Chapter VI: Act III: Scene 1

The Pampa Moroni, a street in Cuzco. Enter RUMI-ÑAUI (L.)[54] in a long black cloak with a train, and PIQUI CHAQUI (R.), meeting each other.

RUMI-ÑAUI. Whence, Piqui Chaqui, comest thou? Dost thou here seek Ollantay’s fate?

PIQUI CHAQUI. Cuzco, great lord, is my birthplace; I hasten back unto my home. I care not more to pass my days In dismal and profound ravines.

RUMI-ÑAUI. Tell me, Ollantay—what does he?

PIQUI CHAQUI. He is busy now entangling An already entangled skein.

RUMI-ÑAUI. What skein?

PIQUI CHAQUI. Should you not give me some present If you want me to talk to you.

RUMI-ÑAUI. With a stick will I give thee blows, With a rope I will hang thee.

PIQUI CHAQUI. O, do not frighten me!

RUMI-ÑAUI. Speak then.

PIQUI CHAQUI. Ollantay. Is it Ollantay? I can remember no more.

RUMI-ÑAUI. Piqui Chaqui! Take care!

PIQUI CHAQUI. But you will not listen! I am turning blind, My ears are getting deaf, My grandmother is dead, My mother is left alone.

RUMI-ÑAUI. Where is Ollantay? Tell me.

PIQUI CHAQUI. I am in want of bread, And the Paccays[55] are not ripe. I have a long journey to-day— The desert is very far off.

RUMI-ÑAUI. If you continue to vex me I will take your life.

PIQUI CHAQUI. Ollantay, is it? He is at work. Ollantay! He is building a wall, With very small stones indeed; They are brought by little dwarfs— So small that to be a man’s size They have to climb on each other’s backs. But tell me, O friend of the King,[56] Why art thou in such long clothes, Trailing like the wings of a sick bird[57]— As they are black it is better.

RUMI-ÑAUI. Hast thou not seen already That Cuzco is plunged in grief? The great Inca Pachacuti[58] is dead, All the people are in mourning, Every soul is shedding tears.

PIQUI CHAQUI. Who, then, succeeds to the place Which Pachacuti has left vacant? If Tupac Yupanqui succeeds, That Prince is the youngest There are some others older.[59]

RUMI-ÑAUI. All Cuzco has elected him, For the late king chose him, Giving him the royal fringe; We could elect no other.

PIQUI CHAQUI. I hasten to bring my bed here.[60]

(Exit running.)

SCENE 2

Great hall of the palace of Tupac Yupanqui. The INCA seated on golden tiana (C.).

(Enter the HIGH PRIEST or UILLAC UMA, with priests and chosen Virgins of the Sun. The INCA dressed as his father. Uillac Uma in full dress, wearing the huampar chucu. Virgins in white with gold belts and diadems. They range themselves by the throne (L.). Then enter RUMI-ÑAUI and a crowd of chiefs, all in full dress, ranging themselves by the throne (R.).)

TUPAC YUPANQUI. This day, O Councillors and Chiefs, Let all receive my benison; You Holy Virgins of the Sun[61] Receive our father’s tenderest care. The realm, rejoicing, hails me king; From deep recesses of my heart I swear to seek the good of all.

UILLAC UMA. To-day the smoke of many beasts Ascends on high towards the sun, The Deity with joy accepts The sacrifice of prayer and praise. We found in ashes of the birds Our only Inca, King, and Lord, In the great llama sacrifice; All there beheld an eagle’s form, We opened it for augury, But lo! the heart and entrails gone. The eagle Anti-suyu means— To thy allegiance they return.

(Bowing to the Inca.)

Thus I, thy augur, prophesy.

(Acclamation.) (Exeunt all but Uillac Uma and Rumi-ñaui.)

TUPAC YUPANQUI. (turning to Rumi-ñaui). Behold the Hanan-suyu Chief Who let the enemy escape, Who led to almost certain death So many thousands of my men.

RUMI-ÑAUI. Before his death thy father knew Disaster had befallen me; ’Tis true, O King, it was my fault, Like a stone[62] I gave my orders, And volleying stones soon beat me down; It was with stones I had to fight, And in the end they crushed my men. Oh! grant me, Lord, a single chance, Give perfect freedom to my plans, Myself will to the fortress march, And I will leave it desolate.

TUPAC YUPANQUI. For thee to strive with all thy might, For thee thine honour to regain, For thou shalt ne’er command my men Unless thy worthiness is proved.

UILLAC UMA. Not many days shall pass, O King, E’er all the Antis are subdued. I’ve seen it in the quipu roll, Haste! Haste! thou Rumi Tunqui. [63]

(Exeunt.)

SCENE 3

The great terrace entrance to Ollantay-tampu. On R. a long masonry wall with recesses at intervals. At back a great entrance doorway. On L. terraces descend, with view of valley and mountains.

(Guards discovered at entrance doorway. To them enter RUMI-ÑAUI in rags, his face cut and slashed with wounds, and covered with blood.)

RUMI-ÑAUI. Will no one here have pity on me?

ONE OF THE GUARDS. Who art thou, man? Who has ill-treated thee? Thou comest in a frightful state, Covered with blood and gaping wounds.

RUMI-ÑAUI. Go quickly to thy king and say That one he loves has come to him.

ONE OF THE GUARDS. Thy name?

RUMI-ÑAUI. There is no need to give a name.

ONE OF THE GUARDS. Wait here.

(Exit one of the guards.)

(Enter OLLANTAY with guards, R. front.)

RUMI-ÑAUI. A thousand times I thee salute, Ollantay, great and puissant king! Have pity on a fugitive Who seeks a refuge here with thee.

OLLANTAY. Who art thou, man? Approach nearer. Who has thus ill-treated thee? Were such deep and fearful wounds Caused by a fall, or what mishap?

