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As a woman offended, she moves through the play's action looking for a solution. This disagreement probably originates from the fact that honor has been divided into so many distinct categories. Just as in Fuenteovejuna and Las mocedades del Cid, the generation gap motif in La verdad sospechosa merges with conflicts between individual senses of honor and the question of lineage. As the play ends neither love nor honor has emerged victorious, and don Arias, who has finally advised the King to tell the truth, is never required to take responsibility for his earlier disastrous advice. Las mocedades del Cid presents another common type of honor conflict: Characters in these plays never ask themselves what kind of honor problems they are having: My approach today will be to examine the way honor works in seven well-known plays, all of which appear in the anthology, Diez comedias del siglo de oro.

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