Like Calderón, though in a lesser degree, Rojas Zorrilla is not above utilising the material provided by his predecessors: even in _García del Castañar_ there are reminiscences of Lope de Vega’s _Peribáñez y el Comendador de Ocaña_, of Lope’s _El Villano en su rincón_, of Vélez de Guevara’s _La Luna de la Sierra_, and of Tirso de Molina’s _El Celoso prudente_. But, if he has all Calderón’s defects, he has many of his great qualities. Few cloak-and-sword plays are better worth reading than _Donde hay agravios, no hay celos_, or than _Sin honra no hay amistad_, or than _No hay amigo para amigo_ (the source of Lesage’s _Le Point d’honneur_). Rojas Zorrilla has perhaps less verbal wit than Calderón, but he has much more humour, and he shows it in such pieces as _Entre bobos anda el juego_, from which the younger Corneille took his _Don Bertrand de Cigarral_, and Scarron his _Dom Japhet d’Arménie_. Scarron, indeed, picked up a frugal living on the crumbs which fell from Rojas Zorrilla’s table. He took his _Jodelet ou le Maître valet_ from _Donde hay agravios no hay celos_, and his _Écolier de Salamanque_ from _Obligados y ofendidos_, a piece which also supplied the younger Corneille and Boisrobert respectively with _Les Illustres Ennemis_ and _Les Généreux Ennemis_. But observe that, in Rojas Zorrilla’s case as in Calderón’s, the foreign adapters use only the light comedies. The rapturous monarchical sentiment of _García del Castañar_ no doubt seemed too hysterical for the court of Louis XIV., and hence the author’s most striking play remained unknown in Northern Europe. You may say that he forced the note, as Spaniards often do, and that he has no one but himself to thank. Perhaps: Rojas Zorrilla adopts a convention, and every convention tends to become more and more unreal. Possibly the first man who signed himself somebody else’s obedient servant meant what he wrote: you and I mean nothing by it. But conventions are convenient, and, though nobody can have had much respect for Philip IV. towards the end of his reign, the monarchical sentiment was latent in the people. Moreover, the scene of _García del Castañar_ is laid in the early part of the fourteenth century. When all is said, _García del Castañar_ has an air of—what we may call—local truth, a nobility of conception, and a concentrated eloquence which go to make it a play in a thousand.