollantay. + + Grieve not, old friend Rumi-naui, + Thy wounds before all must be cured; + I see in thee th' avenging knife, + To use against the tyrant's heart. + At Tampu now we celebrate + The Sun's great Raymi festival; + On that day all who love my name, + Throughout my realms hold festival. + + + + Rumi-naui. + + Those three days of festival + To me will be a time of joy, + Perhaps I may be healed by then, + So that my heart may pleasure seek. + + + + Ollantay. + + It will be so. For three whole nights + We drink and feast, to praise the Sun, + The better to cast all care aside + We shall be shut in Tampu fort. + + + + Rumi-naui. + + The youths, as is their wont, will find + Their great delight in those three nights, + Then will they rest from all their toils, + And carry off the willing girls. + + + + +SCENE 4 + + + +A corridor in the palace of Chosen Virgins. + + + +(Enter YMA SUMAC and PITU SALLA.) + + + + Yma Sumac. + + Pitu Salla, beloved friend, + How long wilt thou conceal from me + The secret that I long to know? + Think, dearest, of my anxious heart, + How I shall be in constant grief + Until you tell the truth to me. + Within these hard and cruel bounds + Does some one suffer for my sins? + My sweet companion, do not hide + From me, who 'tis that mourns and weeps + Somewhere within the garden walls. + How is it she is so concealed + That I can never find the place? + + + + Pitu Salla. + + My Sumac, now I'll tell thee all-- + Only concerning what you hear, + And still more surely what you see, + You must be dumb as any stone; + And you too must be well prepared + For a most sad heart-rending sight-- + 'Twill make thee weep for many days. + + + + Yma Sumac. + + I will not tell a living soul + What you divulge. But tell me all, + I'll shut it closely in my heart. + + + + +SCENE 5 + + + +A secluded part of the gardens of the Virgins, (L.) flowers, (R.) a +thicket of mulli[66] and chilca,[67] concealing a stone door. + + + +(PITU SALLA and YMA SUMAC.) + + + + Pitu Salla. + + In this garden is a door of stone, + But wait until the Mothers sleep, + The night comes on. Wait here for me. + + + + (Exit.) + + + + (Yma Sumac reclines on a bank and sleeps. Night comes on, Yma Sumac + awakes.) + + + + Yma Sumac. + + A thousand strange presentiments + Crowd on me now, I scarce know what-- + Perhaps I shall see that mournful one + Whose fate already breaks my heart. + + + + (Pitu Salla returns with a cup of water, a small covered vase containing + food, and a torch which she gives to Yma Sumac. She leads Yma Sumac + through bushes to the stone door, fixes the torch, presses something, and + the door swings round.) + + + + (CUSI COYLLUR is discovered senseless, extended on the ground, a snake + twining itself round her waist.) + + + + Pitu Salla. + + Behold the princess for whom you seek. + Well! is thy heart now satisfied? + + + Yma Sumac. + + Oh, my friend, what do I behold? + Is it a corpse that I must see? + Oh, horror! A dungeon for the dead! + + + + (She faints.) + + + + Pitu Salla. + + What misfortune has now arrived? + O my Sumac, my dearest love, + O come to thyself without delay! + Arouse thee. Arise, my lovely flower. + + + + (Yma Sumac revives.) + + + + Fear not, my dove, my lovely friend, + 'Tis not a corpse. The princess lives, + Unhappy, forlorn, she lingers here. + + + + Yma Sumac. + + Is she, then, still a living being? + + + + Pitu Salla. + + Approach nearer, and you can help. + She lives indeed. Look. Watch her now. + Give me the water and the food. + + + + (To Cusi Coyllur, while helping her to sit up.) + + + + O fair princess, I bring thee food + And cooling water to refresh. + Try to sit up. I come with help. + + + + Yma Sumac. + + Who art thou, my sweetest dove? + Why art thou shut in such a place? + + + + Pitu Salla. + + Take a little food, we pray. + Perchance without it, you may die. + + + + Cusi Coyllur. + + How happy am I now to see, + After these long and dismal years, + The new and lovely face of one + Who comes with thee and gives me joy. + + + + Yma Sumac. + + O my princess, my sister dear, + Sweet bird, with bosom of pure gold, + What crime can they accuse thee of, + That they can make thee suffer thus? + What cruel fate has placed thee here + With death on watch in serpent's form? + + + Cusi Coyllur. + + O charming child, the seed of love, + Sweet flower for my broken heart, + I have been thrust in this abyss. + I once was joined to a man + As pupil is part of the eye; + But alas! has he forgotten me? + The King know not that we were joined + By such indissoluble bonds, + And when he came to ask my hand, + That King dismissed him in a rage, + And cruelly confined me here. + Many years have passed since then, + Yet, as you see, I'm still alive; + No single soul have I beheld + For all those sad and dismal years, + Nor have I found relief nor hope. + But who art thou, my dear, my love, + So young, so fresh, so pitiful? + + + + Yma Sumac. + + I too, like thee, am full of grief, + For long I've wished to see and love, + My poor forlorn and sad princess. + No father, no mother are mine, + And there are none to care for me. + + + + Cusi Coyllur. + + What