Abstract
Much of the existing criticism dealing with the mother figure in the comedia consists of broad generalizations. The present study analyzes the comic function of two very different mother characters in an attempt not only to provide a greater understanding of their respective comedias (Lope's La discreta enamorada and Mira's La casa del tahur ), but also to demonstrate that such generalizations tend to obscure important distinctions rather than illuminate them. (AW-C)
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