Abstract
Lorca wrote Asi que pasen cinco anos in 1931. R. G. Sanchez points out that Lorca spoke of making changes to the play, but never did, perhaps because he lost interest in this form of theatre which represents an experiment to portray the protagonist's subjective spiritual conflict on the stage. One of the more confusing things in this play is the mixture of reality and the imaginary. There is only one real person in the whole play, the Joven. All the others either represent the different elements in the spiritual struggle, or are projections from the non-human sphere. Even though the Novia becomes human enough to show her passion for somebody else, and the Mecanografa becomes human enough to choose her state of error in Act III, they are, at most, subsidiary foils to the protagonist, like the secondary figures in La zapatera prodigiosa.
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