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Ollanta 


5 


i 


AN  ANCIENT 
YNCA  DRAMA 


:i^ 


0  L  L  A  N  T  A. 


\3'^^VPKINTED  BY   KALI.ANTYNE  AND  CQi*IHir 
V.A^*  HDINBIKGH   AND  I-'jAMa'^''^ 


O  L  L  A  N  T  A.  '^^. 


A]s  ANCIENT  YNCA  DRAMA. 


TRANSLATED  FROM  THE  ORIGINAL  QUICHUA. 


S'^  CLEMENTS    R.    MARKHAM,    C.B. 

Corresponding  Member  o/ the  Utiiversity  of  Chile. 


LONDON: 

TRUBNER    k    CO.,    60    PATERNOSTER    ROW 

1871. 

\^AU  rights  reserved.'] 


INTRODUCTION, 


The  literature  of  the  Yncas  of  Peru  consisted  of  love -songs, 
elegies,  allegoric  hymns,  and  dramatic  compositions.  Un- 
fortunately, most  of  these  evidences  of  ancient  civilisation 
have  disappeared,  or  are  still  in  manuscript.  The  earliest 
writers  knew  little  or  nothing  of  them.  They  were  preserved 
as  traditions  in  the  families  of  the  conquered  and  fallen 
Yncas,  and  were  not  communicated  to  the  Spaniards ;  who, 
indeed,  took  little  pains  to  seek  for  them. 

Garcilasso  Ynca  de  la  Vega*  was  the  only  author,  coif^ 
temporary  with  the  first  conquerors,  who  had  a  correct 
knowledge  of  the  language  of  the  Yncas ;  and  the  only  one, 
therefore,  whose  testimony  has  any  real  value.  He  tells  us 
little,  but  that  little  is  important.  We  learn  from  his  pages 
that  the  A  mautas  or  philosophers  of  the  Ynca  court  composed 
dramas  relating  to  the  deeds  of  former  sovereigns  and  heroes, 
which  were  performed  by  persons  of  rank,  f  They  also  com- 
posed poems  and  love-songs  with  alternate  long  and  short 
verses,  having  the  right  number  of  syllables  in  each ;  and 

*  All  the  references  to  Garcilasso,  in  this  introduction,  are  to  my 
Enghsh  translation,  printed  for  the  Hakluyt  Society, 
t  See  my  translation,  vol.  i.  p.  19i. 

A 


INrRODUCTION. 


Garcilasso  describes  tliem  as  resembling  the  Spanish  com- 
positions called  redondillas*  They  had  many  other  metres 
for  these  songs,  and  for  the  elegies  recited  by  their  Tlarahuicus 
or  Trouveres.  The  Ynca  poets  also  treated  of  the  secondary 
causes,  by  means  of  which  God  acts  in  the  region  of  the  air 
to  cause  lightning,  rain,  and  snow.  Bias  Valera  preserved 
some  verses  of  this  kind,  which  he  calls  spondaics,  and  which 
are  certainly  of  undoubted  antiquity. f 

These  verses,  and  four  lines  of  a  love-song  in  Garcilasso,:}: 
are  the  only  fragments  of  ancient  Ynca  literature  that  were 
preserved  in  the  writings  of  early  Spanish  authors.  Garci- 
lasso also  mentions  a  class  of  songs  called  haylli,  in  which 
the  deeds  of  valiant  warriors,  and  the  hopes  and  fears  of 
lovers,  were  celebrated.  The  word  haylli,  or  "  triumph,"  was 
used  as  a  refrain  or  chorus;  and  the  songs  were  chanted 
by  the  people  when  engaged  in  ploughing,  and  other  field 
labours.  § 

The  means  of  preserving  ancient  songs  and  dramas  were 
rude,  but  not  altogether  ineffectual.  They  consisted  of  oral 
transmission,  the  same  means  by  which,  as  Max  Miiller 
believes,  the  whole  Vedic  literature  was  preserved  for  cen- 
turies ;  and  the  system  of  quipus  or  knots.  In  his  own 
account  of  the  quipus,  Garcilasso  nowhere  says  that  songs 
and  traditions  were  preserved  by  their  means  alone.  He 
merely  states  that  the  Amautas  put  the  narratives  of  the 

*  Eight  syllable  lines  broken  into  stanzas  of  four  lines,  and  thence 
called  rcdondilhis  or  roundelays.     See  Tichior,  i.  p.  102. 

+  G.  dc  la  Veya,  i.  p.  197.  See  also  my  Quichua  Grammar  and 
Dictionary  (Triibuer,  1804),  p.  10. 

^  Hid.  §  II'UI.  ii.  p.  S. 


INTRODUCTION. 


historical  events  into  the  form  of  brief  and  easily  remem- 
bered sentences,  while  the  Harahuicus'^  condensed  them 
into  pithy  verses,  both  forms  being  prepared  with  a  view  to 
their  being  learnt  by  heart,  and  handed  down  by  the  people. 
But  the  Quipu-camayocs,  or  "keepers  of  knots,"  appear  to 
have  combined  the  duties  of  preserving  and  deciphering  the 
knot  records,  with  those  of  remembering  and  transmitting 
the  historical  narratives  and  songs ;  and  Garcilasso  implies 
that  their  memories,  in  some  way  which  he  does  not  explain, 
were  assisted  by  the  knots.  "Each  thread  and  knot,"  he 
says,  "brought  to  the  mind  that  which  it  was  arranged  it 
should  suggest ;  just  as  the  commandments  and  articles  of 
our  holy  Catholic  faith  are  remembered  by  the  numbers  under 
which  they  are  placed."  In  giving  the  verses  preserved  by 
Bias  Yalera,  however,  the  Ynca  quotes  from  that  writer,  who 
says  that  he  found  the  verses  in  knots  of  different  colours, 
whicli  recorded  certain  ancient  annals,  f 

Such  is  all  that  is  to  be  gathered  from  the  writers  who 
flourished  in  the  century  which  witnessed  the  conquest  of  the 
Ynca  empire  by  the  Spaniards.  We  come  next  to  the  inquiry 
whether  songs  and  dramatic  compositions  of  prae-Spanish 
times  were  likely  to  be  preserved,  orally  or  in  writing,  by 
the  Ynca  chiefs  and  people.  It  was  the  policy  of  the 
Spaniards  to  treat  the  native  chiefs  with  some  consideration ; 
they  were  allowed  to  retain  the  ancient  insignia  of  their  rank, 
and  to  appear  in  them  in  public  religious  processions,  %  and 

*  G.  de  la  Vega,  ii.  p.  125.  f  Ihid.  i.  p.  196. 

J  They  are  so  represented  in  the  pictures  in  the  church  of  Santa 
Ana,  at  Cuzco. 


INTRODUCTION. 


they  were  placed  in  authority  over  their  vassals  as  agents  of 
the  Spanish  Corregidores.*  They  wore  their  peculiar  dresses 
down  to  the  time  of  the  rebellion  of  Tupac  Amaru  f  in  1780, 
after  which  their  use  was  prohibited.  It  is  thus  clear  that 
the  Ynca  chiefs  were  permitted  by  the  Spaniards  to  retain 
a  portion  of  their  authority,  that  they  were  encouraged  to 
continue  the  use  of  their  costumes  in  order  to  increase  the 
magnificence  of  religious  processions,  and  that  some  at  least 
of  the  old  Ynca  customs  were  preserved  by  special  enact- 
ments. Under  these  favourable  circumstances,  the  chiefs 
would  almost  certainly  preserve  the  memory  of  the  former 
grandeur  of  their  country,  and  encourage  the  people  to 
recite  the  ancient  songs  and  dramas,  some  of   which  would 


*  **  Onlenanzas  del  Peru,  por  Don  Francisco  de  Toledo,  recogklas  j)or 
el  Lie.  Don  Tomas  de  Ballesteros"  (Lima,  1685). 

Titulo  VI.  "  De  los  Caciques  Principales."  By  Ordenanza  xix.  the 
Caciques  and  principal  people  were  ordered  to  dine  in  the  plazas  of  the 
villages  where  their  vassals  were  accustomed  to  assemble,  because  it 
was  considered  right  that,  in  this,  the  ancient  customs  of  the  Yncas 
should  be  preserved,  and  that  the  chiefs  should  eat  publicly  with  the 
poor  Indians.  By  other  Ordenanzas,  in  the  same  Titulo,  the  native 
chiefs  were  charged  with  the  superintendence  of  the  morals  of  the 
people,  of  the  repair  of  andenes  (terraces)  and  tavibos  (rest-houses  on 
the  roads),  and  with  other  similar  duties. 

f  In  the  sentence  of  death  on  Tupac  Amaru,  pronounced  by  the 
Visitador  Areche  at  Cuzco,  on  May  15th,  1781,  all  dresses  used  by  the 
Yncas  and  chiefs  were  thenceforth  prohibited,  including  the  uncu  or 
mantle,  and  the  mascapaicka  or  head-dress.  All  documents  relating 
to  the  descent  of  the  Yncas  were  ordered  to  be  burnt,  the  representa- 
tion of  Quichua  dramas  was  prohibited,  all  pictures  of  the  Yncas  were 
to  be  destroyed  as  well  as  musical  instruments,  and  the  Indians  were 
ordered  to  give  up  their  national  dress,  and  to  clothe  themselves  in  the 
Spanish  fashion.—  MS.  penes  C.  li.  M.     Also  printed  in  Angelis. 


INTRODUCTION-. 


eventually  be  committed  to  writing.  The  dramatic  aptitude 
of  the  people  was  discovered  by  the  Spanish  priests  almost 
immediately  after  the  conquest,  and  they  endeavoured,  with 
notable  success,  to  turn  this  talent  to  account,  as  a  means 
of  conveying  religious  instruction.  Garcilasso  tells  us  that 
the  Jesuits  composed  dramas  for  the  Indians  to  act,  because 
they  knew  that  this  was  the  custom  in  the  time  of  the  Yncas, 
and  because  they  saw  that  the  Indians  were  so  ready  to 
receive  instruction  through  that  means.  He  adds  that  one 
of  the  Jesuits  in  a  village  near  the  shores  of  lake  Titicaca, 
called  Juli,  composed  a  play  in  the  dialect  spoken  in  that 
part  of  the  country,"""  on  the  enmity  between  the  serpent 
and  the  seed  of  the  woman,  which  was  acted  by  Indian 
lads.  Other  plays  on  religious  subjects  were  acted  in  the 
Quichua  language  at  Potosi,  Cuzco,  and  Lima;  and  Garci- 
lasso assures  us  that  the  lads  repeated  the  dialogues  with  so 
much  grace,  feeling,  and  correct  action,  that  they  gave  universal 
satisfaction  and  pleasure,  and  with  so  much  plaintive  softness 
in  the  songs,  that  many  Spaniards  shed  tears  of  joy  at  seeing 
the  ability  and  skill  of  the  little  Indians,  f  One  of  these 
dramas,  composed  by  priests  in  the  Quichua  language,  is  in 
my  possession,  and  is  a  most  valuable  relic  of  those  early 
efforts  to  introduce  the  miracle  plays  of  Spain  into  Peru.  % 

*  This  dialect  was  called  Aymara  by  the  Jesuits  at  Juli,  a  blunder 
which  is  carelessly  repeated  by  Garcilasso,  The  nature  and  origin  of 
the  mistake  has  been  explained  by  me  elsewhere. 

t  G.  de  la  Vega,  i.  p.  204. 

+  The  MS.  was  kindly  presented  to  me  by  a  Cura  at  Paucar-tambo 
in  1853.  (See  Cuzco  and  Lima,  p.  190.)  It  is  entitled,  "  Usca  Paucar, 
A  uto  Sacramental  el  Patrocinio  de  Maria,  Scuora  Nuestra  en  Copacabana." 


INTRODUCTION. 


In  his  monstrous  sentence  in  1781,  the  Judge  Areche 
prohibited  "the  representation  of  dramas,  as  well  as  all  other 
festivals  which  the  Indians  celebrated  in  memory  of  their 
Yncas."  *  This  proves  that  the  ancient  dramas  of  the  Yncas 
were  remembered  and  actually  performed  down  to  the  year 
1781;  for  those  composed  by  Spanish  priests  'cannot  be 
intended,  as  they  would  not  be  prohibited  by  a  Spanish 
judge. 

These  considerations  will  enable  us  to  form  an  opinion  of 
the  anticpiity  of  the  drama  of  Ollanta  ;  which  is  now,  for 
the  first  time,  translated  from  Quichua  into  English. 

The  first  printed  mention  of  this  most  important  relic  of 
early  American  civilisation  is  to  be  found  in  a  periodical 
published  at  Cuzco  in  1837.t  It  is  there  stated  that  the 
drama  was  handed  down  by  immemorial  tradition,  and  that 
it  was  first  committed  to  writing  by  Don  Antonio  Valdez,  the 
Cura  of  Tinta,  an  intimate  friend  of  the  ill-fated  Ynca  Tupac 
Amaru,  whose  formidable  insurrection  was  with  difficulty  sup- 
pressed by  the  Spaniards  in  1780-81.  The  drama  was  fre- 
quently performed  in  presence  of  the  Ynca  Tupac  Amaru.  This 
account  exactly  coincides  with  the  information  I  received  in 
1853  from  Dr  Don  Pablo  Justiniani,  a  descendant  of  the  Yncas. 
He  told  me  that  the  Cura  of  Tinta  first  reduced  the  drama  to 
writing,  and  that  the  original  manuscript  was  then  in  posses- 

*  "  Sentencia  promaiciada  en  el  Cuzco  j)or  el  Visitador  Don  Josh 
Antonio  de  Areche,  contra  Josh  Gabriel  Tupac  Amaru."  This  revolting 
but  most  curious  and  important  state  paper  is  published  iu  vol.  v.  of 
the  Coleccion  de  obras  y'documoitos,  by  Don  Pedro  de  Angelis.  (Buenos 
Ayres,  1836-37.) 

t  " Museo  Erudito"  Nos.  5  to  9.     Edited  by  Don  Jose  Palacios. 


INTRODUCTION. 


sion  of  bis  nephew  and  heir,  Don  Narciso  Cuentas  of  Tinta. 
Dr  Valdez,  the  Cura  of  Tinta,  died  at  a  great  age  in  1816. 

Several  copies  were  made  from  the  original  of  Dr  Yaldtz, 
for  the  lovers  of  Ynca  lore,  who  abound  in  Cuzco,  as  well  as 
in  many  a  secluded  town  and  village  in  the  Peruvian  Andes. 
Some  extracts  from  the  drama  appeared  in  Peruvian  news- 
l)apers,  but  the  second  notice  of  it  (that  in  the  Miiseo  Erudito 
of  Cuzco  being  the  first)  will  be  found  in  the  Antiguedades 
Feruanas  of  Don  Mariano  Kivero  and  Dr  Von  Tschudi,  which 
was  published  at  Vienna  in  1851.*  It  is  curious  that  these 
authors  should  not  have  been  acquainted  with  the  article  in 
the  Museo  Erudito,  and  with  the  fact  that  the  drama  was  first 
committed  to  writing  by  Dr  Valdez.  They  give  two  extracts 
from  the  drama  in  Quichua.  The  complete  text  in  Quichua 
was  first  printed  at  the  end  of  his  Kechua  Sprache,  by  Dr  Von 
Tschudi,  a  work  which  appeared  at  Vienna  in  1853.t  This 
version  is  from  a  copy  in  the  monastery  of  San  Domingo  at 
Cuzco,  which  is  exceedingly  corrupt;  the  copyist  having 
modified  what  he  could  not  read  or  understand  as  much  as 
he  thought  proper,  and  having  even  introduced  some  Spanish 
words.  In  18G8  Don  Jose  Barranca  published  a  Spanish 
translation  of  the  Quichua  drama  of  Ollanta.l  He  took  the 
corrupt  version  of  Von  Tschudi  for  his  text,  but  corrected 
many  passages. 

*  P.  116. — Antiguedades  Peruanas,  por  Mariano  Eduardo  de  Rivero 

y  Juan  Diego  de  Tschudi."     (Vienne,  1851.) 

+  "i)^e  Kechua  Sprache,  por  J.  J.  Von  Tschudi,  ii.     (Wien,  1853.) 
X  "  Ollanta  6  sea  la  severidad  de  un  padre  y  la  clemencia  de  un  rey 

drama  traducido  del  Quichua  al  Castellano,  con  notas  diversas,  por  Jose 

S.  Barranca.'^     (Lima,  1868.) 


INTRODUCTION. 


My  own  version  of  the  drama  was  transcribed  by  myself, 
with  great  care,  from  the  copy  in  possession  of  Dr  Don  Pablo 
Justiniani,  the  aged  Cura  of  Laris,  and  a  descendant  of  the 
Yncas.  That  copy  was  taken  by  his  father,  Don  Justo 
Pastor  Justiniani,  from  the  original  manuscript  of  Dr  Valdez. 
I  have  collated  my  version  with  a  copy  in  possession  of  Dr 
Rosas,  Cura  of  Chinchero,  and  with  the  printed  version  in 
the  Kechua  Spraclu  of  Dr  Von  Tschudi.  The  latter  collation 
has  convinced  me  of  the  genuine  antiquity  of  the  drama,  fur 
in  every  single  instance  where  a  corrupt  or  Hispanicised  w^ord 
or  phrase  occurs  in  tlie  Von  Tschudi  version,  I  find  classical 
Quichua  in  the  version  of  Justiniani.  This  proves  that  all 
the  corrupt  forms  in  the  Von  Tschudi  version  arise  from  the 
carelessness  of  a  copyist,  and  that  they  have  no  existence  in 
the  original  document.  In  my  account  of  the  drama  in 
"  Cmco  and  Lima "  I  gave  some  translated  passages,  which 
were  made  with  the  assistance  of  a  young  student  of  Cuzco, 
named  Bernardo  Puente  de  la  Vega.* 

The  all-important  question  is  whether  the  drama  was 
handed  down  from  the  time  of  the  Yncas,  and  merely 
committed  to  writing  by  Dr  Valdez,  who  divided  it  into 
scenes,  and  inserted  the  stage  directions ;  or  whether  Dr 
Valdez  was  the  actual  author,  and  composed  the  work  him- 
self in  a  classical  and,  in  his  day,  almost  archaic  language. 
If  the  former  opinion  is  the  true  one,  the  drama  of  Ollanta 
is  certainly  the  most  important  relic  of  ancient  American 
civilisation ;  while  in  the  latter  case,  though  still  an  interest- 


Pp.  173-177,  and  ISG. 


INTRODUCTION. 


ing  specimen  of  Quicliua  composition,  its  great  value  and 
interest  will  be  lost. 

I  was  told  by  Dr  Justiniani,  and  by  other  Quichua  scholars 
whom  I  met  at  Cuzco  in  1853,  that  the  drama  of  OUanta 
was  undoubtedly  ancient  and  composed  before  the  Spanish 
conquest.  Rivero  and  Von  Tschudi  also  appear  to  have  had 
no  doubt  upon  tliis  point,  and  Barranca  strongly  advocates 
the  same  view.  But  I  was  led,  during  my  visit  to  Peru  in 
1860,  to  think  that  Dr  Yaldez  was  the  author,  though  the 
drama  might  contain  ancient  songs  and  speeches,  and  though 
the  plot  Avas  undoubtedly  ancient.'"'  I  had  not  then  carefully 
analysed  the  work  itself.  I  have  since  done  so,  and  this 
closer  investigation  has  led  me  to  revert  to  my  earlier  im- 
pression, and  to  concur  with  Justiniani,  Bivero,  Von  Tschudi, 
and  Barranca,  that  the  drama  is  a  pure  relic  of  the  ancient 
literature  of  the  Yncas. 

The  internal  evidence  of  the  antiquity  of  the  drama  of 
Ollanta  is,  I  consider,  quite  conclusive.  We  know  from 
Garcilasso,  that  dramas  were  performed  before  the  Yncas, 
and  that  the  Indians  had  a  special  talent  for  acting ;  and  we 
learn  from  the  sentence  of  Areche  that  Quichua  dramas 
were  acted  as  late  as  1781,  to  preserve  the  memory  of  the 
Yncas.  They  were  performed  before  the  ill-fated  Tupac 
Amaru,  whose  intimate  friend,  Dr  Valdez,  committed  the 
drama  of  Ollanta  to  writing,  at  about  the  time  of  the 
insurrection  of  the  Ynca.t    Thus  we  have  a  chain  of  evidence 

*  See  my  ''Travels  in  Peru  and  India,''  p.  139  (note), 
i"  For  a  narrative  of  the  insurrection  of  Tupac  Amaru,  the  last  of  the 
Yncas,  in  1780-81,  see  my  Travels  in  Peru  and  India,  chap.  ix.     The 


10  INTRODUCTION. 


connecting  the  drama  of  Dr  Valclez  with  the  performance 
enacted  before  Tupac  Amaru,  the  words  of  which  had  been 
orally  transmitted  from  ancient  Yncarial  times.  To  these 
considerations  are  to  be  added  the  far  more  conclusive  proofs 
of  antiquity  derived  from  the  work  itself.  There  is  not  a 
single  modern  or  Spanish  word  or  phrase  in  the  whole  work ; 
nor  is  there  the  remotest  allusion  to  Christianity  or  to  any- 
thing Spanish.  Moreover,  the  drama  contains  many  words  and 
grammatical  forms,  some  of  which  I  have  indicated  in  the 
notes,  that  are  archaic  and  long  since  disused.  The  only 
object  of  a  Spanish  priest,  in  composing  such  a  work,  would 
be  to  inculcate  Catholic  doctrine ;  and  not  to  preserve  the 
memory  of  ancient  pagan  rites  in  absolute  purity.  The 
Quichua  play  of  JJsca  raucar,  in  my  possession,  which  was 
undoubtedly  composed  by  a  Spanish  priest,  contains  many 
words  that  have  been  introduced  since  the  conquest ;  and, 
though  it  is  written  in  excellent  Quichua,  it  does  not  contain 
one  of  the  archaic  grammatical  forms  that  occur  in  Ollanta. 
If  the  latter  work  had  been  due  to  the  authorship  of  Dr 
Valdez,  it  would  have  had  some  trace,  however  slight,  of  its 
Spanish  origin;  and  would  have  resembled  the  miracle 
play  of  Usca  Faucai^  in  its  general  structure.  Tlie  fact 
that  Ollanta  is  absolutely  free  from  any  indication  of  a 
Spanish  touch,  is  a  convincing  proof  that  it  is  an  ancient 
Ynca  drama,  handed  down  orally  in  order  to  be  performed 
before  the  native  chiefs,  until  1780  ;  and  then  committed  to 

texts  of  some  of  the  official  documents  relating  to  the  insurrection  are 
printed  in  the  collectiou  of  Augelis.  Others,  still  in  manuscript,  are 
in  my  possession. 


INTRODUCTION.  ii 


writing  from  the  moutlis  of  Indians  by  Dr  Valdez,  the  friend 
and  sympathiser  of  the  last  of  the  Yncas.  The  old  priest 
merely  made  the  divisions  into  scenes,  which  suggest  them- 
selves, and  introduced  the  stage  directions  in  accordance 
with  what  he  had  himself  seen,  when  the  play  was  acted  by 
the  Indians. 

A  knowledge  of  Ynca  civilisation,  derived  from  the  pages 
of  Prescott,  is  sufficient  for  the  appreciation  of  the  argument 
of  this  curious  drama,  which  is  as  follows.  The  time  is 
placed  in  the  reign  of  Pachacutec,  an  Ynca  who  flourished  in 
the  latter  part  of  the  fourteenth  century,  whose  numerous 
reforms  and  conquests  caused  him  to  be  remembered  as  one 
of  the  most  famous  of  the  Peruvian  sovereigns.*  The  hero 
of  the  drama  was  a  warrior  named  Ollanta,  who  was  not 
of  the  blood  royal,  but  who  nevertheless  entertained  a  sacri- 
legious love  for  a  daughter  of  the  Ynca,  named  Cusi  Coyllur. 
Ollanta  is  a  word  without  special  meaning  in  Quichua,t  but 
Cusi  Coyllur  means  ''  the  Joyful  Star. "J  The  play  opens 
with  a  dialogue  between  Ollanta  and  his  servant,  Piqui 
Chaqui,  a  witty  and  facetious  lad,  whose  punning  sallies  form 

*  G.  de  la  Vega,  ii.  pp.  127-34,  145,  201-207.  For  his  laws  and 
sayings,  see  pp.  207-10. 

t  Señor  Barranca  remarks  that  the  word  Ollanta  has  the  form  of  the 
accusative  case,  denoting  that  it  is  an  incomplete  part  of  a  sentence. 
He  suggests  that  it  may  be  a  poetic  form  of  Ullata,  accusative  of  TJllu, 
a  word  meaning  the  physical  power  of  masculine  love.  He  supposes 
Ccahuari  to  be  the  word  understood,  which  means  Behold !  The 
name  would  thus  be  an  expression  of  admiration  for  a  manly  lover. 

X  The  Viceroy  Toledo  prohibited  the  Indians  from  giving  the  names 
of  the  moon,  stars,  birds,  ani'mals,  stones,  serpents,  or  rivers,  to  their 
children.     Ordenanzas,  lib.  ii.,  tit.  viii.,  ord.  xiii.  p.  144. 


12  INTRODUCTION. 


the  comic  vein  which  runs  through  the  piece.  Their  talk  is  of 
Ollanta's  love  for  the  princess,  and  to  them  enters  the  High 
Priest  of  the  Sun,  who  endeavours,  by  a  miracle,  to  dissuade 
the  audacious  warrior  from  his  forbidden  love.  In  the 
second  scene  the  princess  herself  laments  to  her  mother  the 
absence  of  Ollanta,  and  her  father,  the  Ynca  Pachacutec,  ex- 
presses warm  affection  for  his  child.  Two  songs  of  undoubted 
antiquity  are  introduced  \  the  first  being  a  harvest  song  with 
a  chorus  threatening  the  birds  that  rob  the  corn,  and  the  second 
being  one  of  those  mournful  love-elegies  which  are  peculiar 
to  the  Peruvian  Indians.  In  the  third  scene  Ollanta  presses 
his  suit  upon  the  Ynca,  is  scornfully  repulsed,  and  finally 
bursts  out  into  open  defiance,  in  a  soliloquy  of  great  force. 
Then  there  is  an  amusing  dialogue  with  Piqui  Chaqui,  and 
another  love  song  concludes  the  act.  In  the  opening  scene 
of  the  second  act  the  rebellion  of  Ollanta  is  announced  to  the 
Ynca,  and  a  general  named  Pumi-fiaui,  or  the  "  Stone 
Eyed,"*  is  ordered  to  march  against  him.  The  rebels  hail 
the  warrior  Ollanta  as  their  Ynca  in  the  second  scene,  and 
prepare  to  resist  the  armies  of  Pachacutec  ;  and  in  the  third, 
Kumi-fiaui  recounts  the  total  defeat  of  himself  and  his  armies 
by  the  rebel  Ollanta.  Meanwhile  Cusi  Coyllur  had  been 
delivered  of  a  daughter,  and  for  her  crime  she  is  immured  in 
a  dungeon  of  the  convent  of  virgins,  while  her  child,  named 
Yma  Sumac,  is  brought  up  in  the  same  building  without 
being  aware  of  the  existence  of  her  mother.  The  long 
speech  in  which  the  child  relates  to  her  keeper  the  groans  she 

*  A  general  under  Atahuallpa  had  the  same  name  ;  and  it  occurs, 
on  two  or  three  other  occasions,  in  Ynca  annals. 


INTRODUCTION. 


13 


had  heard  in  the  garden,  and  the  strange  feeling  with  which 
they  fill  her  mind,  is  considered  by  Señor  Barranca  to  be  the 
finest  passage  in  the  play.  Then  follows  an  amusing  dialogue 
between  Rumi-ñaui  and  the  scrapegrace  Piqui  Chaqui,  during 
which  the  death  of  the  Ynca  is  announced.  Pachacutec  is 
succeeded  by  his  son  Ynpanqui,  who  had  been  absent  for 
many  years,  engaged  in  the  conquest  of  the  coast  valleys,  and 
who  is  supposed  to  be  imperfectly  informed  of  the  events 
that  had  taken  place  round  Cuzco.  He  entrusted  the  com- 
mand against  the  rebel  to  Eumi-fiaui,  who  adopted  a  cunning 
stratagem.  Concealing  his  army  in  a  neighbouring  ravine,  he 
came  to  the  stronghold  of  the  rebels,  and  appeared  before 
Ollanta  covered  with  blood,  declaring  that  he  had  been 
cruelly  treated  by  the  new  Ynca,  and  that  he  desired  to  join 
the  insurrection.  He  encouraged  Ollanta  and  his  troops  to 
celebrate  the  festival  of  the  Sun  with  drunken  orgies,  and, 
when  all  were  heavy  with  liquor,  he  admitted  his  own  men 
and  captured  the  whole  of  the  rebels.  In  the  first  scene  of  the 
third  act  there  is  a  touching  dialogue  between  Yma  Sumac  and 
her  governess  Pitu  Salla,  Avhich  ends  in  the  child  being 
allowed  to  visit  her  mother  in  the  dungeon.  In  the  second 
scene  the  successful  stratagem  of  Rumi-ñaui  is  related  to  the 
Ynca  by  a  messenger,  and  Ollanta,  and  his  companions,  are 
brought  in  as  prisoners,  by  the  victorious  general.  .  The  great 
rebel  is  not  only  pardoned  by  his  magnanimous  sovereign, 
but  restored  to  all  his  honours ;  and  in  the  midst  of  the 
ceremonies  of  reconciliation,  the  child  Yma  Sumac  bursts 
into  the  presence,  and  entreats  the  Ynca  Ynpanqui  to  save 
the  life  of  his  sister  and  her  mother.     The  Ynca  and  his 


INTRODUCTIOy. 


nobles  are  conducted  to  the  dungeon  of  Cusi  Coyllur,  who 
was  supposed  to  have  been  long  since  dead.  The  unfortunate 
princess  is  restored  to  the  arms  of  her  lover,  and  receives  the 
blessing  of  the  Ynca. 

