The greatest Spanish dramatist and poet, Frederico Lorca, wrote two books with very different plots, yet the literary elements included were very similar "The Blood Wedding" and "Yerma" portray the political and sociological views that are customary to Spain, such as male dominance, as well as family honor. In addition, both "The Blood Wedding" and "Yerma," contain the theme of human will fighting against human destiny, encompassing a broad depiction of Spanish ideology. "The Blood Wedding" and "Yerma" consistently exemplify the dominance of men in correspondence to the inferiority of women. During this time in Spain, that mentality was the norm, and widely accepted. Lorca portrays this mindset vividly in both of these novels, persuading the reader to see the some of the extremity of the social order Spain. For example, in "The Blood Wedding," the way in which Lorca describes the Bridegroom's position over the Bride forces us to see the accepted male dominance. "MOTHER. Try to be warm and tender with your wife, and, if you see her getting above herself or moody, give her a caress that hurts a little: a tight hug or a bite, and then a gentle kiss. Nothing unpleasant, just enough to make her feel that you're the man, the master, the one who gives the orders... (Lorca 42)" Lorca's choice of words, such as `master' describing the Bridegroom's superiority over the Bride foreshadow an ownership over the Bride to be, and takes away from the mutuality and unity of this relationship. Lorca adamantly reveals his disdain for the Bridegroom's role, though he accurately represents the Spanish society. The Bride on the other hand is not only represented as a piece of property, but Lorca further characterizes her as having traditi... ... middle of paper ... ... options. Prior to her spontaneous decision she has the following conversation with Victor expressing to him that regardless she is doomed. "VICTOR. Everything changes. YERMA. Some things don't change. There are things locked away behind closed doors that can't change because nobody hears them (Lorca, 98)." In conclusion, Frederico Lorca, does an outstanding job intertwining the theme of human will fighting against human destiny, revealing to us Spanish ideology. "The Blood Wedding" and "Yerma" not only portrayed Spain's political and sociological views of male superiority and women inferiority, but they also portrayed the admirable values such as maintaining a family's honor. As a whole, Lorca brings together his political and sociological views to those customary to Spain, while gripping our hearts and minds, and impacting us temporarily and possibly eternally!
At the beginning of the story, the protagonist, Cleofilas, had an illusion that all romances are like the ones she has seen on television. However, she soon realizes that her relationship with Juan Pedro was nothing like what she had dreamed it would be. Cisneros wants to emphasize the idea that when men bring home the primary source of income in the family, they feel they have power over their wives. Cisneros uses Juan Pedro in the story to portray this idea. For instance, Cleofilas often tells herself that if she had any brains in her, she would realize that Juan Pedro wakes up before the rooster to earn his living to pay for the food in her belly and a roof over her head (Cisneros, 1991, p.249). Cisneros wants to make a point that when men feel that they have power over their wives, women begin to feel a sense of low self-worth.
? . . . it made no difference if they studied medicine or had the right to vote, because they would not have the strength to do it, but she herself [Nivea] was not brave enough to be among the first to give up the fashion.? (6, Ch 1) The women in this society are dependant on the dominant male figure to handle political and economical duties. This point of view is intended to mimic the older generation of women ad present a foundation for the growth of an enlightened generation. Allende uses this excerpt to present a foundation of structure to the novel by beginning with the extremes of opinion, which are followed in the novel through different generations. Alba for example, become a very outspoken activist by trying to attend the student protests and follow Miguel on his demonstrations, a sharp contrast to the indifference or shallowness found in her great grandmother.
