Harlan: Moreto’s “El desden” 
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having nightly conversations in the garden, very much in love 
with each other. Julio, seeing Diana's chances for the duke- 
dom increasingly better, decides to woo the latter, thus in- 
curring the hatred of Teodora and Camilo, to the extent that 
the latter, who also has identical ambitions, and he quarrel. 
They are separated by Diana, who continues to pretend to be 
half-witted. Alejandro, as Octavio Farnesio, appears at court 
unrecognized by any but Fabio and asks for protection after 
having killed the husband of Porcia whom he loved and who 
was forced to marry. He describes her so vividly de camisa 
that Diana takes exception to it and departs calling him 
traitor. Teodora apologizes for Diana's lack of wit and tries 
to enlist Alejandro's aid in obtaining the ducal crown. Fie 
tells Diana who he is — she only having seen him at night, or 
rebozado , before — and that his story was made up and the 
picture of Porcia is none other than herself, seen at the reja. 
He gives her a letter proving who he is and also promising the 
help of the Duke of Florence, his brother. Teodora, Camilo, 
and Julio have been watching her, and when they ask her what 
the letter is about, she says that she is in need of troops to 
go to war with the Sultan who refuses her the possession of 
the Santa Casa. 
In the third act, we find Diana raising troops at home for 
this campaign, and Fabio, dressed as a Turk, brings the mes- 
sage from the Sultan that he is ready to fight. She, herself, 
in armor, mounts a horse, appears before the assembled troops 
and tells them that altho the right to the crown has not yet 
been settled, her reign is to begin right away. She has told 
both Camilo and Julio previously that Alejandro has sug- 
gested each as a candidate for her husband, thus gaining their 
help. She then extends her hand to Alejandro as Duke of 
IJrbino and has Teodora, Camilo, and Julio banished from 
the kingdom. 
Since no claim is made that La boba para los otros y discreta 
para si served Moreto as a model for his El desden con el des- 
den, the only comparison to be made between the two plays 
is to be based on Schaeffer’s statement, quoted above, that 
Diana, in the Lope play, reminds us of Moreto’s Diana in the 
outbreak of her jealousy at Alejandro's story. On this occa- 
sion, Diana says : 
iEnganador habeis sido? 
Guardese toda mujer. 
