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Manrique is a selfish and ambitious man, who well deserves his fate. Nuño is unscrupulous and weak, but the weakest character of all is that of Leonor, who, knowing her duty, has neither strength nor will to accomplish it. Azucena is really the most interesting character in the play.
Yet neither does his gallantry nor his devotion seem to have ever halted his pen for a moment in the years that succeeded his ordination. His dramatic composition of this period is quite abundant and other literary forms are not neglected. Two interesting incidents in the poet's life are never omitted by his biographers.
This cosmopolitan society furnished abundant food for observation and an inexhaustible supply of interesting personages for the dramatist.
Or if they have read a few of the best Spanish novels in French or English versions, they may not have found them very interesting. This is explained, I take it, by the fact that Spanish literature is essentially national, and if you do not know the Spanish people you can not fully understand their literature. This is largely true of all literatures, but it is especially true of the Spanish.
Don Juan, the hero of the play, while he pales somewhat before the brilliant, protagonistic rôle of the heroine, represents on a lesser plane Lope's conception of the true Spanish gallant, whom the poet often pictures under this name or that of "Fernando" and not infrequently lets his personality show through even to the extent of revealing interesting autobiographical details.
This interesting comedia was written in the last decade of the life of Lope de Vega, in the most fertile period of his genius. Hartzenbusch is authority for the statement that it was written towards the close of the year 1625 and revised in 1632. It is evident that the closing lines of it were written in 1632, for the author says in the
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