There is next another scene in the garden of the convent, in which Yma Sumac importunes Pitu Salla to tell her the secret of the prisoner. Pitu Salla at last yields and opens a stone door. Cusi Coyllur is discovered, fastened to a wall, and in a dying state. She had been imprisoned, by order of her father, Inca Pachacuti on the birth of Yma Sumac. She is restored with food and water, and the relationship is 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-ñaui’s treachery in octosyllabic quatrains. Rumi-ñaui 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-ñaui 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.
3. Markham’s copy of the Justiniani text (printed 1871).
4. Rosas copy of the Justiniani text.