The last publication of a text of Ollantay was by the Rev. J. H. Gybbon Spilsbury, at Buenos Ayres in 1907, accompanied by Spanish, English, and French translations in parallel columns.
There is truth in what Zegarra says, that the attempts to translate line for line, by von Tschudi and myself, ‘fail to convey a proper idea of the original drama to European readers, the result being alike contrary to the genius of the modern languages of Europe and to that of the Quichua language.’ Zegarra accordingly gives a very free translation in French.
In the present translation I believe that I have always preserved the sense of the original, without necessarily binding myself to the words. The original is in octosyllabic lines. Songs and important speeches are in quatrains of octosyllabic lines, the first and last rhyming, and the second and third. I have endeavoured to keep to octosyllabic lines as far as possible, because they give a better idea of the original; and I have also tried to preserve the form of the songs and speeches.
The drama opens towards the close of the reign of the Inca Pachacuti, the greatest of all the Incas, and the scene is laid at Cuzco or at Ollantay-tampu, in the valley of the Vilcamayu. The story turns on the love of a great chief, but not of the blood-royal, with a daughter of the Inca. This would not have been prohibited in former reigns, for the marriage of a sister by the sovereign or his heir, and the marriage of princesses only with princes of the blood-royal, were rules first introduced by Pachacuti.[4] His imperial power and greatness led him to endeavour to raise the royal family far above all others.
The play opens with a dialogue between Ollantay and Piqui Chaqui, his page, a witty and humorous lad. Ollantay talks of his love for the Princess Cusi Coyllur, and wants Piqui Chaqui to take a message to her, while the page dwells on the danger of loving in such a quarter, and evades the question of taking a message. Then to them enters the Uillac Uma, or High Priest of the Sun, who remonstrates with Ollantay—a scene of great solemnity, and very effective.
The next scene is in the Queen’s palace. Anahuarqui, the Queen, is discovered with the Princess Cusi Coyllur, who bitterly laments the absence of Ollantay. To them enters the Inca Pachacuti, quite ignorant that his daughter has not only married Ollantay in secret, but that she is actually with child by him. Her mother keeps her secret. The Inca indulges in extravagant expressions of love for his daughter. Then boys and girls enter dancing and singing a harvest song. Another very melancholy yarahui is sung; both capable of being turned by the Princess into presages of the fate of herself and her husband.
In the third scene Ollantay prefers his suit to the Inca Pachacuti in octosyllabic quatrains, the first and last lines rhyming, and the second and third. His suit is rejected with scorn and contempt. Ollantay next appears on the heights above Cuzco. In a soliloquy he declares himself the implacable enemy of Cuzco and the Inca. Then Piqui Chaqui arrives with the news that the Queen’s palace is empty, and abandoned, and that Cusi Coyllur has quite disappeared; while search is being made for Ollantay. While they are together a song is sung behind some rocks, in praise of Cusi Coyllur’s beauty. Then the sound of clarions and people approaching is heard, and Ollantay and Piqui Chaqui take to flight. The next scene finds the Inca enraged at the escape of Ollantay, and ordering his general Rumi-ñaui to march at once, and make him prisoner. To them enters a chasqui, or messenger, bringing the news that Ollantay has collected a great army at Ollantay-tampu, and that the rebels have proclaimed him Inca.
The second act opens with a grand scene in the hall of the fortress-palace of Ollantay-tampu. Ollantay is proclaimed Inca by the people, and he appoints the Mountain Chief, Urco Huaranca, general of his army. Urco Huaranca explains the dispositions he has made to oppose the army advancing from Cuzco, and his plan of defence. In the next scene Rumi-ñaui, as a fugitive in the mountains, describes his defeat and the complete success of the strategy of Ollantay and Urco Huaranca. His soliloquy is in the octosyllabic quatrains. The last scene of the second act is in the gardens of the Convent of Virgins of the Sun. A young girl is standing by a gate which opens on the street. This, as afterwards appears, is Yma Sumac, the daughter of Ollantay and Cusi Coyllur, aged ten, but ignorant of her parentage. To her enters Pitu Salla, an attendant, who chides her for being so fond of looking out at the gate. The conversation which follows shows that Yma Sumac detests the convent and refuses to take the vows. She also has heard the moans of some sufferer, and importunes Pitu Salla to tell her who it is. Yma Sumac goes as Mama Ccacca enters and cross examines Pitu Salla on her progress in persuading Yma Sumac to adopt convent life. This Mama Ccacca is one of the Matrons or Mama Cuna, and she is also the jailer of Cusi Coyllur.
The third act opens with an amusing scene between the Uillac Uma and Piqui Chaqui, who meet in a street in Cuzco. Piqui Chaqui wants to get news, but to tell nothing, and in this he succeeds. The death of Inca Pachacuti is announced to him, and the accession of Tupac Yupanqui, and with this news he departs.
Next there is an interview between the new Inca Tupac Yupanqui, the Uillac Uma, and the defeated general Rumi-ñaui, who promises to retrieve the former disaster and bring the rebels to Cuzco, dead or alive. It after wards appears that the scheme of Rumi-ñaui was one of treachery. He intended to conceal his troops in eaves and gorges near Ollantay-tampu ready to rush in, when a signal was made. Rumi-ñaui then cut and slashed his face, covered himself with mud, and appeared at the gates of Ollantay-tampu, declaring that he had received this treatment from the new Inca, and imploring protection.[5] Ollantay received him with the greatest kindness and hospitality. In a few days Ollantay and his people celebrated the Raymi or great festival of the sun with much rejoicing and drinking. Rumi-ñaui pretended to join in the festivities, but when most of them were wrapped in drunken sleep, he opened the gates, let in his own men, and made them all prisoners.