2Wedding Day and guests, including the Bridegroom & Mother, travel for hours to attendMaid helps the Bride prepare for the weddingBride does not act like a typical happy brideShe’s irked when the Maid alludes to the sexualencounter between the bride and bridegroom that should naturally follow on the evening of the wedding, with her reference to the impending encounter as a “misery”Angry, she throws down a crown of orangeblossoms that the bride traditionally wearsClearly, she has some reservations about themarriage
3They are interrupted as the first guest arrives: Leonardo, her old flameLeonardo has abused his horse to make expedient timeHe reiterates that he doesn’t care if the horse diesLeonardo is not one to dwell on unfortunateconsequencesForgetting his family, Leonardo confronts the Brideabout the wedding, claiming that she left him because of his poverty: “Tell me, what have I ever been to you? Look back and refresh your memory! Two oxen and a tumbledown hut are almost nothing. That’s what hurts” Confrontation escalates until the bride exits and the maid intervenesShe grabs Leonardo and asks him to leaveHe does, but the confrontation remains unresolved
4Brief interlude follows as minor characters chant romantic reports of an impending marriage in idyllic verseThese images contrast with the heated exchangethat just took placeBride then appears in traditional attireMother sees Leonardo and is upset at hispresenceIn a premonition of doom, she utters, “Let’s nothave anything go wrong”As the entourage leaves for the church, the voicesof minor characters again chant in verse of images of an idyllic marriage.
5Leonardo and his family are left alone on stageAnother heated confrontation occursLeonardo is neglecting his familyAlthough his wife is pregnant, he is lookingat her with hatred, when not ignoring her outrightWife comments fate of her mother:Married to a man who does not love herAgain voices intervene, contrasting theanimosity and impending doom with images of a star
6Scene 2 opens in a clearing or yard outside the cave where the Father and Bride have livedGuests are soon to return for abanquetMaid is chanting in verse, again, happyimages of the wedding party contrasted with nature in all her glory.
7The Mother & Father arrive; Leonardo has beaten them back to the caveAccording to Maid, he drove callously, like a demon,scaring the wits out of his pregnant wifeInappropriate behavior, particularly by someone whowas interested in the Bride; the “ex-boyfriend” is not bowing out gracefullyIn answer to a comment about Leonardo having “badblood”—Mother is upset knowing, “What blood could he have?—That of his whole family, beginning with his great-grandfather who started the killing, and on through the whole evil clan! Men who use knives! People with false smiles!”These images of doom are soon contrasted with thewish by the Mother and Father for many grandchildren; death and birth are contrasted
8Other guests arrive, though never staged Many are remote relatives of theBridegroom who have traveled great distances to see the weddingMeanwhile, Leonardo continues to hoveraround Bride while his suspicious wife tails himWife and Bridegroom speak brieflyLorca emphasizes that Leonardo doesnot have material wealthAs they speak, they fail to notice Leonardoslip away, followed by the Bride.
9Common wedding dialogue occurs Maid tells the Bridegroom of preparations for the consummation of marriageGirls bicker over who received a pin and, according to tradition, will then marryIn an ominous moment, the Bridegroom grabs the Bride from behindShe, utterly surprised, tells him to get away, thinking that it is Leonardo who has grabbed herThe Bride is all out of sortsShe seems frightened and confused; she is not happy at all to see the BridegroomFeigning illness, she tells him she needs to lie downLeft alone, the Bridegroom receives more advice on the consummation of marriage from his mother
10The scene ends when Bride and Leonardo are both, suddenly, noticeably absentWife, who has been suspicious, exclaimsthey have left together on a horseFather and Mother are horrifiedAlthough the Mother vows revenge, thememory of her dead kin makes her calls for revenge ominous and confused: “Go! After them! No! Don’t go! Those people kill quickly and well! But—yes—run! And I’ll follow”Blood feud is re-ignited as theBridegroom’s relatives prepare for the hunt
11Act 2 scene minutesAct 2 DUENDE interpretation - 10 minutesAct 2 scene minutes
12AnalysisBlood Wedding is often interpreted as a play thatquestions the validity of tradition and conformityTradition is represented by the ceremony ofmarriage or a weddingAlthough the audience never sees the actualwedding, all the action in the play revolves around itThe preparations—the dressing of the Bride, themeeting between the Mother and Father and the discussion of property—are presented in detailHowever, love is conspicuously absent from allthese preparations and accounts
13As Act II unfolds, the economic reasons behind the tradition of marriage become even more apparent: the Bridegroom has an estate and Leonardo does notPassion, alluded to as “blood” (yet anothermeaning behind the title), is thwarted in that society does not recognize the natural attraction of the Bride and LeonardoThe Bride’s misgivings about the impendingevent and her ambivalence lend an ominous portent to the action.