age art thou? + + + + Yma Sumac. + + I ought to number many years, + For I detest this dreadful house, + And as it is a dreary place, + The time in it seems very long. + + + + Pitu Salla. + + She ought to number just ten years + According to the account I've kept. + + + + Cusi Coyllur. + + And what is thy name? + + + + Yma Sumac. + + They call me Yma Sumac now, + But to give it me is a mistake. + + + + Cusi Coyllur. + + O my daughter! O my lost love, + Come to thy mother's yearning heart. + + + + (Embraces Yma Sumac.) + + + + Thou art all my happiness, + My daughter, come, O come to me; + This joy quite inundates my soul, + It is the name I gave to thee. + + + + Yma Sumac. + + O my mother, to find thee thus! + We must be parted never more. + Do not abandon me in grief. + To whom can I turn to free thee, + To whom can I appeal for right? + + + + Pitu Salla. + + Make no noise, my dearest friend. + To find us thus would ruin me. + Let us go. I fear the Mothers. + + + + Yma Sumac (to Cusi Coyllur). + + Suffer a short time longer here, + Until I come to take thee hence, + Patience for a few more days. + Alas! my mother dear! I go, + But full of love, to seek for help. + + + + (Exeunt closing the stone door, all but Cusi Coyllur. They extinguish + the torch.) + + + + +SCENE 6 + + + +Great hall in the palace of Tupac Yupanqui. + + + +(The INCA discovered seated on the tiana. To him enter the UILLAC UMA, +in full dress.) + + + + Tupac Yupanqui. + + I greet thee, great and noble Priest! + Hast thou no news of Rumi-naui. + + + + Uillac Uma. + + Last night, with guards, I wandered out + On heights towards Uilcanuta. + Far off I saw a crowd in chains, + No doubt the Anti prisoners, + For they are all defeated quite. + The cacti[68] on the mountains smoke, + E'en now the fortress is in flames. + + + + Tupac Yupanqui. + + And Ollantay, is he taken? + Perhaps--I hope his life is saved. + + + + Uillac Uma. + + Ollantay was among the flames, + 'Tis said that no one has escaped. + + + + Tupac Yupanqui. + + The Sun, my Father, is my shield, + I am my father's chosen child. + We must subdue the rebel host, + For that I am appointed here. + + + + (Enter a CHASQUI with a quipu in his hand.) + + + + The Chasqui. + + This morning at the dawn of day, + Rumi-naui despatched this quipu. + + + + Tupac Yupanqui (to the Uillac Uma). + + See what it says. + + + + Uillac Uma. + + This knot, coloured burnt ahuarancu, + Tells us that Tampu too is burnt; + This triple knot to which is hung + Another which is quintuple, + In all of quintuples are three, + Denotes that Anti-suyu's thine, + Its ruler prisoner of war. + + + + Tupac Yupanqui (to the Chasqui). + + And thou. Where wert thou? + + + + The Chasqui. + + Sole King and Lord! Child of the Sun! + I am the first to bring the news, + That thou mayst trample on the foe, + And in thine anger drink their blood. + + + + Tupac Yupanqui. + + Did I not reiterate commands + To spare and not to shed their blood-- + Not anger but pity is my rule. + + + + The Chasqui. + + O Lord, we have not shed their blood; + They were all captured in the night, + Unable to resist our force. + + + + Tupac Yupanqui. + + Recount to me in full detail + The circumstances of the war. + + + + The Chasqui. + + For a signal thy warriors wait. + The nights passed at Tinquiqueru,[69] + Concealed in the cavern below, + Yanahuara[70] men joining us late. + We waited within the large cave, + Thy men always ready to fight, + Behind foliage well out of sight, + Thy warriors patient and brave. + But for three long days and dark nights, + No food for the zealous and bold; + Feeling hungry, thirsty, and cold, + We waited and watched for the lights.[71] + Rumi-naui sent orders at length, + When the Raymi[72] they carelessly keep, + And all of them drunk or asleep, + We were then to rush on with our strength. + Word came to surprise our foes, + Rumi-naui had opened the gate, + As cautious and silent as fate-- + We were masters with none to oppose. + Those rebels fell into the trap, + The arrows came on them like rain, + Most died in their sleep without pain, + Not knowing their fatal mishap. + Ollantay, still trusting, was ta'en, + The same Urco Huaranca befell; + Hanco Huayllu is captive as well, + We thy rebels in fetters detain. + The Antis by thousands are slain, + A fearful example is made, + They are beaten, crushed, and betrayed, + Their women in sorrow and pain. + + + + Tupac Yupanqui. + + As witness of what has occurred, + On Vilcamayu's storied banks, + No doubt thou hast told me the truth. + It was a well designed attack. + + + + (Enter RUMI-nAUI followed by several chiefs.) + + + + Rumi-naui. + + Great Inca, I kneel at thy feet, + This time You will hear my report, + I beseech thee to deign to restore + The trust that I forfeited once. + + + + (Kneels.) + + + + Tupac Yupanqui. + + Rise, great Chief, receive my regard, + I accept thy great service with joy; + Thou didst cast o'er the waters thy net, + And hast captured a marvellous fish. + + + + Rumi-naui. + + Our enemies perished in crowds, + Their chiefs were captured and bound, + Overwhelmed by my terrible force, + Like a rook detached from