Bodas De Sangre And Yerrea-Spanish Essay

Federico García Lorca was a Spanish poet, playwright and theatre director who, through a short career spanning just nineteen years, resurrected and rejuvenated the most basic elements of Spanish poetry and theatre. After developing a passion and talent for writing, Lorca was soon inspired by the traditional customs of the gypsy folk and music that was native to his hometown in Andalusia. Growing up through the Spanish-American War, World War I, The Rif War and the establishment of the Second Spanish Republic, Lorca combined his inspirations from the native people of rural Spain with his real world experiences to create poetry and theatre that expressed his tragic vision of life. After garnering a small following from his initial poetic releases, Lorca spent the remainder of his time writing what would become known as the “Rural Trilogy” – three plays concerned with life, love and tragedy in rural Spain.

I will be exploring the similarities and differences between two of these great tragedies, Bodas de Sangre (Blood Wedding) and Yerma. I shall make special reference to the themes, setting, characters and images that are presented in these plays and examine the elements that

Correa points out that “to be childless constitutes a kind of ostracism which has no remedy”. (1962). Ultimately this mentality eats away at Yerma and it is a tragedy waiting to happen, it does not end well. Similarly, in Blood Wedding we can see that the burning aspirations of characters can ultimately lead to their downfalls. Blood Wedding opens with a Mother and her son (Bridegroom). Again, within the first few lines of text we are presented with a protagonist’s desires. The Mother is desperately lamenting on the tragedies that have befallen her family in the past and seeks her own and her son’s wellbeing and future