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Abstract
In this paper, we analyze the dramatic configuration of the devil in three plays by Agustin Moreto, Los siete durmientes (1651) El mas ilustre frances, San Bernardo (1657) y El azote de su patria (1669). The main prospect is not only the study of the stage power of a character with such a wide range of theatrical and artistic possibilities, but also his structural role in the conflict and his decisive influence on the action even when he is not actually present.
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