The House of Bernarda Alba

by Federico Garcia Lorca

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Act I

The scene begins in a "very white room in Bernarda Alba's house." Bells toll for the funeral of Bernarda's second husband. The housekeeper, La Poncia, chats with a maid about Bernarda and her family. La Poncia mentions that one of the daughters, Magdalena, fainted during the funeral service. According to La Poncia, Magdalena is the only daughter who truly loved her father. From another room, Maria Josefa, Bernarda's mother, cries out, revealing that she has been locked up against her will. La Poncia criticizes Bernarda's harsh treatment of her servants, cursing her with the "pain of the piercing nail." After La Poncia exits, a beggar woman and a little girl appear, but the maid drives them away. The maid curses Bernarda's deceased husband, saying, "You'll never again lift my skirts behind the corral door!" The mourning women begin to enter until the room is crowded. The servants wail, putting on a display of grief for Antonio's passing. Bernarda and her five daughters enter, and Bernarda says a prayer for her late husband.

After the mourning women leave, Bernarda condemns their hypocrisy: "Go back to your houses and criticize everything you've seen." She informs her daughters that they will observe eight years of mourning, during which "not a breath of air will get in this house from the street." Maria Josefa calls out again, and Bernarda instructs a servant to let her out. Bernarda strikes Angustias, the eldest daughter, upon discovering she has been peeking at the men leaving the funeral through cracks in the door. La Poncia consoles Angustias while Bernarda orders everyone except her maid out of the room. Bernarda questions La Poncia about the men Angustias was watching. La Poncia then voices her concern about the daughters, who are aging without finding husbands. Bernarda insists she is being protective: "For a hundred miles around there's no one good enough to come near them." Bernarda then exits, instructing her servants to get back to work.

Amelia and Martirio enter, discussing Martirio's poor health and the fact that their neighbor Adelaida missed the funeral, allegedly because her boyfriend forbids her from going out in public. As they continue talking about Adelaida's troubles, Martirio concludes, "It's better never to look at a man." Magdalena enters, deeply mourning. The three sisters discuss the latest gossip that Pepe el Romano plans to propose to their sister Angustias. Martirio and Amelia are pleased with this news, but Magdalena is more skeptical, believing Pepe is only interested in Angustias for her money. Adela enters and, upon hearing about Angustias's suitor, becomes first depressed, then defiant and angry. "I'm thinking," she says, "that this mourning has caught me at the worst moment of my life for me to bear it." Everyone exits upon the announcement of Pepe's arrival. Bernarda and La Poncia enter, discussing the inheritance division. When Angustias enters, Bernarda scolds her for having her face powdered. Bernarda violently removes the powder and sends Angustias away. The other sisters enter, arguing about the inheritance. The grandmother, Maria Josefa, enters after escaping from her room. Yelling at her daughters, "not a one of you is going to marry," Maria Josefa expresses her desire to return to her hometown and get married herself. The act ends with everyone restraining Maria Josefa to subdue her again.

Act II

The daughters are seated with La Poncia, sewing. Angustias's engagement has stirred bitter jealousy among them. Angustias expresses hope that she'll "soon be out of this hell." She explains to her sisters how Pepe proposed to her. La Poncia shares stories about her own courtship, lightening the mood....

(This entire section contains 1324 words.)

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Magdalena goes to fetch Adela, and when they return, everyone questions the youngest daughter about her activities the previous night. Adela resents their curiosity. Left alone with La Poncia, she denies the maid's insinuations that she has feelings for Pepe. However, La Poncia persists and warns Adela, "if you like Pepe el Romano, keep it to yourself." Gradually, the other daughters enter, showing off the lace that has just been delivered for Angustias's wedding sheets. A distant chorus is heard, the sound of men singing on their way to the wheat fields. La Poncia and some of the daughters go to watch the men from a window, leaving Amelia and Martirio alone. Martirio tells Amelia she thought she heard someone in the yard last night.

Angustias storms in, enraged that a photo of Pepe has been stolen from beneath her pillow. The commotion draws La Poncia and the other daughters, followed by Bernarda. Bernarda commands La Poncia to search the bedrooms. "This is what happens when you aren't kept on shorter leashes," Bernarda fumes. La Poncia returns with the photo, which she found in Martirio's bed. Martirio insists she took the photo as a joke, but Bernarda begins to beat her. A heated argument ensues about Pepe. Disgusted, Bernarda sends the daughters away. La Poncia voices her concerns, warning Bernarda, "Something very grave is happening here." She argues that Bernarda has never allowed her daughters enough freedom. Martirio once had a suitor whom Bernarda dismissed because his father was a shepherd. To La Poncia, this is an example of Bernarda's arrogance, which deprived Martirio of a chance at marriage. La Poncia tries to convince Bernarda that Adela is Pepe's true love and the daughter he should marry. A servant enters, announcing a large crowd gathering in the street. Adela and Martirio are left alone, each accusing the other of trying to steal Pepe from Angustias. Bernarda, the other daughters, and the servants re-enter, announcing that the crowd outside demands the death of a young woman who, in her shame, killed and buried her illegitimate child. Bernarda and her daughters join the outcry, but Adela, clutching her belly, cries out, "No, No!"

Act III

The act begins at night in a room in Bernarda's house next to the corral. The family and a guest, Prudencia, are dining. Prudencia tells Bernarda that her family is feuding and that her husband has never forgiven their daughter for an indiscretion. "A daughter who's disobedient," Bernarda declares, "stops being a daughter and becomes an enemy." The conversation turns to Angustias's upcoming engagement, and Prudencia admires the pearl engagement ring, though she notes that in her day, "pearls signified tears." The church bells toll, prompting Prudencia to leave for the service. Angustias heads to bed because Pepe is not visiting her tonight. The daughters wonder why, and Bernarda explains he is away on a trip. Martirio, however, glances suggestively at Adela and mutters, "Ah!"

The daughters leave, and La Poncia and Bernarda continue discussing the "very grave thing" that Bernarda adamantly denies is happening in her house. Bernarda goes to bed while the servants head out to investigate the sound of dogs barking in the yard. Maria Josefa walks through holding a lamb and singing a lullaby. Adela crosses the stage on her way to the corral. Martirio enters from another door and encounters her grandmother. Martirio urges Maria Josefa to return to bed and calls out for Adela. When Adela arrives, Martirio warns her, "Keep away from him." Adela defiantly replies, "You know better than I he doesn't love her." Martirio reluctantly acknowledges this truth. Pepe whistles from the yard for Adela, who rushes towards the door, but Martirio blocks her path. Martirio calls for Bernarda, who enters quickly. Adela seizes Bernarda's cane and snaps it in two. La Poncia and some of the other daughters enter the scene. Bernarda retrieves a gun and fires at Pepe, who is waiting in the yard. Believing Pepe has been shot, Adela runs after him. A thud is heard moments later, and when La Poncia breaks open the door, she discovers Adela has hanged herself. Bernarda orders Adela's body to be cut down, insisting, "My daughter died a virgin." The play concludes with Bernarda stubbornly clinging to her illusion, commanding her daughters to remain silent and defiant in the face of death.

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