The House of Bernarda Alba: Motif Tracking – Sex and
Passion
Summary:
Adela’s
insatiable lust for Pepe el Romano, Angustias’ fiancé, causes tension between many of the
characters in the play. Adela and Pepe meet secretly
at night, but are seen one night by Poncia and her
sister Martirio, who we also learn envies Angustias as she steals Angustias’
photo of Pepe. This causes tension between the
sisters as Martirio threatens to tell on Adela and Poncia, who we know is a gossip, now has the power to
destroy Adela’s name. In Act two, Librada’s daughter is dragged by the mob across the town for giving
birth before getting married, contradicting the towns’ social expectations.
This scares Adela as she has lost her virginity to Pepe,
disobeying social expectations. This is proven when Adela says “[Clutching her
womb]: No! No!”, suggesting that she is pregnant with Pepe’s child. When Adela hears a gunshot in the end of Act
three, she assumes that Bernarda has shot Pepe. Due to intense emotions and her vulnerability, she
decides to hang herself. Furthermore, it can be argued that Adela’s confidence
has grown as the play has developed. It could be due to her relationship with Pepe that she finally has the confidence to stand up to Bernarda and actually break her Rod, ending the tyranny in
the House of Bernarda Alba
Quotations:
Page |
Quotation |
Analysis |
122 |
‘Never
again will you lift up my skirt behind the back corral’ |
The
intercourse here is animalistic suggesting either the exploitative nature of
the relationship (man to woman / master to servant) or the over-powering urge
of desire. The setting is also importance because like the olive grove the
corral is a place where rules can be broken or, alternatively, it indicates
how rule-breaking must be carried out in secrecy. |
123 |
‘Standing
very near your aunt.’ |
Bernarda
hints indirectly that the aunt was behaving improperly. Her proximity to the
‘widower from Darajali’ hints at an attraction
between the two but the fact that something so insignificant is looked down
upon reveals how strictly controlling the social rules in this town are and
also how much of a vicious gossip Bernarda is. This
is confirmed on p.124 when Bernarda exclaims that
‘Whoever turns her head is on the prowl for a man.’ where the use of ‘prowl’
is meant to insinuate how base, animalistic and immoral any woman who would
do such a thing is. |
127 |
“What were
you looking at? And who? |
This is
when Bernada is terrorizing her daughters and is
angry that they dare look at men during their father’s funeral mass. This
reveals how the girls have no freedom whatsoever and their lust for a man is
so strong that they will take every opportunity they have to study the men
around them. They are reduced to ‘peering through a crack in the door’ and
this is the closest they can get to a man. |
128 |
‘They say
she rode with her topless with her breasts hanging out.’ |
Paca
le Roseta is obviously a symbol of sexual freedom.
The open clothing suggests her lack of inhibitions and the fact that she is
associated with animals like the horse, distant places like the olive grove
and other symbols of nature like the crown of flowers reinforce this idea. |
130 |
‘Her
father killed his first wife’s husband in |
This is
the story of Adeleida’s father and it is a good
example of the kinds of stories of sexual gossip that Bernarda,
Poncia and, presumably the other members of the
town are constantly on the look out for. It appears that Bernarda
‘needles’ Adeleida about this every time that she
visits and it is clear that possession of this kind of information has given Bernarda some kind of hold over Adeleida
as she is anxious for the truth to remain hidden. |
137 |
As if she
had a lizard between her breasts |
The sexual
imagery here is used to suggests Adela’s jittery
nature and her desire for Pepe. |
138 |
“It really
is strange how two people who have never met suddenly see each other through
a window grating and – just like that – they’re engaged!” |
This
quotation reveals how restrictive the society is at the time. People are not
given an opportunity to get to know their future partner before agreeing to
marry them – everything is arranged in advance so that nothing inappropriate
can happen. The travelling to the window for the first time also has a
symbolic or performative aspect to it – it is more
of a gesture to the other townspeople of the intention to marry rather than a
gesture of love. As such it reinforces how many actions are done for the sake
of appearance and how the town is watching you all the time. |
141 |
Why were
you standing at the open window half naked? |
This
quotation is clearly meant to suggest Adela’s desire for Pepe
