20 
Indiana University Studies 
iDonde me lleva el loco desvario 
de mi pasion? Yo estoy muriendo, Cielos, 
de envidias y de celos ; 49 
Pues el prlncipe ha de ser 
quien de a mi prima la mano, 
y quien a mi me la de 
el que veneer ha sabido 
el desden con el desden . 50 
Juana: 
Luego inunca habeis tenido 
Otra dama? . . . 
Es verdad, razon teneis, 
Y ya tan humana estoy, 
Que por lo mueho que gano, 
Si ahora estima mi mano, 
Con el alma se la doy . 51 
The above comparison of the evolution of the two women 
only strengthens the contention that Moreto is not greatly in- 
debted to Lope for his Diana. 
Adolf Schaeffer , 52 in pointing out those ideas in Moreto’s 
play which coincide with other plays, says that the idea of the 
three rival lovers and the clever servant who is the tool of his 
master come from Los milagros del desprecio. As to the first, 
the three lovers in El desden con el desden are, in the sense 
that they are all in love with the same lady, rivals, but there 
the analogy ends, for, with Lope, the three are not banded 
together as friends to overcome Juana’s scorn of men. Rather, 
they all but fight a duel over her. As to the second idea, there 
is more in common between the two graciosos , Polilla and 
Hernando, than between any other elements in the two plays. 
Both, with an identical feeling for the situation in which their 
masters find themselves, and which the latter are unable to 
realize because of being so much in love, undertake, with a 
sure sense of being successful, to bring the ladies in question 
to terms. They both consider themselves doctors in so doing 
and both gain access to the innermost feelings of the ladies, 
thus having absolute control of the entire situation. With 
Moreto, however, Polilla does not do everything. He gets 
his master started and then the two work together. Pedro, 
49 j El desden , Act III, scene xiii, p. 271. 
50 El desden, Act III, scene xiii, p. 273. 
51 Los milagros, Act III, scene xix, p. 249. 
52 op. cit., p. 159. 