I  have  endeavoured  to  give  the  bare  literal  meaning  of  the 
original,  line  by  line,  but  it  abounds  in  puns  and  double 
meanings  which  cannot  be  re-produced.  Yet  an  idea  will 
be  conveyed  to  the  mind  of  the  reader,  of  the  ancient 
literature  of  the  Yncas,  and  of  the  poetic  faculty  to  which 
they  had  attahied,  even  by  the  present  bald  attempt  at  a 
translation.  The  Quichua  and  English  are  given  in  parallel 
columns.  The  different  readings  in  the  Yon  Tschudi  version, 
of  which  there  are  many,  are  given  in  italics,  and  the  passages 
in  my  version,  which  are  omitted  by  Yon  Tschudi  and 
Barranca,  are  also  indicated.  I  cannot  hope  that  the  trans- 
lation is  free  from  numerous  mistakes.  The  value  of  the 
present  publication  is  that  the  text  of  an  older  and  purer 
version  than  that  already  given  to  the  world  in  the  Kechua 
Sprache  of  Yon  Tschudi,  will  be  preserved.  The  translation 
is  the  result  of  much  careful  study ;  and  it  does,  I  believe,  in 
spite  of  many  blunders  which  will  doubtless  be  detected  and 
corrected  by  future  students,  give  the  general  sense  of  the 
orifñnal.  Thus  the  purest  and  oldest  text  will  now  be 
accessible  to  inquirers  in  this  field  of  research,  while  the 
translation  will  furnish  additional  material  forjudging  of  the 
sort  of  civilisation  that  was  developed  in  this  part  of  South 
America,  before  its  discovery  by  Europeans.  Sucli,  at  least, 
is  my  aim  in  this  effort  to  give  the  old  Ynca  Drama  an 
Endish  dress. 


INTR  OD  UC  TION.  1 5 


Tlie  tradition  at  Cuzco  in  1837,  which  was  said  to  have 
been  handed  down  in  the  families  of  the  Caciques  of  Belen 
and  San  Bias,  was  that  the  drama  was  based  on  an  historical 
event  j'^"  but  this  seems  more  than  doubtful.  The  strong- 
hold of  the  rebel  is  placed  among  the  magnificent  ruins  in 
the  vale  of  Vilca-mayu,  which  are  now  called  Ollanta-tambo 
from  the  classical  associations  connected  with  the  drama, 
but  the  greater  part  of  the  ruins  is  far  more  ancient  than  the 
time  of  Pachacutec.  A  detailed  account  of  the  ruins,  and  of 
the  vale  of  Yilca-mayu,  will  be  found  in  one  of  my  former 
works  on  Peru.f  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  the  likeness  of 
the  general  Ptumi-naui,  who  plays  an  important  part  in 
the  drama  of  Ollanta.J  The  person  represented  must  have 
been  a  general,  from  the  ornament  on  the  forehead  called 
niascaiKiycha,  and  wounds  were  cut  in  the  face.  This,  so  far 
as  it  goes,  is  a  confirmation  of  the  genuine  antiquity  of  the 
drama.  Internal  evidence  inclines  me  to  fix  its  date,  in  the 
reign  of  the  great  Ynca  Huayna  Ccapec,  about  a.d.  1475  to 
lo25.§  Love  is  allowed  to  break  through  the  rigid  laws  of 
the  Ynca  court  to  some  extent ;  but  otherwise  the  state  of 
society,  and  the  manners  and  customs  met  with  in  the  drama, 
agree  generally,  but  not  so  closely  as  to  justify  a  suspicion  of 

*  Museo  Erudito,  No  5,  p.  9.  f  Cuzco  and  Lima,  p.  179. 

%  Museo  Erudito,  No.  5. 

§  For  my  reason  for  fixing  this  date,  see  note  QQ,  at  the  end  of  this 
volume. 


1 6  INTRODUCTION. 


plagiarism,   with   those   described  by   Garcilasso   and  other 
early  Spanish  writers. 

The  drama  of  Ollanta  is  not  alone  in  allowing  a  romantic 
passion  to  transgress  the  usages  of  the  Ynca  court.  A  still 
more  interesting  love  story  is  told  by  Balboa,*  who  relates 
the  events  as  having  actually  occurred  during  the  reign  of 
Ynca  Huascar,  and  as  having  been  recounted  to  him  by  con- 
temporaries. I  mention  it  as  a  proof  that  the  plot  of  Ollanta 
is  not  in  opposition  to  probabilities ;  but  space  forbids  the 
gratification  of  my  natural  wish  to  tell  this  second  love  tale 
of  Ynca  times. 

I  am  in  possession  of  twenty  ancient  Ynca  songs,  which  I 
obtained  from  Dr  Justiniani,  and  which  had  been  first  com- 
mitted to  writing  in  the  last  century  by  his  grandfather  and 
by  Dr  Valdez ;  and  I  also  have  some  Quichua  poems  by  Dr 
Lunarejo,  the  most  elegant  Quichua  scholar  of  Spanish  times. 
I  hope  hereafter  to  find  time  to  complete  the  translation  of 
these  additional  fragments  of  Ynca  literature.  Meanwhile  I 
am  fully  persuaded  that  diligent  research  in  the  towns  and 
villages  of  the  Peruvian  Andes  would  be  rewarded  by  the 
discovery  of  further  specimens  of  the  ancient  literature  of 
the  children  of  the  Sun. 

CLEMENTS  R.  MARKHAM. 
August  I'ill. 


*  Balboa,  cap.  xvi.  pp.  224-304. 


APU  OLLANTA  AND  CUSI  COYLLUR. 


A  DRAMA  OF  THE  YNCAS. 


Jiramatfg  ^^ersona. 

The  Ynca  Pachacutkc.i 
The  Ynca  Yupanqui,^  son  of  Pachacutec. 
Ollanta,^  General  of  Anti-Suyu. 
RuMi-i^AHUi,*  General  of  (  Colla-Suyu. 

XHanan. 
UiLLAC  Umu,^  High  Priest. 
Ueco  Huarancca,^  Follower  of  Ollanta. 
Hanco  Huayllu,  Auqui/  Old  rebel. 
PiQUi  Chaqqi,^  Servant  of  Ollanta. 
Anahuarqui,^  Queen. 
Cusi  CoYLLUR,^"  Princess. 
Yma  Sumac,^^  Daughter  of  Cusi  Coyllur. 
CCACCA  Mama,  ^2  Matron  of  the  Virgins. 
PiTO  Salla/^  a  Virgin. 

Messengers,  Princesses,  Attendants.     Young  men  and  women 
dancing  and  singing,  -with  music. 


ACT  I. 

SCENE    I. 

Enter  Ollanta  {in  a  mantle  fringed  with  gold  bezants,  and  with 
a  club  over  his  shoulder),  a?id  his  servant  PiQUi  Chaqui. 

Ollanta. 
Piqui  Chaqui  ricunquicliu  Piqui  Chaqui,  hast  thou  seen 

Cusi  Coyllurtac  huasinpi  ?  Cusi  Coyllur  in  her  house  I 

Piqui  Chaqui. 
Ama  Ynti  munachunchu  No  !  The  Sun  would  not  permit 

Chayman  churacunaitacca  That  I  should  go  near  it. 

Manachu  ccanccu  manchanqui       How  is  it  that  you  have  no  fear, 
Incacc^*  ususin  casccantacca  1        She  being  daughter  of  the  Ynca  ? 

Ollanta. 
Chaypas  cachun,  munasaccmi        In  spite  of  that,  I  must  ever  love 
Chay  lulucusccay  urpita^^  That  most  tender  turtle-dove. 

Nancay  sonccoy  paipaca  chita        My  heart  in  that  road 
Paillallatan  munascani !  Alone  desires  to  search. 

Piqui  Chaqui. 
Supay cha  raicus  ^*'-casunqui  Supay  must  have  bewitched  you, 

Ycha  ccancca  muspha^^quipas  :      And  you  wander  in  your  speech. 


OLLANTA. 


[Act  I. 


Hinantimpin  liuarma  sipas 

Anchatan  rucupacunqiii 

Yma  ppunchaucha  yachancca 

Ynca  yuyaycusccayquita 
Ccorocliinccan  umayquita 
Ccantacc  canqui  aycba  canca. 


Are    there    not     many    other 

maidens 
That  you  can  love  before  you 

are  old  % 
The  day  that  a  knowledge  of 

your  love 
Shall  come  to  the  Ynca, 
He  will  have  your  head  cut  off, 
And  your   body   roasted    like 

meat. 


Ollanta. 
Ama  runa,  harccahuaichu  !  Man  !  hold  me  not, 

Caipitacc  sipirccoy  quiman"^^ 
Ama  rimapayahuaychu 
Maquiy  huantacc  ttiqquiquiman 


Or  I  will  strangle  thee  ! 
Talk  not  too  much  before  me. 
Or  with  my  hand  I  will  tear 
thee  to  pieces. 


PiQU] 

Puriy  ari  aysarccamuy 
Allcco^^  huarmuscca  hinata ; 
Ychacca  ama  uoccata 
Puriy,  Piqui,  mascarccamuy 
Nihuanquicha  sapa  huata 
Sapa  ppunchay,  sapa  tuta. 


Chaqui. 

Away  then  !     Let  me  be  gone, 
And  not  fall  like  a  dog. 
This  shall  not  be  for  me. 
Away  Piqui  I    He  will  seek  me, 
He  shall  miss  me  each  year, 
Each  day,  each  night. 


Ollanta. 

Nan  ñiquina,  Piqui  Chaqui,  Go  then  !     Piqui  Chaqui, 

Quiquin  huanuy-ychunantin  Lead  forth  the  dances  of  straw.** 


Scene  1.1  OLLANTA. 


Hinantin  Urcco  hinantin  For   me    thougli    my   enemies 

oppose  me, 

Sayaninman  Aucca  huaqui  Though  a  mountain  obstruct 

Chaypacbapas,  sayaymani  Yet  will  I  encounter  them. 

Paycunahuan  churaccuspa  I  will  risk  all  this, 

Noccan  y  causay  huamuspa  And  risk  life  itself 

Ccoyllurniypi  mitccascani !  To  embrace  the  Coyllur. 

PiQui  Chaqui. 
Supay  llocsimunman  chayri  ?  If  Supay  should  stand  in  the 

way  ? 

Ollanta. 
Payta  huanpas  tustuymanmi.         Him    also    would    I   trample 
{Paytapas  mcca)*  down ! 

PiQui  Chaqui. 
Mana  cenccata  ricuspan  You  cannot  see  your  own  nose, 

Cunan  ccama  rimascanqui.  And  therefore  you  speak  thus. 

Ollanta. 
Chaypas,  Piqui  huillallahuay         Say  then,  Piqui ! 
Ama  ymata  pacaspayqui  Canst  thou  hide  for  me, 

ManachuCcoyllurricusccayqui       So  that  Coyllur  may  see  it, 
Llapacc  ttican  ?  y  ñillahuay.  This  flower  1 

Piqui-  Chaqui. 
Ccoyllurllahuanmusphascanqui      Still  mad  about  the  Coyllur  ! 
Manan  ñocca  ricunichu  I  have  never  seen  her. 

*  Interlined  words  in  italics  are  the  differences  in  Dr  Von  Tschudi's  version. 


OLLANTA. 


[Act  T. 


Paycha  canccan,  ycha  pichu 
Ccayna  ppuncha  ranqui  ranqui 
Pununtas  qquecuna  uccupi 
Lloccsimuriccan  chay  Surupi 
Ynti  manri  ricchacunccan 
Quillamantacc  tucupunccan-^ 


Who,  with  other  spotless  ones, 
Came  forth  but  yesterday  % 
Perchance  it  was  she  ! 
Beautiful  as  the  morning, 
Brilliant  as  th  e  Sun  in  h is  course, 
Bright  as  the  moon. 


Ollanta. 
Paypunin  chaycca  riccsinqui  No  doubt  it  was  she, 

Yma  sumac,  yma  cusi 
Cunallanmi  purininqui 


Cunaiñiyhuan  cusi  cusi. 


How  lovely  !  how  joyful ! 
But  now  you  must  have  walked 

by  her  ! 
How  bright  and  joyful  is  she  ! 


PiQui  Chaqui. 
Mana  ñoccacca  riymachu  Indeed  I  cannot  speak  of  her. 

Ppunchaycca  hatun  huasita  I   cannot  go  this  day  to  her 

Chaypiñatacc  ccepintinta^^  house, 

They  would  not  let  a  porter  in, 
Mana  pita  reccsiymanchu.  And  I  know  her  not  by  sight. 

Ollanta. 
Reccsimiñan  ñinquitaccmi  %  Did  you  not  say  that  you  knew 

her? 

PiQui  Chaqui. 
Chaytacca  fiiyllama  uimi  I  said  that,  meaning 

Tutallan  ccoyllurcca  ccanchan,       That  as  the  stars  shine  at  night 

in  their  places, 
Tutallatacc  mi  reccsini.  So  I  only  know  her  at  night. 


Scene  I.] 


OLLANTA. 


23 


Ollanta. 
Lloccsihuay  caymanta  laicca^^       Be  gone  then,  wizard. 
Chay  ccoyllur  munacusccaicca       My  adored  Cusi  Coyllur 
Ynticc  cayllanpi  ashuanta  Is  more  bright  than  the  Sun, 

Ccanchan  chipchin  sapanmanta      She  has  no  rival. 


PiQUI 

Chaycca  cunan  Uocsimuscan 
Hue  machu  ycha  payachu 

Huarmi  mami  ricchacuscan 
Ycha  cunainyqui  apacchu 
Payhuan  cunay  ñoccatacea 
Cachapuni  ^3  ñihuanmanri 

Pi  may  caccpas  huacchatacca. 


Chaqui. 

If  it  should  be  possible 

I  will  look  out  for  some  old 
man  or  woman, 

I  will  be  awake  and  try  it. 

I  will  convey  you  to  her 

And  speak  with  her. 

I  will  consent  to  be  your  mes- 
senger, 

Though  I  am  but  a  poor  man. 


Enter  Uillac  UMxr,^*  gazing  on  the  Sun,  wearing  a  black  ^''uncii,^' 
and  with  a  knife  in  his  hand. 

Uillac  Umu. 


Causacc  Ynti,  yupiquitan 

Ullpuycuspa  yupaychani 
Ccan  pacctaccmi  huaccaychani 
Huarancca  llama  hinatan. 
Ppunchaynipi  econospa 
Yahuarñinta  ccaillai  pi 


O   living   Sun !  I   watch   thy 

course 
As  thou  marchest  onwards. 
For  thee  are  now  preparing 
A  thousand  llamas 
For  the  day  of  thy  festival. 
Their  blood  shall  flow  in  thy 

presence. 


24 


OLLANTA. 


[Act  I. 


Ninapi  canaspa  llipi 
Rupachincca  mana  accospa. 


For  thee  are  they  destroyed  in 

the  fire, 
And  shall  burn,  after  the  fast 

is  over. 


Ollanta. 


Piqui  Chaqui,  caycca  hamuscan 
Chay  Amauta,  Uillac  Umu  ! 
Yma  qquenchas  manu  ccumu 
Payhuan  cusca  purimuscan 
Checcnicunin  cay  layccata 
Ancha  llaquita  huatuccnin 
Tucuy  phutita  huatucctin. 


See  who  comes,  Piqui  Chaqui ! 
It  is  the  wise  Uñlac  Umu. 
Behold  this  lion  is  coming 
Accompanied  by  evil  omens  : 
I  hate  this  soothsayer 
Who,  ever  when  he  speaks, 
Announces  black  auguries. 


Piqui  Chaqui. 
Upallay  ama  rimaychu  Hush.     Speak  not ! 

Payni  hue  rimasccayquita  Even  now  that  sorcerer 

Nan  yachaña  yscay  mitta  Knows  twice  as  much  as  you 

Nan  huatuna  chaychu  caychu.       Concerning  what  you  said. 


Ollanta. 


Ricuanman  rimaycusacc 

Ccapac  Auqui,  Uillac  Umu 

Yupaychayquin  pachaccuti 

Cccapac  cachun  tucuy  sutti 
Hinatintacc  Ccapac  ccumu. 


I  will  speak  ;  now  that  he  has 
seen  me. 

0  powerful  and   noble  Uillac 
Umu, 

1  adore   thee   with    profound 
veneration. 

From  thee  nothing  is  hidden 
We  see  that  all  must  be  known 
to  thee. 


Scene  L' 


OLLANTA. 


25 


UlLLAC    UilU. 

Ccapac  Ollantay  ccapaccpas  0  valiant  Ollanta  ! 

Tucuy  Suyu  ttaccta  cachun  The  province  is  at  thy  feet. 

Callpay  quitacc  pucliu  cacliun       Thy  valour  suffices 
Llapata  Secc-ñanapaccpas.  To  subdue  all  things. 

Ollanta. 


Anchatan  manchani  cucun 
Machuita  caypi  ricuspa 
Hinatinmi  chiri  uspa 
Fica,  ttunu,  ccacca  runcu 
Maypachas  ccanta  ricuncu. 

Nihuai  imapactac  caicca 

Ynca  chu  huacc  yanccasunqui 
Llaquichu  pusamisunqui 
Icha  cusipacchu  chaicca  ? 
Ymamantac  ccan  haniunqui 

Manarac  ray  mi  cactincca. 

Onccorinchu  icha  Ynca 
Imatachu  huatuncanqui 
{Ccanllachu  huatupacunqui) 
Yahuar  sutucc  panti  tunqui?-' 

Ynti  huatana  ppunchaupas 
Quilla  macchina  pachapas 
Ancba  caruraccmi  cascan 


I  tremble  to  see  thee  here, 

And  to  behold  before  me 

These  cold  ashes, 

Flowers,  vases,  bags  of  coca, 

As  many  as  approach,  wonder 
at  these  things. 

Tell  me  !  for  what  are  they 
intended  1 

Is  itfor  the  Ynca  thou  preparest 

To  discover  evil  omens 

By  the  spider  divination  ? 

For  what  purpose  dost  thou 
come, 

Seeing  that  the  Eaymi  ^  is  not 
yet? 

Is,  peradventure,  the  Ynca  sick? 

How  dost  thou  make  thy  divi- 
nations? 

By  the  blood  drops  of  the 
Tunqui?<^ 

The  day  of  observing  the  Sun, 

The  sacrifices  of  the  Moon 

Are  still  very  far  off. 


26 


OLLANTA. 


[Act  I. 


Chairacmi  quillata  pascan 


Situa  Raymi  cañampacpas 
{Hatun  Ccocho.) 

UiLLAC  Umu. 


The  month  has  not  yet  com- 
menced, 
Of  the  Situa  Raymi.** 


Anyaspachu  tapuhuanqui 

Huarmaiquichu  icha  cani  1 
Tucuy  ymatan  yachani 
Canña  ricuy  yuiahuanqui. 


Why  dost  thou  ask  me  reproach- 
fully ? 
Am  I  not  thy  servant  1 


I  know  all  things 


As  thou  but  nowremindedst  me. 
Ollanta. 
Mancharinmi  llaclla  souccoy  My  coward  heart  trembles 

To  see  thee  on  a  special  day, 
That    I   may   benefit   by   thy 

coming, 
Even  when  a  sickness  is  the 
result. 


Yancca  ppunchaupi  ricuspa 
Chayamuiñiqui  ruruspa 

Ychapas  nocapac  onccoy. 


UiLLAC  Umu. 


Ama  Ollantay  manchaichu 
Cunan  caipi  ricuhuaspa 
Ychapas  ccanta  munaspa 

Punimuni  pahuacc  huaichu 
{Phahuamnni  huaira  ichu) 
Nihuay  ama  pacahuaichu 

(yuyainiquipichu) 
Ymatan  toccllan  souccoyqui 
(Gaman  chai  saccra) 


Fear  not,  Ollanta, 
At  seeing  me  here, 
For,  in  truth,  it  is  because  I 

love  thee. 
T  will  fly,  where  thou  likest,  as 

straw  before  the  wind.    Tell 

me  the  thoughts 

That  find  a  place  in  thine  heart. 


Scene  I.] 


OLLANTA. 


27 


Cay  ppunchaymi  campac  ccoi- 

qui 
Sami  miuta  acUacuita 

Causay  huañuya  taricuyta 
Chaitan  cunan  horccomuyqui. 


This  day  I  will  give  thee 

The  choice  of  poison  or  fortune, 
That  between  life  and  death 
You  may  make  your  choice. 


Asuan  sutinta  mastarei 
Chay  huatuscaiqui  simita 
Cai  anhuiscca  ccaitutari 

{guipuscca) 
Pascarei  asuan  pharita. 


Ollanta. 

Explain  more  clearly 

Now  that  thou  hast  divined. 

Say  what  are  on  the  quipus 


UlLLAC 

Ccaicca  Ollantay  uyapay 
Yachaiñispa  tariscanta 
Yachascanin  Uapallanta 
Pacasccata  ñoca  sapay 
Cantaccmi  ñocacpas  callpas 
Ccan  Auquita  horcconaipac 
Huarmamantan  uyhuarccayqui 
[Anchatatac  munancayqui] 
Camancani  yananaypac 
(?/  cunanpas) 
Anti-suyu  camachictan 
Tucuy  ccanta  ricsisunqui 
Ccantan  Ynca  munasunqui 
Llautunta^^  ccanhuanmi  checc- 
tan 


With  more  quickness. 

Umu. 

Here  thou  hast,  O  Ollanta ! 

What  I  have  divined. 

I  only  know  all  things, 

I  know  even 

What  is  most  hidden. 

I  am  able  to  make  thee  Auqui." 

As  I  have  nourished  thee, 

And  loved  thee  much, 

I  ought  to  aid  thee 

To  become  ruler  over  Anti-suyu/ 
Thou  art  known  to  all. 
The  Ynca  loves  thee 
Even  to  dividing  with  thee  th© 
llautu. 


28 


OLLANTA. 


[Act  I. 


Hinantinta  ccahuaricctan 
Nahuinta  ccampi  churarcan  : 
Callpaiquita  pucararccan 
Auccancunac  champinpaccpas 

Tucuy  ima  liaicca  caccpas 
Ccanllallapin  puchucarccan 
Chaycliu  cunan  pliiñachista 
Sonccoiquipi  yuyascanqui  % 

{tocllascanqui  .?-^) 
Ususintan  ccan  munanqui 

Chay  Ccoyllurta  muspliacliista 
Chay  cusita  urmaclieita 
Ama  cliaytaccan  ruraychu 
Amapuni  cururaycbu 
Sonccoyquipi  cliay  huchata  : 
Munasunqui  pay  anchata 
Manan  chay  camasunquichu 
Cliaichica  cuyascanmanchu 
Chay  quellita  cutichihuac  1 
Mitcaspachu  purinihuac 
Urmahuac  hue  pponcomanchu? 
Manan  Ynca  munanmanchu 
Anchatan  Ccoyllurta  cuyan 
Rimarinqui  chayri  cunan 
Ttocyanccan  phiuaricuspa 
Ccantac  ricuy  muspba  muspha 


Among  all — he  has  chosen  thee, 
Putting  his  eyes  on  thee 
He  will  increase  thy  forces 
That   thou   mayest   resist   his 

enemies. 
Whatever  thing  may  exist 
With  thy  presence  it  shall  cease. 
Answer  me  now 
Even  when  thy  heart  is  ap- 
peased. 

(Caught  as  with  a  lasso.) 
Dost  thou  not  desire  his  daugh- 
ter, 
That  maddening  Coyllur, 
That  Cusi,  that  she  may  fall. 
Kef  rain  from  this  ! 
Do  not  commit  this  crime. 
Keep  thy  heart  from  it. 
Though  she  loves  thee  much, 
Do  not  thus  with  her  soul. 
Do  not  act  in  this  way, 
Do  not  commit  this  crime, 
Showing  such  ingratitude 
In  return  for  gre^it  favours ! 
The  Ynca  will  not  suffer  it, 
For  he  loves  the  Coyllur. 
If  you  should  speak  of  it, 
His  rage  will  be  great. 
Are  you  becoming  mad 


Scene  L] 


OLLANTA. 


29 


Auquimanta  cahuac  runan 


At    having    been   created   an 
An  qui  % 


Ollanta. 
Maymantatac  can  yaclianqui  How  knovvest  thou  this 

Cay  sonccoypi  pacascayta?  Which  is  hidden  in  my  heart? 

Mamallanmi  yachan  chayta  Her  mother  only  knows  it  ? 

Cunantac  ccam  huillahuanqui.       How  is  it  that  you  now  reveal  it  ? 

UiLLAc  Umu. 
Quillapin  tucuy  ymapas  All  that  has  ever  happened 


Suyuscca  quipu  ñocapac 

(Seqquesca  quellca  ^^) 
Asuan  pacascayqui  caccpas 

Sutillanmi  can  ñocapac. 


Is  present  to  me,  as  on  a  quipu, 

Even  what   thou  hast  hidden 

most 
To  me  is  clear. 


Ollanta. 
Huatuscarccanmi  sonccoypi  My  heart  tells  me 

Nocac  miuy  canayquita 
Chaquisca  upyanayquita 


That  I  myself  have  produced 


Huicchuhuacchu  hue  onccoypi 


The  poison  which,  thirsting,  I 

drank. 
Wilt  thou  abandon  me  in  this 

evil  case  ? 


UiLLAC  Umu. 
May  chica  cutin  upyanchis  How  often  do  we  drink 

Ccori  querupi  huañuyta  Death  from  a  vase  of  gold. 

Yuyariey  tucuy  hamuita  Eemember  that  all  comes  to  us, 

Eicuy  huallahuisan  canchis.  And  we  are  rash. 


30 


OLLANTA. 


[Act  I. 


Ollanta. 
Hue  camallaña  ccorohuay  Behold  !  thou  now  hast 

Chay  tumiqui  maquiquipin  Thy  knife  in  thy  hand, 

Cai  sonccoyta  ccan  horccohuay      Cut  out  my  heart, 
Chaipac  cani  chaquiquipin.  I  am  here,  at  thy  feet. 

UiLLAC  Umu  {To  Piqui  Chaqui). 


Chaccay  tticata  apamuy ! 
Na  ricunqui  chaquis  caccta 
Hina  chaquin  hue  nanaccta 
Unuta  huaccancca.     Hamuy. 


Bring  me  that  flower  ! 
Behold  that  it  is  dry. 
Yet  though  it  be  dry 
It  shall  drop  water.     Behold  ! 
[P/rsses  it,  and  water^floivs  out. 


Ollanta. 
Asuan  utecaytan  hue  caca  More  easily  might  a  rock 


Unuta  pharara  rancca 
Huaccueta  pacha  huaccanca 

Mana  ñocachu  pacpaca 
Ccoyllurta  mana  ricusac. 


Pour  forth  water, 

More  easily  might   the  earth 

weep, 
Than  that  I  should  abandon 
The  Coyllur. 


UiLLAC  Umu. 
Chay  allpaman  hue  ruracta  Sow  seeds  on  this  earth 

(iopoman) 
Churaycuy  ccañan  ricunqui  And  thou  shalt  see  at  once 

Manaraccha  ripucunqui  They  will  multiply  ; 

Mirauccan  caru  caruta  Increasing  more  and  more 

Llinpanccan  chay  toputapas  And  exceeding  the  size  of  the 

field, 


SCENE  I.] 


OLLANTA. 


31 


Hinan  huchayqui  puriscan 
Hinan  pisipanqui  campas. 


So  will  thy  crime  increase 
Until  it  shall  overwhelm  thee. 


Ollanta. 


Hue  camaña  huillascayqui 
Pantascayta  hatun  Yaya  ^^ 

Cunan  yachay,  yachay  ccaya 
Hucllamantan  arhuihuanqui 

Hatunmi  arhuihuay  huascca 

Ranccucunaypac  huatascca 
[Seccoconaipac) 
Chaypas  ceori  caytumanta 
Simpasca  cay  hinamanta 

(chaicca  caimautan,) 
Ccori  hucha  sipsicasca 

Cusi  Ccoyllurca  huarmiynan 
Pay  hnan  huat  asccañan  cani 
Paychu  cunan  yahuar  sani 
Nocapas  paipa  saphiuñan 
Mamanpas  yachan  y  ñinñan 

Yucata  rimaycuy  sihuay 
Yanapahuay  pusarihuay 
Cay  Ccoyllurta  ccohuanampac 


At  once  thou  hast  shown  me, 

0  great  Father!  that  I  have 
erred ! 

