The House of Bernarda Alba:
Chapter Notes – Act 2
Summary
·
Through
Poncia’s certainty and Martirio’s
suspicion the reader becomes aware of the fact that there is something amiss
with Adela.
·
To
add to this suspicion, there is a disagreement on what time Pepe
el Romano left the night before,
suggesting the presence of secret with the house.
·
Poncia
accuses Adela of having being with Pepe el Romano,
however Adela is extremely defiant, which causes a quarrel between the two,
where Adela’s feelings for her sister’s fiancée are
revealed, just as Poncia’s true intentions to save
the name of the house, in order to save her own, are revealed.
·
The
consequences of being born a woman in this society are discovered as the women
express their desire to join the men on the fields.
·
This
atmosphere is then disrupted with the evident animosity between the sisters,
when Agustias investigates in order to find the
stolen picture of her fiancée. When the dust settles the culprit is identified
to be Martirio.
·
The
animosity is then taken to another level, between Poncia and Bernarda, during their bitter discussion on the
justifications of the actions taken by the daughters. Through their discussion
the importance of a powerful status is also established.
·
On
page 153 a commotion erupt outside the house, it is discovered that Librada’s daughter gave birth, without being married.
Meanwhile Martirio, having seenAdela
in Pepe’s arms threatens to expose her secret. Librada’s daughter is being dragged through the town by a
mob, establishing the penalty of disobeying society’s rules.
Motifs &
connotations
Windows and doors:
·
When
Bernarda’s husband dies she tells her daughters to
close all the windows and doors, suggesting that they are prevention from the
outside world.
·
However,
in act two, we discover that windows and doors are not only prevention but
also, reversely, a providence to an air of freedom. “Let’s go and watch them
from the window in my room!” (Page 145)
·
The
windows and doors act as a keyhole to the exterior world and to the freedom of Bernarda’s captivity, where sexual desires are not
repressed. This is reinforced in this act, as it is by the windows where Angustias awaits her fiancée every night.
·
The
windows and doors in this act are portrayed as a border between confinement and
freedom. However, it is suggested that many fear to cross the border, despite
their wishes too. “All the neighbours are at their
doors” Libradas daughter scene
Gossip:
·
Gossip
is an essential element of this play, as without the presence of an official
narrator we rely on it to inform us on the unobvious.
·
However
unlike a narrator, the reliability of the gossip relies on how it’s coming from
and in this play it is evident that everyone but Poncia is influenced by their
emotions. Therefore in this act, we learn the different perception of everyone,
creating dramatic irony and tension, not only for the audience, but for the
Alba family too when they discover that their perceptions contrasts.
This is evident when there is a
clear build up of animosity
when an agreement cannot be made about
what time Pepe el Ramano
really left from Angustias’s window, the previous
night.
The constant occurrence of gossip
also reinforces the consequences of Bernarda’s
suppression, as it creates a hostile atmosphere suggesting
that there is a limited freedom of
speech.
Heat:
·
Connoting
suppression, the heat within Bernarda’s house is a
significant symbol in more than one way.
·
During
the scenario, when Angustias is in furry when she
finds out that her fiancées photograph has been stolen, it is evident that heat
builds the atmosphere. Not only is Angustias ‘heated’
in the sense that she is burning with anger, Bernarda
actually refers to the temperature, “In the silence of this heavy heat” (page
147). However to the audience this can be interpreted as a subtle
acknowledgement to the actual heat between her daughters, created by the friction
of their need for sexuality, which in this case is Pepe.
·
Heat
is also an element used to build the environment, the suppression which is
within the house suggests a claustrophobic atmosphere which the daughters
cannot escape. “The heat makes me ill”. (Page 147)
Social expectations:
·
In
a society where people are not permitted to pursue their desires and passions
freely, expectations of the people surrounding you become the main source of
conflict.
·
In
‘The house of Bernarda Abla’
no action is taken before considering the reaction of society and when an
action is taken before considering the result of it, the consequences are
evident in act two, when Librada’s daughter compels
herself to her death by giving birth before marriage. “She should pay for what
she did” (page 154)
·
Bernarda’s desperation to keep her family name clean and live up to
expectations is what causes her to suppress and confine her daughters; we learn
in this act that she is excessively concerned with
marinating her level in society, amassing money and portraying an image of
“family harmony”, never considering the suppression of her daughters. This is immensely
explored during her conversation with Poncia, “My blood will never mix with
that of the humanas family- not as long as I live!
His father was a field hand.”
