free translation in French. His text is a manuscript of the drama which
he found in his uncle's library. Zegarra, as a native of Peru whose
language was Quichua, had great advantages. He was a very severe, and
often unfair, critic of his predecessors.

The work of Zegarra is, however, exceedingly valuable. He was not only
a Quichua scholar, but also accomplished and well read. His notes on
special words and on the construction of sentences are often very
interesting. But his conclusions respecting several passages which are
in the Justiniani text, but not in the others, are certainly erroneous.
Thus he entirely spoils the dialogue between the Uillac Uma and Piqui
Chaqui by omitting the humorous part contained in the Justiniani text;
and makes other similar omissions merely because the passages are not in
his text. Zegarra gives a useful vocabulary at the end of all the words
which occur in the drama.

The great drawback to the study of Zegarra's work is that he invented a
number of letters to express the various modifications of sound as they
appealed to his ear. No one else can use them, while they render the
reading of his own works difficult and intolerably tiresome.

The last publication of a text of Ollantay was by the Rev. J. H. Gybbon
Spilsbury, at Buenos Ayres in 1907, accompanied by Spanish, English, and
French translations in parallel columns.

There is truth in what Zegarra says, that the attempts to translate line
for line, by von Tschudi and myself, 'fail to convey a proper idea of
the original drama to European readers, the result being alike contrary
to the genius of the modern languages of Europe and to that of the
Quichua language.' Zegarra accordingly gives a very free translation in