RUMI-ÑAUI. Thou knowest me, O mighty chief. I am that stone that fell down once, But now I fall before thy feet; O Inca! mercy! Raise me up!

(Kneels.)

OLLANTAY. Art thou the noble Rumi-ñaui, Great Chief and Lord of Hanan-suyu?

RUMI-ÑAUI. Yes, I was that well-known Chief— A bleeding fugitive to-day. Ollantay. Rise, comrade mine. Let us embrace.

(Rises.)

Who has dared to treat thee thus, And who has brought thee here to me Within my fortress, on my hearth?

(To attendants.)

Bring new clothes for my oldest friend.

(Exit an attendant.)

How is it that thou art alone? Camest thou not fearing death?

RUMI-ÑAUI. A new king reigns in Cuzco now— Tupac Yupanqui is installed. Against the universal wish, He rose upon a wave of blood; Safety he sees in headless trunks, The sunchu[64] and the nucchu[65] red Are sent to all he would destroy. Doubtless you have not forgot That I was Hanan-suyu’s Chief. Yupanqui ordered me to come; Arrived, I came before the king, And as he has a cruel heart, He had me wounded as you see; And now thou knowest, king and friend, How this new Inca treated me.

OLLANTAY. Grieve not, old friend Rumi-ñaui, Thy wounds before all must be cured; I see in thee th’ avenging knife, To use against the tyrant’s heart. At Tampu now we celebrate The Sun’s great Raymi festival; On that day all who love my name, Throughout my realms hold festival.

RUMI-ÑAUI. Those three days of festival To me will be a time of joy, Perhaps I may be healed by then, So that my heart may pleasure seek.

OLLANTAY. It will be so. For three whole nights We drink and feast, to praise the Sun, The better to cast all care aside We shall be shut in Tampu fort.

RUMI-ÑAUI. The youths, as is their wont, will find Their great delight in those three nights, Then will they rest from all their toils, And carry off the willing girls.

SCENE 4

A corridor in the palace of Chosen Virgins.

(Enter YMA SUMAC and PITU SALLA.)

YMA SUMAC. Pitu Salla, beloved friend, How long wilt thou conceal from me The secret that I long to know? Think, dearest, of my anxious heart, How I shall be in constant grief Until you tell the truth to me. Within these hard and cruel bounds Does some one suffer for my sins? My sweet companion, do not hide From me, who ’tis that mourns and weeps Somewhere within the garden walls. How is it she is so concealed That I can never find the place?

PITU SALLA. My Sumac, now I’ll tell thee all— Only concerning what you hear, And still more surely what you see, You must be dumb as any stone; And you too must be well prepared For a most sad heart-rending sight— ’Twill make thee weep for many days.

YMA SUMAC. I will not tell a living soul What you divulge. But tell me all, I’ll shut it closely in my heart.

SCENE 5

A secluded part of the gardens of the Virgins, (L.) flowers, (R.) a thicket of mulli[66] and chilca,[67] concealing a stone door.

(PITU SALLA and YMA SUMAC.)

PITU SALLA. In this garden is a door of stone, But wait until the Mothers sleep, The night comes on. Wait here for me.

(Exit.)

(Yma Sumac reclines on a bank and sleeps. Night comes on, Yma Sumac awakes.)

YMA SUMAC. A thousand strange presentiments Crowd on me now, I scarce know what— Perhaps I shall see that mournful one Whose fate already breaks my heart.

(Pitu Salla returns with a cup of water, a small covered vase containing food, and a torch which she gives to Yma Sumac. She leads Yma Sumac through bushes to the stone door, fixes the torch, presses something, and the door swings round.)

(CUSI COYLLUR is discovered senseless, extended on the ground, a snake twining itself round her waist.)

PITU SALLA. Behold the princess for whom you seek. Well! is thy heart now satisfied?

YMA SUMAC. Oh, my friend, what do I behold? Is it a corpse that I must see? Oh, horror! A dungeon for the dead!

(She faints.)

PITU SALLA. What misfortune has now arrived? O my Sumac, my dearest love, O come to thyself without delay! Arouse thee. Arise, my lovely flower.

(Yma Sumac revives.)

Fear not, my dove, my lovely friend, ’Tis not a corpse. The princess lives, Unhappy, forlorn, she lingers here.

YMA SUMAC. Is she, then, still a living being?

PITU SALLA. Approach nearer, and you can help. She lives indeed. Look. Watch her now. Give me the water and the food.

(To Cusi Coyllur, while helping her to sit up.)

O fair princess, I bring thee food And cooling water to refresh. Try to sit up. I come with help.

YMA SUMAC. Who art thou, my sweetest dove? Why art thou shut in such a place?

PITU SALLA. Take a little food, we pray. Perchance without it, you may die.

CUSI COYLLUR. How happy am I now to see, After these long and dismal years, The new and lovely face of one Who comes with thee and gives me joy.

YMA SUMAC. O my princess, my sister dear, Sweet bird, with bosom of pure gold, What crime can they accuse thee of, That they can make thee suffer thus? What cruel fate has placed thee here With death on watch in serpent’s form?

CUSI COYLLUR. O charming child, the seed of love, Sweet flower for my broken heart, I have been thrust in this abyss. I once was joined to a man As pupil is part of the eye; But alas! has he forgotten me? The King know not that we were joined By such indissoluble bonds, And when he came to ask my hand, That King dismissed him in a rage, And cruelly confined me here. Many years have passed since then, Yet, as you see, I’m still alive; No single soul have I beheld For all those sad and dismal years, Nor have I found relief nor hope. But who art thou, my dear, my love, So young, so fresh, so pitiful?

