Lorca’s play on tragic love

Lorcas play on tragic love, The nursing home of Bernarda Alba, is his last complete play. It is interpreted as a metaphor of repression with its theme foc recitationd on frustration, pureness and odd handst. The play contains both the passion and the torment in the intense struggle of a group of women held in check even from the thought of love by a tyrannical sire, Bernarda. The play investigates and provides a response, provided non a solution, to the problems of oppression, transgression, sexuality and being a victim. Bernardas strict rule is as virile as the wilful nature of the youngest woman who betrays the family.Her susceptibility to satisfy her sexual desire symboli screamy shatters the influence of extreme repression and absolute control. Her rebellion and death intent the reasons and effects of the repressed atmosphere. Ultimate protest, despair, and madness emphasise the even more extreme control, unhealthy fear, mindlessness, and specially silence that befall the women who remain in the home plate. further more scrutinizing approach to the issue of victim in the play reveals that not only Bernardas lady fri halts step up as victims exclusively Bernarda herself being a victimiser is a victim.Bernarda Alba is the aim, a dramatic personality, whose words slaver the fountainity of the supreme ruler and whose life shows secondary emotion. In this austerity she rules her house bedevil, never sparing from her individual retirement account anyone who attempts to revoke the stifling atmosphere she has superimposed on herself and her daughters. As a result, all Bernarda, the daughters, the servants exist in darkness and depression ultimately lead to asepsis of emotions and finally to suicide.Bernarda is a selfish and tyrannical matron who ultimately forces her daughters into the despair. They lose every vestige of hope this harm leads directly to the moral death of each daughter and to the physical death of the youngest. Slowly, bu t unequivocally, Bernarda drains the minds and hearts of her daughters until they bend as white and barren as the walls of their physical prison the metaphor of which is conveyed by the visual nature of the house with its buddy-buddy walls and a few windows and doors leading to the outside world.However, this significant visual image exceeds its unfeigned meaning and, above all, represents a sociocultural installation keeping all the main characters of the play in subordination to social dogmas and rules. Within the moderate of its walls Bernarda and her family excerpt the old traditions, like many generations of women that preceded them. This repetitive and bodied act obliterates the uniqueness of the individual for the sake of preserving immemorial hegemony.When reading The House of Bernarda Alba it becomes obvious that the plays most powerful strength is in its dialogues, succession the characters are limited in their movement and blank shell within a closed location. B y dint of audile means, Lorca reaches the explication of the contrast between girls and their mother. This contrast is emphasized by the other devices like contras of black and white, and these two colour are highlighted throughout the play the black dresses of the women in mourning, in contrast to the very white walls of the house.Moreover, Bernardas authoritarian voice stands out as she commands, suppress p. 161 at the opening, throughout, and end of the play, closely related in each case to the death of one section of the family and the spiritual death of those living. Despite Bernardas call for silence, other sounds succeed in penetrating the thick walls and contribute to define the nature of their society and the duality between life inside and outside the house. Bernardas house is a household without men. This is by hazard as healthful as by authors intention to establish controversial circumstances.Upon the death of her husband, she must assume the patriarchal role of defend her daughters honour and forbids the presence of men within the confines of the house, thus limiting the world her daughters are allowed to know. Her house is clearly governed by patriarchal forces. Pepe el Romano, the manful character we do not see but hear about, is the strongest motivating force in the play. Bernardas authoritarian discourse stubbornly reproduces what she learned from her receive and her grand set out.This concept associates property with social class, as Bernarda is well aware. When one of her daughters has the opportunity of marrying, she does not allow it BERNARDA, loudly. Id do it a thousand times over My smear wont mingle with the Humanas while I live His father was a shepherd. (p. 191). The situation within the walls of her house would keep been quite different had Bernarda found enough men of her social condition to marry her daughters. Lorca indicts society, and the reader cogency be inclined to condemn Bernarda as well.Although she is not aware of it, Bernarda is a victim turned victimizer. In the same way that her daughter, Adela, is symbolically suffocated by her mothers oppression, as she commits suicide by hanging, Bernardas maternal feelings meet been suffocated by society. As a widow, she uses her newly found powers to perpetuate those values that put on men. She becomes their accomplice. Her husband was a womanizer, and she claims that men should enjoy the license of the streets. Women should be confined in the house, against their natural instincts.Bernarda is, at best, an imperfect man, as exemplified in her failed attempt to use the hired gun a phallic symbol. BERNARDA The gun Wheres the gun? She rushes out. La Poncia runs a wit of her. Amelia enters and looks on frightened, leaning her head against the wall. Behind her comes Martirio. ADELA noneone can hold me back She tries to go out. A shot is heard. BERNARDA, entranceway Just try looking for him now MARTIRIO, launching That does away with Pepe e l Romano. ADELA Pepe My God Pepe She runs out. PONCIA Did you kill him?MARTIRIO No. He raced away on his mare BERNARDA It was my fault. A woman cant aim (p. 210) Within the play other mother frame, Maria Josefa, vehemently distances herself from Bernarda and approaches Adela, thus leaving Bernarda without support and helpless. She sings a lullaby while holding a baby (a lamb) in her arms, an act that Bernarda innocent of maternal instincts seems incapable of performing. Bernarda as a mother figure becomes dehumanized and therefore closer to the dimensions of a grotesque caricature.At the beginning of the play the maid La Poncia threatens Bernardas public image with her gossip. At the end of the play, and despite Bernardas call for silence, we know that the neighbours have awakened. The thick walls have been rendered useless and the tyrannical figure of Bernarda fall a prey to societal judgement. Bibliography LORCA, Federico Garcia 3 Tragedies Blood Wedding, Yerma, Bernarda A lba. Translated by J. G. Lujan and R. L. OConnell. New York, New Directions Publishing, 1955.