Key Themes in Lorca's The House of Bernarda Alba

The central theme of the play is the confrontation between an authoritarian morality (represented by Bernarda) and the desire for freedom (embodied by María Josefa and Adela).

Confrontation: Authority vs. Freedom

Bernarda attempts to impose her oppressive rules while both Adela and María Josefa try to resist and cope with her domain. The other daughters accept their fate with resignation, although Martirio seems to challenge her mother on occasion.

Sensual Love and the Pursuit of Men

The plight of these locked-up women consists of the absence of love in their lives and the fear of remaining unmarried. The emergence of Pepe el Romano ignites the passions of these women, who wish to marry to escape Bernarda's tyranny.

Adela's passion is particularly intense. Already in the first act, Lorca offers indications of Adela's desire through symbolism, such as the colors red and green, which represent love and passion. In the second act, Adela evolves from wishes to decisive action.

Martirio is also in love with Pepe el Romano, and seeing that she loses him, she attempts to destroy Adela. Angustias seeks marriage to meet men, and Amelia and Magdalena are also involved in the need for a man.

Hypocrisy and False Appearances

The fear of gossip is a constant in the characters' lives and dictates Bernarda's behavior. For fear of her neighbors' comments, Bernarda hides her own mother, María Josefa. The world of false appearances and hypocrisy, as a form of social behavior, affects primarily the narrative and less the character of Martirio.

Hatred, Envy, and Jealousy

Bernarda becomes an object of hatred for her servants and neighbors, making her a detestable character. Angustias is hated and envied by the rest of her sisters. For her part, she also harbors hatred. Hatred, envy, and jealousy lead Martirio to accuse her sister Adela. The entire work is full of passages in which intense hatred is expressed.

Social Injustice and Economic Inequality

The play poses a well-defined social hierarchy. Economic inequality affects even Bernarda's daughters. The difference in wealth contributes significantly to the drama, as Pepe el Romano chooses Angustias precisely because of her fortune. Bernarda is portrayed as greedy and incapable of any generous impulse.

The Marginalization of Women

The play contrasts two female role models:

• One based on loose morals (e.g., Paca la Roseta, the unnamed prostitute).
• The other based on a rigid conception of decency (Bernarda).

Men work in the fields, while women are confined to the house. Following the attempted lynching of the unmarried mother (the daughter of La Librada), Adela begins to identify freedom and progress with women who defy conventional virtue.