YMA SUMAC. I too, like thee, am full of grief, For long I’ve wished to see and love, My poor forlorn and sad princess. No father, no mother are mine, And there are none to care for me.

CUSI COYLLUR. What age art thou?

YMA SUMAC. I ought to number many years, For I detest this dreadful house, And as it is a dreary place, The time in it seems very long.

PITU SALLA. She ought to number just ten years According to the account I’ve kept.

CUSI COYLLUR. And what is thy name?

YMA SUMAC. They call me Yma Sumac now, But to give it me is a mistake.

CUSI COYLLUR. O my daughter! O my lost love, Come to thy mother’s yearning heart.

(Embraces Yma Sumac.)

Thou art all my happiness, My daughter, come, O come to me; This joy quite inundates my soul, It is the name I gave to thee.

YMA SUMAC. O my mother, to find thee thus! We must be parted never more. Do not abandon me in grief. To whom can I turn to free thee, To whom can I appeal for right?

PITU SALLA. Make no noise, my dearest friend. To find us thus would ruin me. Let us go. I fear the Mothers.

YMA SUMAC. (to Cusi Coyllur). Suffer a short time longer here, Until I come to take thee hence, Patience for a few more days. Alas! my mother dear! I go, But full of love, to seek for help.

(Exeunt closing the stone door, all but Cusi Coyllur. They extinguish the torch.)

SCENE 6

Great hall in the palace of Tupac Yupanqui.

(The INCA discovered seated on the tiana. To him enter the UILLAC UMA, in full dress.)

TUPAC YUPANQUI. I greet thee, great and noble Priest! Hast thou no news of Rumi-ñaui.

UILLAC UMA. Last night, with guards, I wandered out On heights towards Uilcanuta. Far off I saw a crowd in chains, No doubt the Anti prisoners,v For they are all defeated quite. The cacti[68] on the mountains smoke, E’en now the fortress is in flames.

TUPAC YUPANQUI. And Ollantay, is he taken? Perhaps—I hope his life is saved.

UILLAC UMA. Ollantay was among the flames, ’Tis said that no one has escaped.

TUPAC YUPANQUI. The Sun, my Father, is my shield, I am my father’s chosen child. We must subdue the rebel host, For that I am appointed here.

(Enter a CHASQUI with a quipu in his hand.)

THE CHASQUI. This morning at the dawn of day, Rumi-ñaui despatched this quipu.

TUPAC YUPANQUI. (to the Uillac Uma). See what it says.

UILLAC UMA. This knot, coloured burnt ahuarancu, Tells us that Tampu too is burnt; This triple knot to which is hung Another which is quintuple, In all of quintuples are three, Denotes that Anti-suyu’s thine, Its ruler prisoner of war.

TUPAC YUPANQUI. (to the Chasqui). And thou. Where wert thou?

THE CHASQUI. Sole King and Lord! Child of the Sun! I am the first to bring the news, That thou mayst trample on the foe, And in thine anger drink their blood.

TUPAC YUPANQUI. Did I not reiterate commands To spare and not to shed their blood— Not anger but pity is my rule.

THE CHASQUI. O Lord, we have not shed their blood; They were all captured in the night, Unable to resist our force.

TUPAC YUPANQUI. Recount to me in full detail The circumstances of the war.

THE CHASQUI. For a signal thy warriors wait. The nights passed at Tinquiqueru,[69] Concealed in the cavern below, Yanahuara[70] men joining us late.

We waited within the large cave, Thy men always ready to fight, Behind foliage well out of sight, Thy warriors patient and brave.

But for three long days and dark nights, No food for the zealous and bold; Feeling hungry, thirsty, and cold, We waited and watched for the lights.[71]

Rumi-ñaui sent orders at length, When the Raymi[72] they carelessly keep, And all of them drunk or asleep, We were then to rush on with our strength.

Word came to surprise our foes, Rumi-ñaui had opened the gate, As cautious and silent as fate— We were masters with none to oppose.

Those rebels fell into the trap, The arrows came on them like rain, Most died in their sleep without pain, Not knowing their fatal mishap.

Ollantay, still trusting, was ta’en, The same Urco Huaranca befell; Hanco Huayllu is captive as well, We thy rebels in fetters detain.

The Antis by thousands are slain, A fearful example is made, They are beaten, crushed, and betrayed, Their women in sorrow and pain.

TUPAC YUPANQUI. As witness of what has occurred, On Vilcamayu’s storied banks, No doubt thou hast told me the truth. It was a well designed attack.

(Enter RUMI-ÑAUI followed by several chiefs.)

RUMI-ÑAUI. Great Inca, I kneel at thy feet, This time You will hear my report, I beseech thee to deign to restore The trust that I forfeited once.

(Kneels.)

TUPAC YUPANQUI. Rise, great Chief, receive my regard, I accept thy great service with joy; Thou didst cast o’er the waters thy net, And hast captured a marvellous fish.

RUMI-ÑAUI. Our enemies perished in crowds, Their chiefs were captured and bound, Overwhelmed by my terrible force, Like a rook detached from the heights.

TUPAC YUPANQUI. Was much blood shed in the assault?

RUMI-ÑAUI. No, Lord, not a drop has been shed, To thine orders I strictly adhered. Those Antis were strangled in sleep, But the fort is entirely razed.

TUPAC YUPANQUI. Where are the rebels?

RUMI-ÑAUI. They are waiting with agonised fear, For their fate, to perish by cords. The people are sending up cries, Demanding their deaths without fail. Their women are now in their midst, The children raise hideous cries; It is well that thine order should pass To finish their traitorous lives.

TUPAC YUPANQUI. It must be so without any doubt, That the orphans may not be alone, Let all perish, not sparing one, Thus Cuzco recovers her peace, Let the traitors be brought before me. In my presence the sentence they’ll hear.