·
In this act it is also suggested that Pepe
truly feels for Adela but not Angustias, however he
makes a choice based on financial requirements. Suggesting that in this society
is only expected to choose money over passion.
Oppression under the matriarchal rule:
·
Typically
most oppression is done by men. However, this play proves that women also do
exercise their power when given a chance. The matriarchal rule Bernarda imposes over her five daughters, within her
“domain”, as Poncia defines it, deprives them of their passions, by cruelly
crushing their desires.
·
Therefore
her daughters, unable to accept this suppression, strive to find ways to escape
the captivity. In the first act, figuratively and in this act more literally.
“I’d fight my mother, to put out this fire that rises from my legs and mouth.” (Page
142)
·
However,
in order to fulfill their desires, these women distort the concept of a female
domination, as they prove that they paradoxically struggle to escape a
matriarchal domestic fascism, only to come under a patriarchal one.
·
They
demonstrate this every time repressed passions explode and they rebel against
their mothers wishes. “…Because if I talk the walls will collapse in shame” (Page
149)
Characters
Adela:
·
The
youngest, most attractive and rebellious of the Bernarda
daughters. Adela is a character we do
not witness a large change in, personality wise, but we learn more about as her
character and emotions are exposed to a large extent in this act.
·
It
is already apparent in act one, that Adela is a boisterous young woman, seeking
attention and trying to avoid feeling worthless, which her own mother makes difficult
for her and her sisters.
·
So
when she finds out that the one man who she possibly expresses her sexuality to
is her sister’s fiancé, she appears to be “restless, shaky, frightened” and
suffering from envy.
·
However,
ironically Adela is constantly avoiding feeling vulnerable, even though she is
in a vulnerable position, as she attempts to reverse this envy, by reminding
her sisters that she is the most beautiful one of them.
·
Although
these attempts are successful most of the times, even when Poncia directly
confronts her and threatens to expose the affair.
·
We
do get to witness Adela as distinctly anxious towards the end of the act, when
she pleads her sister to “leave me alone” and when we learn the consequences of
being giving birth before marriage. Her alarm and disagreement of her mother’s
demands, during this scene suggests strongly that she too is sexually active
and foreshadows her potential future.
Poncia:
·
Through
out this act it becomes obvious that Poncia is the only shred of sanity in this
play. However, ironically unlike the Bernarda’s
daughters although she has the opportunity to escape the confinement she feels
that she is “stuck in this convent” to carry out a duty “so people wont spit
when they come through that door”. This explains her exact intentions within
the house, which we remain curious about in act one.
·
However
we are still uncertain whether she is trying to protect her own name or Bernarda’s name.
·
Poncia
is a diverse character and it is what she represents that differentiates
her from the rest. She represents compassion, with the way she reacts to the
actions of the daughters; she represents a conscience, when she suggests to Bernarda how to react to her daughter’s actions and she is Lorca’s representation of common people in Spain and how
their rights are suppressed, when she is constantly reminded of her status “And you don’t
because you know very well what you come from”.
·
Despite
that, as an audience you would tend to take a liking for Poncia as she also
represents the neutral character, whose views are not influenced,because
she is not a part of the family, therefore we tend to trust her the most, using
her perception to build our own.
Martirio:
·
The
most complex of all the characters. Martirio’s true
intentions and emotions are discovered in this act. Her envy for Adela “because
she, too, loves Pepe” becomes obvious, despite her
efforts to conceal her feelings. “But I adore underclothes. If I were rich,
mine would be made of Dutch linen”, suggesting that the realistic, monotonous
and person she feigns to be, is in reality someone who is too burning with
passion and craving for pleasures.
·
Initially she allows us to believe
that she constantly monitors Adela’s actions because,
influenced by her mother she wishes to protect her family name.
·
However, we learn, through out this
act that her real reason for scrutinizing Adela is hypocritical as she fears that Adela will make Pepe
her own puppet.
·
It is made evident that Martirio constantly attempts to hide behind ‘sacrificial
victim’ image that she has created for herself but when we discover that it was
Martirio who stole the picture, this image is
distorted and it is suggested that she is not necessarily rebellious but is
trying to assert control, over her sisters, which is a compromise for the fact
that she is not able to gain what she wished too.
Bernarda:
·
Initially
is it easy to believe Bernarda Alba is simply a
tyrannizing woman, suppressing her daughters, as a way of venting her
frustration.