Now  I  know  it,  I  know  it ! 
Now  thou  hast  surprised  me  in 

it, 
The  lasso  that  surrounds  me  is 

great, 

1  might  hang  myself  with  it. 

Though  it  be  plaited  with  gold, 
This  unequalled  crime — 

A  golden  crime  will  be  my  exe- 
cutioner : 

If  Cusi  Coyllur  is  my  wife, 

I  am  lassoed  with  her, 

I  am  now  of  her  blood, 

I  am  of  her  lineage. 

As  her  mother  knows  and  will 
declare. 

Help  me  to  speak  to  the  Ynca, 

Accompany  me  to  him 

That  he  may  give  Cusi  Coyllur 
to  me. 


32 


OLLANTA. 


[Act  I. 


Calpaypas  asta  camampac 

Pinacuctin  puriy  siliuay 

Anchataclius  usiicliihuañman 
{millahuanman) 
Mana  Ynca  yahuar  cactiy  1 
Naupac  huiñayniyta  ccatiy 
Ychapas  chaypi  urmanman 
Ccaliuaricliun  mitcascayta 
Yuparichun  purisccayta 
Cay  cliampiypin  ricurincca 

Nanacc  huaranca  huarminca 

(Millai) 

Chaquinman  ullpuchiscayta. 

UlLLAC 

Chicallata  Auqui  rimay  ! 

Cai  cliutquicca  anclia  asliuisc- 

can 
Cai  ccaitu  milky  pitisccan 
Can  ttisanqui  cam  cururay 
Sapa  Yncata  rimay camuy 
( Yncancliista) 
Sapampi  llaquic  phutispa 

{millai) 
Pisillata  rimarispa 
AUintarac  ricucamuy 


I  will   seek  her  with   all   my 

power. 
Present  me  to  him,  though  he 

is  enraged, 
Though  he  should  despise  me 

For  not  being  of  Ynca  blood, 
When  he  beholds  my  youth 
Perhaps  that  will  be  a  defect. 
He  will  count  my  faults 
And  examine  my  paces. 
He  can  look  upon  my  battle- 
axe 
Which  has  humbled  thousands, 

And  brought  them  to  my  feet. 

Umu. 

Dost  thou  speak  thus,  0  Auqui ! 

Thy  shuttle  is  broken, 

The  thread  is  torn  asunder, 
The  wool  and  card  are  broken. 
Wouldst  thou  speak  to  the  Sole 

Ynca  ? 
For  all  your  sorrow 

Thou  hast  little  to  say. 
Eeflect  well  that  where  I  am 


Scene  I.]  OLLANTA.  33 

Nocaca  maipi  caspapas  I  shall  always  be  bound 

Yuyasccayqiiin  sipisccapas.  To  repress  thy  thoughts. 

\_Exit. 
Ollanta. 

Ollantay  cearim  carqui  Ollanta  !  thou  art  a  man ! 

Ama  ymata  manchaychu  Thou  hast  valour. 

Ama  chailla  anchayaichu.  Thou  hast  no  fear. 

{Ccampac  pisipan  manchaichu) 

Ccanmi  Ccoyllur  ccancha-huan-  Coyllur,  it  is  thee  I  must  pro- 

qui  {llanta)  tect. 

Piqui  Chaqui  maypincanqui  1  Piqui  Chaqui,  where  art  thou  1 

PiQUi  Chaqui. 
Puñurccusani  nanacctan  I  have  slept  like  a  stone, 

Tapiapacmi  mosccocuni.  And  have  dreamt  bad  dreams. 

Ollanta. 
Ymata?  What? 

Piqui  Chaqui. 
Hue  atoccta  ^^  huatasccata.  Of  a  fox  tied  up. 

[asnuta) * 

{llamata)  f  Ollanta. 

Ccanpunim  chaycca  carcanqui.       Certainly  thou  art  the  fox. 

Piqui  Chaqui. 

[Chaycha  chuñuyan  senccaypas]|     Therefore  my  nose  scents  better, 

Chaycha  huinancay  rincripas.         Therefore  my  ears  grow  longer. 

*  Yon  Tschudi.  +  Barranca's  correction  of  Von  Tschudi. 

X  The  passages  between  brackets  [    ]  are  not  in  Von  Tschudi. 


34 


OLLANTA. 


[Act  I. 


Ollanta. 
Hacu,  Ccoyllurman  pusahuay.       Let  us  go.    Take  me  to  the  Coy- 

Uur. 


Ppunchayracmi. 


PiQui  Chaqui. 

It  is  still  daylight. 


\^Exeunt. 


SCENE  IL— Interior  of  the  Aclla-huasi. 
Enter  Cusi  Coyllur  weeping,  and  her  mother  tJie  Ccoya. 


CCOYA. 


Haicacmantan  chica  llaqui 

Cusi  Ccoyllur,  yntic  rirpun  ?  ^i 

Haycac-mantan  chincaripun 

Cusihuan  samihuan  huaqui  1 
Huccu  siquicuna  paraspa 
SonccoUaytan  sipin  ccaña 
Huauuy  llayman  hue  camaña 
Chica  pputita  ceahuaspa 
Ollantaytan  munarccaiiqui 
Na  taccmi  payhuan  yanasca 
Huarmiña  canqui  huatascca  1 
Ccaiitacmi  aclla  curccanqui 
Ccosayquipac  chay  Auqui  1 


Since  when  hast  thou  been  so 
sad, 

0  Cusi  Coyllur !  image  of  the 
sun? 

Since  when   hast   thou   aban- 
doned 
All  thy  pleasures,  all  thy  joy? 
A  deep  sadness  afflicts 
My  sorrowing  heart. 

1  would  rather  face  death 
Than  witness  such  misery. 
Dost  thou  love  Ollantay  ? 
Art  thou  his  companion  ? 
Art  thou  now  his  wife  ? 
Hast  thou  selected 

This  Auqui  for  thy  husband  1 


Scene  II.] 


OLLANTA. 


35 


[Cusitaccmi  maquiquita 
Huayhuarccanqui       pacchas- 

chita?] 
Samaricuy  asUallata.  Rest  thyself  a  little. 

CUST  COYLLTJE. 


Ay  Ccoya !  Ay  Mamallay  ! 
{Nustallay  f) 

Ymayiiam  mana  huaccasac 
Ymaynam  mana  sullasac 
Ychay  Auqui  munasccallay 
Ccaca  tupu  huayllusccallay 
( Ychay  ccacca) 
Cai  chica  tuta  ppuncliaupi 

Cai  cMca  huarma  casccaypi 

Y  cconccahuan  y  haqquehuan 

Y  uyayta  pay  ppaqiiihuan 
Mana  huaturiculiuaspa 

Ay  Mamallay  !  Ay  Ccoyallay  ! 
{Nustallay) 
Ay  liuayllucuscay  ccosallay ! 
Canta  ricsicunay  paccha 
Quillapi  chay  yana  ppacha, 
Ynti  pas  pacaricuspa 
Ccospapurccan  cliiri  usplia 
Phuyupas  tacru  ninahuan 
Llaquita  pailla  huillaliuan 
Accochincliay  ^^  Uoesimuspa 
{Ccollurpas  chasca  tuctispa) 


All  my  Queen  !  Ah  my  mother  ! 

How  should  I  not  weep  ! 
How  should  I  not  mourn  ! 
If  my  beloved  Auqui, 
If  my  revered  guardian, 

During    all    these    days    and 

nights, 
In  this  my  tender  age 
Forgets  and  forsakes  me. 
He  turns  away  his  face 
And  has  not  asked  for  me. 
All  my  mother  !  Ah  my  Queen  ! 

Ah  my  beloved  husband  ! 
From  the  day  that  I  came  here 
The  moon  has  been  darkened, 
The  sun  is  obscured 
As  if  covered  with  ashes. 
A  stormy  cloud  appeared 
To  announce  my  sorrow. 
The  brigbt  comet  was  darkened, 


36 


OLLANTA. 


[Act  I. 


Chupata  aysaricuspa 

Tucuyñincu  tapya  carccan 

Phuya  yahuarta  paraccan 

(^Hinantipas  'pisij^rccan) 

Ay  Ccoyallay  !  Ay  Mamallay  ! 

(N'ustaUay) 

Ay  huayllucusccay  ccosallay ! 


Its  tail  departed. 

All  things  are  against  me, 

The  clouds  rain  blood. 

Ah  my  Queen  !  Ah  my  mother  ! 

Ah  my  beloved  husband  ! 


J^nter  the  Ynca  Pachacutec,  with  Attendants. 

CCOYA. 


Picharicuy  uyayquita 
Chaquichicuy  ^^  uahuiquita. 

[richei) 
Ynca  yayayquim  llocismun 
Caiñecmanmi  cutirimun. 


Wash  thy  face, 
Dry  thine  eyes. 

The  Ynca,  thy  father  comes, 
Behold  him  approaching.    Turn 
to  him. 


Cusi  Coyllur  soncco  ruru 
Llipi  churicunac  ttican 


Cay  ccascoypa  panti  llican 
Simiquin  raurac  huayruru 
{Cay  cuncaipac  cay  Imaisuru) 
Cay  ccascoyman  hanuey  urpi 
Cay  ricraypi  samaricuy 
Cay  fiahuiypi  pascaricuy 


Ynca  Pachacutec. 

Cusi  Coyllur!  Fruit  of  my 
heart ! 

Bright  flower  among  my  chil- 
dren ! 

Fair  net  around  my  breast ! 

Warm  sweetness  to  my  mouth  ! 


Come,  my  dove,  to  my  bosom  ! 
Rest  here  in  my  arms  ! 
Open  thine  eyes  to  me, 


Scene  IL] 


OLLANTA. 


37 


Ccori  llica  canti  ucupi 

{turur) 
Tucuy  llumpac  sami  ccanpin 
JSTahuiypa  lirpunmi  canqui 
Nahuiyquipin  liuanqui  liuanqui 
Tucuy  Ynticc  liuacliin  cliampia 

Llipitan  llican  fialiuiyqui 

Quechip  nayquita  quicliaspa 
{Picliu  ccaraiquita) 
Siiniquitari  pascaspa 
Pupantacmi  samayniqui 
Ccanllan  canqui  yayayquipac 
Tucuy  samin  causayhuanpas 
Noccata  ricuspa  campas 
Causay  hidnay  cusinaypac. 


And  unreel  the  golden  thread 

within. 
In  thee  I  have  my  delight, 
Thou  art  the  apple  of  my  eye — 
Thou  art  to  me  my  eye. 
Here  thou  hast  the  club  of  the 

Ynca, 
And  with   a  look   thou  com- 

mandest  it. 
Who  can  open  thy  bosom 

To  discover  thy  thoughts 
And  secure  thy  content  % 
Thou  art  to  thy  father 
The  only  hope  of  his  life. 
Thy  presence  is  to  me 
A  life-time  of  endless  joy. 


CUSI  COYLLUK. 


Muchanin  huarancca  cuti 

Llampu  Yoyay  chaquiquita 
Llantuhuay  churiquita 

(Jmarancca  mitta) 
Chincarichun  tucuy  phuti. 


I  adore  thee  a  thousand  times. 
[Kneels  to  the  Ynca. 
Here,  0  my  Father,  at  thy  feet, 
Oh  show  favour  to  thy  child, 

And  drive  off  my  sorrows. 


Ynca  Pachacutec. 
Ccan  chaquipi,  ccan  ullpuspa  *      Thou    at    my    feet  !       Thou 

humbled ! 
*  Ullpuycuspa. 


38  OLLANTA.  [Act  I. 

Manchaspan  cayta  rimani !  I  speak  with  astonislinient ! 

Ccahuariy  yayayquin  cani  Remember  tliat  I  am  thy  father, 

Huihuayquin  ccanta  luluspa.*        I    have   cherished    thee   with 

tender  care. 
Huaccanquichu  ?  Dost  thou  weep  1 

CUSI  COYLLUE. 

Ccoyllurpas  huaccan  suUantan       Coyllur  will  weep  like  the  dew 
Yntin  llocsinimuctincca  That  is  driven  away  by  the  sun. 

Sullani  unun  purincca  I  bedew  with  water  that  de- 

parts, 
Mayllarincca  chay  sullatan.  And  I  will  wipe  away  the  dew. 

{Macc-cJiirincca  f) 

Ynca  Pachacutec. 

Hamuy  munacusccay,  halla,  Come,  my  beautiful  love, 

Tianicuy  cay  arpaypi.  And  sit  down  by  my  side. 

\She  sits  doivn  at  his  feet. 

Entei'  Servants. 
Huarmayquicunan  hamusca  The  servants  come 

Ccanta  cusichicunanpacc.  To  do  thy  pleasure. 

Ynca  Pachacutec. 
Yaycuy  camuchucu  uiy.  Let  them  enter. 

*  Llullucuspa. 
t  Tschudi  says,  in  a  note,  that  this  is  unintelligible  to  him. 


Scene  II.]                               OLLANTA.  39 

Enter  young  Indians  dancing,  with  small  drums.     Music  within. 
They  sing. 

Song. 

Ama  piscu  miccuycliu  Bird,  forbear  to  eat, 

TTiyallay.34  0  my  Tuya  ! 

Nustallaipa  chacranta  The  crop  of  my  Princess, 

Tuyallay.  0  my  Tuya  ! 

Manan  hina  tucuicliu  Do  not  thus  rob, 

Tuyallay.  0  my  Tuya  ! 

Hillucunan  saranta  The  maize  which  is  green, 

Tuyallay.  0  my  Tuya  ! 

Panaccaymi  rurunri  The  fruit  is  soft  inside, 

Tuyallay.  0  my  Tuya  ! 

Ancha  cconi  munispa  Though  truly  the  rind  is  thick, 

{ccari  murirpas)  0  my  Tuya  ! 

Tuyallay. 

Nucñuracmi  ucunri  The  leaves  are  tender, 

Tuyallay.  0  my  Tuya  ! 

Llulluracmi  raphinpas  Do  not  perch  on  them, 

(Quequeracmi)  q  ^y  T^^y^  ! 

Tuyallay. 

Huaranccanan  hilluta  Do  not  be  very  greedy, 

Tuyallay.  O  my  Tuya  ! 

Pupasccayquin  ccantapas  Or  thou  shalt  be  trapped, 

Tuyallay.  O  my  Tuya  ! 

[Cuchusaccmi  silluta]  Thy  nails  shall  be  cut, 

Tuyallay.  0  my  Tuya  ! 


40 


OLLANTA. 


[Act  I. 


[Happiscayquin  ccantapas 
{Pupascayquin)  Tuyallay. 

Piscucata  huatucuy 

Tuyallay. 
Sipisccata  ccahuariy 

Tuyallay. 
Sonccollanta  tapucuy 

Tuyallay. 
Phumntatac  mascariy 

Tuyallay. 
Hinasccatan  ricunqui 
(Lliquisccatan) 

Tuyallay. 
Hue  ruruta  chapchactin 

Tuyallay. 
Hinatacmi  ricunqui 

Tuyallay. 
[Hucllallapas  chincacctin 

Tuyallay.] 


And  thou  shalt  be  caught, 

0  my  Tuya ! 
Seize  that  little  bird, 

0  my  Tuya ! 
Fasten  him  with  a  collar, 

0  my  Tuya ! 
Make  his  heart  beat, 

0  my  Tuya  ! 
Seek  him  out  and  secure  him, 

O  my  Tuya ! 
You  will  see  how  he  is  treated, 

0  my  Tuya ! 

When  he  touches  a  grain, 

0  my  Tuya  ! 

You  will  see  how  he  is  treated, 
O  my  Tuya ! 

When  one  is  missing, 

0  my  Tuya  ! 


Ynca  Pachacutec. 
Cusicuscay  Cusi  Ccoyllur  Enjoy  thyself,  Cusi  Coyllur, 

Huarmay  quicunac  chaupinpi        In  the  midst  of  thy  maidens, 
Cay  mamayquipa  huasimpi.  In  the  house  of  thy  mother. 

[Uxit. 

CCOYA. 

As  uucnuta  taquipuychis  Sing  with  more  sweetness, 

Amauta  parahuicc  cuna  Loveable  nymphs, 

(Munacusccai  sicllaicuna) 


SCExNE  II.] 


OLLANTA. 


41 


Tap-yatan  taquin  cay  cuna 
Ccancunari  chay  ripuychis. 


Yscay  munaracuc  urpi^^ 
(Yscay  munacusccai) 
Llaquin,  phutin,  ancliin,  huaccan 
Accoy  raquis  aucca  ttacan 
(Yscainintas  ccasa  paean) 
Hue  chaqui  muUpa  curcupi 

Hucñin  cacsi  chincachisca 
Huayllucuscan  PituUanta 
Hue  soeyapi  sapalanta 
Ceampanmanaseea  Uaquiseca 
{Mana  haicac  cachariscca) 
Huaeacc  urpitaemi  llaquin 
PituUanta  ccahuarispa 
Huañuscataña  tarispa 
Cay  simipi  paypac  taquin 
Maymi  Urpi  ehay  ñahuiqui 

Chay  ccaseeoyqui  munaymunay 
Chay  soneeoyqui  ñucñucunay 
Chay  aehan  ecanay  simiqui  ? 

(llampu  huatiLc) 
Chieaehicuc  eac  urpiri 
Ceaeca  ecaccapi  musphaspa 


Depart,  you  that  have  sung  of 

misfortune ; 
Let  us  have  other  music. 

\^2Iusic  luitfdn. 
Song. 

Two  loving  turtle  doves 


Are  sad,  mourn,  sigh,  and  weep. 
Both  were  buried  in  the  snow. 

And  a  tree  without  verdure  was 
their  hard  resting-place. 

One  lost  her  companion 

And  set  out  to  seek  her. 

She  found  her  in  a  stony  place. 

But  she  was  dead. 

And  sadly  she  began  to  sing, 

My  dove !  where  are  thine  eyes, 

And  where  thy  loving  breast? 

Where  thy  virtuous  heart 

That  I  loved  so  tenderly? 

Where,    my   dove !    are    thy 
sweet  lips 

That  divined  my  sorrows  ? 

I  shall  suffer  a  thousand  woes, 

Now  my  joys  are  ended. 

And  the  unhappy  dove 

Wandered  from  sorrow  to  sorrow* 

Nothing  consoled  her 


42 


OLLANTA. 


[Act  I. 


Huequenhuan  ccaparcac  chaspa      Or  calmed  her  grief. 


Qiiiccaman  ñatac  puririn 

Hininantta  tapucuspa 

Yanallay  maypitac  canqui 

{Sonccollcuj) 

Nispan  mitcan  ranqui  ranqui 

Nispan  huañun  ulljDuycuspa. 


When  the  morning  dawned 
In  the  pure  blue  of  heaven 
Her  body  reeled  and  fell, 

And  in  dying  she  drew 
A  sish  all  full  of  love. 


CUSI  COYLLUR. 

Chicantan  ñin  chay  yarahui !         This  yarahui'^  speaks  truly. 


Chicallataña  taquihuay 
[Sapaytaña  haqquehuaychis' 
Llocllarichufia  cay  uahui. 


Enough  of  music, 
Torrents  of  tears, 
Overflow  mine  eyes. 


[Exeunt. 


SCENE  III. 

Enter  the  Ynca  Pachacutec,  Ollanta,  and  Rumi-Nahui."^ 
The  Ynca  sits  on  his  tiana. 


Ynca  Pachacutec. 
Cunan  ppunchaumi  Auqui  cuna      Hail,  0  Auquis  ! 
Ancha  chariocc  rimananchis 
{Ccan  cunahuan) 
Kan  chirau  chayamuanchis^''' 
Llocisnannan  llapa  runa 
Colla-sayun  mascamuna. 
(Ccoya) 

Nan  Chayanta  camaricun 
(Nas) 


I  declare  the  time  has  come 

For  the  army  to  prepare 
For  the  road 
To  Colla-suyu. 

Chayanta  is  prepared 


Scene  III] 


OLLANTA. 


43 


Kocanchisliuan  llocsinampac 
[Callpancuta  tupunanpacc] 
Llapa  Uancus  tacuricun 
Huachincuta  thuparicun. 


Oll 


Ymatas,  Ynca,  tacyanaca 


Chay  Uaclla  runacunaca 

ijiauccii) 
Cuzcohuanmi  orco  caicca 
Paycunapaca  sayancca 
Nan  pusac  chunca  huaranca 
Huallahuisa  suyuscanna 
Huancaniypa  tocyananta 
Pututuypa  huaccananta 

Nan  macana  tuprasccaña 
Champipas  camarisccaña. 
{yian  acllasccana) 


To  join  with  us. 
Our  strength  is  immense. 
Let  the  arms  be  ready 
And  the  arrows  sharpened. 

A.  NT  A. 

How,     0    Ynca,    are    these 

cowards 
To  be  maintained  by  us  ? 

Cuzco  and  its  mountains 
Will  rise  against  them ; 
As  well  as  eighty  thousand  men 
Who  wait,  and  are  ready 
At  the  sound  of  the  drum, 
And   at   the    blowing    of   the 

trumpet. 
As  for  me  my  axe  is  sharp 
And  my  club  is  chosen. 


Ynca  Pachacutec. 
Tucuytarac  huacyay  cunay  Still  I  will  give  my  orders 

Huillanquichisrac  pactapas  That  all  shall  assemble, 

Cumuycunman  huaquillanpas       For  there  may  be  many 
Yahuarñincun  ancha  cuyay.  Who  love  their  blood  too  well. 


Rumi-Nahui. 
Ancha  phiñas  huñucuncu  To  order  and  oblige 

Yuncacunata  huacyaspa 


The  Yuncas  to  work 


44 


OLLANTA. 


[Act  I. 


Nancunatari  pascaspa 
Ccaramantas  uncu  cuncu 
Hinan  manchayñinta  paean 
Chay  pisi  soncco  Cliayanta 
Mana  chaqiiic  cliayamanta 
Nanta  pascascca  munascan 

Nan  accoya  camariscca 
Llamanchispas  chacnanapac. 
Acco  punin  ticranapac 
Nan  ricrancliis  camarisca. 


At  clearing  the  roads 

And  to  dress  in  skins  : 

The  most  valiant 

In  Chayanta  might  be  ordered 

To  assemble.     I  believe 

That   this   will   show   their 

cowardice, 
Not  wishing  to  march  on  foot. 
Now  that  the  beasts  are  ready, 
We  can  march  to  battle, 
For  our  army  is  ready. 


Ynca  Pachacutec. 
Llocsiytañachu  yuyanqui  Dost  thou  think  to  go  forth 


Phiña  amaru  tincuric 

Chay  runacuna  tacuric  ? 

Naupactarac  ccan  huacyanqui. 

Misqui  simi  payaynata 

Ccuyanin  ricuy  runata 

Manan  yaliuar  hichaytachu. 

Pitapas  ccoUochiytachu. 

iNi  pita) 

Ollanta. 

Nan  ñoccapas  llocsisacfia  I  too  must  march 

Tucuy  iman  camariscca 

Soncco  Uami  manchariscca 

{Cai  sonccoimi) 

Hue  yuyaypin  musphasccaua 


.To  encounter  them,  as  a  fierce 

serpent. 
And  that  thou  wilt  raise  those 

people  ? 
Thou  shalt  first  appeal  to  them 
With  a  sweet  mouth. 
And  show  them  compassion, 
Not  shedding  any  blood 
And  destroying  no  one. 


All  things  are  prepared, 
But  my  heart  trembles, 


Maddened  by  one  thought. 


Scene  III.]  OLLANTA.  45 

Ynca  Pachacutec. 
Rimariy   ñiy   cay   llautuyta         Speak  !  I  grant  even  my  royal 
munaspapas.  llautu. 

Ollanta. 
Sapayquipi  uyarihuay.  Hear  me,  alone. 

Ynca  Pachacutec. 
Hanansuyu  apu  huarancca  General  of  Hanan  Suyu 

[huamincca) 
Huasiquipi  samarimuyj  Ptest  in  thy  house, 

Rima  nanchisana  cacctinca  I  will  call  thee  to-morrow. 

{Nocca  huacyanai  captincca) 
Ccaya  ppunchau  muyurimuy. 

Rumi-Nahui. 
Ccampa  simiquin  ñocapac  Thy  word  is  mine  ; 

Hunttana  hnc  chinlliyllapi.  I  comply  on  the  instant. 

[Exit. 
Ollanta. 

Nan  yachanqui  Ccapac  Ynca         Well    thou    knowest,    Ccapac 

Ynca, 
Huarmanantan  yanasccayqui         That  I  have  followed  thee  from 

childhood ; 
Ccantan  huiñay  ccahuancayqni      I  have  ever  sought  thy  welfare, 
Cay  runasccayqui  huamincca         Showing  my  valour  for  thee, 
{Rurarccaiqui  cai) 

Ccanta  ccatispan  callpaypas  To  impose  thy  sway 

Huaranccaman  cutipurccan  Upon  thousands  of  people. 


46 


OLLANTA. 


[Act  I. 


Hampiypas  umi  sururccan 

{ccamjpai) 
Ccan  raycutaccmi  canipas. 
Purun  auccapas  carccani 

Tucuy  ccaliuac  tucuy  tactac 

Manchacininmi  llapi  llactac 
Anta  ch  ampin  circarcani 
Maypin  manapas  llocUaccliu 

Auccayquicunac  yahuarnin  ? 
Pi  pacmi  mana  chahuarSin 
Ollantaypa  sutin  caccliu  % 
Nocan  campa  chaquiquimaii 
Hanan-suyu  Uipintinta 

Churasccani  Yuncaiitinta 
YanayquijDac  huasiqiiimau 
Chanca  cunata  canaspa 
Raprancutan  cuchurccani 
Nocatac  cururarccani 
Huanca  Uillcata  tactaspa.^^ 
Maypin  mana  sayarircan 
Ollantay  fiaupac  iiaupacta  % 

Nocaraycu  tucuy  llacta 
Cliaquiquiman  hamurircan  : 
Narac  llamputa  Uullaspa 


For  thee  have  I  sweated, 

Ever  have  I  lived  to  serve  thee ; 

I  have  been  the  terror  of  thy 
enemies. 

Never  have  I  failed  to  fall  upon 
them, 

And  to  conquer  their  towns 

As  with  a  brazen  club. 

Where  have  I  not  poured  out 
torrents 

Of  the  blood  of  thine  enemies'? 

Upon  whom  have  I  not  imposed 

The  name  of  Ollanta  % 

I  have  brought  to  thy  feet 

The  bright  hosts  of  Hanan- 
suyu, 

Thousands  of  Yuncas'^ 

As  servants  in  thy  house. 

Conquering  the  Chancas* 

I  have  made  them  submit. 

I  it  was  who  conquered 

The  great  Huanca  Uillca,  i 

Placing  him  at  thy  feet. 

When  has  not  Ollanta  been 
first? 

I  have  added  many  villages 

To  thy  dominions. 

Now  I  have  used  persuasion, 


Scene  III.] 


OLLANTA. 


47 


Narac  phina  ccaparispa 
Na  yahuarniyta  hichaspa 
JN'arac  huañuyta  tarispa 

Canmi  yaya,  ccohuarcanqui 

Ccori  cliampita  cantaccmi 

Ccori  chuccuta  ymapacmi 

Auquimanta  liorccohuarcanqui  1 

{Runa) 

Ccampan  cay  ccori  macana 

Ccampactacmi  yma  ccasccaipas 

Callpaypas  chanincachun  chay- 

pas 
Tucuytan  chaypi  mascana 
Nan  Aputa  liorccoliuanqiii 
Anti-suyu  Jhuaminccata 
Pisca  cliunca  huaranccata 
Eurayquita  yupaliuanqui 
Hinantin  Anti  ccatihuan 
Ccanta  yana  ccuscallaypi 

Noccataliuanmi  churayqui 
Ullpuycuspa  chaquiquiman 
AsUatahuan  hoccarihuay 

Yanayquin  cani  ccaliuariy 
Cayqui  quesayquita  uyariy ! 
(Ccatisccaiquin  y  conanri) 


Now  I  have  resorted  to  force, 
Now  have  I  poured  out  blood, 
Now  have  I  exposed  myself  to 

death. 
Thou,   my   Father,    hast    be- 
stowed 
This  mace  of  gold 
And  this  golden  helm. 
Didst  thou  not  raise  me  to  be 

an  Auqui  1 
From  thee  is  this  golden  club, 
For  thee  shall  be  my  prowess 
And  all  that  my  valour  gains. 

Thou  hast  raised  me 
To  be  the  fortunate  chief 
Of  Anti-suyu.     From  thee 
I  command  fifty  thousand 
Men  who  obey  me, 
With  all  the  Anti-suyu. 
For  all  the  services  I  have  per- 
formed 
I  approach  thee, 
And  humble  myself  at  thy  feet 
That  thou  mayst  raise  me  once 

more. 
Behold  I  am  thy  servant : 
And  so  shall  I  ever  be 


48 


OLLANTA. 


