"Ollantay" is three-act play set in 15th-century Cuzco. It follows the titular general and nobleman Ullanta and his love interest, the princess Kusi Quyllur. Its origin and authorship are subjects of ongoing debate. Find out more on the Wikipedia page.

Workbook

Sources

(JCP) Caldo Pérez J. (2004). Ollantay: El rigor d'un pare i la generositat d'un rei. University of Valencia: Valencia. (Google eBook)
(CRM) Markham CR. (1871). Ollanta: An Ancient Ynca Drama. Ballantyne: London. (Google eBook)
(JVT) von Tschudi JJ. (1876). "Ollanta: ein altperuanisches Drama aus der Kechuasprache." J Austrian Acad Sci. pp.167-384, text pp.226-299.^[1] (Google eBook)

Notes

Quechua: Written in what could be described as modern standard Quechua. Changes have been made as needed to fit the text to an octo- or hendecasyllable verse, usually when a discrepancy exists between Markham and von Tschudi. All punctuation marks have also been removed for the time being.
English: Markham's translation serves as the basis for this translation. Changes made to Markham's text are often unmarked. Minor changes include word order, word choice, or punctuation. Significant changes include alternative interpretations of the Quechua text, or outright changes to the Quechua text documented by Markham.
Quechua (1871): Quechua in old orthography, primarily Markham's text.^[2] This column has been removed to reduce page size, since the text is accessible from the originals linked above for those interested.

APU ULLANTA & KUSI QUYLLUR

Setting

Cusco, mid- to late-15th century.

Characters

The Sapa Inka Pachakutiq Yupanki, One and Only Ruler of the Tawantinsuyu
The Quya Anawarkhi, Queen, Consort of Pachakutiq
The Inka Tupaq Yupanki, Crown Prince, Son of Pachakutiq
Kusi Quyllur, Princess, Daughter of Pachakutiq
Ullanta, General of Antisuyu
Rumi Ñawi, General of Qullasuyu
Willaq Umu, High Priest^[3]
Urqu Waranqa, General, Follower of Ullanta
Anku Wayllu, Nobleman, Friend of Ullanta
Piki Chaki, Servant of Ullanta
Ima Sumaq, Daughter of Kusi Quyllur
Pitu Salla, Courtesan, Tutor of Ima Sumaq
Mama Qaqa, Matron of the Virgins' Convent
Chaskikuna, Messengers
Runakuna, Attendants
Llapankuna, Chorus

English

TUPAQ YUPANKI
Ima punkun kaypi kan?

IMA SUMAQ
Punkun kaypi yayallay!
Pitu Salla, kay punkuta
Inkachispaq kicharipuy.

QAQA MAMA
Musquypichu, sut'inpichu?
Inkayta kaypi rikuni?

TUPAQ YUPANKI
Kay punkuta kichay.

IMA SUMAQ
Ay Mamallay! wat'urqanmi
Kay sunquy qamta tariyta
Wañusqata y uyaykita
Chintañan manchariqani
Pitu Salla as unuta
Apamuy paqta mamay
Kutinpunman kawsiñinman.

TUPAQ YUPANKI
Ima utku qakan kayqa?
Pin kay warmi iman chaqay
Qillay wasqa wankin chayta?
Pi awqan chaknaqan payta
Maypin Inkaq sunqunpiqa
Kay qaraywaqa kamasqan.
Qaqa Mama hamuy kanman
Pin kay hamun, kayqa iman
Layqasqachu paqarirqan
Kay wakcha warmiqa kaypi?

QAQA MAMA
Yayaykin kamachikurqan
Munaysapaq huananampaq.

TUPAQ YUPANKI
Lluqsiy, lluqsiy, Qaqa Maman,
Pusay chay uturunkuta
Chay puma, chay amaruta,
Ama haykaqrikunayman.
Ay qichiychis chay awqata
Tunichiychis Chay pirqata
Tikraychis rumi qaqata
Wikchuychis phunun awqata
Mana ruraq mitqananman
Pinchay payata yuyanman
Kawsaq warmi masinta
Sipisqasqa wawantinta.

KUSI QUYLLUR
Maymin kani, pin kaykuna?
Ima Sumaq wawallay
Asuykamuy urpillay.
Hayqaqmantan runakuna
Rikunimun kay qayllaypi
Rikchay ñinchu ñawillaypi?
Llawtuchu runa rik chawan
Incha phuyuchu kinpawan?
Qanchaytanachu rikuni
Kawsaymanchu kutinmuni.

IMA SUMAQ
Ama Mamay manchariychu
Sapa Inkan kayman hamun
Qapaq Yupanki chayamun
Rimariy ama puñuychu.

