discovered when Cusi Coyllur hears the child's name, for she had given

it to her.

 

Next the Inca Tupac Yupanqui is discovered in the great hall of his

palace, seated on his tiana or throne, with the Uillac Uma in

attendance.  To them enters a chasqui, or messenger, who describes the

result of Rumi-naui's treachery in octosyllabic quatrains.  Rumi-naui

himself enters and receives the thanks of his sovereign.  Then the

prisoners are brought in guarded-Ollantay, Hanco Huayllu, Urco Huaranca,

and Piqui Chaqui.  The Inca upbraids them for their treason.  He then

asks the Uillac Uma for his judgment.  The High Priest recommends mercy.

Rumi-naui advises immediate execution: The Inca seems to concur and they

are ordered off, when suddenly the Inca cries 'Stop.'  He causes them

all to be released, appoints Ollantay to the highest post in the empire

next to himself, and Urco Huaranca to a high command.  There are

rejoicings, and in the midst of it all Yma Sumac forces her way into the

hall, and throws herself at the Inca's feet, entreating him to save her

mother from death.  The Inca hands over the matter to Ollantay, but this

Yma Sumac will not have, and, the Uillac Uma intervening, the Inca

consents to go with the child.

 

The final scene is in the gardens of the convent.  The Inca enters with

Yma Sumac, followed by the whole strength of the company.  Mama Ccacca

is ordered to open the stone door and Cusi Coyllur is brought out.  She

proves to be the sister of the Inca and the wife of Ollantay.  There are

explanations, and all ends happily.

 

Of the antiquity of the drama of Ollantay there is now no question.

General Mitre wrote an elaborate paper on its authenticity, raising

several points to prove that it was of modern origin.  But every point

he raised has been satisfactorily refuted.  At the same time there are

many other points, some of them referred to by Zegarra, which establish

the antiquity of the drama beyond any doubt.  The antiquity of the name

Ollantay-tampu, applied to the fortress in memory of the drama, is

proved by its use in the narratives of Molina (1560) and of Salcamayhua.

 

An able review of the literature connected with the drama of Ollantay

was written by Don E. Larrabure y Unanue, the present Vice-President of

Peru, who considers that Ollantay would make a good acting play with

magnificent scenic effects.

 

 

 

 

MS. TEXTS.

 

 

 

 

1.  The original text of Valdez.  In 1853 the property of Don Narciso

Cuentas of Tinta, heir of Dr. Valdez.

 

 

2.  The Justiniani text.  In 1853 at Laris.  Copy of the Valdez text.