[Act  I, 


Ccoyllurniquita  ccorihuay 

Chay  ccanchayliuan  purispa 
Ccan  Apuyta  yupaychaspa 
Huiñaytacc  ccanta  ccahuaspa 
Huañunaypacc  taquirispa. 


me 


the 


If    thou   wilt   grant 

Coyllur. 
Marching  with  that  light 
I  shall  worship  thee  as  Lord, 
And  for  ever  shall  I  praise  thee 
Until  the  day  of  death. 


Ynca  Pachacutec. 


Ollantay  ccan  runan  canqui 
Hinallapitacc  quepariy 
Pin  casccayquita  ccahuariy 
Ancha  huichaytan  ccahiianqui. 


OUanta,  thou  art  a  man. 
Kemain  as  thou  art. 
Kememberwhat  thou  hast  been. 
Thou  lookest  too  hish. 


Ollanta. 
Hue  camallaña  sipihuay.  Take  my  life  at  once. 

Ynca  Pachacutec. 


Noccan  chaitacca  ricunay 
Manan  ccampa  acUanayquichu 
f Ñihuay  Yuyayñiquipichu  ^^  ^ 
Carccanqui  ?  utccay  ripullay.] 


Ah  Ollantay  !  Ollantay  ! 
Chainatachu  hurccusunqui 
Llipi  llactac  caniquiman 
Chai  chica  yanasccayquiman 
Ah  !  Ciisi  Ccoyllur  huarmillay 
Cunanmi  chincharichiqui 
Nan  ñoca  pisipachiqui 


It  is  for  me  to  see  to  that, 
It  is  not  for  thee  to  choose. 
Dost  thou  know  thyself  ? 
Go  forth  from  my  presence. 

\Exit. 
Ollanta. 

Ah  Ollanta  !  Ollanta !  ^^  & 
Thus  art  thou  answered 
Thou  who  hast  conquered. 
Thou  who  hast  served  so  well. 
All !  Cusi  Coyllur,  my  wife  ! 
Now  art  thou  lost  for  ever ! 
Thou  art  no  loncrer  for  me  ! 


Scene  III.] 


OLLANTA. 


49 


Ay  Nusta !  Ay  Urpillay ! 
Ay  Cuzco  !  Ay  sumac  Uacta  ! 
Cunanmanta  ccayamanca 
Auccan  casac,  casac  aucca 

Chay  ccasccoyquita  ccaracta 

Lliquirccospa  sonccoyquita 
Cunturcunaman  cconaypac 
Chay  aucca !  Chay  Yncayquita ! 
Huñu  huñu  huaranccata 
Anticunata  ^^  llullaspa 
Suyuycunata  tocUaspa 
Pusamusac  puUccancata 
Sacsahuamanpin  ^^  ricunqui 

Rimayta  phuyuta  hina 
Yahuarpin  chaypi  puñunqui 
Chaquiypin  cancca  Yncayqui 

Chaypachan  paypas  ricuncca 
Pisinchus  ñocapac  Yunca 
Puchunccachus  chay  cuncayqui 
jManapunin  ccoyquimanchu 
Nihuanracc  chay  ususinta  ? 
Pascarinracc  chay  siminta 
Manan  ccampacca  canmanchu 
Nispa  uticuy  phinascca 
Cconcor  sayaspa  mañactiy  % 


Ah  Princess  !  Ah  my  dove  ! 

0  Cuzco  !  beautiful  city  ! 
From  henceforth 

1  will    be    thy    enemy !    thy 
enemy ! 

I  will  break  thy  bosom  without 

mercy, 
I  will  tear  out  thy  heart. 
I  will  give  thee  to  the  condors  ! 
That  enemy  !     That  Ynca  ! 
Millions  of  thousands 
Of  Antis  ^0  will  I  collect. 
I  will  distribute  arms, 
I  will  guide  them  to  the  spot,         \ 
Thou  shalt  see  the  Sacsahua- 

man  *^ 
As  a  speaking  cloud. 
Thou  shalt  sleep  in  blood. 
Thou,  O  Ynca !  shalt  be  at  my 

feet, 
Then  shalt  thou  see 
If  I  have  few  Yuncas. 
If  thy  neck  cannot  be  reached. 
Wilt  thou  not  give 
Thy  daughter  to  me  ? 
Wilt  thou  loosen  that  mouth  1 
Art  thou  then  so  mad 
That  thou  canst  not  speak, 
Even  when  I  am  on  my  knee  ? 


OLLANTA.  [Act  I. 


Yncan  paypas  ñoca  cacctiy  But  I  shall  then  be  Ynca  ! 

Tuciiimi  chaicca  yachasca  Then  thou  slialt  know, 

Cunancca  cayllaña  cachun.  And  this  shall  soon  happen. 


Enter  Piqui  Chaqui. 

Ollanta. 
Piqui  Chaqi  puriy  riy  Go,  Piqui  Chaqui, 

Cusi  Coyllur  ñiyta  niy  Say  to  Cusi  Coyllur 

Cunan  tuta  suyahuachun.  This  night  I  await  her. 

Piqui  Chaqui. 

Nacca  rini,  chisi  rini  Yesterday,  late,  I  went 

Cusi  Coyllurpa  huasinta  To  the  house  of  Cusi  Coyllur  ; 

Tarini  tucuyta  cLuita  I  asked  and  no  one  answered — 

Tucuytañan  tapurini  There  was  not  even  a  dog  to  be 

seen, 

Manan  allcollapas  canchu  I  could  not  find  her — 

(rnisi)  ^^ 

Tucuy  puncun  huascarcosca  ^^  All  the  doors  were  closed, 

Manafian  pipas  tianchu.  Nothing  was  to  be  seen. 

Ollanta. 
Huarmancunari  ?  And  her  servants  ? 

Piqui  Chaqui. 
Hucuchapas  ayquepuscan  Even  the  rats  had  gone, 

Manan  micuyta  tarispa  Finding  nothing  to  eat ; 

Tucu  llauan  sayarispa  The  owls  only  remained, 

Hue  huacayta  taquicuscan  With  their  doleful  music. 

(Jlcmchaiiaña). 


Scene  III.]  OLLANTA.  51 

Ollanta. 
Yayancliari  pusacapun  Perhaps  her  father  has  taken 

her, 
Hatun  huasinman  pacarcoc.  To  hide  her  in  the  palace. 

PiQUi  Chaqui. 
Ychapas  payta  huarcorcoc  Who  knows  if  he  has  hanged 

her, 
Mamantinmi  pay  chincapun.         And  has  abandoned  her  to  the 

mother. 

Ollaxta. 

Mamachii  pi  nocamanta  No  one  had  asked 

Tapuricun  ccaynamanta.  For  me  yesterday  % 

PiQUi  Chaqui. 
Huarancca  runallan  ccanta  About  a  thousand  men 

Mascasunqui  chaupichantin.  Seek  to  secure  thee. 

Ollanta. 
Tucuy  suyu  hatarichun  Then  I  will  raise  my  province. 

Tucuytan  ttactanca  maquiy  ]\Iy  hand  shall  destroy  all. 

Cay  maccanan  maquiy  chaquiy      My  hands    and  feet    are    my 

Tucuytan  champiycca  ychun.         My  club  shall  deal  havoc. 

PiQUi  Chaqui. 
Nocapas  chay  runataca  I  too  must  trample 

Haytaymanmi  cearataca  Upon  this  man. 

Ollanta. 
Pi  runata  %  What  man  ] 


OLLANTA.  [Act  I. 


PiQUi  Chaqui. 
Chay  Urco-huaranccata  ñini  I  say  that  Urco-huarancca 

Payllan  canmanta  tapucun.  He  only  has  asked  for  thee.^ 

Ollanta. 
Yncas  icha  mascachihuan  Perhaps  it  is  to  say  that  the 

Ynca 
Nispan  phiñacuscarcani.  Seeks  me  in  his  fury. 

PiQUi  Chaqui. 
Urco-huarancca,  manan  Ynca-      Urco-huarancca,  not  the  Ynca. 

chu 
Runallan  chayni  millacuy.  I  abominate  that  little  man. 

Ollanta. 
Chincarinñan  Cuzcomanta  That  he  has  fled  from  Cuzco 

Cay  sonccoymi  huatupacun  My  heart  tells  me, 

Chay  tucu  chaytan  huillacun         And  the  owl  declares  it. 
[Nac  ripusun  caymanta].  I  will  go  with  him. 

PiQUi  Chaqul 
Ccoyllurtari  saquesunchu.  We  will  leave  the  Coyllur. 

Ollanta. 
Ymanasactac  chincaptin  !  How  can  I  bear  to  lose  her  ! 

Ay  Ccoyllur  !  Ay  Urpillay  !  Ah  Coyllur  !  Ah  my  dove  ! 

PiQUi  Chaqui. 
Chay  yarahuita  uyariy  Listen  to  that  yarahui. 

Picha  taquicun.  Who  is  it  that  sings ! 

\^Music  is  heard  within. 


Scene  III.]                              OLLANTA.  53 

Song. 

Urpi  uyhuaytan  chincacliicuni  I  lost  a  dove  that  I  had  cher- 
ished, 

Hue  chimlliyllapi !  In  one  moment ! 

Pacta  ricuhuac  mascariy  puni  I  searched  for  her  in  all  parts, 
(tapucui) 

Chay  quitillapi.  Looking  all  round. 

Millay  munaymi  sumac  uyanpi  From  the  beautiful  face  of  my 

love, 

Ccoyllur  sutinmi  They  call  her  Coyllur. 

Pacta  pantahuac  hucpa  ccayll-  It  was  by  reason  of  her  beauty, 
anpi 

Ricuy  sutinmi.  A  harmonious  name. 

Quillahuan  cusca  [ynti]  matt-  Like  the  moon  in  its  splendour 
inpi 

Nanac  capchiypi  Is  her  bright  forehead, 

Cuscan  iUancu  hucpa  sutimpi  When  it  shines  in  brilliancy 

Ancha  cusipi  In  the  highest  heaven. 

Ususichucchaurichillucayñinpi  Her  sister  tresses  hang  down, 
(^Llampu) 

Misatan  ahuan  Woven  in  two  colours, 

Yanaquelluhuanllumpacrinripi  Black   mixed  with  gold  upon 

(yurachuan)  her  temples, 

Ricuytan  racran  A  beautiful  sight. 

{NaimcctaTi) 

Quechip  ñacuna  munay  uyampi  Her  lovely  eyebrows  shading 

{rancuna)  her  face 

Cuychin  paccarin  Are  like  the  rainbow. 


54 


OLLANTA. 


[Act  I. 


Yscaymi  Yntiquiquin  ñaliuimpi 

Chaymi  sayarin 
Quecbiprallanri    ñac    chascca 
huachin    (nacai  ccahuachin) 
Tucuy  sipicmi 
Chaypin    munaypas    llipipac 
capchin 

Soncco  siquicmi. 


Her  eyes  are  like  two  suns 

Fixed  in  her  face. 
Her  penetrating  glances 

Cause  joy  or  sorrow  ; 
And  though  she  is  beloved  and 
adored 

The  heart  is  wounded. 


Achancaraypas  sisan  uyampi 

Rittihnan  cusca 
Milluriyunacta  sani  utccapi 
{Mitun  yuracpi) 

Hinan  ricuscca 
Sumac     simimpi     ccantacmi 
pascan 

Rith  piilita 
Asispan  ccapan  misqui  samas- 
ccan    {cconto7i) 

Tucy  quitita 

(Tutui  quiti). 

Llampi      cuncanri      quespi 
huayuscca 
Paraccay  ritin 
Utcu    munaymi    ccasconhuan 
cusca 

Huattan  puririn 


The  A chancar ay  hloom^  on  her 
cheek  -^^ 
Like  snow  ; 
White  as  it  appears  upon  the 
ground, 

So  it  is  seen. 
Her  beautiful  mouth  is  a  sight 

Which  rejoices  the  heart  : 
With  the  echo  of  her  delicious 
laugh 

A  joy  is  spread. 


Her    graceful   throat    is    like 
crystal, 

Or  driven  snow ; 
Her  bosom  increases  from  year 
to  year, 

As  growing  cotton  ; 


Scene  III.] 


OLLANTA. 


55 


Qqueque  maquinri  Uullu  cay-  Her  fingers  are  like  icicles  : 
manpi 
CuUarimpunin  As  I  gazed, 

Rucanancuna  ttacca  cuyninpi  And  as  she  moved  them 
(  jKtscacumhqn) 
CliuUuncuy  cutin.  Tliey  gave  me  joy. 


Ollanta. 


Ay  Cusi  Coyllur ! 
Ricsirccanchus  cay  taquicca 
Sumayñiquita  ! 
Eipiillacliun  cay  llaquicca 
Ma}i:apas  quita* 
Nocan  ccanta  chincachiqui 

Muspallasacña 
Nocan  ccanta  sipicbiqui 

Huañullasacña. 


Ah,  Cusi  Coyllur ! 

I  recognize  that  music, 

For  it  describes  her  beauty  ; 

The  sorrow  it  brings  back 

Remains  with  me. 

If  I  should  lose  thee, 

I  shall  go  mad ; 
If  I  should  be  deprived  of  thee, 

I  shall  die. 


PiQUi  Chaqui. 
Sipin  punicha  Ccoyllurta  Perhaps     they     have      killed 

Coyllur, 
Manan  tutapas  canchanchu.  Now  the  night  is  dark. 


Ollanta. 


Ychacca  ricsinccan  Ynca 
Ollantaypa  chusasccanta 
Tucuytan  tarincca  aucanta 
Tucuytacmi  saquerencca. 


Perhaps  the  Ynca  knows 
That  Ollanta  is  absent, 
That  all  are  his  enemies, 
And  have  abandoned  him. 


*  All  this  omitted  by  Barranca. 


56 


OLLANTA. 


[Act  I. 


PiQUi  Chaqui. 


Hinantinrai  munasunqui 
Ancha  ccocucc  cactiquicha 
Tucuypacmi  raquicunqui 
Nocallapactacmi  micha. 


You  would  want  all 
Because  you  are  liberal. 
To  all  the  world  you  are  prodigal, 
But  to  me  you  are  penurious. 


Ollanta. 
Ymapacmi  can  mananqui  %  What  would  you  have  % 


PiQUi  Chaqui. 


Ymapac?  chacpac,  caipac 
Sipasman  ppacha  cconoypac 
(Hucman  ppachata) 
Hue  collqueita  ricunapac 
Chayhuan  manchanampac 
{Noccatari). 


What !     This,  and  this  : 
To  bestow  clothing, 

To  have  plenty  of  silver, 
And  also  to  be  feared. 


Phiña  phiua  puniyani 

(cai  ari) 
Chayhuan  tucuy  manchacusun 
qui. 


Ollanta. 

Be  brave  and  valiant. 


With    those   you 
timid. 


would     be 


PiQui  Chaqui. 


Llachay  mana  chaypacchu 
{Mcman  cai  huyai) 
Anchatan  ñocca  asiiii ; 
Anchatatacmi  casini ; 
Qqueusuy  manan  fioccapacchu. 
(Lercco  cai) 


I  have  no  taste  for  that ; 

For  I  am  always  laughing, 
I  am  always  idle. 
Power  is  not  for  me. 


Scene  III.]  OLLANTA.  57 

Yma  pututus  huaccamun  What  trumpet  is  that 

{jpitus) 
Carumantun  caman  hamun.  Sounding  from  afar  ? 

Ollanta. 
Noccatachu  mascahuancu  Perhaps  they  seek  me. 

Hacu  ñaupariy.  Let  us  go. 

PiQUi  Chaqui. 
Ayquecpacca  ñocan  cani.  I  am  a  fugitive. 

\Exeunt. 


ACT  11. 

SCENE    I. 

Enter  the  Ynca  Pachacutec,  Rumi-Nahui,  and  Attendants. 

Ynca  Pacbacutec. 
Ollantaytan  mascacliini  I  ordered  Ollantay  to  be  sought 

for. 
Mananpunin  tarincucliu  They  have  not  yet  found  him. 

{paita) 
Pliinayniymi  puchu  puchu  My  fury  is  great ; 

Paypin  llocllata  *^  tarini  It  bears  me  on  like  a  torrent. 

Pticunquichu  chay  runata  1  Hast  thou  seen  that  man  ? 

Rumi-Nahui. 
Mancharisccanc  Ccapac  ccancan      I  have  feared  thee. 

{campac) 
[Soncconpas  chincarisccata  IMy  heart  is  lost. 

Ricuncani  chay  sallcata  I  find  a  wilderness 

Huchan  punichari  carccan].  In  place  of  it. 

Ynca  Pachacutec. 
Huarancca  runata  acUaspa  With  a  thousand  chosen  men, 

Puriy  payta  mascamuhuay.  March  in  search  of  him. 


Scene  I.]  OLLANTA.  59 

Kumi-Nahui. 
Nacha  maytapas  puririn  Where  can  he  have  gone 

Quimsantinppunchaiiñaschusan     In  these  three  days, 
Huasinmanta  pichu  pusan  That  he  has  been  away  from  his 

house  % 
Chay  raycun  mana  ricurin.  Why  is  he  not  found  % 

Enter  an  Indian  with  a  qidpu, 

Indian. 
Cay  quiputan  apamuyqui  I  bring  you  this  qui2m 

Urupampamanta  ^^  cunan  From  Urupampa, 

[Hue  chimlliypin  ynti  munan        They    ordered    me    to    come 

quickly. 
Hamunayta  nan  ricuyqui].  Now  you  have  seen  it. 

Ynca  Pachacutec. 
Yman  chaycunapi  simi  1  What  news  are  these  1 

Indian.    . 
Chay  quipucha  huillasunqui.  That  quijm  will  tell  thee. 

Brings  a  pole  with  coloured  wool  and  grains  of  maize 
hanging  from  it. 

Kumi-Nahui. 
Caycca  llanta :  nan  ccahuahuan      There  is  here  a  pole 
Cay  umanpi  huatasccaña  To  which  a  skein  of   wool  is 

fastened : 
Cay  rurucunari  runam  It   reveals   that   there   are   as 

many  men 


6o 


OLLANTA. 


[Act  II. 


Tucuy  payman  tinquisccaña. 
{JiuataccaTid) 


As  grains  of  com  are  here  sus- 
pended. 


Ynca  Pachacutec. 
Ymatan  ccan  ricurcanqui  ?  What  hast  thou  seen  % 


Indian. 

The  whole  Anti  nation 
Has  risen  with  Ollanta. 
It  has  been  declared  to  me 
That  the  red  fringe  was  seen 
Encircling  his  brows. 


OUantaytas  tucuy  Anti 
Runacuna  chasquircancu 
Hinatan  huillacunccancu 
Ccahuatas  llautucun  panti 
Phurutas  umallampi. 
{0  sayiitac) 

Rumi-Ñahui. 

Chaytan  quipu  huillasunquL  This  also  the  quipu  says. 

Ynca  Pachacutec. 


Amarac  phiña  tacyactiy 
Puriy,  puriy,  can  huaminca 

Callpayquiri  pisicctinca 
(Manarac  ashuan  chayactiy) 
Pisca  chunca  huaranca 
Suyuquita  tacurispa 
Utccay  utccay  puririspa 
Muchuchinmi  chayan. 


Paccarillan  llocsisacmi 
Huallahuisa  yuparisccan 
(camariscan) 


Before  my  fury  abates 
March  !  march  !  0  valiant  war- 
rior ! 
Go  forth  bravely 
(Even  with  the  force  now  here). 
Fifty  thousand  men 
Are  raised  in  thy  province. 
March  quickly; 
The  danger  menaces. 

Rumi-Nahui. 

I  will  go  at  once, 
But  now  I  had  ordered 


Scene  II.] 


OLLANTA. 


Ayqueccta  hayccamusacmi 
{Ccollamafian  puririscan) 
Cayman  cutichimunapac 
{Tucuita  harcamusacmi) 
Chay  auccata  sipinapac 
Causactapas  huañuctapas 
Atisacmi  runantapas 
Ccanri  Yncaj  samariscay 
[Huancunata  camariscay]. 


Them  to  march  to  the  land  of 

the  Collas, 
All  must  be  prepared 

To  capture  this  traitor, 

Dead  or  alive. 

This  man  shall  submit 

To  thee,  0  Ynca !  rest  assured. 

Be  prepared  for  this. 

\^Ejceunt. 


SCENE     II. 


Enter  Ollaxta,  Hanco  Huayllu,  and  Ueco  Huarancca, 
with  attendant  Captains. 

Ueco  Huarancca. 


Nan  huamincca  chasquisunqui 
Anti-suyu  runa-cuna : 
Anchan  huaccan  huarmi-cuna 
Piicunqui  cunan  ricunqui : 
Chayantatas  purincca 
Tucuy  run  a,  tucuy  Auqui 
Ancha  carun  purinayqui 
Yma  ppunchaucha  taninca 
Sapa  huata  llocsinanchis 
Chay  caru  llactacunaman 
[Chay  aucca  runacunaman] 
Yahuartan  llipi  hichanchis 


The  valiant  men  receive  thee, 
Even  the  men  of  Anti-suyu  ; 
And  the  women  also. 
Thou  shalt  see!  thou  shalt  see! 
They  will  march  to  Anta. 
All  the  men  and  their  chief, 
Thou  shalt  march  with  them. 
May  that  day  never  come, 
When  every  year  they  set  out 
For  these  distant  villages, 

To  shed  our  blood, 


62 


OLLANTA. 


[Act  II. 


Ñocanchispata  paycunacta 
{Ña  Yncacta  na  paipata) 
Micuyfiinta  quespicuspan 
As  cucatari  apacuspan 
Purimuna  llacta  llacta 
{Saicuscancu  tucui) 
Acco  purunmi  mascana 

i^rurunmi) 
Chaypin  Uamapas  pisipan 
Chaquitapas  quiscattipan 
{Chaipin  chaquinchista  ttipan) 
Chaypin  ccauchipi  mitccana 
(Millai  turpucpas  quiscana) 
Unupas  chaypacmi  apana 
Canumanta  upyanapac 
(Huasancupi) 
Napecctuscca  samanapac 
{JFIuanuitapas  o  suyana) 
(Huanuytahuanpashuaccyana). 


To  cut  off  from  tlie  Yiica 

The  provisions  he  needs. 
By  carrying  a  little  coca 
Every  village  will  have  rest. 

It  is  needful  to  seek  sandy  ways ; 

And  if  the  llamas  become  tired 
We  must  walk  on  foot. 

Although  it  be  among  thorns, 

We  must  carry  water 
For  drinking  with  us, 

We  must  supply  these  things 


To  guard  against  death. 


Apucuna  uyariychis 

Urcco  Huarancca  rimascanta 


Chay  saycuy  sutinchascanta 
{camariscanta) 
Sonccoyquichispi  happiychis 
Ccancunamanta  llaquispan 
{Tucu  Antita) 


Ollanta. 

Chiefs  !  Listen 

To  the  words  of  Urco  Huar- 
ancca, 
Saying  you  should  rest ; 


Preserve  them  in  your  memories, 
Even  when  you  are  in  mourn- 


Scene  IL] 


OLLANTA. 


es 


Caracc  Soncco  ñini  Yncata 
Samarichun  cunan  huata 
Anti-suyu !  sispan  sispan 
Cliay  runacunac  ttocyanan 
Sapa  hiiatan  llipillancu 
Na  canascca  aliuaranccu 
Nanacc  cliucliucc  onccoy  manan 
{Hina  tocyan,  hina  onccocyan) 
Chica  caru  purisccampi 
Maychica  runan  pisipan 
]\layciiica  Auquin  taripan 
Huañuyñinta  ccaiccascampi 
Ccayta  nispan  llocsimun 
(Hinan  Anti) 
Sapa  Yncac  ñauquinmanta 
{Yncacliispa) 
Manan  ninin  hinamanta 
Noca  cunam  phahuammii 
Ama  pipas  llocsisiincTiu 
Samaycuchis  liuasiquipi 
Noccatac  llactayquicliispi. 
(Nocccm  casac  aucca  chuncJm) 


I  have  the  heart  to  tell  the  Ynca 
To  desist  during  this  year 
From  invading  Anti-suyu. 
For  his  army  would  retreat 
In  the  year  that  comes, 
Either  from  fatigue 
Or  else  from  sickness, 

Or  from  the  long  marches. 
The  men  would  perish, 
And  many  of  the  chiefs 
Would  meet  with  death 
In  such  an  enterprize. 

Thus  would  it  be  with  the  sole 

Ynca. 
If  he  should  say  no, 
I  should  fly  to  prevent  him 
From  invading  us. 
Rest  in  your  houses, 
I  shall  be  in  your  villages. 


All. 


Yncaicu  causay  huifiaspac 
Apu  unanchacta  hoccarey 
{Puca) 

Llautuyquipactac  camariy 
{Sami  chahuata  achinaiqu  ipa  c  /  ] 
[Puca  ccahuata  utccaypac] 


May  our  Ynca  live  for  ever  ! 
Raise  the  great  signal. 

Prepare  for  him  the  llautu. 

And  the  crimson  tunic. 


64 


OLLANTA. 


[Act  II. 


Yncan  paccarin  tampupi  Let  the  Ynca  appear  in  Tampu, 

Yncan  paccarin.     Yncan  pac-      Tlie  Ynca  is  here  I     The  Ynca 
carin.  is  here ! 

Urco  Huarancca. 


Maquimanta  chasquiy  Ynca 
Sayacc  churascan  llaututa 
Cam  carun  Huillcafmta 
Huillca  umuta  huacyactinca 
HamuUancan  ppunchan  tuta. 


O  Ynca  !  receive  in  thy  hands 
The  crimson  Uautu  we  offer, 
How  grand  is  Uillcañiita. 
As  Uillca  are  you  seen 
Day  and  night — the  first  among 


They  seat  Ollanta  on  the  tiana,  take  of  his  7/acoUo,^'^  and  put 

on  him  the  royal  robe  and  Uautu, 

All. 


Yncan  paccarin  Ollanta 
[Yncan  paccarin.     Yncan  pac- 
carin. 
Causapuasun.     Causapuasun. 


Llantuycausun.      Lllantuycau- 

sun. 
Sonccontan  chaypacc  camarin 
Yayanchis  hina  uyhuaycausun 
Churinta  hina  luluycausun 
Huac  chancunata  cuyaycausun 
Soncco  ruranpi  hatallihuasan.  ] 


Long  live  the  Ynca  Ollanta  ! 
Hail  to  the  Ynca !    The  Ynca  ! 

Long  may  he  live  !    Long  may 

he  live  ! 
His  life  be  our  protection  ! 


Our  hearts  are  ready 
To  obey  our  Father  ! 
As  a  son  he  will  love  us, 
He  will  care  for  us. 
His  heart  will  be  ours. 
\_The  music  plays,  with  tamhors  and  pincuUus. 
Ollanta. 
Urcco  Huarancca  Auqui  cay  Urcco  Huarancca  be  noble  ! 

Anti-suyuta  camachiy  To  rule  over  Anti-suyu  ! 


Scene  II.] 


OLLANTA. 


65 


Caycca  cliucuy,  caycca  liuacliiy      Here  are  these  arrows,  here  this 

helmet ! 
Sinchi  huaminccatac  cay.  That  you  may  also  be  valiant. 

{Huaminccayims  ccantac)  [Urco  Huara]S"cca  receives  the  arrows. 


All. 


Urco  Huarancca  huaminca 
Causachun !  causachun  ! 


O  brave  Urco  Huarancca ! 
Long  may  he  live  !    Long  may 
he  live ! 


Ollanta. 
Hancco  huayllu  :  canmi  canqui      Anco  Huayllu  as  thou  art 
Ashuan  yuyac  hatun  Auqui  A  great  and  wise  Auqui, 

{machii) 
Ccanmi  cunan  churahuanqui         As  thou  art  likewise 
Huillac  Umucc  ayllun  canqui        Of  the  lineage  of  the  Uillac 
{Huillca)  Umu, 

Cay  sipita  huamincayman.  Put  on  these  badges,  and  con- 

quer death. 
[Puts  on  him  the  golden  bracelet. 


Hanco 
Huarancca  cutin  yupaychani 
Ccapac  Ynca  rurascayquita. 
Ccari  ccarita  ccahuariy 
Umanmanta  saphicama 
Quiscahuan  ppachallisccata 
Chaynan  cana  ccari  ccari. 
Maman  hayccac  ricunchu 
Huasayquita  auccacuna  1 
(aicccaiquicuna) 


Huayllu. 

A  thousand  times,  I  venerate, 
0  powerful  Ynca,  thy  deeds. 
Behold  the  mighty  warrior, 
From  head  to  foot 
Bristling  with  arms. 
Surely  he  indeed  is  a  warrior  ! 
Wm  he  not  behold 
The  backs  of  his  enemies  1 


66 


OLLANTA. 


[Act  II. 


