Next, General Mitré objects that the sentiments prevailing in _Ollantay_ are pride of caste, conjugal fidelity, military spirit, filial love, humanity to the vanquished, horror of polygamy, royal magnanimity, which are proper to European civilisation, but opposed to all that is known of Ynca social life. Yet pride of caste is described, by nearly all writers on the subject, as a noteworthy characteristic of the Ynca family. There are many touching stories told of conjugal fidelity and filial love among the Peruvians by writers contemporaneous with the conquest; and I am tempted to relate one of these stories at the end of the present critical notice. The military spirit was sedulously cultivated by the Yncas, who were always engaged in new conquests. The exercise of magnanimity and of humanity to the conquered was constantly inculcated, and was a part of the established policy of the Yncas, as we are told by nearly all the early writers. Polygamy is nowhere spoken of with horror in _Ollantay_. All the sentiments enumerated by General Mitré as peculiar to European civilisation, are those which went towards the formation of the best part of the Ynca character, and which would naturally be met with in a Quichua drama. The next objection is that rebellion is approved in the drama of _Ollantay_, and that such countenance would be impossible at a despotic court like that of the Yncas. The remark applies equally to the court of Spain. It may be admitted that the encouragement of rebellion as a principle would not be tolerated unless it eventually redounded to the credit of the sovereign. Successful rebellion was not unknown in Ynca history, and Yupanqui Pachacutec himself, the sovereign of the play, deposed his brother Urco, according to Cieza de Leon. That story would not be heard with displeasure. Nor would that of _Ollantay_, where the rebel is subdued, and where the magnanimity of the sovereign is celebrated. The whole of the arguments of the General, based on internal evidence afforded by words and passages in the play, may be set aside, because none of the words upon which he relies as evidence of Spanish origin are to be found in the true version. The true version must be considered as that which excludes all words and passages which are not common to _all_ the older manuscripts. On this principle all the words relied upon by the General are corrupt readings which have crept in through the carelessness of copiers.[50]