(Exit Rumi-ñaui, and re-enter followed by guards in charge of OLLANTAY, URCO HUARANCA, and HANCO HAUYLLU, bound and blindfold, followed by guards with PIQUI CHAQUI bound.)

TUPAC YUPANQUI. Take the bands off the eyes of those men. And now, Ollantay, where art thou? And where art thou, O Mountain Chief? Soon thou wilt roll down from the heights.

(To the soldiers who bring in Piqui Chaqui.)

Whom have we here?

PIQUI CHAQUI. Many fleas in the Yuncas abound, And torment the people full sore, With boiling water they are killed, And I, poor flea,[73] must also die.

TUPAC YUPANQUI. Tell me, Hanco Huayllu, tell me, Why art thou Ollantay’s man? Did not my father honour thee? Did he not grant thy requests? Did he ever have a secret from thee? Speak also, you, the other rebels, Ollantay and the Mountain Chief.

OLLANTAY. O father, we have nought to say, Our crimes are overwhelming us.

TUPAC YUPANQUI. (to the Uillac Uma). Pronounce their sentence, great High Priest.

UILLAC UMA. The light that fills me from the Sun Brings mercy and pardon to my heart.

TUPAC YUPANQUI. Now thy sentence, Rumi-ñaui.

RUMI-ÑAUI. For crimes enormous such as these Death should ever be the doom It is the only way, O King! To warn all others from such guilt. To stout tocarpus[74] they should be Secured and bound with toughest rope, Then should the warriors freely shoot Their arrows until death is caused.

PIQUI CHAQUI. Must it be that evermore The Antis must all perish thus? Alas! then let the branches burn What pouring out of blood is here.[75]

RUMI-ÑAUI. Silence, rash man, nor dare to speak,

(General lamentation outside.)

Having been rolled just like a stone, My heart has now become a stone.[76]

TUPAC YUPANQUI. Know that tocarpus are prepared. Remove those traitors from my sight, Let them all perish, and at once.

RUMI-ÑAUI. Take these three men without delay To the dreaded execution stakes; Secure them with unyielding ropes, And hurl them from the lofty rocks.

TUPAC YUPANQUI. Stop! Cast off their bonds.

(The guards unbind them. They all kneel.)

(To Ollantay, kneeling). Rise from thy knees; come to my side.

(Rises.)

Now thou hast seen death very near, You that have shown ingratitude, Learn how mercy flows from my heart; I will raise thee higher than before. Thou wert Chief of Anti-suyu, Now see how far my love will go; I make thee Chief in permanence. Receive this plume as general, This arrow[77] emblem of command.[78]

TUPAC YUPANQUI. (to the Uillac Uma). Thou mighty Pontiff of the Sun, Robe him in the regal dress. Raise up the others from their knees, And free them from the doom of death.

(Urco Huaranca, Hanco Huayllu, and Piqui Chaqui rise, the latter looking much relieved. The Uillac Uma places the robe on Ollantay’s shoulders.)

UILLAC UMA. Ollantay, learn to recognise Tupac Yupanqui’s generous mind; From this day forth be thou his friend, And bless his magnanimity. This ring contains my potent charm, For this I place it on thy hand.

(Gives him a ring, or bracelet.)

This mace receive, ’tis from the king,

(Gives him a mace (champi).)

It is his gracious gift to thee.

OLLANTAY. With tears I shall nearly consume That mace thus presented to me; I am tenfold the great Inca’s slave, In this world no equal is found, My heart’s fibres his latchets shall be; From this moment my body and soul To his service alone shall belong.

TUPAC YUPANQUI. Now, Mountain Chief! come near to me, Ollantay is given the arrow and plume, Though to me he gave fury and war. Notwithstanding all that has passed He continues the Andean chief, And will lead his rebels to peace; Thee also I choose for the plume; From this day thou art a great chief, And never forget in thy thoughts, I saved thee from death and disgrace.

URCO HUARANCA. Great King and most merciful Lord, But now, expecting my death, I am ever thy most faithful slave.

(Uillac Uma gives him the plume and arrow.)

UILLAC UMA. O Urco, the Inca has made A great and a powerful chief, And grants thee with marvellous grace The arrow and also the plume.

RUMI-ÑAUI. Illustrious King, I venture to ask, Will Anti-suyu have two chiefs.

TUPAC YUPANQUI. There will not be two, O Rumi-ñaui The Mountain Chief will rule the Antis; In Cuzco Ollantay will reign— As Viceroy deputed by me His duties will call him to act As ruler throughout the whole realm.

OLLANTAY. O King! thou dost raise me too high, A man without service or claim; I am thy obedient slave— Mayst thou live for a thousand years.

TUPAC YUPANQUI. The mascapaycha now bring forth, And to it the llautu attach. Uillac Uma, adorn him with these, And proclaim his state to the world. Yes, Ollantay shall stand in my place, Raised up like the star of the morn, For Colla this month I shall start; All preparations are made. In Cuzco Ollantay will stay, My Ranti[79] and Viceroy and friend.

OLLANTAY. I would fain, O magnanimous King, Follow thee in the Chayanta war; Thou knowest my love for such work. Peaceful Cuzco is not to my taste, I prefer to be thy Canari,[80] To march in the van of thy force, And not to be left in the rear.

TUPAC YUPANQUI. Thou shouldst find the wife of thy choice, And with her reign happily here In Cuzco; repose without care; Rest here while I’m absent in war.

OLLANTAY. Great King, thy sorrowful slave Already had chosen a wife.

TUPAC YUPANQUI. How is it I know not of this? It should be reported to me. I will load her with suitable gifts; Why was this concealed from my eyes?