the heights. + + + + Tupac Yupanqui. + + Was much blood shed in the assault? + + + Rumi-naui. + + No, Lord, not a drop has been shed, + To thine orders I strictly adhered. + Those Antis were strangled in sleep, + But the fort is entirely razed. + + + + Tupac Yupanqui. + + Where are the rebels? + + + + Rumi-naui. + + They are waiting with agonised fear, + For their fate, to perish by cords. + The people are sending up cries, + Demanding their deaths without fail. + Their women are now in their midst, + The children raise hideous cries; + It is well that thine order should pass + To finish their traitorous lives. + + + + Tupac Yupanqui. + + It must be so without any doubt, + That the orphans may not be alone, + Let all perish, not sparing one, + Thus Cuzco recovers her peace, + Let the traitors be brought before me. + In my presence the sentence they'll hear. + + + + (Exit Rumi-naui, and re-enter followed by guards in charge of OLLANTAY, + URCO HUARANCA, and HANCO HAUYLLU, bound and blindfold, followed by guards + with PIQUI CHAQUI bound.) + + + + Tupac Yupanqui. + + Take the bands off the eyes of those men. + And now, Ollantay, where art thou? + And where art thou, O Mountain Chief? + Soon thou wilt roll down from the heights. + + + + (To the soldiers who bring in Piqui Chaqui.) + + + + Whom have we here? + + + + Piqui Chaqui. + + Many fleas in the Yuncas abound, + And torment the people full sore, + With boiling water they are killed, + And I, poor flea,[73] must also die. + + + + Tupac Yupanqui. + + Tell me, Hanco Huayllu, tell me, + Why art thou Ollantay's man? + Did not my father honour thee? + Did he not grant thy requests? + Did he ever have a secret from thee? + Speak also, you, the other rebels, + Ollantay and the Mountain Chief. + + + + Ollantay. + + O father, we have nought to say, + Our crimes are overwhelming us. + + + + Tupac Yupanqui (to the Uillac Uma). + + Pronounce their sentence, great High Priest. + + + + Uillac Uma. + + The light that fills me from the Sun + Brings mercy and pardon to my heart. + + + + Tupac Yupanqui. + + Now thy sentence, Rumi-naui. + + + + Rumi-naui. + + For crimes enormous such as these + Death should ever be the doom + It is the only way, O King! + To warn all others from such guilt. + To stout tocarpus[74] they should be + Secured and bound with toughest rope, + Then should the warriors freely shoot + Their arrows until death is caused. + + + + Piqui Chaqui. + + Must it be that evermore + The Antis must all perish thus? + Alas! then let the branches burn + What pouring out of blood is here.[75] + + + + Rumi-naui. + + Silence, rash man, nor dare to speak, + + + + (General lamentation outside.) + + + + Having been rolled just like a stone, + My heart has now become a stone.[76] + + + + Tupac Yupanqui. + + Know that tocarpus are prepared. + Remove those traitors from my sight, + Let them all perish, and at once. + + + + Rumi-naui. + + Take these three men without delay + To the dreaded execution stakes; + Secure them with unyielding ropes, + And hurl them from the lofty rocks. + + + + Tupac Yupanqui. + + Stop! Cast off their bonds. + + + + (The guards unbind them. They all kneel.) + + + + (To Ollantay, kneeling). + + Rise from thy knees; come to my side. + + + + (Rises.) + + + + Now thou hast seen death very near, + You that have shown ingratitude, + Learn how mercy flows from my heart; + I will raise thee higher than before. + Thou wert Chief of Anti-suyu, + Now see how far my love will go; + I make thee Chief in permanence. + Receive this plume[77] as general, + This arrow[77] emblem of command.[78] + + + + Tupac Yupanqui (to the Uillac Uma). + + Thou mighty Pontiff of the Sun, + Robe him in the regal dress. + Raise up the others from their knees, + And free them from the doom of death. + + + + (Urco Huaranca, Hanco Huayllu, and Piqui Chaqui rise, the latter looking + much relieved. The Uillac Uma places the robe on Ollantay's shoulders.) + + + + Uillac Uma. + + Ollantay, learn to recognise + Tupac Yupanqui's generous mind; + From this day forth be thou his friend, + And bless his magnanimity. + This ring contains my potent charm, + For this I place it on thy hand. + + + + (Gives him a ring, or bracelet.) + + + + This mace receive, 'tis from the king, + + + + (Gives him a mace (champi).) + + + + It is his gracious gift to thee. + + + + Ollantay. + + With tears I shall nearly consume + That mace thus presented to me; + I am tenfold the great Inca's slave, + In this world no equal is found, + My heart's fibres his latchets shall be; + From this moment my body and soul + To his service alone shall belong. + + + + Tupac Yupanqui. + + Now, Mountain Chief! come near to me, + Ollantay is given the arrow and plume, + Though to me he gave fury and war. + Notwithstanding all that has passed + He continues the Andean chief, + And will lead his rebels to peace; + Thee also I choose for the plume; + From this day thou art a great chief, + And never forget in thy thoughts, + I saved thee from death and disgrace. + + + + Urco Huaranca. + + Great King and most merciful Lord, + But now, expecting my death, + I am ever thy most faithful slave. + + + + (Uillac