Apu Ollantay: A Drama of the Time of the Incas — Edition Insights
Edition facts
Apu Ollantay: A Drama of the Time of the Incas — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 21,139 words, 1 hr 32 min estimated reading time, and 9 detected text sections.
The text analysis averages about 14.3 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Ollantay (Play),” connecting these edition facts with the source record’s subject description.
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- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
for that chief had rescued the eldest son of _Inca Rocca_ from the chief of _Ayamarca_, and had restored him to his father. For this great service the chief of _Anta_ was declared to be a noble of the highest rank and cousin to the Inca family. Moreover, the daughter of the _Anta_ chief was married to the _Inca Uira-cocha_, and was the mother of Pachacuti. Assuming, as seems probable, that _Ollantay_ was a son of the chief of Anta, he would be a cousin of the Inca, and of very high rank, though not an agnate of the reigning family. This, I take it, is what is intended. _Pachacuti_ desired to raise his family high above all others, and that, consequently, there should be no marriages with subjects even of the highest rank; and his excessive severity on the transgression of his rule by his daughter is thus explained.
Sc. 1.—Open space near Cuzco. Ollantay, Piqui Chaqui, Uillac Uma.
Sc. 2.—Hall in the Colcampata. Anahuarqui, Cusi Coyllur, Inca Pachacuti, Boys and Girls, Singers.
Sc. 3.—Hall in the Inca’s palace. Pachacuti, Rumi-ñaui, Ollantay.
Sc. 4.—Height above Cuzco. Ollantay, Piqui Chaqui, Unseen Singer.
Sc. 5.—Hall in the Inca’s palace. Pachacuti, Rumi-ñaui, and a Chasqui.
Sc. 1.—Ollantay-tampu Hall. Ollantay, Urco Huaranca, Hanco Huayllu, People and Soldiers.
Sc. 2.—A wild place in the mountains. Rumi-ñaui’s soliloquy.
Sc. 3.—Gardens of the Virgins. Yma Sumac, Pitu Salla, Mama Ccacca.
Sc. 1.—Pampa Maroni at Cuzco. Uillac Uma and Piqui Chaqui.
Sc. 2.—Palace of Tupac Yupanqui. Tupac Yupanqui, Uillac Uma, Rumi-ñaui.
Sc. 3.—Ollantay-tampu, Terrace. Rumi-ñaui, Ollantay, Guards.
Sc. 4.—House of Virgins, Corridor. Yma Sumac, Pitu Salla.
Sc. 5.—House of Virgins, Garden. Yma Sumac, Pitu Salla, Cusi Coyllur.
Sc. 6.—Palace of Tupac Yupanqui. Tupac Yupanqui, Uillac Uma, a Chasqui, Rumi-ñaui, Ollantay, Urco Huaranca, Hanco Huayllu, Piqui Chaqui, Chiefs and Guards, then Yma Sumac.
Sc. 7.—House of Virgins, Garden. All of Scene 6, and Mama Ccacca, Cusi Coyllur, Pitu Salla.
In Cuzco and its environs, and Ollantay-tampu
APU OLLANTAY.—General of Anti-suyu, the eastern province of the empire. A young chief, but not of the blood-royal. His rank was that of a Tucuyricuo or Viceroy. The name occurs among the witnesses examined by order of the Viceroy Toledo, being one of the six of the Antasayac ayllu.
PACHACUTI.—The Sovereign Inca.
TUPAC YUPANQUI.—Sovereign. Inca, son and heir of Pachacuti.
RUMI-ÑAUI.—A great chief, General of Colla-suyu. The word means ‘Stone-eye.’
UILLAC UMA.—High Priest of the Sun. The word Uma means head, and Uillac, a councillor and diviner.
URCO HUARANCA.—A chief. The words mean ‘Mountain Chief.’ The word huaranca means 1000; hence, Chief of a Thousand.
HANCO HUAYLLU AUQUI.—An old officer, of the blood-royal.
PIQUI CHAQUI.—Page to Ollantay. The words mean ‘fleet-footed.’
ANAHUARQUI.—The Ccoya or Queen, wife of Pachacuti.
CUSI COYLLUR ÑUSTA.—A Princess, daughter of Pachacuti. The words mean ‘the joyful star.’
YMA SUMAC.—Daughter of Cusi Coyllur. The words mean ‘How beautiful.’
PITU SALLA.—A girl, companion of Yma Sumac.
CCACCA MAMA.—A matron of Virgins of the Sun. Jailer of Cusi Coyllur.
Nobles, captains, soldiers, boys and girls dancing, singers, attendants, messengers or Chasqui.
An open space near the junction of the two torrents of Cuzco, the Huatanay and Tullumayu or Rodadero, called Pumap Chupan, just outside the gardens of the Sun. The Temple of the Sun beyond the gardens, and the Sacsahuaman hill surmounted by the fortress, rising in the distance. The palace of Colcampata on the hillside.