but also the rebellious and unconstrained nature of her character. It also
reveals how closely watched Adela is and how nothing can escape Poncia’s eyes. |
142 |
“- I’d
fight my mother, to put out this fire that rises from my legs and mouth.” |
Here Adela
is being openly honest with Poncia. The fire that
rises from her legs is referring to her passion and desire for Pepe and probably freedom in general and an escape from
the house. |
146 |
“No
reason, except I thought I heard people in the corral” |
This
quotation from Martirio reveals that she knows
about Adela’s relationship with Pepe. The fact that
it occurs in the corral (an animalistic / natural place) bespeaks the freedom
associated with this action as Adela begins to tear free of the despotism of Bernarda’s house It also suggest how transgressions of
the rules need to be kept secret. Martirio’s
attempt to make her comment seem innocuous while actually desperate to find the
truth or perhaps prompt a punishment for Adela reveals how the house and town
is riven with gossip and how Martirio,
even though she suspects the affair, has to maintain an appearance of
innocence. On p.148
we find out that Martirio stolen Pepe’s photo and has placed it
under her sheets suggesting she is jealous of Adela’s affair as she too lusts
after Pepe. Thus it reveals how all of the sisters
are willing to betray one another. Lorca appears to be implying that one of
the results of the overly oppressive rules in place at the time is that
people who should care for one another will be turned against each other …
and ultimately will be turned against themselves as their jealousies and
passions consume them and drive them towards self destructive behaviour. |
155 |
“The
breeding stallion, locked up and kicking the wall. Shackle him and let him out in the corral!
He must be hot.” |
The heat
she refers to is the passion and lust while ‘locked up’ suggests how little
freedom the daughters have. Ironically animals, however, are free. |
162 |
“They are
women without men, that’s all.” |
This quotation sums up
their continuous lust for sex in order to claim a man and marry them to be
free. |
165 |
“Stay away
from that man!” ‘He loves
me! He loves me!’ |
Their
passion to escape from the house is so deep that their even willing to betray
their own sisters in order to get out. The repletion and exclamation also
suggest the extent of Adela’s fervor. |
166 |
“Let my
breast explode like a bitter pomegranate!” |
This
release of anger shows how much they long for passion or some form of love
but how, after continually having to repress these desires the daughters have
become bitter and rotten inside. |
166 |
“If one of
us has to drown, let her drown! Pepe el Romano is
mine!” |
This quotation
re-enforces how badly the daughters want to escape with a man that their
willing to sacrifice their own sisters for a life of their own. The idea of
being carried away by a river which is also mentioned here suggests the
uncontrollable force of Adela’s passion. |
168 |
She died a
virgin |
This
reveals not only the importance of maintaining the appearance of following
the rules of the town (as opposed to actually following the rules) it also
reveals the price that Adela has to pay for being an individual and her death
actually implies that there is no place for a free and passionate character
like Adela in this play nor in Spanish society of the time. This quotation
also reveals how cold Bernarda is – her daughter
has died and her first concern is to avoid scandal and protect the name of
the house. |
Key Moment:
One key
moment for the motif “Sex and Passion” is the end of Act three, where
everything is in chaos. This is the part where Adela hangs herself because she
feared that Bernarda has killed Pepe.
This was clearly an act of passion, giving the audience a sense of how much
Adela loved Pepe. Furthermore, Bernarda’s announcement that “She died a virgin”. is important because it tells the audience that the whole
play revolves around rumors, gossip and the keeping up of appearances: Bernarda said this to protect the Alba family name.
Another key
moment is when Adela ‘bursts into angry tears’ on page 134 and says she ‘can’t
be locked up!’ and she doesn’t want her ‘body to dry up like’ her sister’s and
she doesn’t want to ‘waste away and grow old in these
rooms’. These quotations shows what all the other
daughters are thinking, even though Adela is the only daughter unafraid to
speak out. The quotation suggests how the daughters don’t want to die alone, or
die a virgin or die without ever having felt love, but due to their
surroundings and the way they’ve grown up, it’s already too late for some of
the daughters to change this.