connecting the drama of Dr Valdez with the performance enacted before Tupac Amaru, the words of which had been orally transmitted from ancient Yncarial times. To these considerations are to be added the far more conclusive proofs of antiquity derived from the work itself. There is not a single modern or Spanish word or phrase in the whole work; nor is there the remotest allusion to Christianity or to anything Spanish. Moreover, the drama contains many words and grammatical forms, some of which I have indicated in the notes, that are archaic and long since disused. The only object of a Spanish priest, in composing such a work, would be to inculcate Catholic doctrine; and not to preserve the memory of ancient pagan rites in absolute purity. The Quichua play of Usca Paucar, in my possession, which was undoubtedly composed by a Spanish priest, contains many words that have been introduced since the conquest; and, though it is written in excellent Quichua, it does not contain one of the archaic grammatical forms that occur in Ollanta. If the latter work had been due to the authorship of Dr Valdez, it would have had some trace, however slight, of its Spanish origin; and would have resembled the miracle play of Usca Paucar in its general structure. The fact that Ollanta is absolutely free from any indication of a Spanish touch, is a convincing proof that it is an ancient Ynca drama, handed down orally in order to be performed before the native chiefs, until 1780; and then committed to
texts of some of the official documents relating to the insurrection are printed in the collection of Angelis. Others, still in manuscript, are in my possession.
