Ollanta 
 
 5 
 
 i 
 
 AN ANCIENT 
 YNCA DRAMA 
 
 :i^ 
 
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. 
 
 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 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, 
 
 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, 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, 
 
 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, 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 my Tuya ! 
 
 Nustallaipa chacranta The crop of my Princess, 
 
 Tuyallay. my Tuya ! 
 
 Manan hina tucuicliu Do not thus rob, 
 
 Tuyallay. my Tuya ! 
 
 Hillucunan saranta The maize which is green, 
 
 Tuyallay. my Tuya ! 
 
 Panaccaymi rurunri The fruit is soft inside, 
 
 Tuyallay. my Tuya ! 
 
 Ancha cconi munispa Though truly the rind is thick, 
 
 {ccari murirpas) my Tuya ! 
 
 Tuyallay. 
 
 Nucñuracmi ucunri The leaves are tender, 
 
 Tuyallay. 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. 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, 
 
 my Tuya ! 
 Seize that little bird, 
 
 my Tuya ! 
 Fasten him with a collar, 
 
 my Tuya ! 
 Make his heart beat, 
 
 my Tuya ! 
 Seek him out and secure him, 
 
 O my Tuya ! 
 You will see how he is treated, 
 
 my Tuya ! 
 
 When he touches a grain, 
 
 my Tuya ! 
 
 You will see how he is treated, 
 O my Tuya ! 
 
 When one is missing, 
 
 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, 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, 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 ! 
 
 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 ! 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, 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, 
 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, 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, 
 
 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. 
 
 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}'-, 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 ! 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 ! 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 ! my child ! 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 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. 
 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 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 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 
 
 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, 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 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. 
 
 
 
 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 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