Ayquehuactac  Puna-runa  ^*^  He  will  neither  fly  like  a  moun- 

taineer 
Manchahuactac  llullu  ccacliu.^^      Nor  be  humble  as  the  weeds. 


Urco  Huarancca. 


Uyariychis  Anti-cuna 
Nan  Yncanchis  cunanccaña 
Llapa  runam  tacyanaña. 
i^^an  cunancca  yuyanand) 
Huñurañan  suyucuna 
(Tacyanancliis  runa-cuna) 
Machu  Yncan  Ccozcomanta 
Maccanata  camarispa 
(Suyucunata) 
Eunantatacc  tacurispa 
(^Auquicunacta  samisjM) 
Masca  huasan  quiquinmanta 
(ITorccoTmmca  maccanata) 
Tucuy  Ccozco  lloccimufian 
Cay  huayccoman  fiocanchista 
Sipinanpacc  huasinchista 
Cananiytas  aucca  munan 
{Camareytan  chaita  munan) 
Manan  ppunchau  usunanchu 
Cay  Orccocunapi  masttariy 
Ccompi-cunata  camariy 
Manapunin  ccasinachu 

tamputa  paccay  llutay 


Choose,  0  men  of  Anti-suyu  ! 
What  the  Ynca  advises. 
All  men  take  up  arms — 

All  the  provinces  together. 

The  old  Ynca  from  Cuzco 
To  prepare  their  clubs, 

And  arouse  their  men, 

Likewise  it  is  his  order. 

All  Cuzco  will  go  forth 
To  attack  our  lands 
And  destroy  our  houses, 
Treating  us  as  enemies. 

Lose  not  a  day, 

Prepare  upon  the  hills 

The  means  of  defence, 

Let  there  be  no  waste  of  time. 

Quickly  bar  the  quarters, 


Scene  II,] 


OLLANTA. 


67 


Hue  puncullata  hcaquespa 

Tucuy  Antini  cheqquespa 
[Orccocimapi  hatarihuay) 
Llapa  onccopi  hatariychis 
{Hinantimpi  miyuta  cutay) 
[Asca  miyuta  ^^  cutaycliis] 
Huachinchista  hampinapacc 
Auccancliista  sipirapacc 
[Ghaihuanhuachi2)2^itinanpacc) 
Cay  tucuytani  utccaychis 
[Huanunampacc  utccay  utccay). 


And  leave  one  door  open 

Towards  the  Andes. 

Arouse  all  men  at  once 

To  grind  all  the  poison 
And  prepare  our  arrows, 
That  in  wounding  the  enemies 

Death  may  come  at  once. 


Ollanta. 
Urco  Huarancca  ecan  acllascay      I  have  chosen  thee,   O   Urco 


Huarancca  ! 
First  among  the  nobles 
To  honour  thy  lineage. 


Auquicunata  uaupacpac 

Ayllu  Aylluta  pusacpac 
(pacapac) 
Sayanantari  unanchascay 
Auccanchis  manan  pufiunchu 
Hue  cutipi  atipaspacca 

{yaicuita) 
Cutipunccan  tacca  tacca. 
Runa-cuna  ccompisunchu. 

Ueco  Huarancca. 
Nan  quimsa  chunca  huarancca      Here  are  thirty  thousand 
Anticuna  cay  [tampupi]  Antis  in  the  tampu — 

{pi) 


I  have  marked  thee  to  be  alert. 
Our  enemies  do  not  sleep. 
Thou  canst  conquer  them. 

And  force  them  to  retreat. 
Shall  men  not  act  as  men  ? 


68 


OLLANTA. 


[Act  II. 


Manan  nocachis  ucupi 
Cancliu  quella  cancliu  liancca. 
Apu  Maruti  llocsincca 
Uillca-pampa  Anti-cunahuan 
Chay  ttinqui  Quern  ^^  pataman 
Chaypim  liappinca  runanta 
Pacascata  biiillanaycama 
Llapan  hatun  soncco  cama 
{Chimpanpitacmi  hinatacc) 
Auqui  Chara  runantatacc 
Pacancca  liuac  yanaycama 
Chara  munaypim  puñuncca 
Chunca  liuarancca  Antinchis 
Pacharpi  ^^  Caraayoc  ñincliis 
(Fachar  huaiccopiii  hapinchis) 
Hue  chuncattatae  Ayllunca 
Yaycumuchun  Cozcoeuna 
Upallaspalla  Suyusuii 
(Ama  rimarispa  suyai) 
Tucuy  tocllapi  cacctinri 

(ucupi) 
Lluttascean  puncuncMscuna 
(Qiiirpasccan) 
Huateecaspalla  Suyusun 
(LlocUamunccanmuncujmunay) 
Putucuncliista  pliucuna 
Chay  pachanan  Orccocuna 
Chapicunca  rumintinri 
Chuehin  urmamuncca  rami 


Amongst  us  all 

There  is  neither  coward  nor  sick. 
The  Chief  Maruti  will  go  forth 
With  the  Antis  of  Uilca-pampa, 
To  the  confluence  of  the  Queru, 
Where  he  shall  conceal  liis  men 
Until  I  give  the  order. 
All  have  large  hearts. 

The  noble  Chara  with  his  men 
Shall  wait  on  the  other  bank. 
There  shall  sleep  with  Chara 
Ten  thousand  Antis. 
In  the  valley  of  Pachar 

Shall  be  other  ten  Ayllus. 
Until  the  Cozcos  enter 
We  will  quietly  wait. 

When  all  are  within 

We  will  close  the  entrance, 

And  it  shall  be  as  a  flood. 

At  the  the  sound  of  the  conch 
The  rocky  hills 
Shall  pour  out  stones, 
The  stones  shall  be  as  hail. 


Scene  III.] 


OLLANTA. 


69 


Huanccacunan  huicupancca 
Tucuyta  cliaypin  ppampanca 
Cliaymi  paicunapac  tumi 
Chaypaclian  ayqquecunacca 
Maquinchispi  huauunccacu 
Quespiy  attic  liuaquincuna  ' 
{Huachinchisiñn) 
Tturpuscca  ricurinccacu. 
[Theij  play  pincuUus  and  pu- 
tutas,  and   exeunt,    sJiout- 


Tlie  missiles  shall  roll  down, 

All  shall  be  buried, 

This  will  be  their  punishment. 

As  for  the  fugitives 

They  wdll  die  by  our  hands, 

Or  by  the  poison  of  our  arrows. 


[They  play  flutes  and  conches, 
and  exeunt,  shouting : — 


All. 


Allinmi !  AUinmi ! 


Good!  Good! 


SCENE    III. 

Enter  Kumi-Ñahui  dressed  in  mourning,  ivith  two  Attendants. 

Rumi-Nahui. 

Ah  Rumi  1  Rumi  Nahui ! 
What  an  unfortunate  art  thou ! 
Thou  hast  escaped  from  a  rock — 
For  me  it  is  a  sad  yarahui ! 


Sallocc  Rumi !  Rumi  Nahui ! 
Yma  quencha  rumin  canqui 
Ccaccamantan  llocsircanqui 
Sonccoyquim  curaca  ccahuy  ! 
(Chaimi  ccasapac  Yarahui) 
Manachu  maquiqui  carccan  ? 
Chay  huayccopi  pacasccata 
Ollantayta  ccarcoscata 
Manachu  yuyarircanqui 
Tapara  soncco  casccanta  1 


Have  you  not  in  your  hands. 
Hidden  in  this  valley, 
The  fugitive  Ollanta  1 
Dost  thou  not  remember 
That  he  has  a  treacherous  heUrt? 


70 


OLLANTA. 


[Act  II. 


Tucuy  macanacusccanta  ? 
Manacliu  ccan  ttactarcanqui  ? 
Hinantimpi  llullacuspa 
Sayucunata  ichurcca 
Payllapipunin  tincurccan 
Qquello  cay  ccari  tucuspa  ? 

Chica  huarancca  riinata 
Cunan  ppunchaii  sipichini 
Ñocca  ñaccayta  qquespini 
Maquinmanta  :  chay  ccanata 
Ñoccaca  ccariclia  ñispa 
Uyapura  mascarccani 
Chay  huayccoman  yaycurccani 
Ayqquenpunim  chaycca  uispa 
Na  suyuy  puncumpi  caspa 
Urmamuyta  ccallarimuii 
Tucuy  ccacca  ppuccliirimun 
Huanccacunata  huaccyaspa 
Hinantimpin  rumi  fiitin 
Hinantimpin  ccacca  paean 
Ashuan  acUascacunatan 
Chaypi  caypi  cumpa  sipin 
Yahuarllan  tucuy  huayccopi 
Parin  Uocllan  masttaricun 
Hinantinmi  chayta  ricun 
Noccapas  yahuar  pponccopi 
Pihuantacc  tincuyman  carccan 
Mana  runan  llocsimuctin 


With  all  his  arms 

Shalt  thou  not  pull  him  down? 

Why  hast  thou  not  tried 

The  arts  of  stratagem 

To  deceive  his  army  % 

He,   being  weak,   has  become 

valiant. 
A  thousand  men 
In  this  day 
I  have  slain 

With  this  hand.     Thus  only 
I  escaped.     They  thought 
That  he  was  a  coward, 
Therefore  I  sought  him, 
Thinking  he  would  fly. 
But  in  the  entrance  of  his  camp, 
On  every  side, 
Rocks  began  to  fall, 
Bringing  with  them  many  blows. 
Thus  the  volleys  of  stones. 
And  the  many  rocks, 
Killed  and  buried  my  men. 
Here  and  there  they  fell. 
The  blood  ran  in  the  valley. 
Flowing  like  a  torrent. 
I  also  beheld 
A  quantity  of  blood; 
Yet  I  saw  no  one, 
No  man  came  forth, 


Scene  IV.] 


OLLANTA. 


71 


Mana  pipas  ricurictin 
Huancca  cuna  huarcca  huarc- 

can 
Yma  uyahuan  tincusacc 
Yncahuan  cunan  ccayllampi 
Manan  canchu  caypacc  hampi. 
Ptisac  maytapas  ripusac 
Nan  cunan  seccocuymafia 
Cay  huaracahuan  ñoccallata 
Ycha  cachus  pay  camalla 
Ollantaypas  urmanccaña. 
(Aaicac) 


None  could  be  seen, 
But  my  men  were  killed. 

How  can  I  return 
To  appear  before  the  Ynca  % 
I  indeed  am  lost ! 
Whither  shaU  I  fly  % 
I  will  hang  myself 
With  my  own  sling. 
The  same  will  serve, 
When  Ollanta  shall  fall. 

\Exit. 


SCENE   IV. 

Enter  Yma  Sumac  and  Pitu  Salla. 

PiTLT  Salla. 


Ama  chicata  puncuman 
Yma  Sumac  llocsillaychu 
Amatacc  chaypi  suyaychu 
Mamacunam  phiña  cunam. 
Yma  Sumac  sutiquipas 
Ancha  munacusccay  nana 
Hinapitacc  pay  camaña 
Huillapunman  maypas  pipas 
Acllaman  ^^  cusita  cconam 
Cay  canchapi  huesccacuspa 
Tiyay  caypi  cusicuspa 


Yma  Sumac,  do  not  go 
To  the  door  so  often. 
Do  not  wait  there, 
Lest  the  matrons  be  vexed  j 
Thy  name  is  Yma  Sumac, 
And  it  is  well  beloved. 
Only  to  hear  it 
And  to  pronounce  it 
The  Virgins  are  filled  with  joy. 
When  thou  art  here 
Thou  art  surrounded  with  plea- 
sure. 


72 


OLLANTA. 


[Act  II. 


Pin  caymanta  pita  horcconan 
Caypin  taricunqui  ricuy 
Tucuy  yma  ccoñiquita 
Sumac  ppachata  ccorita 
Caypin  tucuy  misqui  micuy 
Ynca  yahuar  acllacuna 
Llapallanmi  munasunqui 
Tucuyllancu  yuyacc  cunac 
(Tucuy  tucuy) 
{Maqiiincuioin  apasunq id) 
Na  muchaspa  ña  llulluspa 
Ccasconcupi  churasunqui 
Ccanllatan  huayllusunqui 

[acllacu) 
Uyayquipi  ecahuacuspa 
Ymatan  asliuan  munanqui  1 
Hue  ñañancu  canayquipac 

Paycunahuan  tiyanayquipac 
Chaytan  ccampas  unanchanqui 
Tucuy  Auquip  yupaycliasccan 
Ynca  yahuar  acllacaman 
( Yma) 

Yntita  ccahuaspa  saman 
Ynticc  hallanpac  camascan. 
(Ttallampac) 

Yma 
Pitu  Salla,  millay  cutin 
Chayllatacc,  chayllatatacc 


No  one  ever  goes  out. 
Here  tliou  shalt  see 
All  kinds  of  comforts — 
Beautiful  cloth  of  gold, 
And  sweet  food. 
The  Virgins  of  Ynca  blood 
Love  thee,  all  of  them, 
All  the  mistresses 


Kiss  and  are  fond  of  thee. 
Thee  alone  they  set  apart, 
Thee  only  they  love 

And  embrace. 

"What  more  canst  thou  want  ? 

Thou  -who  shouldst  serve  the 

sisters. 
Sit  down  with  them  all. 
Thou  shouldst  also  know 
That  thou  art  accounted  noble, 
And  as  a  royal  virgin. 

Thou  art  as  a  child  of  the  sun, 
They  guard  thee,  as  belonging 
to  the  sun. 
Sumac. 

Pitu  SaUa,  many  times, 
Only  this,  only  this, 


Scene  IV.] 


OLLANTA. 


73 


Cunahuanqui  ñoccaracctacc 
Rimarisacc  chaymi  sutin 
Anchatan  cliecnipacuni 
Cay  canchata  cay  huasita 
Caypi  caspa  cay  ccasita 
Ppuncliau  tuta  ñacacuni. 

ijppuncliaiL) 
Cay  payacunacc  uyanta 
Ancha  aputa  ccahuascani 
Payllatatacc  ricuscani 
Chay  ccuchu  tiascaymanta 
Manan  cusi  caypi  canchu 
Hueqqiien  uyaucupi  caicca 
Munaifiimpi  canman  chaicca 
Manan  pipas  tianmanchu 
Ccahuani  puriccnnata 
Asicuspan  ccuchicuncu 
Maqiiincupi  apacuncu. 
Llipij^as  samincunata 
Xoccallacliu  huisccacusac 
Mana  Mamay  casccan  raycu  % 
Ccapac  ttalla  canay  raycu 
Cunanmanta  qquesacusacc 
Hue  tutau  mana  punuspa 
(Caina  tutan  muspha  muspha] 
Muyanchisman  yaycurcani 
Hinaspan  uyarircani 
(^Hinapin) 
Chica  chimpi  ricucuspa 


You  say  to  me. 

Now  I  will  speak 

The  very  truth. 

This  court,  this  house. 

The  useless  life, 

Days  and  nights  I  hate. 

The  faces  of  the  old  women 

Above  all  I  detest. 

That  is  all  I  can  see 

From  the  corner  where  I  sit. 

In  this  place  there  is  no  joy, 

Only  tears  to  weep. 

Your  wish  would  be 

That  none  should  live  here. 

They  all  walk,  as  I  see, 

Between  laughing  and  crying, 

Their  fate  in  their  hands, 

Full  of  anxiety. 

I  am  shut  up  here, 

Because  I  have  no  mother. 

Having  no  good  nurse  to  tend  me,, 

I  have  been  to  seek  for  one. 

Last  night  I  could  not  sleep, 

I  wandered  to  the  garden, 
And  there  I  heard, 

In  the  moment  I  was  there. 


74 


OLLANTA. 


[Act  II. 


Haccacuyta  pis  ñacarin 
Chica  llaqui  cuyapacuspa 
Huauullayman  ñin  ccaparin 
Hiuantintau  ccaliuarini 
Chucchaypas  cliascallicuspa 
Huacyani  mancliaricuspa 
Pipas  cay  riccuniy  fiini. 
Yapatacmi  ccaparimun 
Yntillay  horccohuay-ñispa 
Anclia  cuyayta  anchispa 
Soncco  qqueliuiyta  hiqquiman 
{Yapa  yapapai) 
Chaccayta  caytan  raascani 
Mana  pita  tarinichu 
Huayallapi  cliihuiii  ychu 

Noccari  pay  huahua  cani 
(paihuan  huaccani) 
Sonccoytacc  Uiquicuspa 
Ccascoyta  saqqueyta  munan 
Yuyarini  clioypas  cunan 
Mancharinin  sipicuspa 
Hinan  cay  pi  Pitu-Salla 
Llaquillan  quiquiii  quesacun 
Huiqquellan  huifiay  sisacuu 
Yacbay  hinan  munay  ttalla 
Amapuni  cunanmanta 
Ptimanquicliu  qquepanayta 
Cliecninim  cay  acUanayta. 


A  voice  of  mourning, 
Groans  and  cries  of  one 
Who  prayed  for  death. 
I  looked  all  round, 
With  hair  dishevelled, 
Who  art  thou  that  mourns 
So  sadly  1  I  exclaimed. 
Take  me  from  hence, 

0  sun  !  deliver  me. 

1  looked  all  round  ; 
]\Iy  heart  trembled. 

I  searched  but  in  vain, 

I  found  nothing, 

Only  the  grass  whistling  in  the 

meadow. 
I  am  but  a  child ; 

My  heart  almost 

Leapt  from  my  bosom. 

Even  now,  when  I  remember, 

I  am  full  of  terror. 

Even  now,  Pitu-Salla, 

The  same  sorrow  haunts  me ; 

And  the  grief  lasts  for  ever. 

0  my  beloved  nurse, 
Listen  to  my  wish. 

Do  not  say  I  am  to  stay ; 

1  hate  this  state  of  seclusion. 


Scene  IV.]  OLLANTA.  75 

PiTU  Salla. 
Yaycupuy  ari  ucuman  Go  in.     Do  not  let 

Pacta  paya  llocsimunman.  Any  of  the  old  women  see  you. 

Yma  Sumac. 
Cay  ccanchan  uoccapacmi  ?  Is  this  place  for  me  ? 

Eiiter  Ccacca  Mama,  dressed  entirely  in  white. 

Ccacca  Mama. 
Pitu  Salla  ñirccanquichu  Pitu  Salla,  hast  thou  given 

Chay  herqqueman  cunasccaita  1      My  orders  to  this  child  1 

Pitu  Salla. 
Ymaymantam  huillani  ?  What  should  I  tell  her  ? 

Ccacca  Mama. 
Yma  fiintacc  simiquiman.  What  I  have  told  you. 

Pitu  Salla. 
Ancha  cuyaitan  huaccacun  She  weeps  without  ceasing, 

Manapunin  uyacunchu  And  will  not  put  on 

Aclla  ppachata  chasquicuyta.         The  dress  of  the  virgins. 

Ccacca  Mama. 
Manacha  anyarircanqui  ?  Hast  thou  not  censured  her  1    • 

Pitu  Salla. 
Pachatan  ccahuarichini  I  showed  her  the  dress, 

Huaccha  cascanta  horccospa  That  she  might  take  off 

Na  huamanmanta  ccarcospa  The  old  clothes  she  wears. 

Chay  yuyayta  hinan  nini  I  tell  her  she  is  not  a  child ; 


76 


OLLANTA. 


[Act  II. 


Mana  aclla  canqui  chayca. 

Millay  Uaqiun  ccatisunqui 
[Yanapacun  ccan  muyunqui 
Cay  liuasipi  ñispa  laycca.] 


And  that  slie  cannot  be  a  chosen 

one  : 
That,  being  dirty  and  sad, 
She  must  be  a  servant 
Always  in  this  house. 


CcAccA  Mama.  (To  Yma  Sumac). 
[Munancca,  Mama,  munancca        For  thy  loving  nurse 
Cay  ppachatan  pay  chasquircca 


not 


change    tliy 


Mana  chairi  pay  ricuncca] 
Ppasñallan  huiñaypac  canqui 
Ymapaccha  pay  yuyacun 
Usuri  mana  yayayocc 
Huillullu  mana  mamayocc 
( Ue  herqqiie) 
Chaccay  pucac  taparacum.^^ 

Sutinta  ñinqui  sutinta 
Chaypacc  canqui  caycunapi 
(Caumi  cai  x>e^'caciLnapi) 
Tucuy  pacac  accarapi 
Tucuy  milpucc  sutintinta. 


Wilt    thou 
clothes  ? 
Seest  thou  not  this  dress  ? 
Thou  shalt  always  be  a  servant; 
Thou  shalt  know  thy  dress  ; 
A  daughter  without  a  father, 
A  child  with  no  mother. 

Here  is  a  large  butterfly  (a  bad 

omen), 
Say  thy  name,  thy  name. 
Thou  art  here  shut  up, 


Closed  up  within  these  walls, 
And  even  thy  name  is  forgotten. 
[Exit. 
PiTu  Salla. 
Ay  Yma  Sumac  !  Yma  Sumac  !      Oh,  Yma  Sumac  !  Yma  Sumac  ! 
Pacanmanchas  uyayquita  Thou  wilt  be  concealed. 

Yma  percca  sapayquita  What  wall  will  hide   you,  in 

solitude, 


Scene  V.]  OLLANTA.  77 

Accoyñircacc  casacc  pumacc  !  ^^      Here  a  serpent,  there  a  lion  % 
{Caicca  Amaru  caicca  jnima)  \Exeunt. 


SCENE    V. 

Enter  Rumi-Nahui  *  on  one  side,  and.  Piqtji  Chaqui  on  the  other, 
looking  ciboid  very  carefully.     They  see  each  other. 

Rdmi-Nahul 

Maymantatac  Piqui  Chaqui  'V\Tience,  Piqui  Cliaqui, 

{Yma  hinan  ccan) 

Cayman  ccancca  cliayamunqui       Dost  thou  come? 

Huañuytachu  masccarcanqui  Dost  thou  seek  death 

Aucca  Ollantayhuan  huaqui  ?        With  the  traitor  Ollanta  1 

{Ollantayhuan  cusca) 

Piqui  Chaqui. 

Ceosco-runa  caspan  huichu  Being  a  native  of  Cuzco, 

Llactallaiman  hampucuni  I  come  to  my  town 

Chay  huayccopi  manapuni  In  yonder  ravine, 

Yachacuyta  atinichu.  I  can  no  longer  stay. 

Rumi-Nahui. 
Ymatan  OUantay  ruran  ?  What  is  Ollanta  doing  ? 

Piqui  Chaqui. 
Chay  ecaytutan  cururan  I  am  spinning  this  heap  of  wool. 

{qidpucta) 

Rumi-Nahui. 
Yma  ccaytu  ?  yma  cururta  ?  What  heap  ?  what  wool  1 

*  Von  Tschudi  has  Huillca  Uma. 


78  OLLANTA.  [Act  IT. 

PiQUi  Chaqui. 
Tapuhuaycca  ccoycunaspa  Dost  thou  ask  me  %     Give  me 

(Ymatapas  cunan  ccohuai) 
Chay  pachacca  huillascayqui.         Those  clothes,  and  I  will  tell. 

Rumi-Nahui. 
Hue  allin  caspita  huatanaypacc      I  will  give  you  a  good  stick, 
Quimsatatacc  huarcunaypacc.        And  to  hang  you — three. 

PiQUi  Chaqui. 
Ama  manchachicu  huaychu.  Oh,  do  not  frighten  me. 

Rumi-Nahtji. 

Utecayta  rimariy  an.  Then  speak  quickly. 

PfQUi  Chaqui. 
[Ccanpas  uyarihuay  an  But  you  will  not  listen. 

Noccacca  iiausay  apuniu  I  am  turning  blind, 

Rimriypas  upayapunmi  My  ears  are  getting  deaf ; 

Machulaycca  huañupumi  My  grandmother  is  dead, 

Mamaytacca  cconccapunmi.  And  my  mother  is  alone. 

Rumi-Nahui. 
[Maipin  ninay  Ollantaycca  ?  Where  is  Ollanta?     Tell  me  ! 

PiQUi  Chaqui. 
[Chusapunaccanmi  tataycca  My  father  is  from  home, 

Manan  pocconchu  paccayca  And  the  paccays  are  not  ripe. 

Pocchupurccanmi  callpayca  I  have  a  long  walk  to-day, 

Sasan  chay  cuncu  llantaycca  It  is  difficult  to  carry  me. 

Ynca  uccupin  Mancanaycca  The  Ynca  would   cut   up  his 

body. 
Ancha  carus  sallccantaycca].  The  desert  is  very  far  off. 


Scene  V.] 


OLLANTA. 


79 


Eumi-Ñahui. 
[Astahuan  phinachihuascay  If  you  vex  me  again 

Ricuyhuancunccoyquimantacc]     I  will  take  your  life. 

PiQUi  Chaqui. 


Ollanta?  ccanin  sayarin. 
OUanta  %  pircata  hoccarin 
Ancha  huanccacc  rumimanta. 
Hina  runacunamanta 
Yscayta  liucman  huatarin 
Hatun  runa  llocsinanpacc 
Ymanasccan  ccan  Yncacri 
Umpu  ancac  hina  surun 

ijiuallpd) 
Cay  ppachayqui  ricuy  tturun 
Qquellichacunmi  yanari. 

Rumi-Nahui. 


Ollanta  %     He  is  at  work. 

Ollanta  %     He  raises  a  wall 

.Of  very  great  stones, 

With  his  men. 

He  fastens  two  dwarfs, 

That  a  giant  may  come  forth. 

Tell  me  !  why  are  you. 

Like  the  eagle   spreading   his 

wings, 
With  such  long  clothes, 
That  the  mud  stains  black  % 


Manachu  Ccosco  llactata 
Ccahuarinqui  huaccascacta 
Pachacutec  pampascata 
PiicuUay  llapa  runata 
{llaid) 
Tucuymi  yanata  pachan 
Tucuymi  hueqquecta  huaccan. 

PiQUi  Chaqui. 
Pitac  Ynca  tiay  cuncca  Who  shall  be  Ynca 

[cunanri  sayanca) 
Pachacutec  rantintani  ?  To  succeed  Pachacutec  ? 

{qquepantari  ?) 


Seest  thou  not  the  city  of  Cuzco 
Is  filled  with  mourning, 
Pachacutec  is  buried — 
All  men  are  dressed 

In  mourninsf  clothes, 

And  there  is  o;reat  lamentation  1 


8o  OLLANTA.  [Act  II. 

Rumi-Nahui. 

Ccapac  Yupanqui  sayancca.  Ccapac  Yupanqui  stands. 

{Thu2:>ac) 

PiQUi  Chaqui. 

[Pachacutec  churillanca]  Though  Pachacutec  has  sons 

Qqueparinccan  asccatacmi  In  great  number, 

{punin) 

Cacctacmi  hue  cunac  llancca  ?  Shall  it  still  be  him  ? 

Rumi-Nahui. 

Tucuy  Cozcon  acllan  payta  All  Cuzco  has  declared  it. 

Yncari  llauttuntan  saqquen  TheYnca  has  assumed  the  Z^«w^?^, 

Champintan    saqquen    camaq-  He  has  taken  the  champi. 

quen 

Atincuchu  hucta  acllaita  Him  alone  can  we  choose, 

[Ccanmi  ccatihuay  utccayta.]  He  alone  can  be  taken. 

PiQUi  Chaqui. 
Apamusac  pununayta.  I  must  go  to  fetch  my  bed. 

[Exit. 


SCENE    VI. 

Enter  Ccapac  Yupanqui,  the  Uillac  Umu,  and  Nustas, 
(Thiipac)  ivith  attendants. 

Yupanqui. 
CunanppunchaumiAuqui-cuna      On  this  da}'-,  0  nobles! 
Llapata  yupaychayquichis  All  of  you  should  worship 

Yntiman  chasquichiquichis  And  venerate  the  sun. 

Yntic  huarmin  caccunan  All  virgins  that  exist 


Scene  VI.] 


OLLANTA. 


Hinantin  siiyun  cusicuii 
Cay  canchaypi  ricuspa 
Sonccoy  Hnatac  yupaspa 
Ccancunata  yuyan  ricun. 


Are  filled  with  joy, 
To  see  it  in  this  place. 
Kemember  your  duty, 
To  pray  with  your  hearts. 


UiLLAC  Umu. 


Ccayna  ppunchau  saya  ccosñin 
Yntic  suyun  uyancama 
Chasquincancha  Pachacamac 
Tucuy  ccanam  sami  llocsin 
HucUan  Ynca  tacurirccan 

Piscocuna  canasccapi 
Llamacuna  rupasccapi 
Tucuy  runan  ccahuarinccan 
Hue  ancatan  quicharccaicu 
Ccasconta  ccahuaicunapac 
Sonccomanta  recsinapac 
ChusacUatan  tarircaycu 
Chay  ancan  Antinsuyuyqui 
Utccay  chaita  huñupuna 
Ccasacunmi  y  chaicuna 
Chaitan  cunan  huatupuyqui. 


Yesterday  the  smoke  arose 

To  the  region  of  the  Sun. 

Pachacamac  is  now 

Filled  with  joy. 

