The article presents a study of Zorrilla's work La mejor razon, la espa-da (1843), a recasting of Las travesuras de Pantoja, a comedy attributed by critics prior to Moreto and currently considered to be Enriquez Gomez. The text of the playwright from Valladolid is compared with the attributed one and the changes made by Zorrilla are explained, taking into account several questions and funda-mentally the conditioning factors of the theatrical context in which his text pre-miered, an aspect that previous criticism had not influenced.