TUPAQ YUPANKI
Sunquymi qasuqun caña
Kay llakita qawarispa
Ñiway warmi samarispa
Pin kanki? Ñiy huq kamaña
Iman sutin chay mamaykiq?

IMA SUMAQ
Wakcha-kuyaq. Qapaq Inka
Chay wasqataraq paskachiy
Kay wañusqata kawsachiy!

WILLAQ UMU
Ñuqan chaytaqa paskanay
Ñaqarikta yanapanay.

ULLANTA
Ima sutin mamaykiqa?

IMA SUMAQ
Kusi Quyllur sutinqa.

TUPAQ YUPANKI
Ñan rikunki pantasqatu
Chay sutinta, pampasqata
Maypis kapunpas saminqa.

ULLANTA
Ay Qapaq Ynka Yupanki
Kay Ñustan ñuqa warmiyqa.

TUPAQ YUPANKI
Musquymanmi rikchapuwan
Kay tarikusqay samiyqa
Kay Kusi Quyllur warmiyqa
Pañaymi hina kapuwan
Kusi Quyllur panallay
Kusi Quyllur urpillay
Hampuy kutimpuy
Rik naykipi chaskipuway
Turaykin tarikapuyki
Qasquymi kaskan chimpayki
Tiqsinpi tiyanaykipaq.
Kusiña kawsanaykipaq.

KUSI QUYLLUR
Ay turallay! ñas yachanki
Hayqan ñaqanikusqayta
Asqa wanusqayta
Qan puritaq kunan kanqui
Kay piñasta qispichiqa
Kay p'anpasqa haspichiqa.

TUPAQ YUPANKI
Pin kay kullku chik putiq
Pin kayman churarqan kayta
Ima huchan payta aysayta
Atiparqan kayman utiq?
Kanchu sunqu qawanapaq
Kay chika sinchi llakita
Picha wacharqan kay warmita
Paywan kusqa wañunapaq
Chay uyan qampamanasqa
Chay sumaq simi phaskisqa
Uya qaqllan yanqayasqa
Sinqallampas chiri asqu
Rik chayñillanpas ayaq na
Kunkallapas chaka rakna.

ULLANTA
Kusi Quyllur y qantaraq
Chinkachirqayki ñawpaqta
Kunantaq ñuqa kawsaqta
Yayawanki sipiytaraq
Iskañinchisña wañusun
Wanullasaq sapay waychu
Kay sunquymi sapan usun
Kusi Quyllur maytaq kusi?
Maytaq chay Quyllur ñahuyki?
Maypitaq chay samayñiki
Qanchu chay ñakasqa ususi?

KUSI QUYLLUR
Ay Ullantay, chunka watan
Karaq miyu rakiwanchis
Kunantaq huñupuwanchis
Huk kawsayman: hinan wantan
Llaki kusita Yupanki
Kawsachintaq Qapaq Inka
Qanri huk kawsay kaptinqa
Askan watatan Yupanki.

WILLAQ UMU
Musuk p'achata apamuy
Ñustanchista pachanapaq.

TUPAQ YUPANKI
Ullantay kayqa warmiyki
Kaytaqmi chay ususiyki
Hunukuychis musukmanta
Yupay chakuy kunanmanta
Qanri hamuy, Ima Sumaq
Kay qasquyman sumaq urpi
Wankikusqay kaw kururpi
Qanmi kanki Quyllur chuma.

ULLANTA
Qanmi kanki achiwayku
Qan awki makikiman
Tukuy phuti ñanta pantan
Qan llapata saminchawayku.

TUPAQ YUPANKI
Chikllata phutikuychis
Samaniychisña samipi
Ñan warmiyki makikipi
Kusillaña kawsa aychis.

TUPAC YUPANQUI
What door is this?

YMA SUMAC
This is the door, my Father!
Pitu Salla, open thou
That door for our Ynca

CCACCA MAMA
Is this but a dream?
Or do I see the Ynca here?

TUPAC YUPANQUI
Open that door.

YMA SUMAC
O my mother! My heart
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.

TUPAC YUPANQUI
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,
That poor woman?

CCACCA MAMA
Thy father ordered it,
He willed it for her disobedience.

TUPAC YUPANQUI
Begone! Begone! Ccacca Mama,
Turn out this jaguar,
This puma, this serpent;
Never 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 brought it to light.

CUSI COYLLUR
Where am I? Who are these?
Yma Sumac! My child!
Come to me, my dove!
Whence come these men?
Who are all these I see?
What vision is before my eyes?
A man wearing the llautu!
What can it mean?
I see lights darting,
My life is overturned.

YMA SUMAC
Fear not, my mother,
The sole Ynca has come to thee.
The great Yupanqui is here.
Speak, do not sleep.