But  one  thing  has  moved  the 

Ynca — 
In  the  sacrifice  of  birds,^^ 
In  the  burning  of  llamas, 
All  men  have  seen. 
We  opened  an  eagle 
To  observe  his  bosom, 
And  divine  from  his  heart. 
We  found  it  empty. 
That  eagle,  as  to  Anti-suyu, 
Shows  we  shall  soon 
Put  down  the  revolt — 
It  augurs  that  they  will  submit. 


CCAPAC  YUPAXQUI. 

Cay  Anansuyu  Huaminccan  That  valiant  Anansuyu 


Chay  Ancata  quespichirccan 
Payllatac  chincarichirccan 
Chay  chicca  runacunata. 


Left  this  eagle  free — 

And  she  has  been  the  destruction 

Of  so  many  men. 


82 


OLLANTA. 


[Act  II. 


Rumi-Nahui. 
Nan  Apu  Ynca  Yuyayqiii  Great  Ynca,  thou  knowest 


Himttasccataua  yacliarccan 
Chaicca  liucliaypunin  carccan 
Rumincani  cay  camayqui 
Rumin  nittirccan  tucuyta 
Rumihuanmi  llocsircani 
Payhuan  macana  curcani 
Chaymi  atirccancu  suyuita 
Hue  llatan  mañacuscayqui 
Saqquehuascay  ñoccallaman 
Noccan  risac  pucaranman 


All  that  has  happened, 
And  what  are  my  sins. 
Although  I  am  a  stone, 
I  will  obey  thee  as  a  stone. 
I  went  forth  with  a  stone, 
And  with  it  I  fought. 
Though  they  held  the  province. 
There  is  only  one  thing 
That  I  would  ask; 
It  is   that  I   may  go   to  the 

fortress ; 
I  promise  to  gain  a  victory. 


Llaquen  fiocca  aisamusccayqui 

CCAPAC  YUPANQUI. 

Ccampan  chaycca  ruranayqui  Here  is  what  thou  must  do 

Chay  sutiquita  hoccaripuy  To  recover  thy  name — 

Mana  chayri  cacharipuy  Thou  must  not  abandon 

Suyuta  :  hinan  camayqui.  The  province.   Such  is  thy  duty. 

UiLLAC  Umu. 


Pisi  ppunchaupin  ricunqui 
Anti-Suyuta  chaquiquipi 
Hinan  tincuni  quipuyquipi 
Utccay  utccay  rumi  tunqui. 


Thou  shalt  see,  in  a  few  days, 
Anti-suyu  at  thy  feet ; 
So  I  find  in  the  quipus. 
Fly!  Fly!  IXmm.-tiLuqidJ'''^ 

[Exeunt. 

[A  scene  tvith  Rumi-Nahui  and  a  Camri  Indian,  not  in  my  manu- 
script, is  here  inserted  hy  Von  Tschudi  and  Barranca.  I 
believe  it  to  be  a  modern  interpolation.] 


Scene  VII.]  OLLANTA.  83 


SCENE    VII. 

Enter  Ollanta  and  Eumi-Nahui  covered  ivith  hlood.^^ 

Eumi-Nahui. 
Huarancca  ciitin  mncliani  A  tliousanci  times  I  adore, 

Ccapac  Ynca  maquiquita  Powerful  Ynca,  thy  hand. 

{yuj)iquita) 
Cuyapayay  huac  chayquita  Have  pity  on  this  unfortunate; 

[Chaqui  quipitaccami  cani].  I  am  at  thy  feet. 

Ollanta. 
Pin  canqui  cayman  purirei  ?  Who  art  thou  ?     Whence  dost 

thou  come  ? 
Pin  chay  hinata  rurasunqui?  Who  has  done  this  to  thee? — 

Maiuecmanta  musphamunqui        From  whence  hast  thou  fallen  1 

(nrma) 
Chica  usupa  chica  quiri.  Who  has  thus  wounded  thee? 

{Pitac  canqid) 

Eumi-Nahui. 
Anchatan  can  recsihuanqui  You  know  me  well; 

Eumin  cani  chay  ccormani  I  am  that  Eumi. 

Chaquiquiman  chaymi  urmani       For  this  I  have  fallen  at  thy 

feet.59 
Ccan  Yncan  horccarihuanqui !        0  Ynca,  favour  me  ! 

Ollanta. 
Sayarimui  cay  ricnayman  Else.    Here  you  have  my  hand. 

{piaqueiman) 
Pin  chainata  rurasunqui  Who  has  done  this  to  you  1 


84 


OLLANTA. 


[Act  II. 


Pin  cayman  pusamusunqni 
Cay  tampn  Uacta  casccayman 

{iman  cai  nauqueimani) 
Mosoc  ppachata  apamuy 
Munasccaimi  cay  Auquicca  ? 
Ymanasccan  sapayquicca, 
Manan  cancliu  ccanpac  huafiuy.      Tliou  sbalt  not  die. 


Who  has  led  you 

To  my  town,  to  my  lodging  1 

Bring  new  clothes, 

For  I  love  this  nobleman. 

Why  art  thou  abandoned? 


Eumi-Nahui. 


Mosocc  Yncan  chay  Cozcopi 
Ccapac  Yupanqui  tiyaicmi 
{Tupac) 

Caymi  Tucuyllata  raycun 
Causae  yahuar  phosoccopi 
Hinantintiña  ccorospa 
Manan  sonccon  tiyaycunchu 
Tucuy  ñucchun  puca  sunchu 

Tucuyta  sipin  mosccospa. 
Carccani :  ychas  yuyanqui 
Chayta  yachaspan  Yupanqui 
Huac  yahuar  paypa  camanmi 
Chay  caracc  soncco  caifiimpi 
Cayta  ruray,  cayta  camay 

Nan  ricunqni  mama  yayay 

Caynam  quirihuan  hiiasinpi. 


The  new  Ynca,  in  Cuzco, 
Tupac  Yupanqui,  is   now  en- 
throned. 
He  is  a  cruel  tyrant : 
He  lives  in  the  midst  of  blood ; 
He  shows  no  mercy ; 
He  never  softens  his  heart; 
Like  the  red  niicchu  and   the 

simchu,^^ 
He  devours  all  in  his  madness. 
Perhaps  you  may  remember  me. 
Knowing  me,  this  Yupanqui 
Has  drawn  this  blood. 
In  his  depraved  heart 
He  does  one  thing,  and  imagines 

another. 
You  arc  now  father  and  mother 

to  me. 
Here   you   have    me   in   your 

house. 


Scene  VII.] 


OLLANTA. 


85 


Ama  Uaquichu  Rumi 
Nocca  cunam  hampisccayqui 
Ccantatacmi  caliuascayqui 
Ccanmi  canqui  paypac  tumi 
Ynti  huatana  ppunchaupi 
Cay  tampupi  hatun  raymi 
Cliaypaclia  ccochucmiaymi 
Tiicuypas  ccochucamusun 
Pucarapi  haylliinnsun. 


Ollanta. 

Do  not  be  afflicted,  Rumi, 
I  will  now  cure  you, 
I  will  give  you  help. 
You  also  mustprepare  your  knife; 
On  tlie  day  of  Ynti-huatcma, 
A  great  Raymi,  in  this  tampu, 
Will  be  celebrated.61 
Then  we  must  advance 
From  the  fortress,  with  songs. 


Eumi-Nahui. 
Quimsa  ppunchau  raymi  cachun      The  ^a^/7?^^  will  be  for  three  days 
Cusicuypas  tacsa  canman  The  time  of  joy  is  short ; 

Cbaypacc  ichas  alliyaiman  By  that  time  I  shall  be  well. 

Soncconco  chaypac  rimachun.        I  speak  from  my  heart. 


Ollanta. 
Hinan  cancca,  quimsa  tuta  So  be  it. 

Hatun  Yntita  huatasun 
Cusipi  tucuy  tiasun 
Huisccasunchis  cay  tamputa. 


Huarmicunatan  cunana 
Paycunac  tatanmi  cancca 

Paycunan  caypi  samancca 
Huarmi  ecasccanta  apana. 


Three  nights, 
We  gaze  on  the  great  Sun  ; 
AVe  shall  be  seated  in  joy, 
For  that   time  the  Tampu    is 
closed. 
Rumi-Nahul 

The  servants  shall  be  told 
That  they  may  arrange  for  the 

night. 
Also  they  should  bring 
Their  women  with  them. 

\^Exeunt. 


ACT    III. 


SCENE    I. 


Enter  Yma  Sumac  and  Pitu  Salla,  from  opposite  sides. 


Yma 

Mimacusccay  Pitu  Salla 
Haycac  caman  pacahuanqui 
Cliay  simita'?     Kicuy  Salla 
Cay  sonccoytan  patmihuanqui 
Caina  hueqqueliuan  camalla 
{Sijñhuanquin  hue) 
Cayta  upallahuaspayqui 
(Mana  can  huillahuaspayqui) 
Pithuiscanin  liucliaymanta 
Picha  llaquin  caifieccmanta. 
Ama  pacahuaicliu  urpi 

Pitac  phutin  pitac  liuaccan 
Cay  chiuñic  muya  ncupi  ? 
[Huillayculla  huayna  urpi. 
Mainiccpitac  paita  paean 
Cay  cliica  sumac  suturpi  ? 
Nihuay  pitac  payta  huarccan 
Noccaman  ricurimanta 
Koccahuan  rimaycunanta.]  * 


Sumac. 

Dearest  Pitu  Salla, 
How  long  will  you  liide 
This  from  me  1     See,  Pitu, 
How  you  have  torn  my  heart 
By  not  telling  me  yesterday, 

Why  are  you  so  silent  ? 

It  may  be  for  my  sins 
That  I  desire  to  know. 
My  Dove  !  do  not  keep  it  from 

me : 
Who  is  it  that  mourns 
Each  instant,  within  the  garden? 
Speak,  my  young  Dove  ! 
Why  is  it  hidden  from  me  ? 
Tell  me,  beautiful  one. 
She  who  thus  makes  her  moan, 
Why  may  I  not  see  her — 
Why  may  I  not  speak  to  her? 


*  Von  Tschudi  has  only  two  lines  here. 


Scene  I.] 


OLLANTA. 


^7 


PiTU  Salla. 
Yma  Sumac  liuillasscayqui  Yma  Sumac,  I  will  tell 


Hucllata  ccanmi  ichacca 
Ymatapas  ricuspayqui 
Pacaycunqui  rumi  ccacca 
Nan  ccantacca  ricuscayqui 
Ancha  llaquitan  ricunqui 
Milluy  cutin  y  phuyunqui. 


To  you,  what  you  would  know; 
But  you  must  hide  it, 
As  if  thy  bosom  were  a  rock ; 
For  that  which  you  will  see 
Will  cause  you  great  sorrow. 
And  you  will  be  without  com- 
fort. 


Yma  Sumac. 
Manan  piman  huillasacchu  Do  not  conceal  it, 

Yma  haycata  ricuspapas  Do  not  hide  anything  : 

Amapuni  pacahuaychu  To  no  one  will  I  confide  it ; 

Millpusacmi  tucuytapas.  I  know  how  to  bury  it. 


PiTU 

Cay  muyapin  ccacca  puncu 
Cayllallapi  suyacuhuay 
Llipi  Mama  puñuchunca 
Xan  tutaña  tiaycuscay. 

Yma 

Ymaymantan  yuyascan 
Cay  sonccoy  huatupacuspa 
Ricullayman  pis  huaccascan 
Cay  penccapi  hiquicuspa. 


Salla. 
Wait  for  me  at  the  door 
Belonging  to  the  garden, 
When  all  the  matrons  sleep, 
In  the  dead  of  night. 

[Uxit. 

Sumac. 

What  shall  I  then  know  ! 
My  heart  seems  to  guess. 
How  much  shall  I  grieve 
When  it  is  shown  to  me  ! 


88  OLLANTA.  [Act  III. 

Enter  Pitu  Salla,  with  a  light,  a  cup  of  ivater,  and  a  small 
covered  vase. 

Pitu  Salla. 
Hatarei  cunan  ccatahuay  Now  is  the  time, 

Cay  canchata  pacaycuspa.  Rise  and  cover  tlie  light. 

Opens  a  door  concealed  in  the  tvcdl,  discovering  a  small  room  with 
Cusi  CoYLLUE  chained  to  the  wall,  senseless. 

Caymi  Nusta  mascascayqui  Here  is  the  hidden  Princess. 

Nachu  sonccoyqui  taninña  1  Does  thy  heart  cease  to  beat  ? 

Yma  Sumac. 
Ay  nana,  ymatan  ricuni !  Alas  !  what  do  I  see  1 

Ayatachu  pacanccanqui  ?  Have  you  hidden  a  corpse  here  1 

[Faints. 

Pitu  Salla. 

Ymatac  caycca  fioccapac  What  has  happened  to  me  ? 

Yma  Sumac  urpillay !  0  Yma  Sumac  !  my  Dove  ! 

Cutinpuay  cunanllapac  Return  to  thyself. 

Hampuy,  hampuy,  Sicllallay.^^       Get    well  !     get     well  !     my 

Siclla. 

Throws  a  little  ivater  in  her  face,  and  Yma  Sumac  comes  to 
herself,  hiding  behind  Pitu  Salla. 

Ama  nana  manchariychu  Do  not  fear,  my  sister, 

Manan  ayachu  hue  huaccha  She  who  weeps  is  not  a  corpse ; 

Nustan  caypi  llaquipacha.  It  is  a  Princess  who  is  here. 


Scene  I.]  OLLANTA.  89 


Yma  Sumac. 
Causanrachu  cay  liuarmicca  ?         Is  that  woman  still  alive  ? 

PiTU  Salla. 
Asuycamuy  yanapahuay  Come  near  and  help  me. 

Causanracmi  ricuy  ccahuay  See  !  she  is  yet  alive. 

Hay  huarihuay  cay  unuta  Bring  me  some  water, 

Mattiy  cuytacc  chay  puncuta.        And  shut  well  the  door. 

She  throivs  a  Utile  water  in  Cusi  Coyllur's  face, 
who  comes  to  herself. 

Sumac  Xusta  ymananmi  Beautiful  Princess,  wherefore 

thus? 
Caycca  unu,  caycca  micuy  Here  is  water,  here  is  food. 

AsUatahuan  tiyaricuy  Eest  thyself  a  little; 

Cunallunmi  yayamuni.  But  now  I  must  be  gone. 

(  Yaicuimmi  cunallanmi) 

Yma  Sumac. 
Pill  an  canqui  sumac  urpi  Who    art    thou  1      Beautiful 

Dove, 
Asllatapas  micunihuac  Will  you  not  eat  a  little, 

Ychas  chayhuan  causarihuac.  To  keep  thyself  alive? 

Cusi  Coyllur. 
Yma  ashuatan  munascani  Here  is  what  most  I  love. 

Chica  ascca  huatamanta  After  so  many  years, 

Hue  huahuata  hahuamanta  O  my  child  !  my  child  ! 

Yaycumucta  ricuscani.  I  see  thee  once  more. 


90 


OLLANTA. 


[Act  III. 


Yma  Sumac. 
Ay  Nustallay  sumac  halla  O  beautiful  Princess  ! 


Sumac  cliayua  ^"^  ccoriquitu 

Ymapitac  can  camalla 
Hucharcanqui  urpita  % 

Ymanasca  cliica  calla 
Ymanasca  canca  pita 
Cay  liuafiuyhuan  pittuiscanqui 
Puytucc  puncupifia  canqui  % 
{Gai  ccarihuaii  huanqui  huan- 
qui.) 


my 


Beautiful  golden  finch ! 

What  hast  thou  done  ? 
How   hast   thou   sinned, 

Dove? 
Why  have  they  oppressed  you? 
Why  have  they  made  you  suffer? 
Do  you  desire  death, 
Thus  shut  and  tied  up  ? 


CUSI  COYLLUR. 


Sumac  huahua,  munay  ruru, 
Noccaca  hue  huarmin  cani 
Cay  puytupi  panti  ^*  muru : 
Noccan  casaracurcani 
Hue  naui  ruruta  hina 

Payri  concca  huarccan  phiña 
Manan  yacharcanchu  Ynca 

Payhuan  huatasca  casccayta 
Hinapi  Ollantay  manactinca 
Phiñacuspa  ccarccon  paita 
Noccatari  ripuctinca 
Camachin  caypi  canaita, 
Nanac  huatan  caypi  cani 


Lovely  child  !  beloved  fruit ! 

I  am  a  woman, 

Like  the  seed  of  the  ^3a?i^i. 

I  was  married  to  one. 

Who  was  as  the  apple  of  my 

eye. 
They  married  me  to  him 
Without  the  knowledge  of  the 

Ynca, 
Who  turned  upon  me 
And  banished  Ollanta. 
Before,  he  was  in  favour. 
As  for  me,  I  was  sent 
As  a  prisoner  here. 
Now  it  is  many  years 


Scene  I.] 


OLLANTA. 


91 


Ricuy  ymaynas  causani 
Mana  ricunicbu  pita 
Cay  yana  liuatay  huasipi 

Manan  ñoccapas  samita 
Tarinichu  cay  misquipi 
Suyacnnin  chiinca  mitta 
Huañunayta  cay  sipipi 
Cay  quellay  huascahuan  huat- 


That  I  have  lived  in  this  place. 
See  how  I  am 

In  this  prison,  without  a  com- 
panion. 
Here  there  is  no  joy. 
What  pleasure  can  be  here  ? 
Ten  times  I  am  ready 
To  welcome  death, 
Fastened  with  chains 


Tucuypatac  ni  cconccasca 
Canri  pitac  canqui  lulu 
Chica  huarma  chica  lluUu  ? 


And  forgotten  by  all. 

But  who  art  tbou, 

So  young  and  so  tender  ? 


Yma  Sumac. 


Ñoccapas  ccantan  ccatiqui 
Phuticuspa  huccacuspa 
Ususcanin  cay  huaspi 

Sonccoimi  ccanta  ricuspa 
Ccasucun  cay  ccascollaypi 
Manan  mamay  yayaicanchu 
;Manan  pipas  riccsihuanchu. 


I  have  always  sought  thee, 
Transported  with  grief: 
From  the  time  I  was  in  this 

house 
My  heart  leapt  within  me 
That  I  might  know  thee. 
I  have  no  father  nor  mother, 
And  know  no  one  as  such. 


CUSI  COYLLUR. 

Haica  huatayocmi  canqui  %  How  old  are  you  ? 

Yma  Sumac. 
Millay  huatayoccha  cani  Perhaps  I  have  many  years. 

Cay  huasita  chiccnicuspa  I  hate  this  house, 


92  OLLANTA.  [Act  TIL 

Hinapaccmi  yupasccani  And  I  have  not  counted 

Maua  caypi  yachacuspa.  While  I  have  lived  here. 

PiTU  Salla. 
Hue  chunca  hinacha  huatan  She  has  about  ten  years, 

Hinatan  ñocca  yupani.  So  I  count. 

CUSI  COYLLUR. 

Yman  ccampa  sutinquicca  ?  What  is  your  name  % 

Yma  Sumac. 
Yma  Sumac  sutei  carccan  They  call  me  Yma  Sumac. 

Chaypas  suteitan  jDactarccan.  But  perhaps  I  am  not  like  my 

name. 

Cusi  CoYLLUR. 
Ay  huahua  !     Ay  urpillay  !  0  my  child  !  0  my  dove  ! 

Cay  ccascoyman  asuycamuy  Come  to  my  bosom  ; 

Ccannii  canqui  samillay  Thou  art  my  joy. 

Noccacc    huahuay,    hamuy,  My  child !     Come !     Come ! 

hamuy, 
Cusiy  cachun  millay,  millay,  My  joy  is  many  many  times, 

Chay  sutitan  churancayqui.  For  I  gave  thee  that  name. 

\_Emhraces  her. 
Yma  Sumac. 
Mamay  !  ymatan  ruranqui  0  mother  !  what  do  you  do  ? 

Ama  ari  saqque  huaychu  Have  I  known   thee   only  to 

weep  1 
Recsicuyqui  llaquiypacchu  Hast  thou  left  me  alone  1 

Usucpacchu  saqquehuanqui  To  whom  shall  I  tly? 

Pimanatacc  cutirisac  Where  shall  I  turn  I 


Scene  II.] 


OLLANTA. 


93 


Cutinipuyari  ñahuiyman 
Hampuy  ari  cay  maquiyman. 


To  whom  shall  I  turn  my  eyes  1 
Give  me  thy  hands  to  help  me. 


PiTU  Salla. 
Ama  ccapariychu  ama  Do  not  weep, — do  not 

Noccapactac  Uaqui  canman  For  me ;  it  will  be  a  torment. 

Hacu  pnriy  paccta  uyaman  Let  us  go.     March, 

Mama  cuna  sapan  cama.  The  matrons  may  hear  us. 


YiiA  Sumac. 


Asllatahuan  muchuriscay 
Cay  aucca  huatay  huasita 
Horccoscayquin  qquepariscay 
Cay  pisi  ppunchau  ccasita 
Ay  Mama  huañusccan  rini 
Munacuc  sonccoypi  miui. 


Leave  us  a  little  lono;er 
In  this  hated  prison. 
Let  me  stay  here, 
To  pass  a  few  days. 
0  mother,  I  go  to  death. 
And  shall  love  poison  for  my 
heart.      [They  shut  the  door. 


SCENE    IL 

Enter  Ccapac  Yupanqui  and  Uillac  Umu. 

CcAPAC  Yupanqui. 
Hatun  Auqui !    Uillac  Umu  !       Great  Noble  !  Uillac  Umu  ! 
Manachu  canca  yachanqui  Dost  thou  know  ought 

Ymatapas  Rumimanta  ?  Concerning  Rumi-nahui  ? 

Uillac  Umu. 
Llocsinicañin  hanacta  He  went  forth  yesterday 

Huillcañuta  sacsacama  Towards  Yñcañota. 


94  OLLANTA.  [Act  III. 

Cliaypin  ricuni  ascama  I  see  there 

Huatasccata  runacunata  Many  men  as  prisoners, 

Antipunin  chaycunaca  All  of  them  Antis. 

Nas  atisca  llapallancu  They  are  all  conquered ; 

Nas  ccosuiscan  ahuarancu  Their  homes  are  smoking  ; 

Nas  rupasccan  tucuy  ccacca.  Their  fields  are  burnt. 

CCAPAC  YUPANQUI. 

Ollantayta  happincuchus  %  Is  Ollanta  seized  % 

Ycha  quispin  chay  runacca  %  Is  that  man  like  straw  % 

UiLLAC  Umu. 
Chay  rauraypin  chay  Ollantay       That  Ollanta  is  taken, 
Nan  raurascca  llipillanta.  And  conquered  by  the  flames. 

CCAPAC  YUPANQUI. 

Yntin  yanapahuasunchis  0  Sun,  thou  hast  favoured  me, 

Paypa  yahuarñinmi  cani  I  am  of  thy  blood. 

Paycunatan  ttustusunchis  They  must  submit  to  me, 

Chaypacmi  caypi  sayani.  For  this  I  stand  here. 

Enter  a  Messenger  icith  a  qiiij^u,  U'liich  he  presents  to  the  Ynca. 

Messenger. 
Ptumi-Ñahuin  cachamuhuan  Ptumi-Nahui  has  sent  me 

Cay  quijmhviViW  ñacca  paccar.         In  quick  haste,  with  this  quipu. 

CCAPAC  YUPANQUI. 

Ccan  ricuy,  ymatas  uin.  See  thou,  what  it  says. 

UiLLAC  Umu. 
Cay  quipupin  can  quillinsa  In  this  quipu  there  is  charcoal ; 


Scene  II.] 


OLLANTA. 


95 


Nan  Ollantay  rupasccaña 
Cay  quiputacmi  quimsa 
Pisca  quipu  huatasccaña 
Nan  Anti-snyu  happisca 
Nan  Ynca  maquiquipiuas 

Cliaymi  huatacun  cay  pisca 

Yscay  piscan  tucuy  picas. 
{Quimsa) 

CCAPAC 

Ccancca  chaypicliu  carccanqui 
Ymatatacc  rurarcanc[ui  ? 


Then,  Ollanta  has  been  burnt. 

Here  there  are  three  knots, 

Fastened  to  five  others ; 

That  is,  the  Antis  have  sub- 
mitted. 

And  are  in  the  hands  of  the 
Ynca. 

Here  are  these  three  knots. 

And  two.  All  has  been  sternly 
done. 

YUPANQUI. 

And  thou,  who  wast  there, 
What  hast  thou  done  ? 


Messenger. 


Ccapac  Ynca !  Ynti  huahuay  ! 
Caycca  ñaupac  apamuni 
Caycunata  tactay  chahuay 
Yahuarñinta  upyaypuni. 


Great  Ynca !  child  of  the  Sun 
I  have  brought  thee  tidings. 
That  thou  hast  triumphed — 
That  their  blood  is  shed. 


Ccapac  Yupanqui. 
Cunancaiquichu  manachu  Hast  thou  not  been  told. 


Sayuntin  runacunata 
Umapuni  Uocllancachu 
Piuna  yahuar  paycunata 
Cuyanim  llaquinim  ñispa  1 


That  the  blood  of  these  men, 
Whom  I  pity  and  care  for. 
Is  not  to  be  shed  ? 
That  this  would  be  a  disaster  ? 


Messenger. 
Manan  Yaya  hichaycuchu  0  Father  !  It  is  not  done  ; 

Auccanchispa  yahuarñinta  The  blood  of  these  traitors 


96 


OLLANTA. 


[Act  III. 


Tutan  happaycu  llipinta 
Callpan  ashuan  pupas  puchu. 


Is  theirs  still.     This  night 
It  misht  be  taken. 


CCAPAC  YUPANQUI. 

Ymatan  can  ricuncanqui?  What  hnst  thou  seen? 

Messenger. 


Chaypin  ñoccapascarcani 
Suyunchishuan  cuscapuni 
Tinqui  ^«en<pin  pimuni 

Chaypitac  pacacurcani 
Suyuntin  Yanahuara])i  ^^ 
Chaypin  huayccu  anchallatan 
Pacanapac  chapran  ccatan 

Hinantinta  chay  huasipi 
Quimsa  ppunchau,  qiiimsa  tuta 
Chay  huayccupi  pacacuni. 
Yarccaita  chiri  chucchuta  ^^ 
Eumi-Nahuin  hamun  chay  man 
Hinapin  llapata  cunan 
Ccaya  tutaman  hamunqui 
Sispa  cutin  sayananman 
Hatun  Raymin  chay  tam2mpi 

Llapa  llapan  machacuncca 
Hinaman  llapa  hamunca 
Cozco-suyii  tuta  ucupi 
Chaypi  ñispan  cuticapun 


I  was  there 

With  all  thy  army — 

I  was  sleeping  at  the  joining  of 
the  Queru — 

I  was  concealed 

In  the  sides  of  Yana-huara. 

In  that  valley  are  many  woods 

In  which  to  make  an  ambus- 
cade. 

I  was  there  in  a  house, 

For  three  days  and  nights, 

Concealed  in  that  ravine  ; 

There  I  felt  cold  and  shiverinsr. 

o 

Rumi-Nahui  came  there 
And  told  his  plan  : 
*'  You  shall  go  at  night, 
While  I  return  to  my  place  ; 
In  the  Tambo  they  have  a  great 

Bcujmi, 
And  all  will  be  very  drunk. 
Then  come  at  night 
With  the  army  of  Cuzco.'^ 
So  saying,  he  returned, 


Scene  II.] 


OLLANTA. 


97 


Noccaycuna  sayascaycu 
Chay  tutata  llapallaycu 
Hin  ppunchau  taripacun 
Ynti  huatana  ppunchaupi 
OUantacca  ccocliiicuscca 
Payliuan  cusca  mancliaciiscca 
Hinantin  runapas  chaypi 
Na  quimsa  ppuncliau  ticraspa 
Chaupi  tutan  hatariycu 
Haliuanta  mana  rimaspa 
Tampumanmi  yaycun  llapa 
Kunayqui  mana  ccahuaspa 
Hinapin  tarin  toe  llaspa 
Llapata  ccarac  Yllapa  ^*^ 
Tucuyñincan  y  manchascca 
Hinata  llipi  llucuscca 
Hinatac  ricchan  liuatascca 
OUantatan  mascariyca 
Nan  paytapas  Ilucuscaña 
Rumi-Naliui  y  casccaila 
Uncu  paypac  hinan  tariycu 
Urco  Huarancapas  cliaypin 
Anclia  llaquisca  qqueparin 
Huascapi  piñastan  hapin 
Hinan  Ynca  pusamunca 
Ollantata  suyuntinta 
Hanco-huaylluta  liuanmintinta 
Llapa  llantan  atimiincu 
Cliunca  huaranca  hinaclia 


And  we  stood  there 
All  that  night. 

