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Indiana, University Studies 
out of spite, but Alejandro, seeing the situation in a better 
light, suggests that he and she pretend to be in love, going on 
the assumption that “Celos con celos se cur an”. She agrees 
that this is a better idea. They come to tell Narcisa that they 
are to be married, and things go so far as “darse las manos” 
when Narcisa interferes and takes Alejandro. Cesar comes 
out of hiding and claims Sirena. Gascon, after two hours of 
imprisonment, comes out, complaining of the mosquitoes, gives 
them his blessing, and after Carlos testifies to the worth of 
his plan that “celos con celos se curan”, asks for the “vitor” 
and closes the play. 
There is, in the play, not a single episode in common with 
any in El desden con el desden. The similarity between the 
plays is limited entirely to the general idea of meeting “scorn” 
with “scorn”, “jealousy” with “jealousy”, in concentrated 
form. The struggle, the conquering of the heroine “at her 
own game”, which was found to be lacking in the plays thus 
far compared with El desden con el desden, is here the “raison 
d'etre” of the play. The general plan of Celos con celos se 
curan is not the same as El desden con el desden. Cesar cor- 
responds to Carlos, Sirena to Diana, and these are the only 
characters with counterparts in each play. Cesar overcomes 
Sirena by making her more jealous than she tries to make him, 
while Carlos so far outdoes Diana’s disdain that there is no 
comparison between the two. Cesar’s method, since he is 
dealing with ordinary jealousy, is more blunt and uninterest- 
ing than is Carlos’, who has a subtler thing to deal with, and 
a much cleverer subject. Sirena already loves Cesar, to the 
extent of being jealous even of Carlos. When he is made 
Duque, she does not want people to think “interes” plays any 
part in her relations with him, and to make sure that he cares 
much for her, she hits on the idea of making him jealous, to 
which passion she is so susceptible. In El desden con el des- 
den Diana is an entirely different person, intent only on con- 
quering Carlos’ indifference in order to punish him after- 
wards, and she is caught in her own net. 
Any influence of Celos con celos se curan on Moreto in his 
El desden con el desden cannot be said to have come from the 
general plan of the play, nor from any of the individual char- 
acters. To repeat, the resemblance between the two plays 
lies in the underlying struggle which takes place in both plays, 
but worked out in entirely different ways. 