Uma gives him the plume and arrow.) + + + + Uillac Uma. + + O Urco, the Inca has made + A great and a powerful chief, + And grants thee with marvellous grace + The arrow and also the plume. + + + + Rumi-naui. + + Illustrious King, I venture to ask, + Will Anti-suyu have two chiefs. + + + + Tupac Yupanqui. + + There will not be two, O Rumi-naui + The Mountain Chief will rule the Antis; + In Cuzco Ollantay will reign-- + As Viceroy deputed by me + His duties will call him to act + As ruler throughout the whole realm. + + + + Ollantay. + + O King! thou dost raise me too high, + A man without service or claim; + I am thy obedient slave-- + Mayst thou live for a thousand years. + + + + Tupac Yupanqui. + + The mascapaycha now bring forth, + And to it the llautu attach. + Uillac Uma, adorn him with these, + And proclaim his state to the world. + Yes, Ollantay shall stand in my place, + Raised up like the star of the morn, + For Colla this month I shall start; + All preparations are made. + In Cuzco Ollantay will stay, + My Ranti[79] and Viceroy and friend. + + + + Ollantay. + + I would fain, O magnanimous King, + Follow thee in the Chayanta war; + Thou knowest my love for such work. + Peaceful Cuzco is not to my taste, + I prefer to be thy Canari,[80] + To march in the van of thy force, + And not to be left in the rear. + + + + Tupac Yupanqui. + + Thou shouldst find the wife of thy choice, + And with her reign happily here + In Cuzco; repose without care; + Rest here while I'm absent in war. + + + + Ollantay. + + Great King, thy sorrowful slave + Already had chosen a wife. + + + + Tupac Yupanqui. + + How is it I know not of this? + It should be reported to me. + I will load her with suitable gifts; + Why was this concealed from my eyes? + + + + Ollantay. + + In Cuzco itself disappeared + That sweet and adorable dove; + One day she did rest in my arms, + And the next no more to be seen. + In grief I made search far and near, + Earth seemed to have swallowed her up, + To have buried her far from my sight; + O such, mighty King, is my grief. + + + + Tupac Yupanqui. + + Ollantay! afflict not thyself, + For now thou must take up thy place + Without turning thy eyes from thy work. + + + + (To Uillac Uma.) + + + + High priest, obey my command. + + + + (The Uillac Uma goes to the wings (R.) and addresses the people outside.) + + + + Uillac Uma. + + O people, hear what I say: + The Inca, our King and our Lord, + Thus declares his imperial will: + Ollantay shall reign in his place. + + + + People outside. + + Ollantay Ranti! Ollantay Ranti! + + + + (Shouts and acclamations.) + + + + Tupac Yupanqui (to Rumi-naui and other chiefs.) + + You also render him homage. + + + + Rumi-naui. + + Prince Ollantay! Incap Ranti! + Thy promotion gives me joy. + All the Antis now released, + Return rejoicing to their homes. + + + + (He and all the Chiefs bow to Ollantay.) + + + + Guards without. + + You cannot pass. Go back! go back! + Voice without. Why, is this a festive day? + Let me pass. I must see the king; + I pray you do not stop me, + Do not drive me from the door; + If you stop me I shall die. + Have a care. You will kill me. + + + + Tupac Yupanqui. + + What noise is that without? + + + + Guard. + + It is a young girl who comes weeping + And insists upon seeing the king. + + + + Tupac Yupanqui. + + Let her come in. + + + + (Enter Yma Sumac.) + + + + Yma Sumac. + + Which is the Inca, my lord, + That I may kneel down at his feet? + + + + Uillac Uma. + + Who art thou, charming maid? + Behold the King. + + + + (Yma Sumac throws herself at the King's feet.) + + + + Yma Sumac. O my King! be thou my father, + Snatch from evil thy poor servant. + Extend thy royal hand to me. + O merciful child of the Sun, + My mother is dying at this hour + In a foul and loathsome cave; + She is killed in cruel martyrdom-- + Alas I she is bathed in her own blood. + + + + Tupac Yupanqui. + + What inhumanity, poor child! + Ollantay, take this case in hand. + + + + Ollantay. + + Young maiden, take me quickly there; + We will see who it is that suffers. + + + + Yma Sumac. + + No, sir. Not so. It is the King himself + Should go with me. + Perhaps he may recognise her; + + + + (To Ollantay.) + + + + For you, I know not who you are. + O King, arise, do not delay, + I fear my mother breathes her last, + At least may be in mortal pain; + O Inca! Father! grant my prayer. + + + + Uillac Uma. + + Illustrious King, thou wilt consent; + Let us all seek this luckless one-- + Thou canst release from cruel bonds. + Lot us go, O King! + + + + Tupac Yupanqui (rising). + + Come all! Come all! + In midst of reconciliations + This young maid assaults my heart. + + + + (Exeunt.) + + + + +SCENE 7 + + + +The garden in the palace of Virgins of the Sun (same scene as Act III, +Scene 5). Stone door more visible. + + +(Enter the INCA TUPAC YUPANQUI with YMA SUMAC, OLLANTAY, UILLAC UMA and +RUMI nAUI; URCO HUARANCA, HANCO HUAYLLU and PIQUI CHAQUI in the +background.) + + + + Tupac Yupanqui. + + But this is the Aclla Huasi;[81] + My child, art thou not mistaken? + Where is thy imprisoned mother? + + + + Yma Sumac. + + In a dungeon within these bounds + My