That  day  was  one  of  watching. 
As  a  day  of  gazing  at  the  sun 
OUanta  passed  it 
And  his  men  were  drinking, 
And  he  with  his  men, 
For  a  space  of  three  days. 
In  the  middle  of  the  night, 
Without  any  one  speaking, 
We  rushed  into  the  Tampu^ 
The  men  were  not  seen 
By  those  outside. 
It  was  like  the  lightning. 
Fear  fell  upon  them. 
They  were  caught  in  a  net. 
As  they  awoke,  they  were  seized. 
We  sought  for  OUanta ; 
He  too  was  in  the  net. 
Rumi-jSTahui  was  there  ; 
We  found  him  still  sick. 
There,  too,  was  Urco  Huaranca, 
Very  sad  at  his  condition. 
Chafing  in  his  chains. 
So  the  the  Ynca  guided 
OUanta  with  his  followers. 
Hanco  Huaylluwith  his  women. 
All  were  conquered. 
Near  a  hundred  thousand 

G 


OLLANTA. 


[Act  til 


Huatascca  Antiquicuna  Autis  were  prisoners. 

Ccatimumcun  huartnicuna  The  women  followed  near, 

Huaccacuspa  llaquipaclia.  All  of  them  weeping. 

CCAPAC  YUPANQUI. 

Ckecantan  can  ricurcanqui  Truly  thou  hast  seen 

Uillcañuta  putuyquipi.  Vilcafiuta  in  mourning. 


Drums,  pipes,  and  flutes  within.     Enter  Rumi-Nahui,  ivithout 
his  mantle. 


Rumi-Nahui. 


Huarancca  cutin  muchani 

Ccapac  Ynca,  chaquiquita 
Uyarihuay  chay  simita 
Maquiquipin  pucarani. 


I  worship  a  thousand  times, 
Great  Ynca  !  at  thy  feet. 
Hear  this  mouth. 
My  fate  is  in  thy  hands. 


Ccapac  Yupanqui. 


Hatarimuy  [ccani  huarancca] 
Cay  maquiyman  ancha  cusi 
Anclia  huichata  cusi  cusi 
Chay  unuta  llicaptincca 


Llicampitac  hapimunqui. 


Rise  !     Take  this  my  hand. 
This  is  thousandfold  joy, 
Joy  above  all  joy  for  thee. 
Thou  hast  put  a  net  in   the 

water. 
With  thy  net  thou  hast  caught. 


Rumi-Nahui. 


Rumihuanmi  chay  auccacca 
Sipircan  Auquicunata 
Chay  millay  runacunata 
Rumitaccmi  paypac  ccacca 
Noccan  Rumi  paypac  cani 


If  that  traitor  with  his  stones 
Many  noblemen  has  slain, 
And  thousands  of  others, 
A  rock  and  a  stone  to  him 
I,  Rumi,  have  been. 


Scene  II.] 


OLLANTA. 


99 


Llapatauan  liuicupaiii.  And  have  made  an  end  of  all 

Lis  people. 

CCAPAC  YUPANQUI. 

Yaliuarcca  liicliucurcancbu  ?  Hast  thou  shed  much  blood  % 


EUMI 

Manan  Ynca  mana  puniu 

(Auqui)         {punim) 
Hunttanin  cunasccayquita 
Huatamunin  Antiquita 
Orccon  rauran,  orccon  rauran. 
(tunin) 

CCAPAC 

Maipitac  chay  auccacuna  1 

RUMI 

Puninpin  tucuy  suyancu 
Ccarac  hue  huañuyta  sipipi 
Ccoparispan  llipi  llipi 
Huañunanta  munascancu 
Huarmincunan  uma  cama 

{tucuy  yoma) 
Huahuancupac  ususcanmi 
Tucuynincu  huaccascanmi 
Chay  mi  ttanichina  cama. 
(Chaicanatan) 

CCAPAC 

Hinan  cancca  hinapuni 
Tucuy  churin  huaccha  usurin 
Tucuyñincun  y  ccolloncca 


-Nahui. 

No,  Ynca,  no,  in  truth, 

Thy  orders  were  obeyed — 
The  Antis  are  captured, 
Their  hills  are  burning. 

YuPANQUI. 

Where  are  these  enemies  1 

-Nahui. 

All  wait  in  the  plain 

To  receive  their  deserts. 

Each  is  awaiting 

And  desiring  death. 

But  the  women  who  are  there, 

And  the  little  children, 
Who  are  all  weeping, 
Must  be  separated. 

YUPANQUI. 

So  let  it  surely  be, 
The  poor  and  sick  alike. 
All  must  be  left 


OLLANTA. 


[Act  III. 


Chayhuan  Cuzcocliin  capiincca, 
Cliay  auccacunata  pusamuy ! 


To  return  to  Cuzco. 
Brins  forth  these  traitors  ! 


They  bring  forth  Ollanta,  Ueco  Huarancca,  and 
Anco-Huallu. 


]N'ahuinta  qiiichay  chaycunata 

Ollantay  maypin  carcanqui  ? 
Maypin    canqui   Urco    Huar- 

ancca 1 
Cunanmi  ticrasca  canca. 


Take   off   the   bandages   from 

their  eyes. 
Where  art  thou,  Ollanta  1 
Where,    Urco    Huarancca,    art 

thou? 
Now  thou  art  astonished. 


They  bring  forth  PiQUi  Chaqui  as  a  prisoner. 

Pitan  horcco  munqui  chaypi  ?        Who  is  this  brought  with  them  ? 

PiQui  Chaqui. 


Chay  yuncapin  ancha  piquin 
Chaymi  runata  quirichan 
Unu  ccoui  chayta  pichan 
Chayllatan  ñoccapacca  sipui. 


In  the  valleys  are  many  fleas 
That  bite  a  man  very  sharp. 
He  is  cured  with  hot  water, 
Therefore  treat  me  the  same. 


CCAPAC  YUPANQUI. 


Anco-huallu,  ñihuay  fiihuay 
Ymaraycan  chincarcanqui? 
Ymatan  niy  tanircanqui. 
Ollantayhuan  ?  rimaiiihuay. 
Manachu  Ynca  yayaypas 
Ccanta  yupaycharccasurqui? 
Manachuccan  tarircanqui? 
Paymanta  yma  haycatapas? 


Anco-huallu,  thou  too  here  ? 
Why  hast  thou  done  this? 
What  canst  thou  say,  for 
Being  with  Ollanta?     Speak. 
Has  not  the  Ynca,  as  a  father, 
Ever  looked  upon  thee? 
Hast  thou  not  had  thy  desires? 
What  hast  thou  wanted? 


Scene  II. 


OLLANTA. 


Simiquin  muiiayuin  carccan 
Ashuan  mañacc  asliuatacmi 


At   thy   word,  thy   wish   was 

granted — 
And  even  more  than  thou  hast 

asked. 
When  hast  thou  had  a  wish, 
What  hast  thou  wanted 
That  has  not  been  granted? 
Speak,  traitors ! 


OUanta!     And  thou, 


Urco  Huarancca. 


Mañasccayquita  hunttaccmi 
Ymatapas  runacctacmi 
Ymatan  ccampac  pacarccan? 
Rimariychis  aucca-cuna 
Ollantay  ñai !  ñai  Urco  Huar-      An^ 
ancca. 

Ollanta. 
Ama  tapuhuaychu  Yaya  Father !  We  ask  nothing  ; 

Hachaycun  tucuypi  phocchin.       Our  sin  is  seen  on  all  sides. 

CCAPAC  YUPANQUI. 

Acllacuychis  qquiriquita  Declare  what  they  deserve. 

Uillac  Uniu  ccan  rimariy.  Uillac  Umu,  speak  thou. 

UiLLAC  Umu. 
Noccata  ancha  cuyactan  The  sun  has  granted  to  me 

Ynti  sonccota  ccohuarcan.  A  very  merciful  heart. 

CcAPAC  YUPANQUI. 

Rumi  ccan  ñatac  rimariy.  Then  speak  thou,  Rumi-Nahui. 

Rumi-Nahui. 
Hatun  huchaman  chayayñincca      This  being  a  great  treason, 
Quiri  huañuypunin  carccan  The  punishment  of  these  men 

Chaymi  runatacca  harcan  Should  be  death, 

Ashuan  huchamanta  Ynca.  For   their   crime    against   the 

Ynca. 


102 


OLLANTA. 


[Act  III. 


Ttahua  tacarpupi  huatachun 

Sapa  sapata  ciinallan 
Hinatau  tucuy  llapallan 
Huarmancuiia  y  ttactachun 
Tucuy  huallahuisantapas 
Hinantin  runa  liuacliichun 

Yahuarnincupi  maccliicliun 

Yayancuc  liuafiuscantari. 


They  should  be   tied  to  four 

poles, 
First  one,  and  then  another, 
Until  all  are  secured. 
Then  let  all  their  servants 
Pass  over  them. 
Their  men  should  be  killed  with 

arrows. 
Thus  in  their  blood   shall  we 

avenge 
The  deaths  of  our  fathers. 


PiQUi  Chaqui. 


Hinanmanta  chaymantari  % 
Tucuy  Anti  ppuchucachun 
( ChhapyxicuTiata  rarachun) 
Kunata  ruphananpaccri 
[Uturuncu  liana  cachun.] 


Would  you  do  thus, 

And  destroy  all  the  Antis  1 

Would  you  cut  them  to  pieces  ? 
This  is  the  work  of  a  tiger. 
[Ge7ie7rd  lamentation  within. 


Upallay  runa ! 
Ptumitan  checcocuscani 

{huicapar) 
Rumi  sonccon  cutiscani. 


Rumi-Nahui. 

Silence,  man ! 

I  am  as  a  quarried  stone. 

My  heart  is  turned  to  stone. 


CCAPAC  YUPANQUI. 

TJyarinquichischu  ccancuna  Hast  thou  heard  it  1 

Tacarpu  camariscata  Thou  shalt  suffer  at  a  stake. 

Chayman  pusay  caycunata  Take  them  hence. 


Scene  II.] 


OLLANTA. 


103 


Anccataca  sipiy  cliisña. 
{Huanuchun  cay  auccacuna.) 


Death  to  the  traitors  ! 


Rumi-Nahui. 


Aysay  chayta  huallahuisa 
Ccasonaman  quinsantinta 
Ricachun  tucuy  llipinta 
Ccasuscata  :  aysay !  aysay  ! 


Drag  them  hence 
To  the  place  of  execution. 
Let  them  all  be  taken. 
Drag  them  away  !     Drag  them 
away ! 


CCAPAC  YUPANQUI. 


Pascaychis  chay  huatascata 
Hatarimuy  cay  ñauquiyman 
Quespinquin  huañuyniquita 

{riciinqid  sijyeiquita) 
Cunan  phahuay  luychu^^  quita 
Nan  urmanqui  cay  chaquiyman 
Cunanmi  tecsi  yachancca. 
Sonccoypi  llampu  cascanta 
Hoccariscayquin  y  canta* 
Pachacutec  chunca  huarancca 

Canmi  carcanqui  huaminca 
Anti-suyu  camachicuc 
Y  ccantacmi  cunan  ricuy 
Noccac  munaymiy  captincca 
Anti-suyuta  camachiy 
Huaminccay  capuy  huiñaypac 
Cay  chucuta  apay  runaypac 

*  These  three  lines  are 


Unfasten  those  prisoners  : 
Raise  them  from  the  ground. 
Thou  hast  been  near  death. 

Now  fly  like  the  deer. 
Having  fallen  into  my  hands, 
Thou  shalt  know  thy  fate. 
iMy  heart  is  softened, 
I  will  be  generous  to  them, 
Though  their  faults  were  ten 

thousandfold. 
Thou  who  hast  been  hitherto 
The  ruler  of  Anti-suyu, 
Behold  my  resolution  : 
I  desire  that  thou  continuest 
To  rule  in  Anti-suyu, 
That  thy  fame  may  last  for  ever. 
Bring  forth,  for  this  man, 
imperfect  in  Von  Tschudi. 


[04 


OLLANTA, 


[Act  III. 


Campactacmi  y  cay  huachay 
Can  Uñlac  Umu  churapuy 

Mosocmauta  [unan  chata] 
Hoccaripuay  cay  huaccKata 
Huañuscatari  huacyapuy. 


The  insignia  of  his  rank. 

Do    thou,    Uillac    Umu,    put 

them  on ; 
Let  him  wear  them  anew, 
Now  his  crime  is  removed, 
And  he  is  freed  from  death. 


Uillac  Umu. 
Ollanta  recsiyta  yachay  Ollanta  !  know  now 

Ccapac  Yupanqui  callpanta 


Payta  ccatiy  cunanmanta 
Cuyasccantari  unanchay. 


The  power  of  the  great  Yupan- 
qui. 
Remember,  from  this  day, 
To  learn  thy  duty. 


FuU  on  Ollanta  the  helm,  the  golden  hracelets, 
and  gives  him  the  arrows. 

To  obey  his  commands. 


Learn  that  these  insignia 
Are  the  arms  of  the  Ynca. 


Caypin  callpa  tucuy  yachay 
{Gai  si'pipin  tucuy  callpai) 
Chaytan  cunan  mattiycuyqui 
Cay  champi  Yncaccmi  yachay. 

Ollanta. 
Hueqqueyhuanmi  ccasparisacc       With  tears  I  declare, 
Cay  cuyascayqui  champita 
Yanancani  pachac  mitta 


Pitan  can  hinata  tarisac  ! 
Cay  sonccoytan  chasqui  chiqui 
Usutayquipi  pumaypacc 
{hiiatumpacc) 


That  in  receiving  these  arms, 
I  am  a  hundred  times  his  ser- 
vant. 
Who  shall  equal  me  in  this  ? 
^Vith  this  heart  at  thy  feet, 
I  will  unfasten  thy  shoe. 


Scene  II.] 


OLLANTA. 


Cunanmanta  huananaypacc 
Tucuy  callpaymi  simiqui. 

CCAPAC 

Urco  Huaranca  hamuy  ccanri 
Ollantan  camarccasunqui 
Hue  chucuta  ñoccamanri 
Hue  phiñayta  ehaytahuanpas 
Ccanmi  Antipi  qqueparinqui 
Canmi  eunan  puririnqui 
LluUayeuee  auccataliuanpas 
Cay  cliucnX2i\i  eunnan  ceoyqui 
Huaminecayñan  ccampas  can- 

qui 
Huañuymantan  ccanta  horccoy- 

qui 
Cuyascayta  yupascanqui. 


All  my  power  depends 
On  the  word  of  thy  mouth. 

YUPANQUI. 

Come  kere,  Urco  Huarancca  ! 
Ollanta  promoted  thee, 
But  my  anger  is  appeased. 
Thou  shalt  still  continue 
To  command  the  Antis. 
Thou  shalt  march  for  me 
To  subdue  my  enemies. 
Eeceive  this  helmet, 
That  thou  mayst  bear  thyself 

bravely. 
And  now  that  thou  art  freed 

from  death, 
Thou  art  counted  as  one  whom 

I  love. 


Ueco  Huarancca. 


Millay  cutin  yupaychayqui 

Ccapac  Yupanqui  ccantapas 
Cay  chucunta  huachintapas 
{Ccari-cay  musiicc  tunqui) 
Muchaycuni  Nocca  quitan 
Llantayquiman  haupullayqui. 


A   thousand   times    art    thou 

counted  ^ 
For  me,  as  the  great  Yupanqui, 
For  bestowing  this  helmet. 

I  adore  thee  humbly, 
And  wall  be  thy  support. 


UlLLAC  UmU. 

Huaminccantan  rurasunqui  Thou  art  made  noble 


io6 


OLLANTA. 


[Act  hi. 


Ccapac  Yupanqui  ccantapas 
Cay  chucunta  liuachintapas 

Ccari  cay  ccan  musucc  tun  qui. 

Ruiii- 

Yscay  ñacliu  ccanca  Ynca 
Antisuyupi  huamincca 
[Puma  paccliu  cancca  mirca 
Yuncapi  ancca  matinca !] 


By  the  great  Yupanqui : 
With  this   helmet   and  these 

arrows, 
Be  valiant  as  the  young  tunqid. 

Nahui. 
Then  there  will  be  two  Yncas 
In  the  warlike  Anti-suyu. 
The  lion  will  not  brook 
An  enemy  in  his  valley. 


Ccapac  Yupanqui. 


Manan  Rumi  yscaychu  canca 

Urco  Huarancca  camachincca 
Anti-suyuta ;  chay  captincca 
Ollanta  Cozcopi  canca 
Yncarantin  qqueparinan 
Arpayñiypi  ^^  tiyaycuspa 
Cozcota  camachicuspa 


Hinan  caypi  sayarinan. 


No,  Rumi  j   there  will  not  be 

two. 
Urco  Huarancca  will  rule 
In  Anti-suyu. 
Ollanta  will  in  Cuzco 
Remain.     For  the  Ynca, 
He  will  occupy  the  throne. 
And  govern  at  Cuzco  in  his 

place. 
Thus  he  will  remain  here. 


Ollanta. 


Anchatan  Yncay  hoccarinqui 
Cay  Uatan  yancca  runata 
Causacuy  huarancca  huata 

[Chucchuctan  cani  achinqui 
Noccatan  hayhuaninchinqui 


0  Ynca  !  this  is  too  much 
For  a  man  who  is  nothing. 
Mayst   thou   live    a    thousand 

years. 

1  am  as  thou  makest  me, 
Thou  dost  give  me  succour : 


Scene  IT.] 


OLLANTA. 


107 


Suchutan  sayanicliinqui 
Urmacctan  hattani  chinqui 
Uscatan  Ccapacyachinqui 
Nausatan  ccahuarichinqui 
Huauuctan  causanichinqui 
Cconmactatac  tac  yachinqui].* 


Crippled,  thoumakest  me  stand; 
Fallen,  thou  raisest  me  up  ; 
Poor,  thou  en  richest  me  ; 
Blind,  thou  givest  me  sight  j 
Dead,  thou  restorest  life ; — 
Thou  indeed   teachest   me   to 
forget. 
^T^iTows  himself  at  the  feet  of  the  Ynca. 

CCAPAC  YUPANQUI. 


Hatun  llaututa  horccomuy 
Qquellu  umachata  churaspa 
Uillac  Umu  can  utcaspa 
Hatum  champitahuan  ccomuy 
Ynca  rantin  cayca  nispa 

Tucuyta  cunan  huillariy 
Ccanri  Ollanta  qquepariy 
Ynca  ranti  paccarispa 
Ccolla-suyum.immi  risac 
Cay  quilla  ucupi  chaypacmi 
Camarinay  chay  huantacmi 

{chaypacdacmi) 
Ashuan  cusi  puririsac 
Na  arphaypi  tiasccata 
Ollantata  liac|quecuspa. 


Place  the  yellow  llautu 
On  his  head.     Bring  forth 
The  insignia,  0  Uillac  Umu  ! 
Give  him  the  great  mace. 
That    he    may   represent    the 

Ynca, 
And  receive  my  orders. 
Thou,  Ollanta,  wilt  remain 
As  Ynca  in  my  place. 
I  shall  march  to  CoUa-suyu 
In  the  space  of  a  month. 
Therefore  have  I  so  ordered  it. 


I  shall  go  full  of  joy, 
Leaving  on  the  throne 
My  faithful  Ollanta. 

Ollanta. 
ccan-      I  would  rather  desire 


Ashuantan    munayman 

huan 

*  This  is  omitted  by  Von  Tschudi  and  Barranca, 


io8  OLLANTA.  [Act  III. 

Chayantaman   tucuy   imaman-  To  march  with  thee. 

pas 

Puriyta  :  yachanquim  campas  Thou  at  least  knowest 

Cunchi  cari  cascay  tahuan.  That  I  am  diligent. 

[Manan  Cuzco  huac  yahuarchu]  My  blood  is  not  for  Cuzco. 

Cañariquin  uocca  casac  I  would  be  thy  Cauari." 

Nocapuni  ñaupas  casac  Surely  I  should  be  first 

Ama  caypi  qquepaymanchu.  To  march  in  thy  company. 

CCAPAC  YUPANQUI. 

Huarmita  chasquiy  ña  ari  Be  married  in  this  place. 
{Hue  cama  casariy  ari) 

Chayhuan  cusi  camay  canqui  With  that  thou  shalt  have  joy, 

Chayhuan  ccasi  samascanqui  And  wilt  rest  in  peace. 

Pitapas  acUacuy  ari.  Choose  whom  thou  wilt  have. 

Ollanta. 
Nan  auqui  huarmiyoc  cani  0  my  Lord  !  I  am  married, 

Nocca  qquencha  yanayquicca.        But  I  am  also  most  miserable. 

CCAPAC  YUPANQUI. 

Manatacmi  ricsinichu  I  have  not  yet  seen 

Ricsichihuay  huarmiquita  Thy  wife.     Let  me  know  her, 

Yupaychasac  yanayquita  I  would  count  her  as  a  friend. 

Noccamanta  pacahuanquichu.  Conceal  nothing  from  me. 

Ollanta. 
Cay  Cozcopin  chincarircan  In  Cuzco  I  have  lost 

Chay  huayllucuscay  urpillaica  My  most  beloved  turtle-dove. 
Hue  ppunchaullas  pituy  paicca  In  a  single  day  she  was  gone, 
Hue  pitaccmi  phahuarinccan  Plying  to  other  places. 


Scene  II.]  OLLANTA.  T09 

Muspha  musphan  mascarcani  I  have  sought  for  her  madly  \ 

Hinantmta  tapucuspa  But  she  is  lost  to  me, 

Allpa  pumis  millpupuspa  As  if  the  earth  had  opened. 

Chincachihuan  :  hinan  cani !  Such  is  my  misery  ! 

CCAPAC  YUPANQUI. 

Ama  Ollanta  llaquicuychu  Do  not  despond,  Ollanta  ! 

Chaypas  cachun  y  ymapas  Even  were  it  worse, 

Ccamascayta  hunttay  campas  Thou  shouldest  obey, 

Ama  qquepaman  cutiychu  And  not  turn  from  thy  duty. 

Uillac  Umu  ñisccayta  ruray.  Uillac  Umu  !  do  as  I  ordered. 

UiLLAC  Umu. 
Hinantin  suyu  yachaychis  Know,  all  people, 

Ollantaymi  Yncacc  rantim.  Ollanta  is  in  place  of  the  Ynca. 

All. 

Ollantaymi  Ynca  ranti.  Hail !  Ynca  Ollanta. 

\Theii  all  emhrace  each  other. 

Kumi-Xahui. 
Cusuysiquin  samiquita  I  rejoice  with  thee, 

Auqui  Ollantay  Ynca  ranti.  Noble  Ollanta  1  Ynca  ! 

Cusicuchun  tucuy  Anti  The  Antis  shall  rejoice, 

Hampuchuntac  tucuy  quita.  And  all  shall  be  well. 

They  seat  Ollanta  on  a  tiana,  o'pposite  to  the  Ynca. 

{Voices  ivithin.) 
Harcay  !    Harcay  !    ccarcoy  :         Stop  !  stop  !     Turn  her  out ! 

ecarcoy : 
Chay  huarmata,  ccarcoy.  Turn  out  that  child  ! 


OLLANTA.  [Act  III. 


>r 


Yma  Sumac  (ivithin). 

[Cusi  ppunchau  casccan  raycu]  Why  should  it  be  a  day  of  joy? 

Ashuan  munasccayqui  raycu  What  dost  thou  love  most  1 

Saqquehuachis  yaycuycusac  Leave  me  to  the  father  ! 

[Yncallahuan  rimaycusac  !]  Let  me  speak  to  the  Ynca ! 

Amapuni  harcahuaychu  Do  not  prevent  me  ! 

[Puncumanta  cearcu  huaychu]  Let  me  pass  the  door  ! 


Ricuy  huañurcoUasacmi  Lo  !  there  is  some  one  dying  ! 

[Pdcuychis  sipicusacmi.]  *  Lo  !  there  is  sickness,  even  to 

death  ! 

(f/l0  CCAPAC  YUPANQUI. 

Yma  chachuan  huahuapi  ?  What  are  you  doing  with  the 

child? 

Attendant. 
Hue  huarman  huaccaspa  hamun      A  child  comes  weeping, 
Yncahuan  rimaytan  munan.  And   would    speak   with    the 

Ynca. 

CCAPAC  YUPANQUI. 

Haqquiy.     Pusay  camuy.  Let  her  come  in. 

Enter  Yma  Sumac,  weeping,  with  her  hair  dishevelled. 

Yma  Sumac. 
Mayquellanmi  Yncallayca  Which  of  you  is  the  Ynca, 

Chaquinman  ullpuycunaypacc  ?      That  I  may  fall  at  his  feet  ? 

UlLLAC  UmU. 

Caycca  paymi  Yncanchisca  That  is  our  Ynca, 

Ymananmi  sumac  huarma  ?  O  beautiful  child. 

*  Tho  bracketed  lines  are  omitted,  both  iu  Vou  TschuJi  and  Barranca. 


; 


Scene  II.] 


OLLANTA. 


YmaS 
Yncallay,  Yayaymi  canqui 
Causachiliuay  huarmayquita ! 
Hay  huanihuay  maquiquita 
Ynticc  huahnay  ñinmi  canqui 

Mamallaymi  huañuccaña 
Hue  aucca  ccaccan  mattiscan 
SuUuncunapun  sipiscan 

Yahuarñinpin  ccaspascaña. 


UMAC. 

My  Ynca !  thou  art  my  Father ! 
Give  life  to  thy  child. 
Show  favour  in  thy  hand, 
For   thou  art  a  child  of  the 

Sun. 
My  mother  has  been  killed, 
An  enemy  has  chained  her. 
She    will    be    choked    with 

streams 
Flowino;  with  her  blood. 


CCAPAC  YUPANQUI. 

Pin  chay  aucca  utcay  sacyariy       AVho  is  this  tyrant  %     Rise  ! 
Ollantay  ricuy  ccan  ari.  Ollanta  !     See  thou  to  this. 

Ollanta. 
Hacu,  huarma,  utccaypusahuay      Come,  child,  let  us  go. 
Pin  mamayqnita  sipiscan.  Who  has  hurt  thy  mother  ? 


Yma  Sumac. 
Amapuni  ccancca  riychu  Thou  shalt  not  so 

Yncaypuni  ricumuchun 
Paytac  payta  recsimuchun 
Manan  ccanta  resiquichu 
Utccay  Ynca  sayarillay 
Paccta  mamayta  tariyman 
Huañusccata  y  happinman 
Chalatanta :  y  uyarihuay. 


The  Ynca  must  see. 
He  it  is  who  knows  her, 
While  you  do  not. 
Ynca,  rise  u]^  quickly. 
Would  you  find  my  mother 
Lying  dead  ?     Listen, 
And  come  to  her. 


112  OLLANTA.  [Act  III. 


UiLLAC  Umu. 
Sapa  Ynca  manmi  caman  Sole  Ynca  !     Even  tliee 

Llaquiscata  mascasoncca  These  miseries  follow. 

Ccampacca  pitacc  pacancca  Who  shall  dare 

Quipichacta  %  hacu  ecanhuan.         To  shut  thee  out  ? 

CCAPAC  YUPANQUI. 

Maypin  quirin  mamayquita  %  Where  is  thy  captive  mother  ? 

Yma  Sumac. 
Cay  cuchullapi,  cay  huasillapi.       In  a  corner  in  this  house. 

CCAPAC  YUPANQUI. 

Hacu  ccatihuaypas  huaquin  Let  us  all  go  together. 

i^acii  llapa  lla'pa) 
Chica  cusipi  casccaptiy  When  we  were  full  of  joy, 

Cay  huarma  sonccoyta  ppaquin.      This  child  came  to  rend  my 

heart. 

Yma  Sumac  slwivs  him  the  door  of  the  prison. 

Yma  Sumac. 
Caypin  Yayay  Mamallaycca  My  Father  !  my  mother 

Caypipunin  huanunacha.  Is  here.     She  may  be  dead. 

Ollanta. 
Aclla  huasitaccmi  caycca  This  is  the  house  of  the  chosen 

virgins. 
Ychachu  pantanqui  huarma  1         Child,  do  you  deceive  us  ? 

Yma  Sumac. 
Cay  huasipin  urpillayca  In  this  house,  my  dove 

Naccarin  chunca  huataña.  Has  suffered  for  ten  years. 


Scene  III.]  OLLANTA.  113 

Ollanta. 
Quichariy  cay  puncuta  Open  this  door, 

Sapa  Yncancbismi  hamun.  The  sole  Ynca  would  enter. 

Enter  PiTU  Salla,  luho  opens  the  door.     All  go  in. 

Yma  Sumac. 
Pitu  Salla,  ñañ  allay  Pitu  Salla,  my  sister, 

Caiisaucacchu  mamallayca  ?  Is  my  mother  yet  alive  ? 

Hacu  uccuman  Yncallay  Enter  with  me,  my  Ynca, 

Cay  23uncuta  qnicharichun.  Let  the  door  be  open. 


S  C  E  X  E    III. 

Enter  Ynca  Yupaxqui,  Uillac  Umu,  Ollanta,  Yma  Sumac, 
and  Pitu  Salla. 

YXCA  YUPANQUL 

Yma  puncun  caj^i  can  ?  What  door  is  this  ? 

Yma  Sumac. 
Puncun  caypi  yayallay  !  This  is  the  door,  my  Father  ! 

