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.
5. Copy in the convent of San Domingo at Cuzco (the Dominican text).
