The last act opens without delay. The Marquis, offended in the nicest point of Castilian honor,--the very point on which the plots of so many later Spanish dramas turn,--resolves at once to put both of the guilty parties to death, though their offence is no greater than that of having been secretly in the same house together. The lady does not deny her brother’s right, but enters into a long discussion with him about it, part of which is touching and effective, but most of it very tedious; in the midst of all which Hymeneo presents himself, and after explaining who he is and what are his intentions, and especially after admitting, that, under the circumstances of the case, the Marquis might justly have killed his sister, the whole is arranged for a double wedding of masters and servants, and closes with a spirited _villancico_ in honor of Love and his victories. The two pieces are very different, and mark the extremes of the various experiments Naharro tried in order to produce a dramatic effect. “As to the kinds of dramas,” he says, “it seems to me that two are sufficient for our Castilian language: dramas founded on knowledge, and dramas founded on fancy.”[475] The “Trofea,” no doubt, was intended by him to belong to the first class. Its tone is that of compliment to Manuel, the really great king then reigning in Portugal; and from a passage in the third act it is not unlikely that it was represented in Rome before the Portuguese ambassador, the venerable Tristan d’ Acuña. But the rude and buffoon shepherds, whose dialogue fills so much of the slight and poor action, show plainly that he was neither unacquainted with Enzina and Vicente, nor unwilling to imitate them; while the rest of the drama--the part that is supposed to contain historical facts--is, as we have seen, still worse. The “Hymenea,” on the other hand, has a story of considerable interest, announcing the intriguing plot which became a principal characteristic of the Spanish theatre afterwards. It has even the “Gracioso,” or Droll Servant, who makes love to the heroine’s maid; a character which is also found in Naharro’s “Serafina,” but which Lope de Vega above a century afterwards claimed, as if invented by himself.[476] [475] “Comedia á noticia” he calls them, in the Address to the Reader, and “comedia á fantasía”; and explains the first to be “de cosa nota y vista en realidad,” illustrating the remark by his plays on recruiting and on the riotous life of a cardinal’s servants. His _comedias_ are extremely different in length; one of them extending to about twenty-six hundred lines, which would be very long, if represented, and another hardly reaching twelve hundred. All, however, are divided into five _jornadas_. [476] In the Dedication of “La Francesilla” in his Comedias, Tom. XIII. Madrid, 1620, 4to.