University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Graduate School Professional Papers 1968 Sterility| A study of theme in three plays by Federico Garcia Lorca Don Lyle Volk The University of Montana Follow this and additional works at: https://scholarworks.edu/etd Let us know how access to this document benefits you. Recommended Citation Volk, Don Lyle, "Sterility| A study of theme in three plays by Federico Garcia Lorca" (1968). Graduate Student Theses, Dissertations, & Professional Papers.edu/etd/3670 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana.
For more information, please contact scholarworks@mso. j STERILITY: A STUDY OF THEME IN THREE PLAYS BY FEDERICO GARCIA LORCA By Don Lyle Volk B., University of Idaho, 1968 Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 1968 Approved by Board of .Examiners Graduate School /^t UMI Number: EP36013 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.
UMT DimaMkMrt UMI EP36013 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved.
This work is protected against unauthorized copying under Title 17, United States Code ProQuesf ProQuest LLC. 789 East Eisenhower Parkway P. Box 1346 Ann Arbor, Ml 48106-1346 TABLE OF CONTENTS # ^" I. FEDERICO GARCIA LORCA 3 III.
HISTORY AND TRADITIONS OF SPANISH DRAM A. STERILITY IN LORCA 21 V. BLOOD WEDDING (1933) 30 VI. THE HOUSE OF BERNARDA ALBA (1936) 61 VIM.
INTRODUCTION The importance of Federico Garcia Lorca in the modern theatre can hardly be underestimated. He gave the theatre of Spain some of its best plays since the days of the Golden Age and was an important part of the renaissance in Spanish literature that took place in the early part of the twentieth century. Stark Young, the noted American critic, says of Lorca: Since the first World War there has been no more beautiful mind in the theatre than Lorca's. It was a mind at the same time passionate, complex, and natural and, as the theatre, must be contagious and friendly.
^ For these reasons there is a definite need for more study and research on Lorca in English. The bulk of the scholarly work on him is done in Spanish and, therefore, unavailable to the majority of the English-speaking world. The major premise of this study is that Lorca uses in his three tragedies — Blood Wedding, Yerma, and The House of Bernardo Alba — a theme of sterility that stems from a strict code of honor and sex that is so much a part of Spanish social mores. This theme is expressed primarily through the women in these plays for it is on them that the burden of the codes are placed.
This theme underlies much of his drama but is particularly dominant in these three plays. This sterility leads to a frustration and desperation in the women and leads them to tragedy. ^ Stark Young, "Spa nish Plays, " New Republic. -2- The major critics of Lorca will all admit the presence of this theme, but there has been no comprehensive study of it so far.
Most of the scholarly works in English attempt to deal with the whole of Lorca's dramatic and poetic writings probably in an attempt to acquaint the readers with as much material as possible instead of dwelling on a single work and its theme. This study will, however, deal primarily with those elements which are peculiar and pertinent to the theme of sterility. In an attempt to acquaint the reader with Lorca and his place in the Spanish traditions and history, the first two chapters relate his life and his place within the framework of Spanish drama. Before studying the plays' theme of sterility, it was found necessary to first define sterility relative to Lorca and his particular works and discuss briefly the reasons for the theme appearing in his work.
The plays will be analyzed according to plot and character, which will be combined because Lorca's plays are so well constructed that these elements are almost perfectly fused together; language, where some recurrent images and symbols will be discussed; and visual elements, which will analyze settings, atmosphere and stage directions specified by the author. These are the components used by Lorca for the heightening of thematic statement. This study hopes to provide the readers and producers of Lorca's plays with a better understanding of his life and the traditions of his drama, thus provid ing a basis for a more valid key to the interpretation of his works, chiefly the three tragedies. FEDERICO GARCIA LORCA The embodiment of an artist in all aspects, Federico Garcia Lorca was a painter, a poet, a musician and a dramatist.
His abilities range in the dramatic fields beyond his primacy as a playwright — he was a director, a scenic designer, an actor. Had it not been for the circumstances of his death, however, Lorca would probably not have been as well known in the world outside Spain as he is today. Lorca's murder created a wave of shocked indignation around the world. In a century hardened by crime and violence his death is still unforgotten.
His fame grew rapidly. He was first a name, then a synbol , When the readers discovered the poet and the dramatist behind the symbol his lasting influence became assured.^ Federico Garcia Lorca was born on June 5, 1898, in Fuentevaqueros, Granada, to an energetic farmer and a school teacher. His father, Don Federico Ga rcia Rodriguez, a widower, had married Dona Vicenta Lorca. "From the 2 beginning it was she who nurtured his musical and poetic interests." 3 Despite a childhood ailment that prevented him from speaking until ^Manuel Duran (ed.), "Introduction," Lorca; A Collection of Critical Essays, (Englewood Cliffs, New Jersey: Prentice-Hall, Inc.