TUPAC YUPANQUI
My heart is torn
At the sight of such misery.
Rest, women. Then tell me
Who art thou? Say, child,
What is the name of thy mother?

YMA SUMAC
Friend of the poor! Great Ynca!
Order them to unchain her,
Give life to the dead.

UILLAC UMU
I ought to free her,
I should be her friend.

OLLANTA
What is the name of thy mother?

YMA SUMAC
Cusi Coyllur is her name.

TUPAC YUPANQUI
You seem to be mistaken in
That name. She is gone
Where she has happiness.

OLLANTA
O great Ynca Yupanqui,
That Princess is my wife.

TUPAC YUPANQUI
It all seems a dream,
This newly found joy,
This woman is Cusi Coyllur!
Here at my right hand,
Cusi Coyllur, my sister!
Cusi Coyllur, my dove!
Come here, and embrace me.
See no thou art delivered,
Thou has found thy brother,
My bosom will be thy home,
Thy resting place shall be secure,
Thy life shall be joyful.

CUSI COYLLUR
Oh my brother! Now thou knowest
The torments I suffered
For so many years.
Thou hast set me free;
It is thou that hast loosened me,
Thou hast dug me out.

TUPAC YUPANQUI
Who are thou, dove, that hast suffered?
Who placed thee here?
What sin has weighed thee down?
Well mightest thou have gone mad.
I should have a heart to fill
Such dreadful suffering.
If this 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.

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!
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
Alas! Ollanta, for ten years
A prison has separated us;
But now we are joined again,
And there is life! As many years
Of joy you will count
As the great Ynca shall live.
With this new life
You will count more years.

UILLAC UMA
Bring new clothes
To dress the princess.

TUPAC YUPANQUI
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 the Coyllur.

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

TUPAC YUPANQUI
Do not be afflicted,
Live happily with thy joy;
Now thy wife is in thy hand,
And thy life is full of joy.

Stage directions

^ In front of the vestibule of Qurikancha. Enter ULLANTA (in a mantle embroidered with gold, and with a club over his shoulder), and his servant PIKI CHAKI.
^ Enter WILLAQ UMU, gazing on the Sun, wearing a long black unku, and holding a knife.
^ Interior of the Akllawasi. Enter KUSI QUYLLUR weeping, and her mother the Quya ANAWARKHI.
^ Enter the Sapa Inka PACHAKUTIQ, with attendants.
^ Kneels before PACHAKUTIQ
^ KUSI QUYLLUR sits down at his feet
^ Enter young boys and girls with tambourines and drums. Music within. They sing and dance:
^ Exit PACHACUTEC.
^ Music within.
^ Exeunt.
^ Enter PACHAKUTIQ, ULLANTA, and RUMI ÑAWI. They sit down.
^ Exit RUMI ÑAWI.
^ Exit PACHAKUTIQ.

