When Arnold Reichenberger writes of the tendency in the comedia toward a restored society, he refers to the conservative, patriarchal, ideal society represented by the dramatic works. Characters who exhibit eccentric social behavior are not allowed to remain marginally attached to the society; they are either resocialized into the fabric of the comedia's society or they are expelled. This pattern not only allows for the possibility of an implicit moral lesson, as Alexander A. Parker would assert, but it also creates dramatic tension the resolution of which results in exciting reversals in the plot. As might be expected, the more extreme the eccentricity, the more spectacular the process of reintegration of the errant member becomes. Admiratio is not merely the chance by-product of the comedia; it is one of its primary motivating forces. This disposition toward admiratio and resocialization, with its potential didacticism, is particularly evident in cases involving the failure of the characters to fulfill sex-role duties.