The three plays collected here—Sin querer, De pequeñas causas..., and Los intereses creados—were selected by editor John Van Horne for Heath's Modern Language Series, a set of Spanish texts aimed at the growing number of students studying the language for practical, commercial, and political reasons. The general editor's note explicitly states that the series responds to a shift from purely literary study toward practical use, yet insists that literary works remain essential for effective language learning.

In Los intereses creados, the excerpt shows a courtroom-like negotiation where Crispín, a servant, argues that his master Leandro should marry Polichinela's daughter to settle debts and legal claims. The dialogue is dense with legal references—Pantalón, the Doctor, and the Hostelero all have financial stakes, and Crispín manipulates them by appealing to self-interest. The play's title, meaning "created interests," is borne out in this scene where justice becomes a matter of mutual financial benefit.

Legal Language as Comic Engine

The excerpt from Los intereses creados is saturated with legal terminology and mock-legal reasoning. The Doctor, a character who seems to be a lawyer or judge, invokes Latin phrases like Equitas justicia magna est and references the Pandects and Tribonian, ancient legal sources. Yet his arguments are absurd: he suggests that since Leandro did not kill anyone, the appropriate recompense is monetary, not punitive. Crispín, the clever servant, turns this logic to his advantage, offering to pay all debts if Polichinela agrees to the marriage.

The comedy arises from the gap between the solemn legal language and the self-serving motives of every character. Pantalón and the Hostelero are only concerned with recovering their money; the Doctor wants his fees; Polichinela is outraged but ultimately negotiable. Crispín's line, "todos estáis interesados en salvar a mi señor, en salvarnos por interés de todos," explicitly states the play's theme: self-interest drives all actions, and justice is a commodity to be traded.

Character Roles from the Commedia dell'Arte Tradition

The character names in Los intereses creados—Pantalón, Polichinela, Doctor, Capitán—are direct borrowings from the Italian commedia dell'arte, a tradition of masked improvisational comedy. Pantalón is typically a greedy old merchant; Polichinela is a violent, boastful character; the Doctor is a pedantic scholar. Benavente uses these stock types to create a farcical world where personalities are predictable yet entertaining.

In the excerpt, Pantalón is easily swayed by the prospect of payment, Polichinela blusters about killing his daughter but is gradually drawn into negotiation, and the Doctor spouts irrelevant legal maxims. Crispín, though not a traditional commedia name, functions as a clever servant (like Harlequin) who orchestrates the plot. This reliance on recognizable types allows Benavente to focus on the verbal sparring and moral satire rather than character development, making the play accessible to a student audience.

The Editor's Pedagogical Frame

The volume is part of Heath's Modern Language Series, edited by Federico de Onís, who writes an "Advertencia General" explaining the series' purpose. He notes that Spanish study has grown rapidly and that the series aims to meet new needs, balancing practical language use with literary quality. The inclusion of Benavente's comedies—works by a contemporary Spanish playwright—reflects a desire to expose students to living language and culture.

John Van Horne, the editor of this specific volume, provides notes and a vocabulary to aid comprehension. The excerpts do not include those apparatus, but the title page lists the book as having xxxvi + 189 pages, suggesting a substantial introduction. The plays are presented in Spanish with English titles, and the text is bilingual only in the sense that the editorial matter is in English while the plays are in Spanish. This format positions the book as a classroom tool, not a literary anthology for general readers.

Readers approaching this edition should be aware that the plays are presented as language-learning texts, not as standalone literary works. The editorial apparatus—notes, vocabulary, introduction—is designed to facilitate comprehension, but the excerpts here give no access to that material. To appreciate Benavente's satire fully, one must read the complete plays, paying attention to how the commedia dell'arte framework and legal parody serve his critique of self-interest. The volume offers a window into early 20th-century Spanish pedagogy and the reception of Benavente's work in the United States.