Footnotes

^ Page numbers refer to those printed in the journal. For the corresponding PDF page, add 24. (e.g. the text of the play starts on PDF pg 250)
^ "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 . 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 Sprache of Dr Von Tschudi." (p.8)
^ Of the three sources I am using, CRM has Uillac Umu, JCP Willka Uma, and JVT Uillak Umu. As CRM and JVT have done, I will keep the name as given by Garcilaso de la Vega, which states "Al sumo sacerdote los españoles llaman Vilaoma; habiendo de decir Villac Umu, nombre compuesto de este verbo villa, que significa "decir"; y de este nombre umu, que es "adivino" o "hechicero"." JVT's text occasionally has 'Uma', but these may be remnants from an earlier edition; JVT states in his introduction "Da das, in diesem Punkte unverdachtige Zeugniss von Garcilaso de la Vega fur die Bezeichnung Uillak Umu spricht, so nehme ich keinen Anstand diesen Namen auch im Drama zu gebrauchen." ("Since the testimony of Garcilaso de la Vega, unsuspected on this point, speaks for the name Uillak Umu, I do not hesitate to use this name in the drama.")
^ CRM's munasaccmi and munascani were changed to JVT's munaccusak and mascaccusak. CRM: Ñancay sonccoy paipaca chita, Paillallatan munascani! "My heart in that road, Alone desires to search." JVT: Ñam aparcan sonccollayta! Pallallayta mascaccusak. "Sie hat schon mein Herz davongetragen! Ich werde meine vielgeliebte Fürstin suchen." JVT argues that ñan is a misreading from ñam. CRM's line here might be rendered as Ñan kay sunquy paypaq chita "The road this heart of mine for her, the lamb, "; although maskhay conjugated in the first-person suggests it is ULLANTA, not his heart, which seeks. Paillallatan/Pallallayta was rendered as palla-y-lla-ta-m "for only my lady"; CRM's payllallatam, is difficult to translate due to two instances of the exclusive -lla. Given the colonial-era paillallatan, perhaps the i managed to migrate between copies, from pallaillatam.
^ CRM: "And you wander in your speech. Are there not many other maidens, That you can love before you are old?" JVT: "Vielleicht träumst du auch, Von allen jungen Mädchen! Du wirst auch schon recht kindisch!" JCP: "Tal volta desvarieges. Pertot arreu, de xicotes, N'hi podràs veure un grapat!" JVT argues that rucupacunqui is a copying error from rucuyacunqui; JCP that it is from ricupacunqui. Although ruk'uyay is consistent with CRM/JVT translations, it doesn't work well with an accusative ancha, and rikuy has been chosen instead. A possible reading of anchata ruk'uyakunki is "you shall become terribly old". What JVT says is Piki Chaki mocking Ullanta, asserting that he ought to grow up, has been changed to a suggestion that Ullanta would find other eligible maidens.
^ CRM: maquiyhuantacc ttiqquiquiman; JVT: makeypitak llikeykiman. The locative makiypi " in my hand(s)" was chosen over the instrumental makiywan " with my hand(s)", but both might be correct. CRM's ttiqui- is probably a copy error from lliqui-.
^ JCP notes that although most sentences throughout the play span one or two verses, this particular passage is substantially longer and presents complications for translators. It's worth noting that CRM/JVT/JCP all translate this passage differently from one another. I parsed this into three verses, spanning one, four, and three lines, respectively; the primary verbs of each are ñiykiña, sayayman, and mitk'achkani. Lines 2-4 are treated as referents to line 5's chaypacha.
^ CRM's ñan "path" → ñam "already (ev.M)". Translations of this line are divided between those that refer to PIKI's previous lines (i.e. "I have already commanded thee to do so.") or to ULLANTA's coming lines ("I say to thee thus:"). I went with the former, because it fits the grammar of ñam ñiykiña better.
^ CRM: "Lead forth the dances of straw;" provided with a brief explanation of the arihuay (Ayriway) celebrations, but unfortunately not a grammatical explanation. JVT/JCP use the "death w/scythe" meaning, although JCP points out that this imagery is inconsistent with the cultural setting and is probably a borrowing from European traditions. I went with the latter for lack of grammatical evidence for CRM's trans'n. Perhaps the passage wañuy ichhunantin "death with its scythe" was misread as wayñu ichhu(na)ntin "huayno with straw"?
^ sayayman "I would stand" (=saya-ni-man) is a case where -ni has been shortened to -y akin to sayayku "we (ex) would stand" (=saya-ni-ku).
^ I'm not certain of the syntax here. Ñuqam y kawsay wañuspa is usually translated as something like "I, until I die" or "I, in my dying moments", but I can't find a way to directly translate the Quechua verse into English without it sounding odd.
^ CRM mitccascani "embrace" (=marq'achkani?), JVT miticany "flee, hide" (=mitikuni), JCP mitk'ashani "trip, tumble" (=mitk'achkani). I went with mitk'ay, in the sense of falling into the arms of his Quyllur in his dying moments. This would sort of fit with the Spanish "hasta morir por abrazar a Ccoyllur," without substituting marq'ay.
^ i.e. "You are saying these things, not even able to see past your own nose." CRM: Mana cenccata ricuspan, Cunan ccama rimascanqui; Ccama (=qama "bland", qamqa "you")? JVT: Mana senćanta ricuspa, Cunan hinam rimascanki.
^ CRM "Say then Piki, Canst thou hide for me, So that Coyllur may see it, This brilliant flower?"; JVT "Nun denn Piki sage mir nur, Dass du nichts verhehlst, Ist nicht Coyllur die du gesehen hast, Eine glänzende Blume? Bejahe es mir nur." Es. "En hora buena Piqui-Chaqui dime sin recelo: Cusi Coyllur no es una brillante flor?" I parsed this verse into the following major phrases: 1) ama imata pakaspayki willallaway "just tell me without hiding anything", 2) Quyllur rikusqayki t'ikam "the Quyllur you saw is a flower", 3) ñillallaway "just say to me".
