The author classifies La comedia de Amphitrion as "traduzida por Juan Timoneda, y puesta en estilo que se puede representar.
La comedia de Amphitrion begins with an "Introyto y argumento" (13-17).
The first scene of the Amphitrion is Timoneda's own invention within the original framework.
In this scene, Sosia recounts to Amphitrion the tribulations that he has just undergone, to his master's disbelief.
In the sixth scene of the Amphitrion, Mercurio merely places himself once more as an obstacle to entrance.
The maid Tessala (Bromia in Plautus and Villalobos) exits awestruck from the house and explains to an equally bewildered Amphitrion the circumstances surrounding Alcumena's delivery.
La comedia de Amphitrion may be considered an autonomous theatrical text, primarily because of the skillful adaptation of Villalobos's reading version and the invention of humorous episodes and speeches.
She notes that Timoneda's Comedia de Amphitrion, for example, is "a horizontal borrowing (from a source in castellano) of a vertical translation (from the Latin original)," which reveals a paradoxical shift from performance potential to didacticism and back to performance (247, 249).
Plautus Francisco Lopez de Juan de Timoneda Luis de Camoes Villalobos Amphitruo Anfitrion La comedia de Auto dos Enfatrioes Amphitrion Mercurios Mercurio Mercurio Mercurio Sosia Sosia Sosia Tardio Sosia Iuppiter Jupiter Jupiter Jupiter Alcumena Alcumena Alcumena Almena Amphitruo Anfitrion Amphitrion Anfatriao Thessala Tesala Tessala Blepharo Blefaron Blefaron Belferrao Bromia Bromia Bromia Bromio Pascuala Morato Roseno Feliseu Calisto Aurelio Moco (6) Moratin's praise of the Anfitrion is especially significant in light of his censure of the adaptation of Plautus's play by Fernan Perez de Oliva (1494-1533), a professor at the University of Salamanca.
Reynolds discusses the full literary production, including a chapter on Timoneda's theater (77-102; the Comedia de Amphitrion 93-94).
Pabon emphasizes the presence of folkloric elements and local color in Amphitrion. For example, he cites the third scene, in which Sosia Tardio "habla de su mucha hambre y del arroz--aspectos populares que seguramente asentarian con el publico valenciano, cuya riqueza principal era el arroz" (115).
On the contrary, the speeches between Alcumena and Amphitrion in which he accuses her of infidelity are exceptions.