_El amor asusta_ (comedy, one act). March 16th. _La copa encantada_ (adapted from Ariosto, one act zarzuela). November 7th. _Los ojos de los muertos_ (drama, three acts). No date. _La historia de Otelo_ (comedy, one act). No date. _La sonrisa de Gioconda_ (comedy sketch, one act). No date. _El último minué_ (comedy sketch, one act). September 21st. _Todos somos unos_ (farce with music). December 9th. _Los intereses creados_ (comedy of masks). 1908 February 22nd. _Señora ama_ (comedy, three acts). October 19th. _El marido de su viuda_ (comedy, one act). November 10th. _La fuerza bruta_ (comedy, one act). March 14th. _De pequeñas causas_... (comedy sketch, one act). December 23rd. _Hacia la verdad_ (scenes of modern life, three divisions). 1909 January 20th. _Por las nubes_ (comedy, two acts). April 10th. _De cerca_ (comedy, one act). No date. _¡A ver qué hace un hombre!_ (dramatic sketch, one act). October 14th. _La escuela de las princesas_ (comedy, three acts). December 1st. _La señorita se aburre_ (based on Tennyson, one act). December 20th. _El príncipe que todo lo aprendió en los libros_ (fairy-tale, two acts). December 20th. _Ganarse la vida_ (fairy-tale, one act). 1910 January 27th. _El nietecito_ (from Grimm's Fairy Tales, one act). 1911 November 9th. _La losa de los sueños_ (comedy, two acts). 1913 December 12th. _La malquerida_ (drama, three acts). 1914 March 25th. _El destino manda_ (from Hervieu). 1915 March 4th. _El collar de estrellas_ (comedy, four acts). No date. _La verdad_ (dialogue). December 22nd. _La propia estimación_ (comedy, two acts). 1916 February 14th. _Campo de armiño_ (comedy, three acts). May 4th. _La ciudad alegre y confiada_ (second part of _Los intereses creados_).[i.5] It will be observed that the _Teatro_ includes nearly all varieties of dramatic output: one, two, three, and four act plays, monologues, dialogues, translations, adaptations, zarzuelas, farces, fairy-dramas, comedies, and tragedies. =First Period.=--Between 1894 and 1901 Benavente produced eighteen plays on the Madrid stage. They represent, in a general way, the first phase of his dramatic career. The element that characterizes them most conspicuously is satire. Benavente holds up to scorn Spanish aristocratic society of the present day. He introduces to his audiences a succession of types whose failings and foibles are displayed with merciless precision. The author himself is concealed behind the array of personages whom he presents to the public.