^ I am unsure of the purpose of reduplicating rankhi in this passage, and cannot seem to identify an alternative.
^ I have left CRM's poetic translation for these last two lines, though the verbs here are rikch'ay "to seem, appear" and tukupuy "to change, become". JVT's translation is closer to the literal meaning: "Sah sie der Sonne gleich, Und veränderte sich wie der Mond."
^ CRM has interpreted q'ipintin as "porter," i.e. "one with a burden," although there doesn't seem to be a Quechua correspondence to his translation of "They would not let a porter in." JVT has interpreted this as "with orders," and although q'ipi is more literally a burden or load carried, it fits the context and I have gone with this instead.
^ CRM: Chaytacca ñiyllama ñimi; JVT: Chaytaća ñeyllam ñiny. JVT's line has seven syllables, which doesn't fit with the meter but is easier to parse. CRM's line contains problematic words including ñiyllama, with an unidentifiable -ma suffix, and ñimi, which is an unconjugated verb with an evidential. I have gone with JVT's version, making up for the syllable difference by interpreting ñiyllam as a shortening of ñinillam.
^ CRM: Tutallan ccoyllurcca ccanchan, Tutallatacc mi reccsini; JVT: Tutallantin ćoyllur canchan, Hinam tutantin rećsiny. I have gone with JVT's text here, and interpreted the second line as recognizing the stars only at night, rather than CRM's interpretation of recognizing the princess.
^ CRM kanchan chipchin has been changed to k'anchan ch'ipchin The last two lines were read as Intip kayllanpi aswanta k'anchan; chipchin sapanmanta.
^ CRM: Huarancca llama hinatan; JVT: Huaranća orćo llamacta. I can't seem to translate hinatam very well in this context so I went with JVT's reference to male llamas. Note that in his text, this and the first lines end with yupeykicta and llamacta, using the -kta variant of the object marker -ta.
^ CRM: Ninapi canaspa llipi; Rupachincca mana accospa. "For thee are they destroyed in the fire; And shall burn, after the fast is over." JVT: Ninapi canaspa, llipi; Rupanca, nanak hapospa. "Im Feuer verbrennend wird Alles; In Asche verwandelt in grosser Gluth." I have parsed this as ninapi kañaspa "burning in fire", lliphi ruphanqa "the shining fire/heat", and nanaq hapuspa "strongly smoldering." CRM's translation doesn't match very well with the Quechua text (in particular I can't find mention of a fast), so I have mostly gone with JVT's text here.
^ CRM: Yma qquenchas manu ccumu, Payhuan cusca purimuscan; JVT: Ima khenchas chaymi Puma! Payhuan uśuy purimusca. CRM's text doesn't quite match his translation, with some problem words being manu (possibly "debt, debtor"), ccumu (possibly k'umu "hunchbacked, stooping"), and cusca (maybe khuska "together"). Note that JVT's text rhymes with Uma but not with the correct Umu.
^ The last line is missing from CRM's text. JVT has here, Pay ricuchin pacascacta.
^ Chaychu kaychu, literally "that or this," figuratively "all sorts of things".
^ CRM: Yupaychayquin pachaccuti "I adore thee with profound veneration"; JVT: Yupaychayki millay cuti, "Ich begrüsse dich sehr vielmal." Both translations are similar, but JVT's millay "to detest" seems inappropriate here. I have taken CRM's pachaccuti to mean pachak kuti "one hundred times."
^ CRM: Hinantintac Ccapac ccumu "We see that all must be known to thee"; JVT: Hinantinpa canki uma "Du bist das Haupt von Allem".
^ CRM: Ccapac Ollantay ccapaccpas, Tucuy Suyu ttaccta cachun, Callpay quitacc puchu cachun, Llapata Secc-ñanapaccpas. JVT: Ćapac Ollantay ćamllapak, Tucuy suyup llacta cachun, Callpaykitak yanapachun, Llapacta senćapancapak.
^ CRM: Punimuni pahuacc huaichu "I will fly, where thou likest, as straw before the wind." CRM's translation is closer in meaning to JVT's Pahuamuny huayra ichu, which is used here. JVT notes that huayra ichu (literally "wind straw") lacks the suffixes necessary to form a grammatically-correct comparative, but that huayralla or huayrahina would not fit the rhyme or meter.
^ CRM: Sami miuta acllacuita; Causay huañuyta taricuyta. JVT: Sami, miyu acllanaykipak; Causay, huañuy tarinaykipak. JVT also mentions that Nodal has for the verbs acllascancapac and tariscancapac. Neither CRM nor JVT have lines which fit the eight-syllable meter, so I have gone with a combination of the two: I removed the -ta suffix from miyu and huañuy like JVT, but have kept the shorter verb structure of akllakuyta and tarikuyta like CRM. The -ta suffix on the verbs make them both the objects of quyki from the previous line.
^ CRM: Simiquin raurac huayruru (Cay cuncaipacc cay huaisuru) "Warm sweetness to my mouth!" JVT: Cay cuncallaypa huayruru! "Meine Halses Gehänge!" The wayruru likely refers to Ormosia coccinea, which produces red/black beans used in jewelry. I went with CRM's alternate line here: I felt that the line should begin with kay to fit with the surrounding lines, and Kay kunkaypaq kay... fit the meter better than Kay kunkallaypaq (the latter requires an unnatural accent on the last syllable).
^ The tuya is identified by both CRM and JVT as Coccoborus chrysogaster. The genus Coccoborus does not appear in modern references and seems to have been renamed Pheucticus in the early 1900's. Likely candidates for the tuya are thus the southern yellow grosbeak (P. chrysogaster) and/or the black-backed grosbeak (P. aureoventris).
^ This scene is absent from Markham's text.

