En el taller de la refundición de una comedia lopeveguesca: El Eneas de Dios o El Caballero del Sacramento de Agustín Moreto

according to the practice of re-writing previous plays, Moreto composes El Eneas de Dios based on Lope de Vega’s El Caballero del Sacramento. Even if he radically modifies subtext’s two last acts, nevertheless his text dialogues in details with it, using different levels of Lope’s poetry (both lyric and comic). Moreto’s decision of re-writing this specific play is probably due to its political dimension, being a genealogical play destinated to praise the Moncadas’ catalan dinasty. It’s possible that Moreto’s decision of not including El Eneas in his Primera parte depends on its dramatic weakness, in spite of its panegyric value that determines its proximity to Desdén con el desdén, Hasta el fin nadie es dichoso and De fuera vendrá.