14Lorca contrasts these dark portents with happy reports of the wedding given by minor charactersThese reports, resplendent with imagery ofnature in all her glory—grapefruit trees, white dawn, morning dew, trays of dahlias—and regal symbols—a crown—are not at all in tune with the indifference and lack of passion that the Bride manifests towards the BridegroomSeen in this light, the imagery of nature andfecundity is rather ironic.
15Lorca is also a renowned poet His symbolic verses are among the greatest thathave been produced in twentieth-century SpainThe verses of minor characters who report on thewedding can be interpreted as poems in their own rightHowever, these verses are imbued with ironywhen they are read or spoken outside the context of a marriage that is bereft of passion and all but a charade to consolidate wealth and social standingAs the Mother says of a wedding day from awoman’s perspective: “It’s the only good [day]! Forme it was like coming into an inheritance!”
16Lorca’s social commentary is magnified by his use of generic names in the cast listing.Leonardo is the only character by nameAll others have generic name for their specificpart in wedding (Bride & Bridegroom) or social hierarchy imposed by society (Wife & Mother-in-Law)Furthermore, by creating a play in which Fatherand Mother are not married to each other, Lorca is making subtle allusions about Spanish or Andalusian society as an organic whole: the region is a family unto itself with one father and one motherAll the families play a part in this intricate whole
17As the play reveals, many of these characters are unhappy in their rolesFather was unloved & Wife is unloved and neglectedBride is pushed by a sense of conformity and socialhierarchy to marry a man she doesn’t loveMother mourns loss instead of celebrating birth; her constantallusions to procreation and renewal of “blood” are overshadowed by her references to the spilling of “blood” which prematurely halted the extension of her family “blood”Only character who escapes a constraining role indicative of anunhappy fate is LeonardoHis presence at the wedding, though condoned because of hisrelationship to the Bride’s family through marriage, is irksome andparticularly ominousSince he does not conform to society, he is sure to upset thetraditional balance; as he says himself, he is “hot-blooded”His blood is boiling
18Blood Wedding contains multiple symbols As mentioned in the analysis of Act I, many ofthese symbols are straightforward, like the knife. Others have an ominous portent, like the horse of the lullabyLorca’s use of “blood” to imply various conceptsshows how the symbols can be interpreted differentlyMother sees blood as the blood of a continuingfamily line, an indication of a bad family (bad blood) and as death (spilled blood)To Leonardo, blood is passionThough multifaceted, the allusions to blood are allclear
19Image of the star that ends Act II, Scene 1 is a bit more complex: “On leaving your house / to go to the church, / Remember: you leave / like a star”Both the Bride and Leonardo are described withthis verse while Bridegroom most emphatically is not: Leonardo and the Bride are destined to be togetherHowever, why are they described as a star?The ambiguousness of this simile continues asthe symbols in Act III become more intangible and mysteriousIn this sense, the play gathers poetic momentum
20In order for the events in a tragedy to unfold, the action must continue on its predicted courseSuch is the case in Act II – there are no surprisesGiven the motivations of Bride and Leonardo’sbehavior, it is hardly surprising that the two disappear togetherGiven the combination of Mother’s constantdwelling on death, her thinly-veiled desire for revenge, and her concurrent fear that history will repeat itself, the audience or reader should have a fair notion of what to expect in Act IIIThis is especially true in light of the fact that thedrama is in the tradition of classical tragedy, where characters cannot escape a predestined fate