In Act 3 of "Blood Wedding," the action reaches its climax as the Bride and the Bridegroom come face to face with one another in the forest. This confrontation is the culmination of the play's central conflict, as the two characters struggle to come to terms with their own desires and the expectations placed upon them by society.
As the Bride and the Bridegroom enter the forest, they are confronted by the Moon, who serves as a symbol of the forces of nature and the passage of time. The Moon tells the Bride that she is doomed to suffer because she has strayed from the path of tradition and followed her own desires. Despite the Moon's warning, the Bride remains determined to be with the Bridegroom, declaring that she will not be held back by societal expectations or the threats of the Moon.
The Bridegroom, however, is torn between his love for the Bride and his sense of duty to his family. He is torn between his desire to run away with the Bride and his fear of the consequences of such an action. In the end, he decides to return to his family, leaving the Bride alone in the forest.
As the Bride stands alone in the forest, she is visited by the Beggar Woman, who serves as a symbol of the Bride's own fears and doubts. The Beggar Woman tells the Bride that she is doomed to suffer because she has strayed from the path of tradition, and that she will never find happiness as long as she persists in her defiance. Despite the Beggar Woman's words, the Bride remains determined to be with the Bridegroom, declaring that she will not be held back by societal expectations or the threats of the Beggar Woman.
The confrontation between the Bride and the Bridegroom in Act 3 of "Blood Wedding" serves as the climax of the play, as the two characters struggle to come to terms with their own desires and the expectations placed upon them by society. Through this confrontation, the play explores the theme of the tension between individual desire and societal expectations, and the difficult choices that must be made when these two forces come into conflict.
Lorca, Garcia (1898
Why dont you want to be laid out on them, instead of walking around on the soles of 7. Sleep in the morning, waking at nightfall. Featuring visceral, violent imagery and muscular, concise verbs, it has more in common with a Modernist elegy than it does with a traditional village rhyme. From the conversation that follows, it is clear that the bodies have been laid out. The Bridegroom and a boy appear.
In this monologue, the images are malevolent. The second date is today's date — the date you are citing the material. They promise that they will never part until they die. It is finally apparent that Leonardo and the Bridegroom stabbed each other with the same knife. Buy Study Guide Summary Two girls sit in a white room, weaving and singing.
Blood Wedding Summary and Analysis Act III, Scenes 1
The sinister depiction of the Moon also calls into question the morality of the characters. With Blood Wedding, Lorca creates a landscape so rustic and primitive that it virtually stands outside of time There are no modern objects to place the play in a specific era, though the locale is most certainly rural Andalusia, a region of southern Spain The most modern tool in the play is a gun, mentioned briefly by the Bride in her final passionate scene with Leonardo In fact, one could surmise that the mention of the gun, the most modern symbol mentioned in the play, is an inadvertent slip by the playwright since it is hardly necessary Next to the horses, moon, wheat, knife, dahlias and lace stockings, the gun is rather anachronistic 20. Take your revenge; here I am! My rays must shine everywhere, and in dark of the trees spread a rumour of dawn, so my cheeks this night will be stained with red blood, and the reeds clustered in wide swathes of air. Nevertheless, she strikes the Bride and knocks her to the floor. He gathers her up. I come frozen through walls and windows! Bride These hands which are yours, and which if they could would quell the blue branches and the stir of your veins. The Mother and Neighbor enter.
Blood Wedding Act Three, Scene Two Summary & Analysis
The stage is empty. As such, violence is the only thing the Bridegroom could have hoped to achieve, and achieve it he did, though at the cost of his own life. The citation above will include either 2 or 3 dates. To the Mother But not with your bare hands; with shears, with a sickle, with whatever force might break my bones. Leonardo Hush, I said! Spilling itself on the hills of my breast; Let me come in! To the neighbour Take your hands from your face.
Death enters, Death of the dry leaves. Bridegroom Impatiently Come then! The woodcutters retreat, and Leonardo and the Bride emerge. In this sense, life and death are both present in the image of the forest. But penetrates, chill, through the startled flesh to reach the point where trembles enmeshed the dark root of a cry. But then I climbed on my horse and the horse came to your door. They argue as they realize that they are hemmed in; escape is unlikely.
Suddenly two loud screams are heard, and the violins fall silent. Two girls dressed in dark blue are winding a skein of red wool. Young girl Because of your whining. The poem is written in ballad form and is organized using line breaks and rhythm. This passion was fateful. The Bride stands in the doorway, the Mother centre-stage. In human form, these figures speak with proclamations negating the ability of free will to overcome destiny Whats more, they conspire to ensure the murderous encounter Beggar Woman who is Death gives Bridegroom directions to find the fleeing couple and then accompanies him down to the river Moon, which in medieval texts is often a symbol of fate, shines at the opportune moment to reveal Leonardo and Bride Minor characters as woodcutters are highly symbolic: a woodcutter chops down a living tree, killing it In this sense, the Woodcutters are a perfectly natural choice to report and comment on the pursuit and encounter 19.
Blood Wedding Act III, Scene 1 Summary and Analysis
Moon reappears and the two continue to report on the battle in veiled, symbolic language The two seem to work in tandem to insure that Fate prevails: We wont let them cross the river. GarcÃa Lorca borrows a technique from medieval morality plays and personifies Death and Fate as an old beggar woman and the moon, respectively. Beggarwoman I could ask for your eyes! The intense light returns. First girl Black sand. Who was it then first slipped down the stairs? In this moment, the beggar woman confirms that both Leonardo and the Bridegroom are dead. Let four young men carry death through the air! Second woodcutter But with a woman. Second woodcutter Full of blood-wet jasmine! My son should have been here.
Blood Wedding Act Three, Scene One Summary & Analysis
Even these minor characters have been left to a bitter fate. The days to come will be terrible days. I did notwant it. Mother-in-Law appears with the Wife Even these minor characters have been left to a bitter fate Wife, who has not been at fault, is left a pregnant widow and must return to her house and live alone in bitter solitude Her children will most likely end up just like her, since the entire play alludes to the cyclic nature of predestined events: like father, like son; like mother, like daughter 11. What happened there among the dark vines? With the second scream the Beggar-woman appears, with her back to the audience.
Blood Wedding Act III, Scene 2 Summary and Analysis
The final act unwinds, again, in verse, as the charactersWife, Mother, Bride, and Little Girlexchange allegorical lines mingling images of death, love, nature, and religion The play ends with Bride and Mother both commenting on the image with which the whole play begana mere knife and its capacity to end life 15. Young girl Beneath the flower of gold They carry them from the river. Did you go to the wedding? Go on, I say! Did I not love my son enough? Here she is, and she weeps, and I halt here, and I fail to tear out her eyes. Leonardo The birds of the morning are stirring in the trees. Let me enter a breast where I can be warmed! Second girl Dress of jasmine, tie of crystal.
The stage directions at the beginning of the final scene are quite specific and without ambiguity. The Beggar-woman sits, and covers herself with her cloak. The scene acquires a bright blue glow. The predominant color is white, as if in marked contrast to all the dark events that have preceded. Fate is now unfolding.
