Until the publication of the earliest writings of the young Federico García Lorca, between 1994 and 1996, it would have been impossible to comprehend the consistency with which the poet returned again and again to the same sentiment of placing metaphysical Love over carnal desire. Concerning the works of the poet's juvenilia, prominent Lorca scholars are univocal in identifying in these writings the enduring subjects of García Lorca's opus. Writingabout the early theatre works, Héctor Urzáiz Tortajada finds ‘las principales señas de identidad de su teatro’. He continues: ‘Muchas de estas obras dan un inicio claro de la persistencia de unos campos de interés concretos en las propuestas teatrales.’ Meanwhile, in his introduction to the 1994 edition of the poet's early prose, Christopher Maurer underlines the significant contribution knowledge of the juvenilia makes to our understanding of the man and his later work:

It is with the important insights that García Lorca's early works offer into all his work in mind that we approach our reading of the lengthiest of the early dramas, the unfinished two acts of Cristo, and its proposition of a Love that transcends desire.