In 1905 and 1906 appeared the plays that best illustrate a purposeful treatment of conjugal relations. Benavente's prime object is to idealize feminine love and constancy. A second theme, second in prominence only to the first, is a glorification of true love itself. The topic of compassion, already referred to, is carried to its greatest extreme in the gloomy but powerful tragedy _Más fuerte que el amor_. _=Rosas de otoño.=_--The most striking of the problem plays is _Rosas de otoño_. Some critics who deny a thesis elsewhere admit it in this production. The heroine, Isabel, is married to Gonzalo, an unfaithful husband, who gives no heed to his wife's strictures, but persists in asserting that she is sacred to him in spite of everything. Gonzalo's daughter by an earlier marriage, María Antonia, marries a certain Pepe, whose actions are not above criticism. Yet Gonzalo defends him. Baseless rumors are circulated against the fair fame of María Antonia, and Pepe wishes to divorce her. Again Gonzalo defends him. This is too much for Isabel, who chides her husband so severely that she really succeeds in breaking through his selfishness. Although he endeavors to defend a feeble cause by an argument in favor of delinquent men, it is clear that his heart has been touched, and that Isabel, after long years of patient resignation, is destined to enjoy her "Autumn Roses." The prevailing gloom of _Rosas de otoño_ is relieved by certain trivial and even comic incidents on the part of minor characters, so arranged that they do not appear out of place. Moreover, Benavente is not too partisan; although frankly defending a cause, as a follower of Shakespeare he cannot forget that he is depicting human life. He gives due weight to the partial justice in the selfish arguments of Gonzalo and Pepe, and does not insist that they are utterly depraved. Heedlessness and egoism make them yield to temptation, but Gonzalo never overlooks the fact that his wife's honor must be respected and treasured. Notwithstanding the good qualities of _Rosas de otoño_ and kindred pieces, the play dealing with more or less conventional marital problems can scarcely be regarded as characteristic of Benavente. He is probably more successful in other directions.