mother has suffered for years, + Perhaps even now she is dead. + + + + (She points to the stone door.) + + + + Tupac Yupanqui. + + What door is this? + + + + (Enter MAMA CCACCA and PITU SALLA. Mama Ccacca kneels and kisses the + Inca's hand.) + + + + Mama Ccacca. + + Is it a dream or reality, + That I behold my sovereign? + Tupac Yupanqui. Open that door. + + + + (Mama Ccacca opens the door.) + + + + (CUSI COYLLUR discovered chained and fainting, with a puma and a snake, + one on each side of her.) + + + + Yma Sumac. + + O my mother, I feared to find + That you had already passed away; + Pitu Salla! Haste. Bring water. + Perhaps my dove may still revive. + + + + (Exit Pitu Salla.) + + + + Tupac Yupanqui. + + What horrid cavern do I see? + Who is this woman? what means it? + What cruel wretch thus tortures her? + What means that chain bound around her? + Mama Ccacca, come near to me + What hast thou to say to this? + Is it the effect of malice + That this poor creature lingers here? + + + Mama Ccacca. + + It was thy father's dread command; + A punishment for lawless love. + + + Tupac Yupanqui. + + Begone! begone! harder than rock.[82] + Turn out that puma and the snake,[83] + Break down that door of carved stone. + + + + (To Mama Ccacca.) + + + + Let me not see thy face again. + A woman living as a bat; + This child has brought it all to light. + + + + (Enter Pitu Salla with water. She sprinkles it over Cusi Coyllur, who + revives.) + + + + Cusi Coyllur. + + Where am I? who are these people? + Yma Sumac, my beloved child, + Come to me, my most precious dove. + Who are all these men before me? + + + + (She begins to faint again and is restored by water.) + + + + Yma Sumac. + + Fear not, my mother, 'tis the King; + The King himself comes to see you. + The great Yupanqui is now here. + Speak to him. Awake from thy trance. + + + + Tupac Yupanqui. + + My heart is torn and sorrowful + At sight of so much misery. + Who art thou, my poor sufferer? + Child, tell me now thy mother's name? + + + + Yma Sumac. + + Father! Inca! Clement Prince! + Have those cruel bonds removed. + + + + The Uillac Uma. + + It is for me to remove them, + And to relieve this sore distress. + + + + (Cuts the rope fastening Cusi Coyllur to the wall.) + + + + Ollantay (to Yma Sumac). + + What is thy mother's name? + + + Yma Sumac. + + Her name was once Cusi Coyllur, + But it seems a mistake. Her joy + Was gone when she was prisoned here. + + + + Ollantay. + + O renowned King, great Yupanqui, + In her you see my long lost wife. + + + + (Prostrates himself before the Inca.) + + + + Tupac Yupanqui. + + It all appears a dream to me. + The 'Star'! my sister![84] and thy wife. + O sister! what newly found joy. + O Cusi Coyllur, my sister, + Come here to me, and embrace me, + Now thou art delivered from woe. + + + + (Music.) + + + + Thou hast found thy loving brother; + Joy calms the anguish of my heart. + + + + (Embraces Cusi Coyllur.) + + + + Cusi Coyllur. + + Alas! my brother, now you know + The cruel tortures I endured + During those years of agony; + Thy compassion now has saved me. + + + + Tupac Yupanqui. + + Who art thou, dove, that hast suffered? + For what sin were you prisoned here? + Thou mightest have lost thy reason. + Thy face is worn, thy beauty gone, + Thy looks as one risen from death. + + + + Ollantay. + + Cusi Coyllur, I had lost thee, + Thou wast quite hidden from my sight, + But thou art brought again to life-- + Thy father should have killed us both. + My whole heart is torn with sorrow. + Star of joy, where is now thy joy? + Where now thy beauty as a star? + Art thou under thy father's curse? + + + + Cusi Coyllur. + + Ollantay, for ten dreary years + That dungeon has kept us apart; + But now, united for new life, + Some happiness may yet be ours. + Yupanqui makes joy succeed grief, + He may well count[85] for many years. + + + + Uillac Uma. + + Bring new robes to dress the princess. + + + + (They put on her royal robes. The High Priest kisses her hand.) + + + + Tupac Yupanqui. + + Ollantay, behold thy royal wife, + Honour and cherish her henceforth. + And thou, Yma Sumac, come to me, + I enlace you in the thread of love; + Thou art the pure essence of Coyllur. + + + + (Embraces her.) + + + + Ollantay. + + Thou art our protector, great King, + Thy noble hands disperse our grief; + Thou art our faith and only hope-- + Thou workest by virtue's force. + + + + Tupac Yupanqui. + + Thy wife is now in thy arms; + All sorrow now should disappear, + Joy, new born, shall take its place. + + + + (Acclamations from the Chiefs, and Piqui Chaqui. Music: huancars + (drums), pincullus (flutes), and pututus (clarions).) + + + + +FOOTNOTES: + + +[Footnote 1: INCA-PACHACUTI +| +TUPAC YUPANQUI +| +INCA HUAYNA CCAPAC +| +MANCO INCA +| +TUPAC AMARU +| +JUANA NUSTA = DIEGO CONDORCANQUI +| +FELIPE CONDORCANQUI +| +PEDRO CONDORCANQUI +| +MIGUEL CONDORCANQUI +| +JOSE GABRIEL CONDORCANQUI (TUPAC AMARU)] + +[Footnote 2: 'Sentencia pronunciada en el Cuzco por el Visitador Don Jose +Antonio de Areche, contra Jose Gabriel Tupac Amaru.' In Coleccion de +obras y documentos de Don Pedro de Angelis, vol. V. (Buenos Ayres, 1836- +7).] + +[Footnote 