and frolicsome disposition, so much given to joking, to playing on
words, and to noticing the humorous aspect of occurrences, that they
have not unfrequently been charged by the whites best acquainted with
them, the missionaries, with levity and a frivolous temperament.

Among the many losses which American ethnology has suffered, that of the
text of the native dramas is one of the most regretable. Is is, however,
not total. Two have been published which claim to be, and I think are,
faithful renditions of the ancient texts as they were transmitted
verbally, from one to another, in pre-Columbian times.

The most celebrated of these is the drama of _Ollanta_,[86] in the
Qquichua language of Peru. No less than eight editions of this have been
published, the last and best of which is that by the meritorious
scholar, Senor Gavino Pacheco Zegarra. The internal evidence of the
antiquity of this drama has been pronounced conclusive by all competent
Qquichua students.[87]

The plot is varied and ingenious, and the characters agreeably
contrasted. Ollanta is a warrior of low degree, who falls in love with
Cusi Coyllur, daughter of the Inca, who returns his affection. The
lovers have secret meetings, and Ollanta asks the sovereign to sanction
their union. The proud ruler rejects the proposal with scorn, and the
audacious warrior gathers his adherents and attacks the State, at first
with success. But Cusi Coyllur is thrown into prison and her child, the
fruit of her illicit love, is separated from her. The Inca dies, and
under his successor Ollanta is defeated and brought, a prisoner, to the
capital. Mindful, however, of his merits, the magnanimous victor pardons
him, restores him to his honors, and returns to his arms Cusi Coyllur
and her child. Minor characters are a facetious youth, who is constantly