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is so slightly suggestive of Polilla as to be entirely negligible 
among other graciosos with whom comparison is made. In 
Mira de Amescua’s Golan , valiente y discrete , Flores, by his 
access to Serafina, is able to help Fadrique, but this assistance 
is in the form of facts and not due to psychological insight as 
is Polilla’s help to Carlos. In Francisco de Rojas Zorrilla’s 
Sin honra no hay amistad, Sabanon has the qualities of Flores, 
plus more of the insight of Polilla. He is, however, more 
like Hernando of Lope de Vega’s Los milagros del desprecio, 
in acting as master of ceremonies, than he is like Polilla. 
The part of the gracioso, Polilla , has more in common with 
Hernando than any of the other characters playing a similar 
part, and the question is still open as to whether Moreto’s 
Moclin, in El poder de la amistad, may not have been the 
predecessor of Polilla. 
In Lope’s La vengadora de la mujeres, we find Laura’s dis- 
inclination toward men proceeding from study and reading. 
It is on this one point alone, however, that she is like Diana. 
Juana, in Rojas Zorrilla’s Sin honra no hay amistad, has 
Laura’s idea of playing “the avenger of her sex”, and her 
resemblance to Moreto’s Diana is in her determination to make 
men fall in love with her and then to scorn them by way of her 
“revenge”. Diana has this determination toward Carlos only, 
and as the result of indifference toward her. This same idea 
of “rendir”, with the same intention, is also found in Lope’s 
Estela in La hermosa fea. Estela, in limiting her determina- 
tion to Ricardo, is more like Diana than either Juana or Laura. 
Her determination comes for the same reason, that of wounded 
vanity at the indifference to her charms when she has been 
used to general homage to her beauty. In Lope’s La dama 
boba, we find Nise studious, but not scornful toward men, 
there being no real point of contact between this play and El 
desden con el desden. In Lope’s De cosario a cosario, we find 
Celia, intent on overcoming, overcome by Juan, or worsted at 
her own game just as is Diana. It is in Tirso de Molina’s 
Celos con celos se cur an that we find a struggle between the 
celos of Sirena and Cesar, in which Sirena is “beaten at her 
own game”, comparable to the struggle between the desden 
of Diana and Carlos. Initially, in Encontrdronse dos 
arroyuelos, we find the same suggestion of struggle between 
two opposing forces ; it is, however, but slightly developed. 
