Tag: Federico García Lorca

The House Of Bernarda Alba

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.

Blood Wedding

Storm Ashley treated us more gently than expected today, only blowing over one heavy potted pot, so I stayed in and reviewed ‘Blood Wedding’.

The second of Federico García Lorca’s three tragedies in the Folio Society’s collection has a different approach to the story of feuding families and forbidden love than that of Shakespeare’s better known Romeo and Juliet.

Lorca focusses on contrasts, alternating prose with verse; dark with light; music and gaiety with tension and a sense of doom; warm colours of pink and yellow with colder white, grey, and blue.

Lyrical language and the tuneful verse of the happier moments exemplify the poet’s ear. It is noticeable that the joy of the guests is not reflected in the apprehension of the Bride.

As usual the author is very clear in his scene directions to set the mood of the sequences,

noticeably those introducing Act One, Scene Three (the room, the Maid’s character, and the unease of the Mother and son).

The Beggar Woman symbolises Death and Doom, while Moon casts light as the inevitable tragic conclusion unfolds, perhaps not quite as expected.

Peter Pendrey’s linocuts are here presented as set in their pages, shared with examples of the author’s writing.

Regarding Shakespeare’s play of a similar theme I have previously posted

Romeo And Juliet

featuring an altogether different set of illustrations.

Elizabeth visited us for a short time this afternoon, because Efford Recycling Centre where she was booked to tip some rubbish was closed, presumably on account of the storm.

This evening we dined on Royal Spice home delivery of excellent Murgh Masala (only one chilli strength) and plain paratha for me, which I drank Kingfisher; and paneer shashlik for Jackie. We shared special fried rice.