Bernarda Alba’s House: A Study of Oppression and Freedom
Bernarda Alba’s House
Genre and Inspiration
This is a genre of literary fiction that incorporates elements of reality, modified by the author’s poetic vision. One source of inspiration for Lorca’s character of Bernarda was Doña Perfecta, the protagonist of the novel by Galdós. While the play is poetic and not strictly realistic, the settings and some characters are drawn from real life.
Symbolism
Symbolism plays a crucial role. Lorca achieves a symbolic language by condensing and selecting elements of reality:
- Distilling local elements
- Presenting an extreme yet possible scenario
- Creating a static environment
- Employing a time-specific, symbolic language
Themes
1. Authority vs. Freedom
The central theme is the conflict between authority and freedom. Bernarda imposes oppressive rules as head of the household, while María Josefa and Adela resist. Adela’s desire for freedom and love clashes with Bernarda’s authority. Her suicide ultimately closes off the path to freedom for her sisters.
2. Sensual Love
The women’s confinement leads to a lack of love and a fear of remaining single. Bernarda’s eight-year mourning period prevents any romantic relationships. Pepe’s presence ignites passions and conflicts as the women yearn to escape Bernarda’s control, marry, and find happiness. Love is presented through offstage stories and the characters’ direct experiences.
3. Hypocrisy
The characters are preoccupied with others’ opinions, fear slander, and try to appear as something they are not. This hypocrisy masks and hides reality.
4. Hatred and Envy
Hatred and envy dominate human relations. Bernarda becomes an object of hatred for her servants and neighbors, while she herself harbors intense hatred.
5. Social Injustice
The play presents a rigid social hierarchy, from wealth to poverty. Those in the upper strata treat those below with cruelty and meanness, while the lower classes exhibit resigned submission to Bernarda.
6. Female Marginalization
Lorca critiques the marginalization of women by presenting two contrasting female models: one based on loose morals and the other on a strict notion of decency.
Characters
- Bernarda: Authoritarian, aggressive, violent, uncompromising, petty, and feared due to her nature and knowledge of others’ secrets.
- Poncia: Shares some traits with Bernarda; old, traditional, and concerned with honor.
- Angustias: The eldest daughter; old, unattractive, sickly, and wealthy.
- Amelia and Magdalena: Inconspicuous; Magdalena mourns her father, while Amelia is submissive and fearful.
- Martirio: Embodies resentment and envy.
- Adela: Represents passionate love, instinct, and the desire for freedom, but her rebellion leads to suicide.
- María Josefa: Characterized by insanity and senility; the only one who defies Bernarda.
Structure
Outer Structure
The House of Bernarda Alba has a classical three-act structure: presentation, middle, and end. Each act occurs at a different time. Lorca’s drama is cyclical and repetitive. Each act follows the same pattern: initial calm, escalating conflicts, and a violent conclusion. Erotic passion, jealousy, and hatred intensify as the play progresses.
Example of Cyclical Structure (Act 3):
- Calm situation: Women dining, Prudencia’s visit
- Conflicts: Bernarda and Poncia’s conversation, Martirio and María Josefa’s encounter, Adela and Martirio’s confrontation
- Violence: Gunshot and Adela’s suicide
Other Elements
- Each act begins with the adverb “then.”
- The play begins and ends with death.
- Recurring themes and discussions.
- Act 1 and Act 3 begin with silence.
- Oppositions of contraries: freedom/oppression, home/road, day/night, white/black, light/dark.