3: INCA PACHACUTI. +| +TUPAC YUPANQUI +| +HUAYNA CCAPAC +| +MANCO INCA +| +MARIA TUPAC USCA = PEDRO ORTIZ DE ORUE +| +CATALINA ORTIZ =LUIS JUSTINIANI +| +LUIS JUSTINIANI +| +LUIS JUSTINIANI +| +NICOLO JUSTINIANI +| +JUSTO PASTOR JUSTINIANI +| +Dr. PABLO POLICARPO JUSTINIANI(Cura of Laris)] +[Footnote 4: The wives of the Incas were called ccoya. The ccoya of +the second Inca was a daughter of the chief of Sanoc. The third Inca +married a daughter of the chief of Oma, the fourth married a girl of +Tacucaray, the wife of the fifth was a daughter of a Cuzco chief. The +sixth Inca married a daughter of the chief of Huayllacan, the seventh +married a daughter of the chief of Ayamarca, and the eighth went to Anta +for a wife. This Anta lady was the mother of Pachacuti. The wife of +Pachacuti, named Anahuarqui, was a daughter of the chief of Choco. There +was no rule about marrying sisters when Pachacuti succeeded. He +introduced it by making his son Tupac Yupanqui marry his daughter Mama +Ocllo, but this was quite unprecedented. The transgression of a rule +which he had just made may account for his extreme severity.] + +[Footnote 5: A bust, on an earthen vase, was presented to Don Antonio +Maria Alvarez, the political chief of Cuzco, in 1837, by an Indian who +declared that it had been handed down in his family from time +immemorial, as a likeness of the general, Rumi-naui, who plays an +important part in this drama of Ollantay. The person represented must +have been a general, from the ornament on the forehead, called +mascapaycha, and there are wounds cut on the face.--Museo Erudito, No. +B.] + +[Footnote 6: Chita is the lamb of the llama. A lamb of two or three +months was a favourite pet in the time of the Incas. It followed its +mistress, adorned with a little bell and ribbons.] + +[Footnote 7: Supay, an evil spirit, according to some authorities.] + +[Footnote 8: Ichuna, a sickle or scythe. The expression has been cited +by General Mitre and others as an argument that the drama is modern, +because this is a metaphor confined to the old world. But ichuna was in +use, in Quichua, in this sense, before the Spaniards came. The word is +from Ichu, grass.] + +[Footnote 9: The Peruvians personified a mountain as two spirits, good +and evil. In writing poetically of a mountain opposing, it would be +referred to in the persons of its genii or spirits, and spoken of as two +foes, not one.] + +[Footnote 10: Rurun, desert, solitude.] + +[Footnote 11: Tasquiy, to march; tasquina, promenade, path.] + +[Footnote 12: Cusi Coyllur, while daylight lasted, was, in the eyes of +Piqui Chaqui, like the sun. A change takes place at twilight, and at +night she is like the moon.] + +[Footnote 13: Fasting was a preparation for all great religious +ceremonies. Victims for sacrifice underwent a previous fast, which was +looked upon in the fight of purification before being offered to the +Deity.] + +[Footnote 14: They gave the attributes we usually assign to the fox to +the puma.] + +[Footnote 15: Intip llirpun, 'apple of the sun's eye.' There is no +English equivalent that is suitable.] + +[Footnote 16: Huayruru is the seed of a thorny bush, erythrina rubra, of +a bright red colour. Zegarra has coral as the equivalent for huayruru.] + +[Footnote 17: The tuya (coccoborus chrysogaster) is a small finch, and +tuyallay means 'my little tuya.'] + +[Footnote 18: The piscaca is a much larger bird than the tuya. These +piscacas (coccoborus torridus) are nailed to trees as a warning to other +birds. They are black, with white breasts.] + +[Footnote 19: In the tuya she sees her husband Ollantay, while the poor +princess herself is the forbidden grain.] + +[Footnote 20: This is a yarahui or mournful elegy, of which there are +so many in the Quichua language. The singers of them were known as +yarahuec.] + +[Footnote 21: Colla-suyu, the basin of lake Titicaca.] + +[Footnote 22: Chayanta, a tribe in the montana south of the Collas.] + +[Footnote 23: Champi, a one-handed battle-axe.] + +[Footnote 24: Huancar, a drum; pututu, fife.] + +[Footnote 25: Yunca, inhabitant of warm valley. Here it refers to the +wild tribes of the montana.] + +[Footnote 26: In the original Quichua, Ollantay makes his appeal to the +Inca in quatrains of octosyllabic verses, the first line rhyming with +the last, and the second with the third. Garcilasso de la Vega and +others testify to the proficiency of the Incas in this form of +composition.] + +[Footnote 27: Ollantay was Viceroy of Anti-suyu.] + +[Footnote 28: Chahuar, a rope of aloe fibre. A curb or restraint.] + +[Footnote 29: Raprancutan cuchurcani: literally, 'I have clipped their +wings.' Rapra, a wing.] + +[Footnote 30: The powerful nation of Chancas, with their chief, +Huancavilca, inhabited the great valley of Andahuaylas and were +formidable rivals of the Incas. But they were subdued by Pachacuti long +before Ollantay can have been born. An allowable dramatic anachronism.] + +[Footnote 31: Huancavilca was chief of the powerful nation of Chancas.] + +[Footnote 32: Nusta, Princess.] + +[Footnote 33: Pisipachiyqui, to suffer from the void caused by absence. +Pisipay, to