The Fate of Those Who Seek Freedom

In La casa de Bernarda Alba, Lorca masterfully weaves a narrative where the desire for freedom is inextricably linked to death. This analysis of La casa de Bernarda Alba reveals how four key characters who express a longing for male companionship, and by extension, freedom from Bernarda's control, are all associated with mortality throughout the play.

Highlight: Adela, Martirio, Maria Josefa, and Angustias are all linked to death in various ways, emphasizing the tragic consequences of seeking freedom in a repressive society.

The play's use of language is crucial in establishing its setting and themes. Lorca employs colloquial expressions and regional sayings to root the story firmly in Andalusia.

Example: The use of the Andalusian curse "vieja lagarta recocida" helps to locate the setting and set the tone of the play.

Onomatopoeia plays a significant role in creating a vivid auditory landscape. The "gori-gori" of the church bells not only establishes the physical proximity of the church but also symbolizes the pervasive influence of Catholicism on the characters' lives.

Quote: "The onomatopoeia 'gori-gori' which refers to the bells, indicates that the house is very close to the church, firmly establishing the location of the story for the audience, and also metaphorically, that the house is highly influenced by the catholic religion of the time."

Lorca's use of sayings combines poetic and realistic language, serving to dramatize the play and highlight problematic societal attitudes.

Example: "hilo y aguja para las hembras. Látigo y mula para el varón" (thread and needle for the females, whip and mule for the male) illustrates the stark gender divide in society.

Hyperbole and Stage Directions in La Casa de Bernarda Alba

In this section of the La casa de Bernarda Alba analysis, we explore how Lorca uses hyperbole and stage directions to enhance the dramatic tone and emphasize the themes of isolation and repression.

Hyperbole is employed extensively, particularly in relation to Adela's character, to heighten the emotional intensity of the play.

Quote: Adela describes her love for Pepe as a "fuego que tengo levantado por piernas y boca" (a fire that rises through my legs and mouth).

The exaggerated eight-year mourning period imposed by Bernarda and the presence of two hundred women at the funeral underscore the oppressive nature of both Bernarda's rule and societal expectations.

Lorca's stage directions are crucial in creating a prison-like atmosphere within the Alba household.

Highlight: The house is described as very white with thick walls and grills at the windows, resembling a prison and emphasizing the characters' feelings of isolation and repression.

This description not only serves the play's themes but also reflects the typical architecture of Andalusian homes of the time, allowing Lorca to make a broader social commentary on the repression of women in Spanish society.

The playwright draws inspiration from Greek tragedy, confining the entire play to a single location. This technique further isolates the family from the outside world and intensifies the claustrophobic atmosphere, which is exacerbated by the bitterness and hatred between the sisters.

Page 4: Character Analysis

This section delves into the complex motivations of Angustias and Martirio, two key characters whose actions drive the plot's tension.

Character Analysis: Angustias seeks marriage primarily as an escape route, while Martirio's secret love for Pepe el Romano fuels her destructive jealousy.

Quote: "Déjala. Por favor" - Angustias showing compassion by asking Bernarda not to hit Martirio.