In this novel, the society is centered around dichotomies; “youth and dotage” (Balzac 67), “the young man who has possessions and the young man that has nothing” and “the young man who thinks and the young man who spends” (87). Any person who falls outside of either box is called a “[child] who learn[s]… too late” or can “never appear in polite society” (87), essentially meaning they are undesirable in a formal society because they cannot follow expectations. The titular character, Paquita, is an “oriental” foreigner, from Havana, domesticated in Paris when she was sold to a wealthy woman who desired her. She fits into no culture entirely, as she is “part Asian houri on her mother’s side, part European through education, and part tropical by birth” (122). She is bisexual, choosing neither men nor women over the other. She is controlling, dressing Henri in women’s clothing (119), but controlled as she is reduced to a possession. However, there are ways in which a person can still be desired even if they are not easily pigeonholed. With her golden eyes and sensuality, Paquita fulfills both of the main pursuits of this society, “gold and pleasure” (68). Consequently, unlike the Marquis and his irrelevance in society, Paquita is highly sought after, thus making her a valuable commodity. Her desirability is not because of who she is as a human, but instead what
Through the use of symbolism, and characterization that involves an instance of imagery, the author advocates this notion through the newlywed’s decision of neglecting her personal feminine taste to make her husband’s preferences her own, and embracing her title of submissive partner by kissing the hand. Also, the choice of words to describe each partner differs tremendously, as the author seems to give more importance to the man by making him appear handsome, and particularly strong. On the contrary, the young woman appears to be weak and minor, which supports this idea of submissive women in a couple through the perception of the woman being way behind her husband. This story demonstrates a great symbolic significance when it comes to the hand, which can lead to other important ideas surrounding the message the author is trying to
Federico Garcia Lorca was born in 1898 and died in 1936, he lived through one of the most troubling times of Spain's history. He grew up in Granada, Spain, and enjoyed the lifestyle and countryside of Spain. His father was a wealthy farmer and his mother was a school teacher and encouraged his love of literature, art, and music. He was an extremely talented man. A respectable painter, a fine pianist, and an accomplished writer. He was close friends with some of Spain's most talented people, including musician Manuel de Falla, and painter Salvador Dali. Lorca was a very liberal man who lived un dictatorship for most of his life. However, in 1931 Spain turned into more of a democracy, and was called "The Second Spanish Republic." However, fascist leader, Francisco Franco, was trying to gain control of Spain. Known as a leftist, Lorca was killed by Franco's forces. What are considered to be his three most important plays, referered to as folk tragedies were: Blood Wedding, Yerma, and the House of Bernarda Alba. They really drove home his feelings of the Spanish culture, and, in particular, its treatment of women.
...g his time period to show his audience that corrupt, unharmonious love is detrimental to Spanish society. However, both of these plays were never performed nor published during this time period, and as the Duke says in Punishment Without Revenge, “A play, Ricardo, is a mirror to all men…. The truth is simply the majority of men would willingly ignore the truth about themselves” (P. 178-179) This line shows that perhaps the reason these plays weren’t performed during the time period is because of the truth they held within their plots that the audiences of the time were not ready to accept, which Lope was very much aware of. If Spanish society were to accept that their ideas of true love were selfish and detrimental during this time, it would raise many other questions about Spanish society that neither the people nor the government were prepared or willing to answer.
In chapter 2 the author Gabriel Garcia Marquez shows an innocent and pure love. Marquez adds “Shoot me. He said, with his hands on his chest. There is no greater glory than to die for love”. Lorenzo Daza had took at him sideways, like a parrot, to see him with his twisted eye. .. That same week he took his daughter away on the journey that would make her forgot” (82). In this section the author introduces Fermina’s dad, who is not happy for the relationship her daughter have with Florentino because Florentino is poor and has nothing to offer to his daughter. Lorenzo Daza wanted her daug...
Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth chapter, namely the domestic abuse scene, functions as a pivotal point in the Mother Tongue as it helps her to define herself.
