Federico Garcia Lorca "Blood Wedding"

In isolation, these pieces of village tittle-tattle are harmless. Together, especially because they are complicated by an substantiative alliance with the Felixes, they lend weight to dread of a spousal that is, for the Mother, a situation more to be faced and endured than embraced.

Although da Vinci was a child when the Mother's husband was killed, the Mother thinks of the murder as having happened yesterday. She will never relinquish the depth of madnessate ruling that the loss of her husband and firstborn son caused, though she suppresses it for the involvement of supporting the "done thing," or well-disposedly conventional wedding. In anticipation of wedded bliss in an organized social environment, there are certain things that one can non say because decorousness must be maintained. The Bridegroom's Mother adopts a Stoic air in company, which may prevent an absolute outburst against da Vinci Felix and all who are aligned with the Felixes despite what is clearly an prodigality of internalized inhering passion about her loss. Equally, however, this demeanor prevents expression of feeling, and unspoken feeling, just like unsatisfied passion, can lead to veto action. This would go far to explain why the Mother does not exactly jump for joy when going with her son to give way the pro forma call to the Bride's father to request the girl's hand. I

Both intensity and mood emerge in the shape of the conflicted histories that characters bring to their encounter with others as well as the highly specific backcloths, right down to the lighting and vista plot in the final scene (stark-white walls and floor; no perspective). Mood and intensity amplify the effect of the tragedy, especially in the aftermath of the deaths of the Bridegroom and Leonardo. The final white scene is the setting of such purity that it is stripped of all nonessentials; only passion remains to inflect the scene and deposit meaning there. The symbolic representation of the knife reappears at the closing moments of the play, this time as twain murder weapon and weapon of passion.

This is the knife, says Mother, "that barely fits the hand, / but that slides in clean / through the astonished flesh / and stops at the place / where trembles, enmeshed, / the dark root of a send for" (Lorca 98, 99). The scream of death, as the objective fact of life, merges with the scream of orgasm, as the just about profoundly subjective experience of life. The dialectic, or perhaps more accurately the irony of double meaning, dominates consciousness, keeping it in perfect(a) tension. This, too, is fallout of the double death, a waste of energy that is a marker of profound tragedy. Thus do discrete units of spectacular realization, made concrete by language and the connection between character emotion and action, contribute to a whole that is (and is meant to be) greater than the sum of its parts.

Molarsky, Mona. "A Feast of Lorca." American Theatre 15 (July 1998): 52-53.

2. Internal logic of poetic devices serve the play, heighten tension

BRIDE. What fuddle you come here to do?

1. Death-Character symbolism heightening irony, aestheticism

The Mother's consciousness, the in truth world in which she encases herself, is dominated by profoundly subjective values. So encased is she, indeed, that she has not ventured so far as the top of the nearest hill for years. Her household functions a
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