Fact and Poetry in The House of Bernarda Alba

Fact and Poetry in The House of Bernarda Alba

Fact or Poetry in The House of Bernarda Alba

The House of Bernarda Alba offers a vision of reality shaped by the poetry of Federico García Lorca. It masterfully combines fact and poetry. Perhaps this is inspired by real events; the Alba family existed in reality.

A house whose furnishings suggest a typically Andalusian space (jute curtains, bulrush chairs). Next to the white, the black of mourning is equally real and equally symbolic — a contrast that is emphasized in Act III, when Bernarda appears on stage in petticoats and a black shawl, and when the darkness of night confronts the white of the stallion.

Gender Roles and Patriarchal Society

The book perfectly reflects the patriarchal society; it also clearly shows the roles of women and men within a deeply Andalusian family (needle and sewing for females; whip and mule for males).

Marriages are often arranged without regard for the child's opinions and wishes, and are based on economic and social issues. Once married, a woman was expected to take care of the house and not ask her husband for anything.

Realistic, Documentary Elements

To complete the documentary aspect, Federico, the author, provides a number of features that reinforce the realistic component:

"A faithful reflection of the society of the time, compartmentalized, with various social groups and with all faults and defects."

• Presence of many folkloric elements (forms of dress, beliefs, superstitions).
• Use of colloquial language, including rude insults and popular sayings.

Poetic and Symbolic Elements

Similarly, there are other elements that reinforce the poetic and symbolic dimension:

• Presence of many metaphors, comparisons and hyperbole.
• The use of verse in the litany (the reapers' song).

Key Symbols

Especially noteworthy is the presence of symbols, such as the following:

• Water: linked to sexual desire.
• The stallion: represents the force of nature, instinct and unbridled passion (Pepe is associated with the stallion).
• Flowers: symbol of love, passion and sexual desire.
• The sheep: María Josefa's wandering at the end of the play may refer to the sacrifice that Adela will make, giving her life in the service of freedom.

Progression from Realism to Poetry

As the work progresses, we witness a gradual predominance of the poetic over the real. In Act II, realistic details diminish but are still present. It is in the third act that realism loses ground as the characters are diluted into photographic images; the third act is the most poetic of all, introducing elements that are magical, fantastic, or symbolic.