Edwin Honig, Garcia Lorca (New York; New Directions, 1961), p. ^Thi s ailment is not identified by any of the authors. -4- he was three and walking until he was four, Lorca^ showed that he was a preco cious child by learning to hum songs at age two. During his childhood, his interests in the theatre arts developed.
He would conduct imaginary church masses and construct miniature theatres for his puppet plays. The first toy that Federico bought with his own money, by breaking open his savings bank, was a miniature theatre. He bought it in Granada, in a toy store called "The North Star," which was on the street of Catholic Kings. No plays came with this theatre, so they had to be made up.
This must have been his first attempt at drama. His childhood theatrical interests are further described by his brother, Francisco: But Federico was attracted by games of theatrical nature even more than by real theatre. He liked to play at theatre and marionettes. I remember that in our childhood we frequently played one of his favourite games.
Before an altar made with an image of the Holy Virgin, loaded down with roses and celandines from the garden, he would play priest, costumed in the best he could find. My sisters, 1, a few other children, and the servants would attend. The almost expressed, and almost tacitly accepted condition was that we had to weep at the time of the sermon. Half in jestj we would weep.
Dolores IThe children's nurs^ — Author's noJa , Federico's ideal audience, would really weep. In Spanish the surname is customarily given as a composite of the father's name and the mother's name in that order. Thus, in Spain or Latin America, the poet is always called Garcia Lorca. But since Lorca is known to readers of English exclusively by the second part of his surname, I have followed the English rather than the Spanish practice throughout.
^Federico Garcia Lorca, Three Tragedies of Federico Garcia Lorca^ "Introduction" by Francisco Garcia Lorca; James Graham-Lujan, Richard O'Connell, (trans. -5- Lorca, who was a mediocre student, preferred stimulation from the literary men he knew rather than pursue academic work. He did, however, attend the Colegio del Sagrado Corazon de Jesus in Granada for a brief period and then entered the University of Granada where he eventually received a degree in law in 1923,^ but only after he had attended the Residencia de Estudiantes in Madrid for several years. In 1919 at the suggestion of Fernando de los Rios, his mentor, he quit the University of Granada to attend the Residencia de Estudiantes in Madrid.
Here at the Residencia, the intellectual and artistic center of Spain had been formed. Established as a result of the educational reform movement of 1898, the Residencia offered a liberal arts and science traininain the enlightened manner of the best European universities. It was during his stay at the Residencia that his first play. El Maleficio de la Mariposa pThe Witchery of the Butterfl^ (1921 was produced in Barcelona.
At the Residencia he became a part of the most profound and artistic group in Spain at that time — Salvador Dali, Jorge Guillen, Rafael Alberti, Pedro Salina, Gerardo Diego and Damaso Alonso — and these people introduced him to the latest ideas in esthetic movements. His popularity as a people's poet grew as did his abilities as a painter. The main Impression created by this young artist was one of charm and ease. Many of his works were first improvised bits of poetry that he recited in bars and nightclubs in Madrid.
This improvisatlonal ability was part of his charm and also his artistic personality. -6- He could improvise a song about almost any subject. He could also communicate through music: an excellent pianist, he would play and sing for hours. Painting was a favorite pastime with him, or rather drawing.
He could do it anywhere: on a cafe table, on the back of a menu, in a letter. He had become thoroughly familiar with certain subjects, such as Spanish folklore, art, and literature, and could talk about them for hours, but, being both intelligent and sensitive, he ordinarily took care not to monopolize the conversation.^® In 1927 his first dramatic success, AAariana Pineda, was produced in Madrid and at the same time he held a showing of colored drawings in Barcelona. A year later he published the first edition of Gypsy Ballads and became an over night success. He was at the same time editing a new literary-art magazine, 12 Gallo.
But this success left him somewhat dissatisfied and in 1929 he joined his former teacher, Ferdinando de los Rios, on a journey to New York; de los Rios arranged for him to stay at Columbia University during this visit. The reasons for this journey from Spain were never clear, but Honi g in Garcia Lorca quoting Angel del Rio gives the most complete reasons for it; But inwardly, such demonstrative success leaves him dissatisfied. He undergoes a crisis of disillusionment. The causes are not clear, even to his closest friends.
Martinez Nadal, his constant companion in these days tells us, "As the months passed by and the popularity of the book (Romanceros) increased, the poet felt the weight of his own work. This, along with other intimate reasons made him pass through the only period of depression in his life. He grew sad, isolated himself, said nothing of his plans, and, stranger still, no longer recited his new poems." Lorca had grov/n aware of the danger of his success.