regret the absence of, to miss any one.] + +[Footnote 34: The Dominican text has misi, a cat, instead of allco, a +dog. Von Tschudi thought that misi was a word of Spanish origin. +Zegarra says that it is not. Before the Spaniards came, there was a +small wild cat in the Andes called misi-puna. But the Justiniani text +has allco, a dog.] + +[Footnote 35: Achancara, a begonia. A red flower in the neighbourhood +of Cuzco, according to Zegarra. One variety is red and white.] + +[Footnote 36: The llanta is the main rope of the quipu, about a yard +long. The small cords of llama wool, of various colours, denoting +different subjects, each with various kinds of knots, recording +numbers.] + +[Footnote 37: This, as we have seen, was not the reason why Ollantay +fled from Cuzco; but, from a leader's point of view, it was an excellent +reason to give to the people of Anti-suyu. The great wars of the Incas +were, to some extent, a heavy drain upon the people, but the recruiting +was managed with such skill, and was so equally divided among a number +of provinces, that it was not much felt.] + +[Footnote 38: The snowy mountain far to the south, in sight from Cuzco. +Uilca, sacred; unuta, water. Here is the source of the river Uilcamayu, +which flows by Ollantay-tampu.] + +[Footnote 39: The aged Hanco Huayllu as Auqui, or Prince of the Blood, +and relation of the High Priest, gave eclat to these ceremonies.] + +[Footnote 40: Quiscahuan. anything full of thorns.] + +[Footnote 41: Puna, the loftier parts of the Andes.] + +[Footnote 42: Compi, cloth or a cloak. This was an expression of the +ancient Peruvians, perhaps equivalent to our 'hoodwinking.'] + +[Footnote 43: Apu Maruti was the head of the ayllu of the Inca Yahuar +Huaccac, grandfather of Pachacuti. It was called the ayllu Aucaylli +Panaca.--Mesa, Anales del Cuzco, quoted by Zegarra.] + +[Footnote 44: Uilcapampa, mass of mountains between the Uilcamayu and +Apurimac.] + +[Footnote 45: Tinqui Queru, between Urupampa and Tampu. The word means +'two vases coupled.' Here are two rounded hills connected by a saddle, +three and a half miles from Tampu.] + +[Footnote 46: Chara, was another descendant of Yahuar Huaccac.] + +[Footnote 47: A ravine on the right bank of the Vilcamayu.] + +[Footnote 48: Pachar is on the left bank of the Vilcamayu opposite +Ollantay-tampu, with which it is connected by a rope bridge.] + +[Footnote 49: Huancas, natives of the valley of Jauja--Inca recruits.] + +[Footnote 50: Like Ollantay in his appeal to the Inca, Rumi-naui, in +the original Quichua, has recourse to octosyllabic quatrains, the first +and last lines rhyming, and the second and third.] + +[Footnote 51: Rumi, a stone.] + +[Footnote 52: Clearly, from Rumi-naui's own account, the strategy of +Urco Huaranca had been a complete and brilliant success.] + +[Footnote 53: Aclla Cuna, the selected ones, the Virgins of the Sun. +They were under the supervision of so called Mothers--Mama Cuna. The +novices were not obliged to take the oaths at the end of their +novitiate.] + +[Footnote 54: Rumi-naui is the interlocutor in the Justiniani text, in +the Dominican text, and in the text of Spilsbury. Yet Zegarra would +substitute the Uillac Uma or High Priest for Rumi-naui. His argument is +that the interlocutor was of the blood-royal, and that the High Priest +was always of the blood-royal, while Rumi-naui was not. But the text +does not say that the interlocutor was of the royal blood. Zegarra also +says that the interlocutor wore a black cloak with a long train, and +that this was the dress of the High Priest. But it was not the dress of +the High Priest as described by the best authorities. It was probably +the general mourning dress. The threats addressed to Piqui Chaqui were +likely enough to come from a soldier, but not from the High Priest as he +is portrayed in this drama.] + +[Footnote 55: Paccay (mimosa incana), a tree with large pods, having a +snow-white woolly substance round the seeds, with sweet juice.] + +[Footnote 56: The Zegarra and Spilsbury texts have Ccan Incacri, which +Zegarra translates, 'relation of the Inca, of the royal family.' +Spilsbury is more correct. He has 'partisan of the Inca.' The more +authentic Justiniani text has Ccan Pana. The particle ri is one of +emphasis or repetition. It does not mean a relation.] + +[Footnote 57: The Zegarra and Spilsbury texts have hualpa, a game bird. +The Justiniani text has anca, an eagle, which is the correct reading.] + +[Footnote 58: The Inca Pachacuti does not appear to advantage in the +drama. But he was the greatest man of his dynasty, indeed the greatest +that the red race has produced. He was a hero in his youth, a most able +administrator in mature age. As a very old man some needless cruelties +are reported of him which annoyed his son.] + +[Footnote 59: The eldest son was Amaru Tupac. He was passed over by +his father with his own consent, and was ever faithful to his younger +brother. He was an able general.] + +[Footnote 60: This was exactly what Piqui Chaqui was sent to Cuzco to +find out. The expression Apumusac pununayta, 'I go to fetch my bed,' is +one of joy at any fortunate event, in