Abstract
The comedy of Spain's Golden Age is, of course, a laughing matter, but not merely so. C. A. Jones, who finds it strange that one should appreciate comedy primarily for what it is not, in other words, for its serious implications, nevertheless recognizes that, in Spain at least, the comic holiday had its sober social limits. When he comes to apply Northrop Frye's theory of comic myths to the comedias de capa y espada, he concedes that these plays end conservatively, with the new order of young lovers bowing to the domination of the old:
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