OLLANTAY. In Cuzco itself disappeared That sweet and adorable dove; One day she did rest in my arms, And the next no more to be seen. In grief I made search far and near, Earth seemed to have swallowed her up, To have buried her far from my sight; O such, mighty King, is my grief.

TUPAC YUPANQUI. Ollantay! afflict not thyself, For now thou must take up thy place Without turning thy eyes from thy work.

(To Uillac Uma.)

High priest, obey my command.

(The Uillac Uma goes to the wings (R.) and addresses the people outside.)

UILLAC UMA. O people, hear what I say: The Inca, our King and our Lord, Thus declares his imperial will: Ollantay shall reign in his place.

PEOPLE outside. Ollantay Ranti! Ollantay Ranti!

(Shouts and acclamations.)

TUPAC YUPANQUI. (to Rumi-ñaui and other chiefs.) You also render him homage.

RUMI-ÑAUI. Prince Ollantay! Incap Ranti! Thy promotion gives me joy. All the Antis now released, Return rejoicing to their homes.

(He and all the Chiefs bow to Ollantay.)

GUARDS WITHOUT. You cannot pass. Go back! go back! Voice without. Why, is this a festive day? Let me pass. I must see the king; I pray you do not stop me, Do not drive me from the door; If you stop me I shall die. Have a care. You will kill me.

TUPAC YUPANQUI. What noise is that without?

GUARD. It is a young girl who comes weeping And insists upon seeing the king.

TUPAC YUPANQUI. Let her come in.

(Enter Yma Sumac.)

YMA SUMAC. Which is the Inca, my lord, That I may kneel down at his feet?

UILLAC UMA. Who art thou, charming maid? Behold the King.

(Yma Sumac throws herself at the King’s feet.)

YMA SUMAC. O my King! be thou my father, Snatch from evil thy poor servant. Extend thy royal hand to me. O merciful child of the Sun, My mother is dying at this hour In a foul and loathsome cave; She is killed in cruel martyrdom— Alas! she is bathed in her own blood.

TUPAC YUPANQUI. What inhumanity, poor child! Ollantay, take this case in hand.

OLLANTAY. Young maiden, take me quickly there; We will see who it is that suffers.

YMA SUMAC. No, sir. Not so. It is the King himself Should go with me. Perhaps he may recognise her;

(To Ollantay.)

For you, I know not who you are. O King, arise, do not delay, I fear my mother breathes her last, At least may be in mortal pain; O Inca! Father! grant my prayer.

UILLAC UMA. Illustrious King, thou wilt consent; Let us all seek this luckless one— Thou canst release from cruel bonds. Lot us go, O King!

TUPAC YUPANQUI. (rising). Come all! Come all! In midst of reconciliations This young maid assaults my heart.

(Exeunt.)

SCENE 7

The garden in the palace of Virgins of the Sun (same scene as Act III, Scene 5). Stone door more visible.

(Enter the INCA TUPAC YUPANQUI with YMA SUMAC, OLLANTAY, UILLAC UMA and RUMI nAUI; URCO HUARANCA, HANCO HUAYLLU and PIQUI CHAQUI in the background.)

TUPAC YUPANQUI. But this is the Aclla Huasi;[81] My child, art thou not mistaken? Where is thy imprisoned mother?

YMA SUMAC. In a dungeon within these bounds My mother has suffered for years, Perhaps even now she is dead.

(She points to the stone door.)

TUPAC YUPANQUI. What door is this?

(Enter MAMA CCACCA and PITU SALLA. Mama Ccacca kneels and kisses the Inca’s hand.)

MAMA CCACCA. Is it a dream or reality, That I behold my sovereign? Tupac Yupanqui. Open that door.

(Mama Ccacca opens the door.)

(CUSI COYLLUR discovered chained and fainting, with a puma and a snake, one on each side of her.)

YMA SUMAC. O my mother, I feared to find That you had already passed away; Pitu Salla! Haste. Bring water. Perhaps my dove may still revive.

(Exit Pitu Salla.)

TUPAC YUPANQUI. What horrid cavern do I see? Who is this woman? what means it? What cruel wretch thus tortures her? What means that chain bound around her? Mama Ccacca, come near to me What hast thou to say to this?v Is it the effect of malice That this poor creature lingers here?

MAMA CCACCA. It was thy father’s dread command; A punishment for lawless love.

TUPAC YUPANQUI. Begone! begone! harder than rock.[82] Turn out that puma and the snake,[83] Break down that door of carved stone. (To Mama Ccacca.) Let me not see thy face again. A woman living as a bat; This child has brought it all to light.

(Enter Pitu Salla with water. She sprinkles it over Cusi Coyllur, who revives.)

CUSI COYLLUR. Where am I? who are these people? Yma Sumac, my beloved child, Come to me, my most precious dove. Who are all these men before me?

(She begins to faint again and is restored by water.)

YMA SUMAC. Fear not, my mother, ’tis the King; The King himself comes to see you. The great Yupanqui is now here. Speak to him. Awake from thy trance.

TUPAC YUPANQUI. My heart is torn and sorrowful At sight of so much misery. Who art thou, my poor sufferer? Child, tell me now thy mother’s name?

YMA SUMAC. Father! Inca! Clement Prince! Have those cruel bonds removed.

UILLAC UMA. It is for me to remove them, And to relieve this sore distress.

(Cuts the rope fastening Cusi Coyllur to the wall.)

OLLANTAY. (to Yma Sumac). What is thy mother’s name?

YMA SUMAC. Her name was once Cusi Coyllur, But it seems a mistake. Her joy Was gone when she was prisoned here.

OLLANTAY. O renowned King, great Yupanqui, In her you see my long lost wife.

(Prostrates himself before the Inca.)

TUPAC YUPANQUI. It all appears a dream to me. The ‘Star’! my sister![84] and thy wife. O sister! what newly found joy. O Cusi Coyllur, my sister, Come here to me, and embrace me, Now thou art delivered from woe.

