they perform the same function for space. There is, however, one important modification: there is no continuing linear movement in space as there is in time. There are no beginnings or endings in the sense that characters appear or disappear. The movement is entirely within a circle, so that, in spite of the action of the play, the universe as represented on stage remains unchanged in its relative physical relationships but, at the end of the play, is totally changed in its focus of attention and in the links which bind it. Instead of a number of separate centers a group is formed which concentrates on the Emperor, and attention moves to Jerusalem. The center is first shattered by the discursive and dispersing actions of Antichrist, then re-formed about him in a false sense. The concentration he effects, by moving all elements (except the audience) from points on the circumference to Jerusalem is simply a duplicate of the actions of the Emperor, with the important addition of Gentilitas, and it contributes to the final solution, when Antichrist is eliminated by divine action.
In both space and time the author represents the circularity of the world by his positioning and movement within space. In both space and time, the linear movement is always to attain an end within the circle, a circle of which the audience is an essential part.