The House of Bernarda Alba : Motif Tracking –
Violence & Bernarda’s Rod
Summary:
The motif of violence is used by
Lorca to reveal Bernarda as a cruel and oppressive tyrant. Adela’s suicide is another pivotal point for
the motif as her death shows Bernarda’s lost for
control for the first time. Violence is
closely related to other motifs within the play such as passion, love and
nature. Society forces Adela to commit
suicide as her relationship with Pepe is unacceptable in the eyes of society.
Quotations:
Page |
Quotation |
Analysis |
124 |
Bernarda [striking her cane on
the floor]: Blessed be God! |
This depicts Bernarda
using her cane to gain the attention of all the women in the house and how
she uses this object to control or direct everyone else. The fact that she goes on to say
‘Blessed be God’ suggests how closely related the Church and violence are.
This could imply that the strict rules of the Catholic church are ‘doing
violence’ to the people they are oppressing or that these strict rules can
only be imposed through violence. |
128 |
“You weakling! You’re sickening
[she strikes her]” |
This creates an initial impression
of Bernarda as violent and dictatorial – her
violence is a literal manifestation of the metaphorical violence done to the
individual by the oppressive forces of conservative |
136 |
Bernarda [rapping the floor
with her cane]: Don’t entertain the illusion that you’re going to be a match
for me! Until I leave this house foot first, I will make the decisions. My
own, and yours! |
The continuous rapping of her cane
is an act of intimidation and makes her seem more powerful and unbeatable.
This quotation also reveals the extent of Bernarada’s
dominance as it becomes clear that the daughters are not even allowed to
think for themselves as Bernarda will make all of
their decisions for them. |
|
“Her father killed his first
wife’s husband in |
This scandalous story about Adeleida’s father is the sort of gossip that Bernarda loves as it gives her power over the people who
it would shame. There is also a viciousness in the way that Bernarda revels in the sordid details of the story |
|
“Weakling! Hussy! You’re the image
of your aunts! [Furiously, she removes the powder from ANGUSTIAS’ face with a
handkerchief]”. |
Again Bernarda’s
behaviour towards her daughters is rough and humiliating – Angustias is a fully grown woman of 39 and is being
treated like a child be her mother. Significantly
the powder being removed from her face may represent that
kinds of luxuries that the daughters are not allowed to indulge in during a
period of mourning. This suggests the strictness of the social rules of the
time and how Bernarda is bent on maintaining
appearances. |
|
“They all drag the old woman off
stage” |
The violence here suggests Bernarda and the family’s desperation to keep the
shameful actions of the ‘mad’ grandmother hidden from view. Significantly
Maria Josefa’s madness is a form of freedom – she
constantly speaks of going away and going to the sea suggesting both symbols
of freedom and, in a very real sense, her insanity means she is not bound by
the same rules of thought as other people. Possibly Maria Josefa
is not really ‘mad’ at all – just different, and so Bernarda’s
rough treatment of her would suggest how roughly Bernarda
dismisses freedom and those who are different. |
|
“One day he said something or
other to me, and I killed all his finches with my pestle from my kitchen mortar” |
Here we see one of the strange
inversions of power that seem to center around Poncia.
Not only does she have more influence within Bernarda’s
house than we would expect a maid to have she also seems to have held
considerable sway over her husband, something very unusual in a strongly
patriarchal society. Perhaps the violence through which she attains this
power suggests something about the destructive nature of this society: within
these strict rules the only way to be free is to fight and control others. A clear contrast to a more benign society were people
could be individually free without harming one another. |
|
“May god strike me dead if I am
lying”. |
Religious rules dominate this
society and from this quotation it is clear that the people of the pueblo
have a violent and oppressive image of God matching the violent and
oppressive structure of their society. |
|
“Let them all come to kill her …
finish her off before the police get here.’ |
The punishments for breaking the
rules, in this case sex before marriage, are severe … but they are meted out
by the people of the town rather than the police, a judge or any other higher
authority. This perhaps intimates how Lorca views us as responsible for the
terrible oppressions that we have placed ourselves under. |
|
“[coming close to her]: He loves
me! He loves me!” ‘Don’t embrace me’ “That is the bed of a sinful
woman! [She moves towards Adela furiously]” |
Both Adela and Martirio
are in love with Pepe and the violence of the
language here suggests the strength of their passion. It also suggests how,
in a society as heavily restrictive as that in rural Spain in the 1930’s,
people are forced to suppress so many desires and passions that they end up
exploding destructively destroying that individual and / or the ones they
should care about – e.g. their family |
167 |
“The shouting in this prison is
over! [She seizes her mothers cane and breaks it in two]”. |
Clearly a key moment in the play
as it suggests that the power of Bernarda has been
broken. Suggesting perhaps that the only way to overthrow the oppressive
mores of the time is through violent revolution. |
|
“[A shot is heard]” |
Following the destruction of her
cane it seems that Bernarda is momentarily
powerless until she finds the gun. It seems, therefore, that Bernarda’s power is illegitimate and she cannot maintain
it herself without some external support (her cane) or weapon (the gun). This is also a moment of high
tension in the play as the action happens off stage and we are unsure whether
or not Pepe has been shot. The play derives some of the power
of its tragic end from this uncertainty as Adela kills herself believing that
Pepe is dead while in reality he has only run away. |
Key moment:
The key moment in this play is the
suicide of Adela as it could suggest the extent to which she is rebelling against
her mother and society – suicide is a cardinal sin and Adela breaks this rule
in the same way that she breaks the rules about sex before marriage and
familial loyalty.
Her death may also represent how there
is no place in this society for a vibrant, lively and free character like
Adela. This reveals how the mores that dominated rural Spanish society in the
1930’s prevented the individual from being who they want to be and, ultimately,
destroyed that individual. Ultimately the only way for Adela to be who she
wants to be is for her to die – the implicit criticism being that there is no
place for a character as lively, vibrant and energetic as Adela in Spanish
society of the time.
Another key moment is obviously the
breaking of Bernarda’s Rod which suggests that her
power over everyone else is also broken as she does not have anything to
threaten or intimidate them with. The only other reason others listened and
feared Bernarda is because off her cane. But in the
end of the play she replaces her broken cane with a gun, so she reclaims her
power and control over others, in particular Adela.