(Music.)

Thou hast found thy loving brother; Joy calms the anguish of my heart.

(Embraces Cusi Coyllur.)

CUSI COYLLUR. Alas! my brother, now you know The cruel tortures I endured During those years of agony; Thy compassion now has saved me.

TUPAC YUPANQUI. Who art thou, dove, that hast suffered? For what sin were you prisoned here? Thou mightest have lost thy reason. Thy face is worn, thy beauty gone, Thy looks as one risen from death.

OLLANTAY. Cusi Coyllur, I had lost thee, Thou wast quite hidden from my sight, But thou art brought again to life— Thy father should have killed us both. My whole heart is torn with sorrow. Star of joy, where is now thy joy? Where now thy beauty as a star? Art thou under thy father’s curse?

CUSI COYLLUR. Ollantay, for ten dreary years That dungeon has kept us apart; But now, united for new life, Some happiness may yet be ours. Yupanqui makes joy succeed grief, He may well count[85] for many years.

UILLAC UMA. Bring new robes to dress the princess.

(They put on her royal robes. The High Priest kisses her hand.)

TUPAC YUPANQUI. Ollantay, behold thy royal wife, Honour and cherish her henceforth. And thou, Yma Sumac, come to me, I enlace you in the thread of love; Thou art the pure essence of Coyllur.

(Embraces her.)

OLLANTAY. Thou art our protector, great King, Thy noble hands disperse our grief; Thou art our faith and only hope— Thou workest by virtue’s force.

TUPAC YUPANQUI. Thy wife is now in thy arms; All sorrow now should disappear, Joy, new born, shall take its place.

(Acclamations from the Chiefs, and Piqui Chaqui. Music: huancars (drums), pincullus (flutes), and pututus (clarions).)

FOOTNOTES:

1 (return) [ INCA-PACHACUTI | TUPAC YUPANQUI | INCA HUAYNA CCAPAC | MANCO INCA | TUPAC AMARU | JUANA ÑUSTA = DIEGO CONDORCANQUI | FELIPE CONDORCANQUI | PEDRO CONDORCANQUI | MIGUEL CONDORCANQUI | JOSÉ GABRIEL CONDORCANQUI (TUPAC AMARU)]

2 (return) [ ‘Sentencia pronunciada en el Cuzco por el Visitador Don José Antonio de Areche, contra José Gabriel Tupac Amaru.’ In Coleccion de obras y documentos de Don Pedro de Angelis, vol. V. (Buenos Ayres, 1836- 7).]

3 (return) [ INCA PACHACUTI. | TUPAC YUPANQUI | HUAYNA CCAPAC | MANCO INCA | MARIA TUPAC USCA = PEDRO ORTIZ DE ORUE | CATALINA ORTIZ =LUIS JUSTINIANI | LUIS JUSTINIANI | LUIS JUSTINIANI | NICOLO JUSTINIANI | JUSTO PASTOR JUSTINIANI | Dr. PABLO POLICARPO JUSTINIANI(Cura of Laris)]

4 (return) [ The wives of the Incas were called _ccoya_. The ccoya of the second Inca was a daughter of the chief of _Sanoc_. The third Inca married a daughter of the chief of Oma, the fourth married a girl of _Tacucaray_, the wife of the fifth was a daughter of a _Cuzco_ chief. The sixth Inca married a daughter of the chief of _Huayllacan_, the seventh married a daughter of the chief of Ayamarca, and the eighth went to _Anta_ for a wife. This Anta lady was the mother of Pachacuti. The wife of Pachacuti, named _Anahuarqui_, was a daughter of the chief of _Choco_. There was no rule about marrying sisters when Pachacuti succeeded. He introduced it by making his son Tupac Yupanqui marry his daughter Mama Ocllo, but this was quite unprecedented. The transgression of a rule which he had just made may account for his extreme severity.]

5 (return) [ A bust, on an earthen vase, was presented to Don Antonio Maria Alvarez, the political chief of Cuzco, in 1837, by an Indian who declared that it had been handed down in his family from time immemorial, as a likeness of the general, Rumi-ñaui, who plays an important part in this drama of Ollantay. The person represented must have been a general, from the ornament on the forehead, called mascapaycha, and there are wounds cut on the face.—Museo Erudito, No. B.]

6 (return) [ _Chita_ is the lamb of the llama. A lamb of two or three months was a favourite pet in the time of the Incas. It followed its mistress, adorned with a little bell and ribbons.]

7 (return) [ Supay, an evil spirit, according to some authorities.]

8 (return) [ Ichuna, a sickle or scythe. The expression has been cited by General Mitre and others as an argument that the drama is modern, because this is a metaphor confined to the old world. But ichuna was in use, in Quichua, in this sense, before the Spaniards came. The word is from Ichu, grass.]

9 (return) [ The Peruvians personified a mountain as two spirits, good and evil. In writing poetically of a mountain opposing, it would be referred to in the persons of its genii or spirits, and spoken of as two foes, not one.]

10 (return) [ Rurun, desert, solitude.]

11 (return) [ Tasquiy, to march; tasquina, promenade, path.]

12 (return) [ Cusi Coyllur, while daylight lasted, was, in the eyes of Piqui Chaqui, like the sun. A change takes place at twilight, and at night she is like the moon.]

13 (return) [ Fasting was a preparation for all great religious ceremonies. Victims for sacrifice underwent a previous fast, which was looked upon in the fight of purification before being offered to the Deity.]

14 (return) [ They gave the attributes we usually assign to the fox to the puma.]

15 (return) [ Intip llirpun, ‘apple of the sun’s eye.’ There is no English equivalent that is suitable.]