Only through the narrator’s words, her thoughts can be heard. For instance, at La Loca’s funeral, she “wanted” to scream “why?” this has to happen to her and her family, but she never screams (22). The narrator reports that she wanted to “ask” and “know,” but neither she asks nor does she know, because her voice at that moment is tamed. Sofi, exceptionally, expresses herself vividly through actions instead of words (22). In a way, her action is reflective of either her submission or resistance. For instance, her submission to Domingo, when he returns, expresses her desperation to a man in the house. She knows he might leave again, “for no apparent reason,” but she prefers to have him around (22). Obviously, their marriage lacks love or even sincerity. Still, she lets him in—maybe to shut down the rumors “circulated” around her marriage or maybe because she is powerless. It is hard to know her motivations because, again, she rarely expresses herself. Moreover, when she divorces him, she does not even “exchange two words” with him (217). There is rarely a facial depiction of Sofi’s face—she is faceless. Castillo presents Sofi as “a good daughter, a good wife, and a good mother,” but rarely as a woman (218). However, at the end of the novel, Sofi presents herself as a rebellion, a religious leader, a political figure, and a social-justice
The author connects Antonio’s anxieties about change in his life to the culture in which he lives. Ultima’s intrusion into Antonio’s life marks a crazy time of change for Antonio. Anaya reiterates Antonio’s position on the threshold of change by showing his nerves about beginning school, moving away from his mother, and facing his unusual future. The vaquero lifestyle preferred by his father renews the values of freedom, independence and mobility, all of which are rules in the vaqueros’ love of the llano. The Luna family lifestyle preferred by Antonio’s mother, but emphasizes family and productivity,
Quimet’s attitude towards Natalia throughout their relationship enhances the man’s dominance in the Spanish culture. In the novel, Quimet, “delivered a long sermon about men and
Lope de Vega’s play touches upon several key components and ideas that were brought up in many of the other stories read throughout the semester. This included the role of gender and how men and women are viewed differently in the Spaniard town of Fuenteovejuna. Another topic included the importance of family, love, and relationships and their connection on loyalty, trust, and personal beliefs. The last major influence found in other literature and in Fuenteovejuna, were the political and religious references made throughout the play. Even though Lope de Vega didn’t make these views obvious, the reader could still pick up on their connotation and the references made towards these specific ideas. With all of this in mind, each of these components played an important role in each civilization read, and even over 1,000 years later it continues to be a social topic as well as a large part of the culture. The only difference a reader or scholar could make for this particular piece of literature is its authenticity and how it was based on a true event. Regardless, new views on power and how one obtain it become apparent through the dialogue between characters like Laurencia and the Commander.
Gabriel Garcia Marquez, author of Love in the Time of Cholera, depicts his characters by having them act in certain ways, in ways of love and care towards others. Each character acts certain ways to certain people, either to gain respect, love, friendship or hatred. Marquez’s character Florentino Ariza, is desperately in love with Fermina Daza, a beautiful young lady (early in the novel), who promises him her hand in marriage then breaks that promise by marrying Dr. Juvenal Urbino. Although heartbroken Ariza’s love for Fermina would still continue over many long years, thus showing how much he was in love with her.
In Latin America, women are treated differently from men and children. They do lots of work for unexplainable reasons. Others for religious reasons and family orders and others because of the men involved. Women are like objects to men and have to obey their orders to either be rich or to live. Some have sex to get the men’s approval, others marry a rich man that they don’t even know very well, and become slaves. An important book called Chronicles of a Death Foretold is an example of how these women are treated. Purisima del Carmen, Angela Vicario's mother, has raised Angela and her sisters to be good wives. The girls do not marry until late in life, rarely socializing beyond the outsides of their own home. They spend their time sewing, weaving, washing and ironing. Other occupations include arranging flowers, cleaning up the house, and writing engagement letters to other men. They also keep the old traditions alive, such as helping the sick, comforting the dying, and covering the dead. While their mother believes they are perfect, men view them as too tied to their women's traditions. The men are afraid that the women would pay more attention to their job more than the men. Throughout the book, the women receive the respect they deserve from the men and others around them.
The poetical works of Federico García Lorca, C. Maurer (New York: Farrar Straus Giroux, 1991)