[4] In front of the vestibule of Qurikancha. Enter ULLANTA (in a mantle embroidered with gold, and with a club over his shoulder), and his servant PIKI CHAKI.

[22] Enter WILLAQ UMU, gazing on the Sun, wearing a long black unku, and holding a knife.

[33] Interior of the Akllawasi. Enter KUSI QUYLLUR weeping, and her mother the Quya ANAWARKHI.

[34] Enter the Sapa Inka PACHAKUTIQ, with attendants.

[36] Kneels before PACHAKUTIQ

[37] KUSI QUYLLUR sits down at his feet

[38] Enter young boys and girls with tambourines and drums. Music within. They sing and dance:

[40] Exit PACHACUTEC.

[41] Music within.

[42] Exeunt.

[43] Enter PACHAKUTIQ, ULLANTA, and RUMI ÑAWI. They sit down.

[44] Exit RUMI ÑAWI.

[45] Exit PACHAKUTIQ.

[1] Page numbers refer to those printed in the journal. For the corresponding PDF page, add 24. (e.g. the text of the play starts on PDF pg 250)

[2] "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 . 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 Sprache of Dr Von Tschudi." (p.8)

[3] Of the three sources I am using, CRM has Uillac Umu, JCP Willka Uma, and JVT Uillak Umu. As CRM and JVT have done, I will keep the name as given by Garcilaso de la Vega, which states "Al sumo sacerdote los españoles llaman Vilaoma; habiendo de decir Villac Umu, nombre compuesto de este verbo villa, que significa "decir"; y de este nombre umu, que es "adivino" o "hechicero"." JVT's text occasionally has 'Uma', but these may be remnants from an earlier edition; JVT states in his introduction "Da das, in diesem Punkte unverdachtige Zeugniss von Garcilaso de la Vega fur die Bezeichnung Uillak Umu spricht, so nehme ich keinen Anstand diesen Namen auch im Drama zu gebrauchen." ("Since the testimony of Garcilaso de la Vega, unsuspected on this point, speaks for the name Uillak Umu, I do not hesitate to use this name in the drama.")

[5] CRM's munasaccmi and munascani were changed to JVT's munaccusak and mascaccusak. CRM: Ñancay sonccoy paipaca chita, Paillallatan munascani! "My heart in that road, Alone desires to search." JVT: Ñam aparcan sonccollayta! Pallallayta mascaccusak. "Sie hat schon mein Herz davongetragen! Ich werde meine vielgeliebte Fürstin suchen." JVT argues that ñan is a misreading from ñam. CRM's line here might be rendered as Ñan kay sunquy paypaq chita "The road this heart of mine for her, the lamb, "; although maskhay conjugated in the first-person suggests it is ULLANTA, not his heart, which seeks. Paillallatan/Pallallayta was rendered as palla-y-lla-ta-m "for only my lady"; CRM's payllallatam, is difficult to translate due to two instances of the exclusive -lla. Given the colonial-era paillallatan, perhaps the i managed to migrate between copies, from pallaillatam.

[6] CRM: "And you wander in your speech. Are there not many other maidens, That you can love before you are old?" JVT: "Vielleicht träumst du auch, Von allen jungen Mädchen! Du wirst auch schon recht kindisch!" JCP: "Tal volta desvarieges. Pertot arreu, de xicotes, N'hi podràs veure un grapat!" JVT argues that rucupacunqui is a copying error from rucuyacunqui; JCP that it is from ricupacunqui. Although ruk'uyay is consistent with CRM/JVT translations, it doesn't work well with an accusative ancha, and rikuy has been chosen instead. A possible reading of anchata ruk'uyakunki is "you shall become terribly old". What JVT says is Piki Chaki mocking Ullanta, asserting that he ought to grow up, has been changed to a suggestion that Ullanta would find other eligible maidens.

[7] CRM: maquiyhuantacc ttiqquiquiman; JVT: makeypitak llikeykiman. The locative makiypi " in my hand(s)" was chosen over the instrumental makiywan " with my hand(s)", but both might be correct. CRM's ttiqui- is probably a copy error from lliqui-.