16 (return) [ Huayruru is the seed of a thorny bush, erythrina rubra, of a bright red colour. Zegarra has coral as the equivalent for huayruru.]

17 (return) [ The tuya (coccoborus chrysogaster) is a small finch, and tuyallay means ‘my little tuya.’]

18 (return) [ The piscaca is a much larger bird than the tuya. These piscacas (coccoborus torridus) are nailed to trees as a warning to other birds. They are black, with white breasts.]

19 (return) [ In the tuya she sees her husband Ollantay, while the poor princess herself is the forbidden grain.]

20 (return) [ This is a yarahui or mournful elegy, of which there are so many in the Quichua language. The singers of them were known as yarahuec.]

21 (return) [ Colla-suyu, the basin of lake Titicaca.]

22 (return) [ Chayanta, a tribe in the montana south of the Collas.]

23 (return) [ Champi, a one-handed battle-axe.]

24 (return) [ Huancar, a drum; pututu, fife.]

25 (return) [ Yunca, inhabitant of warm valley. Here it refers to the wild tribes of the montana.]

26 (return) [ In the original Quichua, Ollantay makes his appeal to the Inca in quatrains of octosyllabic verses, the first line rhyming with the last, and the second with the third. Garcilasso de la Vega and others testify to the proficiency of the Incas in this form of composition.]

27 (return) [ Ollantay was Viceroy of Anti-suyu.]

28 (return) [ Chahuar, a rope of aloe fibre. A curb or restraint.]

29 (return) [ Raprancutan cuchurcani: literally, ‘I have clipped their wings.’ Rapra, a wing.]

30 (return) [ The powerful nation of Chancas, with their chief, Huancavilca, inhabited the great valley of Andahuaylas and were formidable rivals of the Incas. But they were subdued by Pachacuti long before Ollantay can have been born. An allowable dramatic anachronism.]

31 (return) [ Huancavilca was chief of the powerful nation of Chancas.]

32 (return) [ Ñusta, Princess.]

33 (return) [ Pisipachiyqui, to suffer from the void caused by absence. Pisipay, to regret the absence of, to miss any one.]

34 (return) [ The Dominican text has misi, a cat, instead of allco, a dog. Von Tschudi thought that misi was a word of Spanish origin. Zegarra says that it is not. Before the Spaniards came, there was a small wild cat in the Andes called misi-puna. But the Justiniani text has allco, a dog.]

35 (return) [ Achancara, a begonia. A red flower in the neighbourhood of Cuzco, according to Zegarra. One variety is red and white.]

36 (return) [ The llanta is the main rope of the quipu, about a yard long. The small cords of llama wool, of various colours, denoting different subjects, each with various kinds of knots, recording numbers.]

37 (return) [ This, as we have seen, was not the reason why Ollantay fled from Cuzco; but, from a leader’s point of view, it was an excellent reason to give to the people of Anti-suyu. The great wars of the Incas were, to some extent, a heavy drain upon the people, but the recruiting was managed with such skill, and was so equally divided among a number of provinces, that it was not much felt.]

38 (return) [ The snowy mountain far to the south, in sight from Cuzco. Uilca, sacred; unuta, water. Here is the source of the river Uilcamayu, which flows by Ollantay-tampu.]

39 (return) [ The aged Hanco Huayllu as Auqui, or Prince of the Blood, and relation of the High Priest, gave eclat to these ceremonies.]

40 (return) [ Quiscahuan. anything full of thorns.]

41 (return) [ Puna, the loftier parts of the Andes.]

42 (return) [ Compi, cloth or a cloak. This was an expression of the ancient Peruvians, perhaps equivalent to our ‘hoodwinking.’]

43 (return) [ Apu Maruti was the head of the ayllu of the Inca Yahuar Huaccac, grandfather of Pachacuti. It was called the ayllu Aucaylli Panaca.—Mesa, Anales del Cuzco, quoted by Zegarra.]

44 (return) [ Uilcapampa, mass of mountains between the Uilcamayu and Apurimac.]

45 (return) [ Tinqui Queru, between Urupampa and Tampu. The word means ‘two vases coupled.’ Here are two rounded hills connected by a saddle, three and a half miles from Tampu.]

46 (return) [ Chara, was another descendant of Yahuar Huaccac.]

47 (return) [ A ravine on the right bank of the Vilcamayu.]

48 (return) [ Pachar is on the left bank of the Vilcamayu opposite Ollantay-tampu, with which it is connected by a rope bridge.]

49 (return) [ Huancas, natives of the valley of Jauja—Inca recruits.]

50 (return) [ Like Ollantay in his appeal to the Inca, Rumi-ñaui, in the original Quichua, has recourse to octosyllabic quatrains, the first and last lines rhyming, and the second and third.]

51 (return) [ Rumi, a stone.]

52 (return) [ Clearly, from Rumi-ñaui’s own account, the strategy of Urco Huaranca had been a complete and brilliant success.]

53 (return) [ Aclla Cuna, the selected ones, the Virgins of the Sun. They were under the supervision of so called Mothers—Mama Cuna. The novices were not obliged to take the oaths at the end of their novitiate.]

54 (return) [ Rumi-ñaui is the interlocutor in the Justiniani text, in the Dominican text, and in the text of Spilsbury. Yet Zegarra would substitute the Uillac Uma or High Priest for Rumi-ñaui. His argument is that the interlocutor was of the blood-royal, and that the High Priest was always of the blood-royal, while Rumi-ñaui was not. But the text does not say that the interlocutor was of the royal blood. Zegarra also says that the interlocutor wore a black cloak with a long train, and that this was the dress of the High Priest. But it was not the dress of the High Priest as described by the best authorities. It was probably the general mourning dress. The threats addressed to Piqui Chaqui were likely enough to come from a soldier, but not from the High Priest as he is portrayed in this drama.]

