Abstract

The present article analyses the motive of the labyrinth in two autos sacramentales of the 17th century: El laberinto de Creta by Tirso de Molina and El laberinto del mundo by Calderón de la Barca. It is conceived within the framework of a more amplified study with the aim of uncovering the use of the labyrinth as a nuclear concept of 17th century theatre. A lecture of both texts reveals profound transformations with respect to the allegory’s design, structure, metrics, and usage. The comparative study sheds light on a more skillful dramatization by Calderón, whereas in Tirso a structural decomposition is evident.