Ferrer, op. cit. (nota 4), p. 26.

Según Soufas, op. cit. (nota 17), p. 125: «Azevedos depiction of Lisarda reiterates the woman's need to appropriate male identity in order to act with impunity in public matters. Even when all her male reltives are dead or believed to be so, Lisarda does not feel empowered to exercise the social freedom the male figures enjoy. The daughter/sister of a noble family, she is nevertheless depicted as just as capable of undertaking this quest as her brother, and their equality is enhanced and emphasized by the cross-gendered appearance they both adopt». Otra interpretación es la realizada por Anita Stoll: «One possible motive for this exercise in entering the gap between genders may have been to demonstrate that all reality is in the hands of cultural perceptions and determinations. From such an idea it follows that gender is socially constructed through societal traditions and established expectations. The consequences of these societal decisions are the different ways men and women are treated and taught to "perform" by their culture». Stoll, Anita, «"Tierra de en medio": Liminalities in Ángela de Azevedos El muerto disimulado en Hegstrom, Valeria y Amy R. Williamsen (eds.), Engendering the Early Modern Stage: Women Playwrights in the Spanish Empire, New Orleans, University Press of the South, 1999, pp. 151-163, p. 160.