55 (return) [ Paccay (mimosa incana), a tree with large pods, having a snow-white woolly substance round the seeds, with sweet juice.]

56 (return) [ The Zegarra and Spilsbury texts have Ccan Incacri, which Zegarra translates, ‘relation of the Inca, of the royal family.’ Spilsbury is more correct. He has ‘partisan of the Inca.’ The more authentic Justiniani text has Ccan Pana. The particle ri is one of emphasis or repetition. It does not mean a relation.]

57 (return) [ The Zegarra and Spilsbury texts have hualpa, a game bird. The Justiniani text has anca, an eagle, which is the correct reading.]

58 (return) [ The Inca Pachacuti does not appear to advantage in the drama. But he was the greatest man of his dynasty, indeed the greatest that the red race has produced. He was a hero in his youth, a most able administrator in mature age. As a very old man some needless cruelties are reported of him which annoyed his son.]

59 (return) [ The eldest son was Amaru Tupac. He was passed over by his father with his own consent, and was ever faithful to his younger brother. He was an able general.]

60 (return) [ This was exactly what Piqui Chaqui was sent to Cuzco to find out. The expression Apumusac pununayta, ‘I go to fetch my bed,’ is one of joy at any fortunate event, in Quichua.]

61 (return) [ Intic Huamin Caccunan (Intic Huarminca Caycuna, correct), ‘Ye women of the Sun.’ Zegarra thought, on the authority of Garcilasso de la Vega, that these could not be select Virgins of the Sun, because the virgins were never allowed outside their convent, and not even women might enter. He is clearly wrong. Much higher authorities than Garcilasso, as regards this point, especially Valera, tell us that the virgins were treated with the greatest honour and respect. They took part in great receptions and festivals, and when they passed along the streets they had a guard of honour.]

62 (return) [ Rumi. He keeps playing upon his name.]

63 (return) [ Again playing upon the name of Rumi-ñaui. The High Priest calls for haste, so he substitutes Tunqui for naui (eye), the tunqui (Rupicola Peruviana) being one of the most beautiful birds in the forests.]

64 (return) [ Sunchu, a very large composita with a yellow flower, growing round Cuzco. It was one of those which were used on sacred festivals.]

65 (return) [ Nucchu is a salvia, also considered sacred. A red flower. Perhaps these flowers were sent as a summons from the Inca, but I have not seen the custom mentioned elsewhere.]

66 (return) [ Schineus Molle, a tree with pinnate leaves, and panicles of red berries, well known in the Mediterranean countries, into which it was introduced from Peru. Called by the English ‘pepper tree.’]

67 (return) [ Several bushes are called chilca in Peru. Eupatorium chilca (R. P.), baccharis scandens, and molina latifolia. Stereoxylon pendulum is called puna chilca.]

68 (return) [ A kind of cactus, of which they make needles, grows abundantly on the mountains round Ollantay-tampu. It is called ahuarancu. They set fire to the cacti as a war signal. Zegarra calls it a thistle. The word in the Justiniani text is ahuarancu.]

69 (return) [ Tinqui Queru, between Urupampa and Tampu. The word means ‘two vases coupled.’ Here are two rounded hills connected by a saddle, three and a half miles from Tampu. (Taken from FN#45.)]

70 (return) [ Yanahuara, a ravine near Urubamba, where some of the troops of Rumi-ñaui had been posted.]

71 (return) [ Signal lights.]

72 (return) [ Ccapac Raymi, the great festival of the Sun. December 22.]

73 (return) [ Piqui Chaqui is literally ‘flea foot.’ He is punning on his name.]

74 (return) [ Tocarpu, a pole or stake used at executions. Condemned prisoners were fastened to a tocarpu before being hurled over a precipice.]

75 (return) [ Piqui Chaqui had an inkling that the Inca had expressed dislike at the shedding of blood. He ventured to say these words in the faint hope that they might remind the Inca of this dislike.]

76 (return) [ Rumi-ñaui at it again: for ever ringing changes on his name rumi, a stone.]

77 (return) [ The plume and the arrow were the insignia of a general.]

78 (return) [ Rather a staggerer for Rumi-ñaui! Perhaps, too, the change is too sudden, and infringes the probabilities. Tupac Yupanqui may have thought that his father had been unjust and that there were excuses. It is known that the young Inca was indignant at some other cruelties of his father. As a magnanimous warrior he may have despised the treacherous methods of Rumi-ñaui. He may have valued Ollantay’s known valour and ability, and have been loth to lose his services. All these considerations may have influenced him more or less. The rebels were the best men he had.]

79 (return) [ Ranti, a deputy.]

80 (return) [ Canari, a warlike tribe of Indians, in the south part of the kingdom of Quito. They were first conquered by Tupac Yupanqui, and they became devoted to him.]

81 (return) [ Aclla, chosen; Huasi, house: palace of the Virgins of the sun.]

82 (return) [ Ccacca means a rock.]

83 (return) [ My former translation, and those of Barranca and Tschudi, treated puma and amaru (snake) as epithets applied to Mama Ccacca. Zegarra considers that the puma and snake were intended to be actually in the dungeon, and I believe he is right. The puma would not have hurt his fellow-prisoner. Unpleasant animals were occasionally put into the prisons of criminals. The Incas kept pumas as pets.]

84 (return) [ The early Incas never married their sisters or relations. Pachacuti’s mother was daughter of the chief of Anta. His wife, Anahuarqui, was no relation. But the wife of Tupac Yupanqui was his sister Mama Ocllo.]

85 (return) [ A play upon the word yupanqui, which means literally, ‘you will count.’ The word was a title of the Incas, meaning, ‘you will count as virtuous, brave,’ &c.]