[8] JCP notes that although most sentences throughout the play span one or two verses, this particular passage is substantially longer and presents complications for translators. It's worth noting that CRM/JVT/JCP all translate this passage differently from one another. I parsed this into three verses, spanning one, four, and three lines, respectively; the primary verbs of each are ñiykiña, sayayman, and mitk'achkani. Lines 2-4 are treated as referents to line 5's chaypacha.

[9] CRM's ñan "path" → ñam "already (ev.M)". Translations of this line are divided between those that refer to PIKI's previous lines (i.e. "I have already commanded thee to do so.") or to ULLANTA's coming lines ("I say to thee thus:"). I went with the former, because it fits the grammar of ñam ñiykiña better.

[10] CRM: "Lead forth the dances of straw;" provided with a brief explanation of the arihuay (Ayriway) celebrations, but unfortunately not a grammatical explanation. JVT/JCP use the "death w/scythe" meaning, although JCP points out that this imagery is inconsistent with the cultural setting and is probably a borrowing from European traditions. I went with the latter for lack of grammatical evidence for CRM's trans'n. Perhaps the passage wañuy ichhunantin "death with its scythe" was misread as wayñu ichhu(na)ntin "huayno with straw"?

[11] sayayman "I would stand" (=saya-ni-man) is a case where -ni has been shortened to -y akin to sayayku "we (ex) would stand" (=saya-ni-ku).

[12] I'm not certain of the syntax here. Ñuqam y kawsay wañuspa is usually translated as something like "I, until I die" or "I, in my dying moments", but I can't find a way to directly translate the Quechua verse into English without it sounding odd.

[13] CRM mitccascani "embrace" (=marq'achkani?), JVT miticany "flee, hide" (=mitikuni), JCP mitk'ashani "trip, tumble" (=mitk'achkani). I went with mitk'ay, in the sense of falling into the arms of his Quyllur in his dying moments. This would sort of fit with the Spanish "hasta morir por abrazar a Ccoyllur," without substituting marq'ay.

[14] .e. "You are saying these things, not even able to see past your own nose." CRM: Mana cenccata ricuspan, Cunan ccama rimascanqui; Ccama (=qama "bland", qamqa "you")? JVT: Mana senćanta ricuspa, Cunan hinam rimascanki.

[15] CRM "Say then Piki, Canst thou hide for me, So that Coyllur may see it, This brilliant flower?"; JVT "Nun denn Piki sage mir nur, Dass du nichts verhehlst, Ist nicht Coyllur die du gesehen hast, Eine glänzende Blume? Bejahe es mir nur." Es. "En hora buena Piqui-Chaqui dime sin recelo: Cusi Coyllur no es una brillante flor?" I parsed this verse into the following major phrases: 1) ama imata pakaspayki willallaway "just tell me without hiding anything", 2) Quyllur rikusqayki t'ikam "the Quyllur you saw is a flower", 3) ñillallaway "just say to me".

[16] I am unsure of the purpose of reduplicating rankhi in this passage, and cannot seem to identify an alternative.

[17] I have left CRM's poetic translation for these last two lines, though the verbs here are rikch'ay "to seem, appear" and tukupuy "to change, become". JVT's translation is closer to the literal meaning: "Sah sie der Sonne gleich, Und veränderte sich wie der Mond."

[18] CRM has interpreted q'ipintin as "porter," i.e. "one with a burden," although there doesn't seem to be a Quechua correspondence to his translation of "They would not let a porter in." JVT has interpreted this as "with orders," and although q'ipi is more literally a burden or load carried, it fits the context and I have gone with this instead.

[19] CRM: Chaytacca ñiyllama ñimi; JVT: Chaytaća ñeyllam ñiny. JVT's line has seven syllables, which doesn't fit with the meter but is easier to parse. CRM's line contains problematic words including ñiyllama, with an unidentifiable -ma suffix, and ñimi, which is an unconjugated verb with an evidential. I have gone with JVT's version, making up for the syllable difference by interpreting ñiyllam as a shortening of ñinillam.

[20] CRM: Tutallan ccoyllurcca ccanchan, Tutallatacc mi reccsini; JVT: Tutallantin ćoyllur canchan, Hinam tutantin rećsiny. I have gone with JVT's text here, and interpreted the second line as recognizing the stars only at night, rather than CRM's interpretation of recognizing the princess.

[21] CRM kanchan chipchin has been changed to k'anchan ch'ipchin The last two lines were read as Intip kayllanpi aswanta k'anchan; chipchin sapanmanta.

[23] CRM: Huarancca llama hinatan; JVT: Huaranća orćo llamacta. I can't seem to translate hinatam very well in this context so I went with JVT's reference to male llamas. Note that in his text, this and the first lines end with yupeykicta and llamacta, using the -kta variant of the object marker -ta.

