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.]