·
However,
through act two, a diverse perception is built of her, especially during her
conversation with Poncia. We discover that despite her efforts to assert
control within the house, she in reality is powerless. Her vulnerability is
exposed and we learn that Bernarda too is suffering
from the exclusion of a man, in her life. However, she tries to replace the
presence of a man. This allows us to sympathize with her to an extent as it
half justifies why she keeps her daughters so suppressed.
·
However,
when it becomes apparent that Bernarda actually
derives pleasure from the killing of Librada’s
daughter, she can only be defined as a hateful woman, trying to preserve the
name of her family.
Amelia:
·
A
flat character, whom we do not witness a real change
in. Amelia remains timid, naïve and meager through out this act and
specifically when it comes her surroundings and the whirl of envy, tension and
secrecy that her sisters have created. This is emphasized on,
when we discover that Amelia “sleeps like a log”, while her sisters are prying
around the house at night.
·
Her
passive character is a contrast to Adela’s defiant
attitude.
·
·
However, it is also suggested that
despite the fact that
Angustias:
·
Oldest
daughter and engaged to Pepe El Ramano,
Agustias is depicted as a “rapidly
ageing, narrow-waisted, unhealthy, and thin” woman. Angustias
only realizes, within this act that her sisters are seething with jealousy
because she is soon going to escape the confinement of the house. However,
despite this fact she seems the least romantic, avoiding any questions about
her relationship. “Nothing. What would he say to me? It was just talk”
·
It
is suggested through out this act that Angustias
cannot and will never be happy although she is the only daughter who is
approved the permission to get married by her mother, “I ought to be happy, but
I am not”
·
Although Angustias
is the one granted the permission to get married, she is the least able to
protect herself, this is made evident when she constantly hides behind her
mother.
Images
Images that Lorca creates in act two give us options on how we wish to
interpret.
“A white
inner room in Bernarda’s house”, a description, that
opens act two, and which can be interpreted in two ways. In the literal sense,
or in a figurative sense considering the colors, as
white suggests purity of the daughters as “they are seated in low chairs,
sewing” and carrying out the objectives of a women in this society.
This is a
technique employed to build the atmosphere, without being too factual and is
commonly done through the use of colors and their
representations.
However, Lorca does not necessarily use just the typical
representations of colors but even makes use of typical
representations of light intensity, as it is evident that Angustias
always meets her fiancée at night, when there is a sense of freedom around the
house, not only because Bernarda permits it but
because things can be done and yet not seen.
Setting
·
Located in a remote Spanish village,
the setting of ‘The house of bernarda Abla’ builds the reflection that Lorca
is trying to create of
·
With a constant reference to heat
through out this act, “The heat makes me ill” (page 145), a claustrophobic
atmosphere is built, the heat connoting suppression.
·
There are also the high levels of
tension and concealment and secrecy, which are created with the presence of
gossip.
·
However, because of the awareness of
secrecy within the house there is less privacy, as everyone, but Bernarda is constantly meddling around the house. This is
strongly suggested when the conversation between Poncia and Bernarda
is interrupted with first Angustias, “[entering]:
That’s a lie!” The way she disrupts the conversation suggests that she was obviously
listening before she commented. This is reinforced when Martirio
does the same, “[entering]: I heard him leave at four, too”. (Page 152)
·
The fact that everyone even feels
the need to gossip also suggests that this is an environment where nothing can
be easily said and there is less freedom of speech, building the atmosphere of an
uncomfortable, uneasy, hostile home.
Narrative style
·
As a drama text the atmosphere
created heavily relies on the tone of the character, which Lorca
evidently emphasizes on.With, for example constant
exclamation marks, when tension is needed to be built and the use of powerful
words to create the right imagery.
·
However, a lot of Lorca’s ability to build tension and anticipation in this
play and in this act specifically, relies on the structure he uses and the pace
of the structure. This is evident, the most during the scene where the
commotion is built about Librada’s daughter. Lorca structures it so that it is after Adela’s
denial about her love for Pepe, so the consequences
foreshadow her future. The pace of speech also builds a tension, suggesting the
three are almost talking at once, not acknowledging each other fully. “Kill
her, kill her!” (page 154) Which is a technique also used during the powerful
battle between poncia and Adela. “You advice is
useless- its already to late” (page 142)
Conclusion
Act two
evidently consists of all the key events in this play, due to the fact that it
is the point when the plot is thickened and the action takes place, we see
developments in most characters and learn of their true intentions and the
justifications of the actions taken by them, specifically with Adela, Martirio and Bernarda. A lot of
also foreshadowed in this act, allowing the reader to assume what might come
next in the masterful struggle between freedom and reputation.