This is the third of Federico García Lorca’s Three Tragedies in the Folio Society edition of 1977. As usual I have presented the illustrations by Peter Pendrey as they lie on their pages in the context of the author’s clear scene directions.
The play has an all female cast, with the only male character, being the focus of conflict and rivalry never appearing on stage.
We have an embittered controlling woman who battles to maintain appearances of harmony in a family of daughters barely concealing seething hatred. “I’m not interested knowing what you’re feeling inside; that’s your business; but I like to see an illusion of harmony at least.” “Do you understand?” – this last sentence is an indication of her domination over all but her youngest, whose equal spirit seeks the changing life of the future, while her mother clings to the old ways.
The poet’s language includes such as “until she looks like a squashed lizard when the children have finished with it” or “I love the way that priest sings…..his voice soars up and up like water filling a bucket little by little”. Songs in verse carry repeated phrases like “Open doors, open windows, /Village maidens draw near/The reapers beg roses/For the hats they wear”, yet the perception of the condition of women is encapsulated in this three sentence conversation: A. “Men get away with everything.” Another A. “It’s the ultimate punishment to be born a woman.” M. “Not even our eyes are our own.”
The appearance of the eldest, possibly dementing, woman in the final act symbolises loving mothering as she tenderly carries a baby lamb.
As the oppressive heat out in the village threatens an impending storm, so the stifling suppressed conflict among the sisters portends an emotional explosion within the airless house of mourning.
Sue Bradbury’s translation is fluid and seems to me who has no Spanish to convey the original language.
Here are Peter Pendrey’s last two accurately expressed lino-cut illustrations.
This evening we dined on a rack of pork spare ribs in barbecue sauce; Jackie’s special fried rice; carrots, cauliflower, broccoli, and runner beans, with which I finished the Cabernet Sauvignon.
This looks like another compelling play.
Thank you very much, Liz
You’re welcome, Derrick
Thank you for the review. I imagine it would be compelling to see it staged.
Thanks very much, Merril.
Interesting review. I’d like to know more about the story. Good job.
Thank you very much, Pat. You know I like to avoid spoilers
The House of Ivor, is busy today …
Firstly, a train trip with a difference >> https://www.theqtrain.com.au/
Secondly, the ‘Tim Winton’ event >> https://events.grlc.vic.gov.au/event/10911495
Thanks very much, Ivor. You are doing your guest proud
I bet that’s a really good play to see live, I wonder just how different the Spanish and English versions would be
Yes. Thanks very much, Gary
Heavy stuff, Derrick. The “illusion of harmony” sounds like convent life.
Oh dear, Rosaliene. Thank you very much
Hopefully the motherly love wins.
Thanks very much, JoAnna
Another one “qui n’a pas pris une ride”
Absolument, Sylvie. Merci beaucoup
Fantastic review, Derrick! This is a play I’d love to see on a stage!
The poet’s words do paint such vivid images and evoke deep emotions. I especially like the image of the priest singing. 🙂
(((HUGS))) ❤️❤️
Thank you so much, Carolyn XX
I love the phrase “until she looks like a squashed lizard when the children have finished with it”
Thanks very much, Sue
Both the words and images look intense. Would be interesting to see this on stage.
Thanks very much, Laurie. I’m sure
The story of women and their lot in life is still important today. We have a long way to go.
Thank you very much, Lavinia
A powerful review. Your words have risen to match the intensity of the drama.
Thank you so much, Uma
The illustrations add much to this tale.
They do. Thank you very much, Sheree
The illustrations are really impressive!
Thank you very much, Riba