Agustín Moreto is one of the most outstanding authors of our Golden Theatre, because he was, in addition to Calderón, the main exponent of a form of composition that, together with collaborative writing, constitutes one of the most common dramaturgical modalities among secular poets: the rewriting. In this sense, the dramatic production of Agustín Moreto includes numerous motifs and arguments that were already present in the previous theater, especially in that of Lope de Vega. However, he was not the only playwright whom he took as a model, because he also consulted works by authors such as Tirso de Molina, Mira de Amescua, Guillén de Castro or Andrés de Claramonte. This work presents a rewriting of Moreto, El valiente justiciero, which starts from a text by Andrés de Claramonte, El rey don Pedro en Madrid y el infanzón de Illescas. Throughout the article, the most prominent similarities and differences between both comedies will be analyzed and it will be shown that the technique used by Moreto in his rewritings is very similar regardless of who the author of the source comedy is.

奥古斯丁·莫托是我们黄金剧院最杰出的作家之一，因为除了卡尔德隆之外，他是一种写作形式的主要倡导者，这种写作形式与合作写作一起构成了世俗诗人中最常见的戏剧形式之一：重写。从这个意义上说，奥古斯丁·莫托的戏剧作品包含了许多在之前的戏剧中已经存在的主题和论点，特别是在洛佩·德·维加的戏剧中。然而，他并不是唯一一个被他视为榜样的剧作家，因为他还参考了蒂尔索·德·莫利纳、米拉·德·阿梅斯卡、吉兰·德·卡斯特罗或安德烈斯·德·克拉拉蒙特等作家的作品。这部作品对《Moreto, El valiente justiciero》进行了重写，该作品以安德烈斯·德·克拉拉蒙特 (Andrés de Claramonte) 的文本开始，马德里的佩德罗和伊列斯卡斯的敌人。在整篇文章中，我们将分析两部喜剧之间最显着的相似点和不同点，并且将表明，无论源喜剧的作者是谁，莫托在重写中使用的技巧都非常相似。