The article aims to analyse the relationship between the Spanish comedy of the Siglo de Oro and the placing of the geographical area on the scene. To the example of a ‘comedy of santos’ by Miguel de Cervantes, El Rufián dichoso, we would like to show that its author, such as Shakespeare or Lope de Vega, introduces primarily geographical significance in the traditional topes of theatrum mundi; it also uses the scene and maps to make up other spaces that cannot be viewed directly and one could call “metageographic” spaces. Thus, Barroca literature gives rise to a new technique of spatial imagination.