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Calderón's El mayor monstruo del mundo differs from his other honor plays, not only because it is set in biblical times but because it follows a number of conventions of classical tragedy. The female protagonist Mariene is doomed from the start by a prophecy of her death, but the dramatic circumstances allow her a unique space in which to articulate the injustice that will lead to her demise. The paper examines the structure of Mariene's speeches; it compares her voice to those of the male protagonists and her situation to those of female characters in other plays by Calderón. Paradoxically, given the force of the prophecy and the force of history, Mariene moves from victim to heroine as she resists her fate
