Reality and Symbolism in The House of Bernarda Alba
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Reality and Symbolism in The House of Bernarda Alba
It appears that The House of Bernarda Alba was inspired by real events. The Alba family existed, and the author observed them in 1935.
The house's furnishings suggest a typical Andalusian space: jute curtains with tassels and frills, cattail chairs, thick walls, and arched doorways. The house is characterized by its whiteness, which symbolically fades as the play progresses (the white room in the second act appears slightly bluish-white, and in the third act, it has a bluish tint).
Alongside the white, there is the black of mourning, equally real and symbolic: black dresses, black fans, etc. The contrast between white and black is accentuated in Act III, when Bernarda and Martirio appear in petticoats and a black shawl, and when the darkness of the night restrains the white stallion.
Moreover, the play reflects the patriarchal (or matriarchal, in this case) society of that time, which caused unhappiness and suffering, as well as small rebellions. It also clearly shows the roles of women and men. "Thread and needle for females. Whip and a mule for the man."
Marriages were often arranged without the children's consent, based more on economic and social issues than on love, as in the case of Pepe el Romano and Angustias. He is interested in her money, marshes, and woods.
Once married, the woman would care for the house and family and not question her husband: "Do not ask. And when you marry, even less."
Federico García Lorca provides several aspects that reinforce the realistic component of the play:
- Accurate reflection of the compartmentalized society of the time, with its various social groups and their faults and defects.
- Presence of many folkloric elements, such as modes of dress, beliefs, superstitions, and religious practices. There is also a special concern for the cliché of "what people say."
- Use of language.
On the other hand, there are also elements that reinforce the poetic and symbolic aspects:
- Presence of metaphors, comparisons, hyperboles, and morphosyntactic and semantic parallels.
- Presence of symbols, such as:
- Water: linked to the girls' thirst, i.e., sexual desire. River water is living water, which fertilizes and is associated with romantic encounters, as Adela says: "Pepe el Romano is mine. He takes me to the reedy banks." In contrast, well water is a symbol of stagnant water and death.
- Colors: the contrast between black and white. White as a symbol of life, love, freedom, repression, and death. Green is associated with hope, for example, the green dress that Adela wears, the green range of flowers, and the olive green that Paca wears. This color is a contrast of freshness and vitality, as opposed to the sad monotony of mourning.
- Wheat: associated with fertility and masculinity. Wheat straw is linked to sex, as Bernarda orders the horse to roll in the hay, and when Adela accuses Martirio of being with Pepe, she says: "Look at those skirts filled with wheat straw!"
- The stallion: represents the force of nature, instinct, and unbridled passion. The figure of the horse is associated with Pepe el Romano; it is mentioned twice that he was riding his horse. The white stallion against the darkness of the night is also a prescient symbol of Adela's death.
- Flowers: symbols of love, passion, and sexual desire. Adela has a range of flowers. Paca has a wreath when she returns to town after a sexual experience with men.
- The sheep: María Josefa carrying a sheep at the end of the play may refer to the sacrifice that Adela will make, giving her own life in the service of freedom.
Some scholars suggest literary sources for García Lorca. The concept of honor in Bernarda Alba is linked to the literary tradition of the theater concept of honor of the Golden Age, especially that of Calderón de la Barca.
Similarly, the behavior of servants towards their masters could be inspired by La Celestina.