In the last act we learn that Don Juan has at once, by bribes, easily rid himself of the officers of justice, and is again in the noisy and gay streets seeking for Leonora. He falls in with Don Pedro, whom he has never seen before; but Don Pedro, taking him, from his inquiries, to be the brother from whom Leonora is anxious to be concealed, carefully avoids betraying her to him. Unhappily, the Lady Blanca now arrives, having been prevented from coming earlier by the confusion in the streets; and he hurries her into his house for concealment till the marriage ceremony can be performed. But she hurries out again no less quickly, having found another lady already concealed there;--a circumstance which she takes to be direct proof of her lover’s falsehood. Leonora follows her, and begins an explanation; but in the midst of it, the two brothers, who had been seeking these same missing sisters, come suddenly in; a scene of great confusion and mutual reproaches ensues; and then the curtain falls with a recognition of all the mistakes and attachments, and the full happiness of the two ladies and their two lovers. At the end, the poet, in his own person, declares, that, if his art permits him to extend his action over twenty-four hours, he has, in the present case, kept within its rules, since he has occupied less than ten. As a specimen of plays founded on Spanish manners, few are happier than the “Saint John’s Eve.” The love-scenes, all honor and passion; the scenes between the cavaliers and the populace, at once rude and gay; and the scenes with the free-spoken servant who plays the wit are almost all excellent, and instinct with the national character. It was received with the greatest applause, and constituted the finale of the Count Duke’s magnificent entertainment, which, with its music and dances, interludes and refreshments, occupied the whole night, from nine o’clock in the evening till daylight the next morning. Another of the plays of Lope, and one that belongs to the division of the _Capa y Espada_, but approaches that of the heroic drama, is his “Fool for Others and Wise for Herself.”[318] It is of a lighter and livelier temper throughout than most of its class. Diana, educated in the simple estate of a shepherdess, and wholly ignorant that she is the daughter and heir of the Duke of Urbino, is suddenly called, by the death of her father, to fill his place. She is surrounded by intriguing enemies, but triumphs over them by affecting a rustic simplicity in whatever she says and does, while, at the same time, she is managing all around her, and carrying on a love intrigue with the Duke Alexander Farnese, which ends in her marriage with him. [318] Comedias, Tom. XXI., Madrid, 1635, f. 45, etc.