Argumentation and Characterization in Literature
Types of Arguments
Here are some common types of arguments used in rhetoric and literature:
- Argument from Authority: This argument builds on what was said or written by an authority on the subject.
- Argument a fortiori: This relies on the power of reason in what one proposes.
- Argument ad populum: This uses sentiments emanating from concepts such as parental, family, religion, etc.
- Argument ad judicium: This uses an appeal to common sense.
- Logical Arguments: These follow a structure like “if p then q” (e.g., “If it rains, the streets are wet”).
- Deductions: These go from the general to the particular.
- Induction: For example, “If a girl got in free to the Pacha Disco (private), by induction, all the girls get in free to these clubs (general).”
- Analogy: For example, “If Rachel got a 4.5 and the Latin teacher approved it, I, by analogy, since I also got a 4.5, will be approved.”
- Demagoguery: This consists of using arguments that seemingly have much weight but are incorrect or irrelevant, intended to convince unprepared people whose good faith is abused.
Bernarda Alba: Topical Issue
In The House of Bernarda Alba, Lorca returns to the conflict between authority (represented by the mother, Bernarda Alba) and the yearning for freedom (represented by her five daughters). Lorca pays particular attention to the female world, as well as frustrated or impossible love. The popular character of his work is based on the rural atmosphere that shares most of his plays. The moral code imposed by the mother is the law governing the whole family.
The text is important within the whole work because it shows that sexual desire begins to awaken in Bernarda’s daughters due to a man (Pepe el Romano). On the other hand, we are shown another issue that Lorca tries to reflect in this work: sexism and gender violence, illustrated by the violation of Paca la Roseta by several men, presented as something even “soft” for the victim.
Contextualization of the Piece
It is clear that characterization is achieved through dialogue. Not only the character itself but also the dialogue with other characters tells us about the character described. We know many physical and psychological traits of Bernarda through dialogues between other secondary characters. Bernarda is the protagonist. From a psychological point of view, she is a flat character: she does not evolve throughout the play. Bernarda is a prototype with no more importance than her daily life, although in this case, she would not be vulgar because she is well characterized.
Poncia and Angustias, like Bernarda, are flat characters, but they are secondary. Adela is a round character who, from this passage, is evolving psychologically. She is the antagonist and is already starting to show some defiance. The entire play takes place in an enclosed space, a single-family home, which, symbolically, is the prison where Bernarda’s daughters live. Only women appear on stage, excited by the distant presence of Pepe el Romano. It brings us into the life of a family that has just suffered a severe blow by the loss of Bernarda’s husband.
Characterization
Being a piece of a play, it is evident that there is dialogue. The author uses dialogue and “lets the characters act” in a clear attempt to give credence to the literary work. In this fragment, catharsis occurs because we identify with a particular character or plot situation that occurs in dialogue. The author uses the direct style, quoting the words or thoughts of the characters textually. The language is intended for representation; it is seen even in reading because if an imaginary representation is not understood, the text is incomprehensible, and the replies are no longer coherent and understandable outside the environment.
Another feature of this text is that there is a double split: the issuers and recipients. In this work, at least two partners are involved, so we have a polylogue. The polylogue is useful for introducing a figure from the perspective of other figures in the drama. The dialogues include long speeches, brief replies, etc.
There are mainly verbal asides that give action and dynamism to the work. On the other hand, in this work, we discuss autocaracterization and heterocaracterization: In the first case, the words and actions present a figure; in the second, a figure is presented through the opinion of another. Other elements that Lorca used to characterize a given character are the names of the characters: Bernarda (strength of a bear). The linguistic features that stand out are the number of personal pronouns, noting especially the presence of “I” and “you” in terms of subject. There is also the presence of other deictic pronouns and adverbs. Another phenomenon of note is the constant changes in tense, always from the speakers’ present. The mode also changes. The author uses straightforward and expressive language where sentiment is tragic and hopeful, with remarkable foreign words and attitudes. We can clearly see the mastery of dialogue, which is characterized by its fluidity, nerve, and intensity. Reality and poetry are joined.