Pitu  Salla,  cay  puncuta  Pitu  Salla,  open  thou 

Yncanchispac  quicharipuy.  That  door  for  our  Ynca. 

Enter  Ccacca  Mama,  ivlto  kisses  the  Ynca's  hand. 

CcACCA  Mama. 
Mosccoypichu,  suttinpichu?  Is  this  but  a  dream  ? 

Yncayta  caypi  ricuni  ?  Or  do  I  see  the  Ynca  here  ? 


114 


OLLANTA. 


[Act  III. 


Ynca  Yupanqui. 
Cay  puncuta  quicliay.  Open  that  door. 

{The  prison  door  is  opened,  and  Cusi  Coyllur  is  discovered 


Yma  Sumac. 
Ay  Mamallay  !  huattorcanmi         O  my  mother  !  my  heart 


Cay  sonccoy  camta  tariyta 
Huañusccata  y  iiyayquita 
Chintanan  mancharccani 
Pitu  Salla  as  unuta 
Apamuy  pacta  mamay 
Cutinpunman  causminman. 


Told  me 

That  thou  wert  dead  ; 

I  feared  to  find  it  so. 

Pitu  Salla  !  bring  me  water, 

Fetch  it  that  my  mother 

May  come  back  to  life. 


Ynca  Yupanqui. 


Yma  utcu  ccacan  caycca  ? 
Pin  cay  huarmi  yman  chaccay 
Quellay     huasca     huanquin 

chayta  1 
Pi  auccan  chacnarccan  payta 

i\Iaypin  Yncac  soncconpicca 

Cay  ccaraihuacca  camasccan. 
Ccacca  ISIama  liamuy  cannian 
Pin  cay  hamun,  caicca  yman 
Layccasccachu  paccarircan 


What  rock-hewn  cave  is  this  ? 
Who  is  this  woman  ? 
What  means  all  this  ? 

What  tyrant  has  thus  chained 

her? 
Where  was  the  heart  of   the 

Ynca? 
Has  it  produced  some  lizard  ? 
Come  here,  Ccacca  Mama  ! 
What  comes?     Is  it  a  rock ?^' 
Hast  thou  turned  her  to  a  ghost, 


Cay  huaccha  huarmicca  caypi  1      That  poor  woman 


Scene  III. 


OLLAA  TA. 


115 


CcACCA  Mama. 
Yayay quill  caniacliicurcau  Thy  father  ordered  it, 

Munaysapacc  huananampac.  He    willed    it    for    lier    dis- 

obedience. 


Ynca  Yupaxqui. 


Llocsiy,  Uocsiy,  Ccacca  Maman, 

Pusay  chay  uturuncuta 
Chay  puma,  chay  amanita, 
Ama  haycacc  ricunayman. 
[Ay  qquecliiycliis  chay  auccata 
Tunichiychis  chay  pirccata 
Ticraychis  rumi  ccaccata 
Huicchuychis  phunun  auccata 
Mana  ruracc  mitccananman 
Piuchay  payata  yuyanman 
Causae  huarmi  masinta 
Sipiscascca  huahuantinta.] 


Begone  !      Begone  !      Ccacca 

Mama, 
Turn  out  this  jaguar. 
This  puma,  this  serpent ; 
Xever  let  me  see  her  more. 
Let  that  wretch  escape, 
Break  down  that  wall, 
Turn  over  that  stony  rock, 
Dismiss  that  traitress. 
Do  not  make  her  stumble. 
This  is  the  secret  place  ; 
A  woman  living  as  a  bat. 
The  child   has  broug^ht  it   to 

lisht. 


{They  bring  luater  and  sprinkle  it  over  Cusi  Coyllur,  ivlio  comes 
to  herself.) 


CCJSI  COYLLIJE. 


0 


Maypin  cani,  pin  caycuna  ? 
Yma  Sumac  huahuallay 
Asuycamuy  urpillay. 
Hayccaccmantan  runa  cuna 
[Pviccuuimun  cay  ccayllaypi 


Where  am  I  ?  who  are  these  1 
Yma  Sumac  !  my  child  ! 
Come  to  me,  my  dove ! 
Whence  come  these  men  1 
Who  are  all  these  I  see  ? 


ii6 


OLLANTA. 


[Act  III. 


Kicchay  ñinchu  ñahuillaypi  % 

Llautuchu  runa  ric  clialiuan 
Ycha  pliuyuchu  quinpaliuan  ? 
Ccanchaytanacliu  ricuni 
Causaymanchu  cutinmuni.] 


What    vision    is    before    my 

eyes  %     • 
A  man  wearing  the  llautu  •' 
What  can  it  mean  ? 
I  see  lights  darting  ; 
My  life  is  overturned. 


[Begins  to  faint  again.     Is  restored  ivitli  water. 


Yma  Sumac. 
Ama  Mamay  manchariychu  Fear  not,  my  mother, 

Sapa  Yncan  cayman  hamun 


Ccapacc  Yupanqui  chayamun 
Rimariy  ama  puñuychn. 


The  sole  Ynca   has   come    to 

thee. 
The  great  Yupanqui  is  here. 
Speak, — do  not  sleep. 


Ynca  Yupanqui. 
Sonccoymi  ccasocun  cana  My  heart  is  torn 

Cay  llaquita  ccahuarispa 
Nihuay  huarmi  samarispa 
Pin  canqui  %     Niy  hue  camaña 
Yman  sutin  chay  mamayquic  % 


At  sight  of  such  misery. 
Eest,  woman.     Then  tell  me 
Who  art  thou  ?     Say,  child, 
What    is    the    name    of    thy 
mother  % 


Yma  Sumac. 
Huaccha-cuyac.     Ccapac  Ynca      Friend 


Chay  huascataracc  pascachiy 
Cay  huañusccata  causachiy ! 


of    the    poor !    gi 
Ynca  ! 
Order  them  to  unchain  her, 
Give  life  to  the  dead. 


Scene  III]  OLLANTA.  117 

UiLLAC  Umu. 
Noccan  chaytacca  pascanay  I  ought  to  free  her, 

Ñaccaricta  yanapanay.  I  should  be  her  friend. 

Ollanta. 

Yma  sutin  mamayquicca  %  What    is    the    name    of    thy 

mother  % 

Yma  SuiiAc. 
Cusi  Ccoyllur  sutincca.  Cusi  Coyllur  is  her  name. 

Ynca  Yupaxqui. 
Nan  ricunqui  pantasccatu  You  seem  to  be  mistaken  in 

Chay  sutinta,  pampasccata  That  name.     She  is  gone 

Maypis  capunpas  samincca.  Where  she  has  happiness. 

Ollanta. 
Ay  Ccapac  Ynca  Yupanqui  0  great  Ynca  Yupanqui, 

Cay  Nustan  ñocca  chuarmiycca.      That  Princess  is  my  wife. 

\Frostrate?>  himself  at  the  feet  of  the  Ynca. 

Ynca  Yupanqui. 

Mosccoymanmi  ricchapuan  It  all  seems  a  dream, 

Cay  tariscusccay  samiycca  This  newly  found  joy, 

Cay  Cusi  Ccoyllur  huarmiycca  This  woman  is  Cusi  Coyllur ! 

Pañaymi  hina  capuan  Here  at  my  right  hand, 

Cusi  Ccoyllur  panallay  Cusi  Coyllur,  my  sister ! 

Cusi  Ccoyllur  urpillay  Cusi  Coyllur,  my  dove  ! 

Hampuy  cutimpuy  Come  here,  and  embrace  me. 

[Ric  nayquipi  chasquipuay  See  now  thou  art  delivered, 


i8 


OLLANTA. 


[Act  III. 


Turayquin  taricapuyqui]  Thou  liast  found  tby  brother, 

Ccasccoymi  cascan  chimpayqui      My  bosom  will  be  thy  home, 
[Teccsinpi  tianayquipacc.  ]  Thy  resting-place  shall  be  se- 

cure, 
Cusiña  causanayquipac.  Thy  life  shall  be  joyful. 

\Emhraces  her,  and  seats  her  hy  his  side. 

CUSI  COYLLUE. 

Ay  turallay  !  ñas  yachanqui  Oh    my   brother !    now    thou 


Hayccan  ñaccanicusccayta 

{Cai  chica) 

Ascca  huanusccayta 

(Chica  huata  naccariscatta) 

Ccan  puritacc  cunan  canqui 

{Campunin  canqui) 

Cay  piñasta  quespichicca 

[quirita) 
[Cay  ppanpascca  haspichicca.]       Thou  hast  dug  me  out. 

Ynca  Yupanqui. 
Pin  cay  cullcu  chic  puticc  Who  art  thou,  dove,  that  hast 


know  est 
The  torments  I  sufifered 

For  so  many  years. 

Thou  hast  set  me  free  ; 

It   is  thou  that  hast  loosened 
me, 


(huarmi) 
Pin  cayman  churarccan  cayta 
Yma  huchan  payta  aysayta 

Atiparccan  cayman  uticc  ? 

Canchu  soncco  ccahuanapac 
Cay  chica  sinchi  llaquita 


sufifered  ? 
Who  placed  thee  here  ? 
What   sin   had  weighed   thee 

down? 
Well  mightest  thou  have  gone 

mad. 
I  shoidd  have  a  heart  to  feel 
Such  dreadful  suflferiusr. 


Scene  III.] 


OLLANTA. 


Picha  huacharccancay  huarmita 
Payhuan  cusca  huañunapacc 
Chay  uyan  ccampamanasca 
Chay  sumac  simi  phasquiscca 
[Uya  ccaccllan  yanccayascca 
Senccallampas  chiri  asccu 
Ric  chayñillanpas  ayacc  na 
Cuncallapas  chaca  raccna. 


If  tliis  woman  was  thy  mother 
Yet  she  ought  to  die. 
Thy  face  is  withered, 
Thy  beauty  is  gone  for  ever, 
Thy  chin  is  turned  black, 
Thy  nose  is  like  a  cold  potato, 
Thy  looks  are  as  death, 
Thy  neck  is  withered. 


Cusi  Ccoyllur  y  ccantaracc 
Chincachircayqui  ñaupacta 
Cunantac  ñocca  causaccta 

{canri) 
Yayahuanqui  sipiytaracc 
Yscayñinchisña  huañusun 
HuanuUasac  sapay  huaychu 
{Ama  qqueparichin  huaychu) 
Cay  sonccoymi  sapan  usun 
Cusi  Ccoyllur  maytacc  cusi  % 
Maytacc  chay  Ccoyllur  nahuy- 

qui? 
Maypitacc  chay  samayñiqui 
Ccanchu  chay  uacascca  ususi  ? 


Ollanta. 

Cusi  Coyllur,  I  lost  thee, 
Thou  wast  first  hidden  from  me. 
But  now  thou  art  brought  to 

life. 
And  thy  father  could  do  this  I 
He  should  have  killed  us  both ! 
I  would  not  be  left  alone. 


My  whole  heart  is  torn. 

Cusi  Coyllur,  where  is  thy  joy? 

Where  are  thine  eyes  like  stars? 

Where  is  all  thy  beauty  ? 

Art  thou  an  accursed  daughter? 


Cusi  Coyllur. 
Ay  Ollantay,  chunca  huatan  Alas  !  Ollanta,  for  ten  years 

Caracc  miyu  raquihuanchis  A  prison  has  separated  us  ; 

Cunantacc  huñupuhuanchis  But  now  we  are  joined  again, 


OLLANTA. 


[Act  III. 


Hue  causayman :  liinan  huatan      And  there  is  life  !     As   many 


Llaqui  cusita  Yupanqui 
Causachuntacc  Ccapac  Ynca 
Ccanri  hue  causay  cactineea 
Ascan  huatatan  Yupanqui. 


years 
Of  joy  you  will  count 
As  the  great  Ynca  shall  live. 
With  this  new  life 
You  will  count  more  years. 


UiLLAC  Uma. 
Musuc  ppachata  apamuy  Bring  new  clothes 

Nustanchista  pachanapac.  To  dress  the  princess. 

[They  all  begin  to  emhrace  each  other. 


.  Ynca  Y 

Ollantay  caycca  huarmiyqui 
[Caytaccmi  chay  ususiyqui 
Hunucuychis  musucmanta] 
Yupay  chacuy  cunanmanta 
Ccanri  hamuy,  Yma  Sumac 

Cay  ccasccoyman  sumac  urpi 
Huanquicuscay  cay  eururpi 
Ccanmi  eanqui  Ccoyllur  chuma. 


UPANQUI. 

Ollanta,  here  is  thy  wife, 
Here,  too,  is  thy  daughter, 
In  a  new  union  ; 
Count  it  so,  from  this  day. 
And  thou,  Yma  Sumac,  come 

to  me — 
Come  here,  my  beautiful  dove, 
Thou  must  reel  these  threads. 
Since    thou  art    the   child    of 

Coyllur. 


Ollanta. 

Ccanmi  eanqui  achihuaycu 
Cean  auqui  maquiquiman 
Tucuy  phuti  ñanta  pantan 
Cean  Uapata  saminehahuaycu. 


Thou  art  our  protection  ! 
Thy  noble  hands 
Disperse  our  grief  ; 
Thou  art  our  only  hope. 


Scene  III.]  OLLANTA.  121 

Ynca  Yupanqui. 
Chicallata  phuticuychis  Do  not  be  afflicted, 

Samaniycliisña  samipi  Live  happily  with  thy  joy ; 

{Ciisi  cachun  hue  samipi) 

Nan  huarmiyqui  maquiquipi  Now  thy  wife  is  in  thy  hand, 

Cusillaña  causa  aychis.  And  thy  life  is  full  of  joy. 

[Huamdmantan    qqtiespinqui- 
chis.) 

[They  play  huancars,'*^  inncullus^^  purutus,"''^  and  other  music.) 


NOTES. 


(1)  Pachacutec.  The  ninth  Ynca,  according  to  Garcilasso  de  la 
Vega.  The  meaning  of  the  word  is,  "  The  earth  overturned."  Pacha 
(earth),  Cutini  (I  overturn).  So  called  from  his  having  been  a  great 
reformer. 

(2)  Yupanqui,  son  of  Pachacutec,  and  tenth  Ynca.  It  was  a  title 
of  all  the  Yncas.  Literally  "  You  will  count,"  2d  person  singular  of 
the  indicative  future,  from  Yupdni  (I  count).  He  who  bears  the  title 
icUl  count  as  one  who  is  excellent  in  virtue  and  piety.  {G.  de  la  Vega, 
I.  lib.  ii.  cap.  17.) 

(3)  The  name  does  not  occur  elsewhere,  and  has  no  meaning.  But 
see  note  in  Introduction,  p.  11. 

(4)  Rumi  (a  stone)  and  Tiahui  (eye).  The  name  occurs  again,  as  that 
of  a  general  of  Atahuallpa, 

(5)  Uillac  Uniu,  the  title  of  the  High  Priest.  Uillac  is  the  past  par- 
ticiple of  Uillani  (I  say),  and  Umu  (a  diviner).  He  was  the  diviner 
who  said  to  the  people  what  the  Sun  ordained.  {G.  de  la  Vega,  III. 
cap.  22.) 

(6)  Urco  (a  male)  Iluarancca  (a  thousand). 

(7)  Hancu  (raw)  Ilaayllu  (love),  Auqiil,  a  nobleman,  an  \inmarried 
prince.  There  was  a  famous  rebel  chief  of  the  Chancas  named  Hanco- 
hualla,  but  this  does  not  appear  to  be  the  same  word. 


NO  TES. 


(8)  Piqid  (a  flea)  Chaqui  (foot). 

(9)  Ana  Huarqui.  The  sister  and  wife  of  the  Ynca  Pachacutec.  See 
G.  de  la  Vega,  II.  p.  203. 

(10)  Cusi  (joyful)  Coyllur  (star). 

(11)  Yma  (how)  Sumac  (beautiful).  ' 

(12)  Ccacca  (rock)  Mama  (mother). 

(13)  P'ltu  (equal)  Salla  (rocky  ground). 

(14)  A  genitive  form,  common  in  early  Quichua  writing,  for  Yncap. 
cc  or  cca  as  genitives,  in  place  of  p  and  jpa,  often  occur  in  this  drama. 

(15)  Urpi  (a  dove) :  a  term  of  endearment. 

(16)  Raicuni,  I  invite,  mislead,  bewitch. 

(17)  Musphani,  I  wander,  am  puzzled. 

(18)  This  is  the  perfect  optative.  Von  Tschudi  criticises  the  passage 
and  thinks  that  sipiyquiman  would  have  been  better. 

(19)  Allco  is  the  Peruvian  dog  {Canis  Ingce.  Tsch.)  It  has  been 
found  buried  at  the  feet  of  mummies. 

(20)  I  gave  an  erroneous  translation  of  this  passage  in  my  Cuzco  and 
Lima,  p.  174,  which  was  furnished  to  me  by  a  young  student  of  Cuzco. 
The  blunder  is  noted  by  Señor  Barranca,  p.  56. 

(21)  Ccepi  is  a  burden  or  load,  and  it  is  here  used  figuratively  by 
Piqui  Chaqui  for  a  porter  or  menial. 

(22)  Laicca,  a  soothsayer  or  wizard.     See  G.  de  la  Vega  and  Arriaga. 

(23)  Cachapuriy,  your  messenger.  Garcilasso  has  Chaca,  and 
Chasqui.     See  G.  de  la  Vega,  II.  p.  119. 


[24  NOTES. 


(24)  Von  Tschudi  and  Barranca  have  Huillca  uma  in  their  copies  ; 
and  Von  Tschudi,  in  a  note,  says  that  Uillca  uma  would  be  better. 
Barranca  gives  a  derivation  from.  Huillca,  "grandfather,"  and  uma, 
"head."  But  my  copy  has  Villac  Uviu,  the  correct  term  for  the  High 
Priest  of  the  Sun,  Garcilasso  derives  it  from  Uillani  (I  say),  and  Umu, 
a  diviner  or  soothsayer.  Uillac  is  the  present  participle,  and  the 
meaning  of  Uillac  Umu.  is  "The  diviner  who  speaks."  Garcilasso  has 
V  for  U.     {G.  de  la  Vega,  I.  p.  227.) 

(25)  Rupicola  Peruviana  [Dum),  a  beautiful  bird  with  a  rich  orange 
plumage  and  a  tuft,  used  with  other  birds  in  sacrifices. 

(26)  Llautu,  the  crimson  fringe  of  the  Ynca,  equivalent  to  saying 
that  the  Ynca  will  share  the  throne  with  him. 

(27)  Toclla,  a  lasso.     Tocllani,  I  catch  with  a  lasso. 

(28)  The  copies  of  Von  Tschudi  and  Barranca  have  Quellca,  "to 
write,"  a  word  of  doubtful  antiquity.  In  my  copy  the  ancient  word 
quipu  is  used. 

(29)  Hatiin  Yaya,  Great  Father,  a  term  applied  to  the  High  Priest. 

(30)  Atoc,  the  Peruvian  fox.  Von  Tschudi's  copy  has  .isnw  (from 
the  Spanish  for  an  ass),  and  Barranca's  Llama.  Barranca  points  out 
that  asnu  is  the  insertion  of  a  careless  modern  copyist.  I  believe 
IMma  to  be  a  Correction  hazarded  by  Señor  Barranca.  Atoc  alone 
suits  the  text ;  and  is,  no  doubt,  the  most  ancient  reading. 

(31)  Rirpu  is  a  mirror,  made  of  polished  metal.  This  speech  of  Cusi 
Coyllur  is  given  in  the  Antiguedades  Peruanas,  p.  117. 

(32)  In  my  copy  it  is  Accochinchay,  a  comet.  In  those  of  Von 
Tschudi  and  Barranca  the  word  is  Chasca,  the  planet  Venus. 

(33)  Here  Von  Tschudi's  copy  is  faulty.  He  has  chaquirichci.  It 
should  be  chaquichicuy  (dry  again). 


NOTES.  125 


(34)  The  Tuya  is  a  bird  that  is  very  mischievous  at  harvest  time 
{Coccoborus  chrysogaster).  lla  is  a  diminutive,  and  y  is  the  first  possessive 
pronoun. 

(35)  Barranca  tells  us  that  eleven  species  of  Peruvian  doves  have 
been  described,  four  by  Von  Tschudi,  Ui-pi  is  the  general  name  for  a 
dove. 

(36)  Yarahui,  an  elegy. 

(37)  The  ending  chis,  which  often  occurs  in  the  drama,  is  an  ancient 
form. 

(38)  Huanca  Uillca  was  a  great  chief  of  the  Chancas,  who  rebelled 
against  the  Yncas. 

(39  a)  Here  the  particle  ñi  is  inserted  for  euphony. 

(39  h)  This  speech  of  Ollanta  is  given  in  the  Antiguedades  Peruanas, 
p.  117,  but  without  any  translation. 

(40)  The  Antis  were  the  inhabitants  of  the  region  east  of  Cuzco. 

(41)  Sacsahuaman  was  the  hill  on  which  the  famous  fortress  of  Cuzco 
was  bunt. 

(42)  Here  Von  Tschudi  has  misi,  a  modern  word  for  a  cat,  instead  of 
allco,  as  in  my  copy.     See  G.  de  la  Vega,  II.  p.  476. 

(43)  The  doors  were  fastened  by  a  rope,  called  huascar. 

(44)  Achancaray,  a  red  and  w'hite  flower  with  which  the  Indians 
adorn  their  hair  ;  a  begonia. 

(45)  Lloclla,  a  flood  or  torrent.  In  the  country  of  Chincha-suyu  the 
word  for  a  torrent  is  Thuancu,  and  in  the  Mochica  language,  on  the 
coast,  it  is  YapoAia. 

(46)  Urubamba  is  a  pleasant  town  near  Cuzco,  in  the  valley  of  the 
Vilca-mayu. 

(47)  YacoUo,  a  mantle, 

(48)  Puna-runa,    Puna,  the  lofty  and  thinly  inhabited  regions  of  the 


126  NOTES. 


Andes.     Runa,  a  man.     It  seems  to  imply  that  the  inhabitants  of  the 
Punas  were  timid. 

(49)  Lhdlu  ccachu.  Literally  a  feeble  herb,  scarcely  raising  its  head 
above  the  ground.  The  word  ccachu  belongs  to  the  dialect  of  the 
Collas. 

(50)  Mlu  is  poison. 

(51)  Queru,  a  mountain  stream,  flowing  into  the  Vilca-mayu. 

(52)  Pachar  is  a  ravine  near  Ollanta-tambo,  opening  on  to  the  Vilca- 
mayu  valley. 

«   (53)  Aclla,  chosen.     "The  chosen  ones,"  as  the  Virgins  of  the  Sun 
were  called. 

(54)  Taparacu  is  a  large  butterfly ;  the  appearance  of  which  inside  a 
room  was  looked  upon  as  a  bad  omen. 

(55)  i.e.,  surrounded  by  dangers. 

(56)  The  birds  used  for  sacriñce  were  the  Tunqui  {Rupicola  Peruviana), 
the  Cuntur,  and  the  Parihuana  or  flamingo. 

(57)  Rumi-tunqui  is  a  play  on  the  name  of  the  general. 

(58)  Barranca  compares  this  strategy  of  Rumi-Nahui  to  that  of 
Zopyrus,  as  described  by  Herodotus. 

(59)  Here  Rumi-Nahui  is, again  punning  on  his  name  of  a  stone. 

(60)  Nucchu,  the  Salvia.  Sunchu  is  a  large  yellow  coniposita.  The 
Indians  used  to  boil  the  leaves,  dry  them  in  the  sun,  and  keep  them 
to  eat  in  winter  {G.  de  la  Vega^  II.  p.  376.)  The  exact  meaning  of  the 
passage  is  obscure. 

(61)  For  an  account  of  the  celebration  of  the  Raymi,  see  G.  dc  la 
Vega,  II.  p.  22,  155,  162,  445.  Ynti-huatana  was  a  circle  of  stones 
whence  the  sun  was  observed  by  the  priests  and  people.  Ynti  is  the 
sun.  ffuatana  ia  irom  Huatani  (l  seize.)  {G.  de  la  Vega,  I.  p.  177.) 
Hence  Huatana,  a  lasso  or  halter ;  and  hence  a  circle,  and  Iluata  a 
year.     {G.  de  la  Vega,  I.  p.  177.) 

(02)  Slclla,  a  blue  flower. 


NOTES.  127 


(63)  Chayña,  a  little  singing  bird  {Chrysomitris  Magellanica). 

(64)  Panti,    a  bush   with  a  beautiful    i^urple   flower    {Lasiandra 
Fontanesiana). 

(65)  Yanahuara,  a  ravine  opening  on  the  valley  of  the  Vilca-mayu 
between  Urubamba  and  Ollanta-tambo. 

(66)  Chucchu  is  the  cold  fit,  in  an  ague.     Hence  shivering, 

(67)  Ccarac  yllapa,  thunder  and  lightning,  all  the  accompaniments 
of  a  thunderstorm. 

(68)  LuycJiu  [Cervus  Antisiensis,  D'Orl.) 

(69)  This  is  obscure.     Arpay  means  a  blood  sacrifice.     Barranca  says 
that  it  also  signifies  a  throne  of  gold,  synonymous  with  tiana. 

(70)  Huancar,  a  drum. 

(71)  Pincullu,  a  flute. 

(72)  Purutu,  a  bean.     Some  sort  of  rattle. 


(a)  Dances  of  straw.  The  ancient  Peruvians  hung  fertile  stalks  of 
maize,  called  huantay-sara  and  arihuay-sara,  on  the  branches  of  trees, 
and  danced  the  arihuay  or  harvest  dance  under  them.  The  stalks  were 
afterwards  burnt  as  a  sacrifice  to  the  thunder  god.  See  Extirpacion 
de  la  idolatria  de  los  Indios  del  Peru.     Pedro  de  Arriaga,  1621, 

(6)  The  Ray  mi  was  the  chief  festival  of  the  Sun.  For  a  full  account 
of  the  ceremonies  connected  with  it,  see  G.  de  la  Vega,  II,  p,  155. 

(c)  Rupicola,  a  bird  from  the  warm  forests,  with  bright  orange 
plumage  and  tuft, 

(d)  Situa  Raymi  was  the  fourth  annual  feast  in  honour  of  the  Sun. 
See  G.  de  la  Vega,  II.  p.  228. 

(c)  Auqui  is  the  title  of  an  unmai'ried  prince.  In  the  dialects  of  the 
Collas,  as  well  as  in  those  of  Chiuchay-suyu,  this  word  is  used  for 
father. 


128  NOTES. 


(/)  A  district  to  the  south  of  Lake  Titicaca. 

{g)  Rwmi-Nahui  is  represented  as  the  general  or  leader  of  Hanan- 
SwjVj  or  the  upper  district,  which  I  take  to  mean  Hainan  (or  upper) 
Cuzco. 

(/i)  Natives  of  the  coast  valleys. 

{{)  The  Chancas  inhabited  the  country  between  Cuzco  and  Guamanga. 
They  were  utterly  defeated  and  conquered  by  Uira-ccocha,  the  father 
of  Pachacutec,  but  not  before  their  formidable  insurrection  had  shaken 
the  Ynca  power  to  its  foundations. 

(_/)  The  heroic  chief  of  the  Cbancas,  defeated  in  the  time  of  the  Ynca 
Uii'a-ccocha. 

(k)  Macana  is  a  war  club. 

(l)  This  is  a  pun  of  Piqui  Chaqui.  Huarancca  means  a  thousand,  but 
it  is  also  the  name  of  Ollanta's  chief  lieutenant. 

(m)  Uillcañuta  is  the  snowy  peak  in  sight  from  Cuzco  (G.  de  la 
Vega,  II.  p.  255).  OUanta,  as  the  highest  of  men,  is  compared  to  the 
loftiest  among  peaks.     Uillca  means  anything  sacred. 

(n)  The  use  of  the  word  count  in  these  passages,  is  intended  as  a  pun 
on  the  name  of  the  Ynca  Yupanqui  ("  You  will  count ").     See  note  (2.) 

(o)  '*/  would  he  thy  Cañari."  This  line  fixes  the  date  of  the  play, 
as  in  the  reign  of  the  Ynca  Huayna  Ccapac,  who  died  in  1525  ;  or,  at 
the  earliest,  in  that  of  his  father  Tupac  Yupanqui,  who  conquered  the 
province  of  the  Cañaris  {G.  d^la  Vega,  II.  p.  335).  The  Canaris  were 
famous  for  their  loyalty  as  vassals  of  the  Yucas  ;  and  hence  the  word 
Cañari  became  synonymous  for  a  loyal  subject  {G.  de  la  Vega,  II.  p.  336 
and  note).  Afterwards  their  character  changed,  and  they  traitorously 
helped  the  Spanish  invaders,  and  betrayed  their  old  masters  on  all 
occasions. 

{p)  "  7s  it  a  rock  ?  "  This  is  a  play  on  the  name  of  Mama  Ccacca,  a 
woman  as  relentless  and  hard  as  a  rock.  Caeca  means  a  rock  in 
Quichua ;   while  Oaca  is  an  uncle,  being  brother  of  the  mother. 


wt