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 with loopholes, from which doubtless arrows were discharged at the enemy. This outwork embraces a series of terraces, world famous because of their gigantic outline and the problem of the use to which they were put. It is now practically agreed that these terraces were employed for the production of maize, in order that during a prolonged investment the beleaguered troops and country-folk might not want for a sufficiency of provender. The stone of which this fortress was built was quarried at a distance of seven miles, in a spot upwards of three thousand feet above the valley, and was dragged up the steep declivity of Ollantay by sheer human strength. The nicety with which the stones were fitted is marvellous.

The Drama Legend of Ollantay

Among the dramatic works with which the ancient Incas were credited is that of Apu-Ollanta which may recount the veritable story of a chieftain after whom the great stronghold was named. It was probably divided into scenes and supplied with stage directions at a later period, but the dialogue and songs are truly aboriginal. The period is that of the reign of the Inca Yupanqui Pachacutic, one of the most celebrated of the Peruvian monarchs. The central figure of the drama is a chieftain named Ollanta, who conceived a violent passion for a daughter of the Inca named Curi-Coyllur (Joyful Star). This passion was deemed unlawful, as no mere subject who was not of the blood-royal might aspire to the hand of a daughter of the Inca. As the play opens we overhear a dialogue between Ollanta and his man-servant Piqui-Chaqui (Flea-footed), who supplies what modern stage-managers would designate the "comic relief." They are talking of Ollanta's love for the princess, when they are confronted by the 251