Lorca’s play on tragic love

Lorcas cope with on tragic slam, The shack of Bernarda Alba, is his last complete mould. It is interpreted as a metaphor of repression with its theme focused on frustration, whiteness and oddment. The scarper contains both(prenominal) the passion and the torment in the raging struggle of a group of women held in check even from the thought of love by a tyrannical mother, Bernarda. The drama investigates and provides a response, but not a solution, to the problems of oppression, transgression, sexuality and being a victim. Bernardas strict rule is as effective as the wilful personality of the youngest fair sex who betrays the family.Her ability to satisfy her sexual appetency symbolic anyy shatters the order of extreme repression and unattackable control. Her rebellion and last mark the reasons and effect of the repressed atmosphere. Ultimate protest, despair, and madness underscore the even more extreme control, ingrowing fear, mindlessness, and especially silenc e that befall the women who catch ones breath in the kin. However more scrutinizing turn up to the issue of victim in the cope with reveals that not only Bernardas daughters get on as victims but Bernarda herself being a victimizer is a victim.Bernarda Alba is the mother, a striking personality, whose words carry the authority of the tyrannical ruler and whose sustenance shows little emotion. In this austerity she rules her house keep back, never sparing from her indignation anyone who get downs to revoke the stifling atmosphere she has lay on herself and her daughters. As a result, all Bernarda, the daughters, the servants exist in darkness and slack ultimately leading to sterility of emotions and at long last to suicide.Bernarda is a selfish and tyrannical matron who finally forces her daughters into the despair. They lose every vestige of desire this loss leads directly to the moral death of each daughter and to the corporeal death of the youngest. Slowly, but u nequivo come up toy, Bernarda drains the minds and learnts of her daughters until they become as white and barren as the walls of their physical prison the metaphor of which is conveyed by the opthalmic nature of the house with its thick walls and a few windows and doors leading to the outside world.However, this operative visual image exceeds its literal marrow and, above all, represents a sociocultural base keeping all the main char wagerers of the play in subordination to favorable dogmas and rules. at heart the curb of its walls Bernarda and her family repeat the old traditions, give c ar many generations of women that preceded them. This repetitive and collective act obliterates the uniqueness of the individual for the sake of preserving time-worn hegemony.When reading The House of Bernarda Alba it becomes obvious that the plays most powerful faculty is in its dialogues, while the characters are check in their movement and space indoors a closed location. By dint of auditive means, Lorca reaches the explication of the contrast between girls and their mother. This contrast is accentuate by the other devices like contras of colored and white, and these two colours are highlighted passim 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, Silence p. 161 at the opening, throughout, and overthrow of the play, about related in each miscue to the death of one member of the family and the eldritch death of those living. Despite Bernardas call for silence, other sounds succeed in perspicacious the thick walls and contribute to define the nature of their society and the dichotomy between life inside and outside the house. Bernardas house is a household without men. This is by peck as well as by authors intention to implant controversial circumstances.Upon the death of her husband, she must involve the patriarchal role of p rotecting her daughters honour and forbids the presence of men inside the confines of the house, thus limiting the world her daughters are allowed to tell apart. Her house is clearly governed by patriarchal forces. Pepe el Romano, the male character we do not see but hear about, is the strongest motivating force in the play. Bernardas authoritarian discourse stubbornly reproduces what she intentional from her father and her grandfather.This concept associates property with social class, as Bernarda is well aware. When one of her daughters has the luck of marrying, she does not allow it BERNARDA, loudly. Id do it a thousand times over My personal line of credit wont mingle with the Humanas while I belong His father was a shepherd. (p. 191). The situation within the walls of her house would have been quite contrastive had Bernarda found enough men of her social condition to marry her daughters. Lorca indicts society, and the reader big businessman be inclined to condemn Bernar da as well.Although she is not aware of it, Bernarda is a victim turned victimizer. In the same means that her daughter, Adela, is symbolically suffocated by her mothers oppression, as she commits suicide by hanging, Bernardas maternal feelings have been suffocated by society. As a widow, she uses her newly found powers to perpetuate those values that benefit men. She becomes their accomplice. Her husband was a womanizer, and she claims that men should enjoy the freedom 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 gun a phallic symbol. BERNARDA The gun Wheres the gun? She rushes out. La Poncia runs frontward of her. Amelia enters and looks on frightened, leaning her head against the wall. backside her comes Martirio. ADELA No one can hold me back She tries to go out. A fortuity is heard. BERNARDA, entering Just try feeling for him now MARTIRIO, ent ering That does away with Pepe el 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 another mother figure, 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 loose of maternal instincts seems incapable of performing. Bernarda as a mother figure becomes dehumanized and thus closer to the dimensions of a grotesque caricature.At the ancestor 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 unusable and the tyrannical figure of Bernarda fall a prey to societal judgement. Bibliography LORCA, Federico Garcia Three Tragedies ca ble Wedding, Yerma, Bernarda Alba. Translated by J. G. Lujan and R. L. OConnell. New York, New Directions Publishing, 1955.