[24] CRM: Ninapi canaspa llipi; Rupachincca mana accospa. "For thee are they destroyed in the fire; And shall burn, after the fast is over." JVT: Ninapi canaspa, llipi; Rupanca, nanak hapospa. "Im Feuer verbrennend wird Alles; In Asche verwandelt in grosser Gluth." I have parsed this as ninapi kañaspa "burning in fire", lliphi ruphanqa "the shining fire/heat", and nanaq hapuspa "strongly smoldering." CRM's translation doesn't match very well with the Quechua text (in particular I can't find mention of a fast), so I have mostly gone with JVT's text here.

[25] CRM: Yma qquenchas manu ccumu, Payhuan cusca purimuscan; JVT: Ima khenchas chaymi Puma! Payhuan uśuy purimusca. CRM's text doesn't quite match his translation, with some problem words being manu (possibly "debt, debtor"), ccumu (possibly k'umu "hunchbacked, stooping"), and cusca (maybe khuska "together"). Note that JVT's text rhymes with Uma but not with the correct Umu.

[26] The last line is missing from CRM's text. JVT has here, Pay ricuchin pacascacta.

[27] Chaychu kaychu, literally "that or this," figuratively "all sorts of things".

[28] CRM: Yupaychayquin pachaccuti "I adore thee with profound veneration"; JVT: Yupaychayki millay cuti, "Ich begrüsse dich sehr vielmal." Both translations are similar, but JVT's millay "to detest" seems inappropriate here. I have taken CRM's pachaccuti to mean pachak kuti "one hundred times."

[29] CRM: Hinantintac Ccapac ccumu "We see that all must be known to thee"; JVT: Hinantinpa canki uma "Du bist das Haupt von Allem".

[30] CRM: Ccapac Ollantay ccapaccpas, Tucuy Suyu ttaccta cachun, Callpay quitacc puchu cachun, Llapata Secc-ñanapaccpas. JVT: Ćapac Ollantay ćamllapak, Tucuy suyup llacta cachun, Callpaykitak yanapachun, Llapacta senćapancapak.

[31] CRM: Punimuni pahuacc huaichu "I will fly, where thou likest, as straw before the wind." CRM's translation is closer in meaning to JVT's Pahuamuny huayra ichu, which is used here. JVT notes that huayra ichu (literally "wind straw") lacks the suffixes necessary to form a grammatically-correct comparative, but that huayralla or huayrahina would not fit the rhyme or meter.

[32] CRM: Sami miuta acllacuita; Causay huañuyta taricuyta. JVT: Sami, miyu acllanaykipak; Causay, huañuy tarinaykipak. JVT also mentions that Nodal has for the verbs acllascancapac and tariscancapac. Neither CRM nor JVT have lines which fit the eight-syllable meter, so I have gone with a combination of the two: I removed the -ta suffix from miyu and huañuy like JVT, but have kept the shorter verb structure of akllakuyta and tarikuyta like CRM. The -ta suffix on the verbs make them both the objects of quyki from the previous line.

[35] CRM: Simiquin raurac huayruru (Cay cuncaipacc cay huaisuru) "Warm sweetness to my mouth!" JVT: Cay cuncallaypa huayruru! "Meine Halses Gehänge!" The wayruru likely refers to Ormosia coccinea, which produces red/black beans used in jewelry. I went with CRM's alternate line here: I felt that the line should begin with kay to fit with the surrounding lines, and Kay kunkaypaq kay... fit the meter better than Kay kunkallaypaq (the latter requires an unnatural accent on the last syllable).

[39] The tuya is identified by both CRM and JVT as Coccoborus chrysogaster. The genus Coccoborus does not appear in modern references and seems to have been renamed Pheucticus in the early 1900's. Likely candidates for the tuya are thus the southern yellow grosbeak (P. chrysogaster) and/or the black-backed grosbeak (P. aureoventris).

[46] This scene is absent from Markham's text.

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User:Sumiaz/Ullanta

APU ULLANTA & KUSI QUYLLUR

Act I

Act I Scene I

Act I Scene II

Act I Scene III

Act I Scene IV

Act I Scene V

Act I Scene VI

Act I Scene VII

Act II

Act II Scene I

Act II Scene II

Act II Scene III

Act II Scene IV

Act II Scene V

Act II Scene VI

Act II Scene VII

Act II Scene VIII

Act II Scene IX

Act III

Act III Scene I

Act III Scene II

Act III Scene III

Act III Scene IV

Act III Scene V

Act III Scene VI

Act III Scene VII

Stage directions

Footnotes

Wikious

Boobota

Sagapedia