(Enter OLLANTAY L. [in a gilded tunic, breeches of llama sinews, usutas or shoes of llama hide, a red mantle of ccompi or fine cloth, and the chucu or head-dress of his rank, holding a battle-axe (champi) and club (macana)] and PIQUI CHAQUI coming up from the back R. [in a coarse brown tunic of auasca or llama cloth, girdle used as a sling, and chucu or head-dress of a Cuzqueño].)
OLLANTAY. Where, young fleet-foot, hast thou been? Hast thou the starry Ñusta seen?
PIQUI CHAQUI. The Sun forbids such sacrilege ’Tis not for me to see the star. Dost thou, my master, fear no ill, Thine eyes upon the Inca’s child?
OLLANTAY. In spite of all I swear to love That tender dove, that lovely star; My heart is as a lamb[6] with her, And ever will her presence seek.
PIQUI CHAQUI. Such thoughts are prompted by Supay[7]; That evil being possesses thee. All round are beauteous girls to choose Before old age, and weakness come. If the great Inca knew thy plot And what thou seekest to attain, Thy head would fall by his command, Thy body would be quickly burnt.
The catalog entry for this work assigns it to 'Adventure & Picaresque Fiction,' yet the excerpts reveal a play that is as much about political ceremony and augury as about any individual quest. The drama opens not with action but with a formal scene in which the Inca Pachacuti receives reports and delivers judgments, and the second scene depicts the coronation of Tupac Yupanqui with detailed stage directions for costumes and processions. The 'adventure' label may derive from the rebellion plot hinted at in the introduction, but the surviving text foregrounds court ritual and verbal sparring over physical exploits.
Ceremonial Structure vs. Picaresque Expectations
The excerpts show a play organized around formal audiences, processions, and augury. The second scene of Act I specifies that the Inca sits on a 'golden tiana' while the High Priest wears a 'huampar chucu' and Virgins of the Sun appear 'in white with gold belts and diadems.' Such stage directions indicate a performance tradition that valued spectacle and hierarchical display. The picaresque genre typically features a roguish protagonist moving through low-life settings, but here the central figures are rulers and generals, and the comic relief—the servant Piqui Chaqui—engages in riddling wordplay rather than trickster escapades. His evasive answers to Rumi-Ñaui's questions ('I am in want of bread, / And the Paccays are not ripe') suggest a folk-humor tradition distinct from European picaresque conventions.
The Translator's Framing and Its Effects
Markham's introduction occupies a substantial portion of the text and shapes how the drama is received. He traces the manuscript lineage from Dr. Valdez (1770) through Justiniani to his own copy of 1853, and he recounts the political suppression of Inca dramas after the 1781 rebellion. This historical framing positions the play as a recovered artifact rather than a living work. Markham also describes his earlier translation as 'very faulty' and the present one as 'free,' which alerts readers that the English verse—with its rhymed couplets and archaic diction ('Haste! Haste! thou Rumi Tunqui')—is a creative interpretation. The catalog subject 'Incas -- Drama' is accurate, but the editorial apparatus may overshadow the dramatic qualities of the original Quechua text.
Recurring Motifs: Stones, Skeins, and Augury
Several recurring details in the excerpts tie the drama to Inca cultural practices. Rumi-Ñaui, whose name means 'Stone Eye,' speaks of fighting 'with stones' and being 'beat down' by stones, linking his identity to the material. The servant Piqui Chaqui describes Ollantay 'building a wall / With very small stones,' a possible metaphor for political consolidation. Augury appears prominently: the High Priest reads omens from the ashes of birds and the entrails of a llama, interpreting an eagle's form as a sign that 'Anti-suyu' will return to allegiance. These elements are not merely decorative; they structure the plot's turning points. The catalog does not mention these motifs, yet they are central to the play's dramatic logic.
Readers approaching this text should be aware that the surviving version is a translation of a transcription, filtered through multiple hands and centuries. The drama's ceremonial pacing and embedded folk humor may feel unfamiliar to those expecting a straightforward adventure. Paying attention to the stage directions and the wordplay of minor characters like Piqui Chaqui can reveal layers of meaning that the plot summary alone does not convey.
There’s something touching about how Apu Ollantay keeps its warrior’s pride intact across centuries of translation, much like the makeshift plays Louisa May Alcott’s sisters staged in their attic. I often think of those young actresses wrestling with tragic roles, and how the old Inca drama feels similarly earnest—a homemade kind of grandeur. The catalog notes call it adventure, but really it’s just heartbreak in costume. Comic Tragedies Written by 'Jo' and 'Meg' and Acted by The 'Little Women' — A Closer Reading holds that same sweet, clumsy sincerity, doesn’t it?
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