Quichua.] + +[Footnote 61: Intic Huamin Caccunan (Intic Huarminca Caycuna, correct), +'Ye women of the Sun.' Zegarra thought, on the authority of Garcilasso +de la Vega, that these could not be select Virgins of the Sun, because +the virgins were never allowed outside their convent, and not even women +might enter. He is clearly wrong. Much higher authorities than +Garcilasso, as regards this point, especially Valera, tell us that the +virgins were treated with the greatest honour and respect. They took +part in great receptions and festivals, and when they passed along the +streets they had a guard of honour.] + +[Footnote 62: Rumi. He keeps playing upon his name.] + +[Footnote 63: Again playing upon the name of Rumi-naui. The High +Priest calls for haste, so he substitutes Tunqui for naui (eye), the +tunqui (Rupicola Peruviana) being one of the most beautiful birds in the +forests.] + +[Footnote 64: Sunchu, a very large composita with a yellow flower, +growing round Cuzco. It was one of those which were used on sacred +festivals.] + +[Footnote 65: Nucchu is a salvia, also considered sacred. A red +flower. Perhaps these flowers were sent as a summons from the Inca, but +I have not seen the custom mentioned elsewhere.] + +[Footnote 66: Schineus Molle, a tree with pinnate leaves, and panicles +of red berries, well known in the Mediterranean countries, into which it +was introduced from Peru. Called by the English 'pepper tree.'] + +[Footnote 67: Several bushes are called chilca in Peru. Eupatorium +chilca (R. P.), baccharis scandens, and molina latifolia. Stereoxylon +pendulum is called puna chilca.] + +[Footnote 68: A kind of cactus, of which they make needles, grows +abundantly on the mountains round Ollantay-tampu. It is called +ahuarancu. They set fire to the cacti as a war signal. Zegarra calls +it a thistle. The word in the Justiniani text is ahuarancu.] + +[Footnote 69: Tinqui Queru, between Urupampa and Tampu. The word means +'two vases coupled.' Here are two rounded hills connected by a saddle, +three and a half miles from Tampu. (Taken from FN#45.)] + +[Footnote 70: Yanahuara, a ravine near Urubamba, where some of the +troops of Rumi-naui had been posted.] + +[Footnote 71: Signal lights.] + +[Footnote 72: Ccapac Raymi, the great festival of the Sun. December +22.] + +[Footnote 73: Piqui Chaqui is literally 'flea foot.' He is punning on +his name.] + +[Footnote 74: Tocarpu, a pole or stake used at executions. Condemned +prisoners were fastened to a tocarpu before being hurled over a +precipice.] + +[Footnote 75: Piqui Chaqui had an inkling that the Inca had expressed +dislike at the shedding of blood. He ventured to say these words in the +faint hope that they might remind the Inca of this dislike.] + +[Footnote 76: Rumi-naui at it again: for ever ringing changes on his +name rumi, a stone.] + +[Footnote 77: The plume and the arrow were the insignia of a general.] + +[Footnote 78: Rather a staggerer for Rumi-naui! Perhaps, too, the +change is too sudden, and infringes the probabilities. Tupac Yupanqui +may have thought that his father had been unjust and that there were +excuses. It is known that the young Inca was indignant at some other +cruelties of his father. As a magnanimous warrior he may have despised +the treacherous methods of Rumi-naui. He may have valued Ollantay's +known valour and ability, and have been loth to lose his services. All +these considerations may have influenced him more or less. The rebels +were the best men he had.] + +[Footnote 79: Ranti, a deputy.] + +[Footnote 80: Canari, a warlike tribe of Indians, in the south part of +the kingdom of Quito. They were first conquered by Tupac Yupanqui, and +they became devoted to him.] + +[Footnote 81: Aclla, chosen; Huasi, house: palace of the Virgins of the +sun.] + +[Footnote 82: Ccacca means a rock.] + +[Footnote 83: My former translation, and those of Barranca and Tschudi, +treated puma and amaru (snake) as epithets applied to Mama Ccacca. +Zegarra considers that the puma and snake were intended to be actually +in the dungeon, and I believe he is right. The puma would not have hurt +his fellow-prisoner. Unpleasant animals were occasionally put into the +prisons of criminals. The Incas kept pumas as pets.] + +[Footnote 84: The early Incas never married their sisters or relations. +Pachacuti's mother was daughter of the chief of Anta. His wife, +Anahuarqui, was no relation. But the wife of Tupac Yupanqui was his +sister Mama Ocllo.] + +[Footnote 85: A play upon the word yupanqui, which means literally, +'you will count.' The word was a title of the Incas, meaning, 'you will +count as virtuous, brave,' &c.] + + + + + +End of the Project Gutenberg EBook of Apu Ollantay, by Anonymous + +*** END OF THIS PROJECT GUTENBERG EBOOK APU OLLANTAY *** + +***** This file should be named 9068.txt or 9068.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/9/0/6/9068/ + +Produced by John B. Hare + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions 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. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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