The symmetric and paradoxical dynamic of gift giving, rhetorically inscribed in La vida es sueño and in the structural plan of seventeenth-century Spanish theater, sets up a symbolic and exemplary economy affecting the evolution and identity of stage characters as well as the conclusion of the play. Although related to its material substratum, the ideal and dynamic economy of giving and receiving unfolds at the psychological level as a clash between possessors and dispossessed and as a tension between traditional gift economies, patronage and developing market forces, a system of conflict the comedia attempts to cure by its ending, a final account of the play's commitments.
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