[Footnote 1: As Larra indicates, the element of intrigue, each time worked out in a different fashion, is plainly seen in practically all of Gorostiza’s plays. In “Indulgencia para Todos” the hero, whose only fault is his perfection and his consequent intolerance of the failings of others, by the intriguing of his hosts is tempted and falls and is led to crave pardon for his own shortcomings and for those of his hosts who have sinned against the laws of hospitality. In “Don Dieguito” the hero is taught the needed lesson of his own insignificance, since his wealthy uncle by a clever ruse causes the young man to see that the adulation that he has accepted as his due is in reality given by self-interested schemers who hope to profit by his vanity and gullibility. In “Las Costumbres de Antano” the old gentleman constantly bewailing the departure of the good old days is caught asleep. By maneuvering, he is visited with such horrible dreams of the past that he is glad to awake to the conditions of a later generation.]
[Footnote 2: A reference to one of Larra’s numerous other dramatic criticisms.]
En Moliere y en Moratin no se encuentra un solo plan de esta especie: el poeta comico no debe hacer hipotesis; debe sorprender y retratar a la naturaleza tal cual es; esta comedia hubiera requerido una mujer realmente enamorada, y que realmente hubiera hecho una locura, como en el Viejo y la Nina[1] sucede; verdad es que entonces no hubiera podido ser dichoso el desenlace, y acaso habra huido de esto el senor Gorostiza; este era defecto del asunto, asi como lo es tambien la aglomeracion en horas de tantas cosas distintas, importantes, y regularmente mas apartadas entre si en el discurso de la vida.