Analysis - abstract Dona Rosita the Spinster OR LANGUAGE OF FLOWERS

Analysis - abstract Dona Rosita the Spinster OR LANGUAGE OF FLOWERS

Granada Poem hundred , divided into several gardens with scenes of singing and dancing, Federico García Lorca

INTRODUCTION

García Lorca is a writer who has deeply felt the need for dramatic expression , despite its lyrical roots of theater. His great character is a woman and her central theme , which all variants that appear in his works, is the impossible love could be reduced . A true gallery female presences , diverse and condition, but played all by the common denominator of emotional frustration, populates its parts.

The man only gives accommodate staged by strict necessity , and sometimes even what obscures and avoids , as in " The House of Bernarda Alba ."

Federico García Lorca - Self

The impossibility of a full and fruitful love stems from a variety of causes that are , in turn , as many sub-themes: a retrograde prejudice and oppressive social environment , a fossilized sense of honor that falls within the purest tradition of Spanish Golden Age , sterility, but the tragic and fatal , age differences , sacrifice to political ideals and , ultimately , a deep inner inability to perform.

Lorca musical In the lyrical aspect predominates , as manifested through the verse as a form of whole piece (Mariana Pineda ) , and through the poetic atmosphere that communicates a special tension to the theme and the characters, and by interleaving important lyrical lullabies - like grounds in blood Wedding or songs sandpipers in Yerma - ' rich in symbolic elements that constitute the leitmotifs of the parts to which they belong.

This importance of poetry has not stopped him from making a steady progress in mastering the art scene , to reach a perfect handling of the purest essence of tragedy, in the second season and most successful of his works: The house of Bernarda Alba.

Textual Analysis : Doña Rosita the Spinster

TEMAGarcía Lorca finished writing Doña Rosita the Spinster in June 1935 and released on 13 December of the same year in Barcelona. The author tells how the melancholy comedy was born . " Doña Rosita I conceived in 1924 Moreno Villa My friend told me one day:" I'll tell the beautiful story of the life of a flower, the Rose mutabile , A Book of Roses eighteenth century. " Come . " there once was a rose ... "and when I finished the wonderful story of the rose, I had made ​​my play . was finished I appeared unique , impossible to reform . "

This, coupled with direct knowledge who had authored many cases similar to that posed by the piece, originated this drama whose theme is a sad product of provincial life , the " maid" the woman called " girl " almost to old age, he sees his life consumed in a courtship that is not defined in the sad and rebuffed pending a marriage that never comes. For the family and social environment to which it belongs , full of prejudice and sanctimonious kitsch , not seen as worthy and acceptable alternative but to continue waiting forever a decision that never materialize , while the painful agony of frustration gradually impregnates his spirit to destroy it.

STRUCTURE

The book is divided into three acts , each of which corresponds to one of the usual three times in a traditional theater piece :

1) First act : exhibition

In the first act introduces the main characters of the drama and the central conflict arises: Rosita groom must undertake a long journey to join his father and join this separation in a wait already eying final.

2) Act II: knot

It's been fifteen years. On the day of sainted Rosita and while it receives few visits , · a letter arrives announcing the impending wedding groom by proxy, fanning hopes for the protagonist. Rosita 's youth is about to start a frank and definitive decline.

3) Act III: outcome

It's been ten years , and definite lapse in the life of the bride. The uncle died six years ago and she and her aunt are in misery. " The action takes place on the day they are going to move to a small and humble place as home furnishings are mortgaged . Rosita 's boyfriend has been married eight years ago, but still maintains his correspondence with it. The climax the act, and the piece is a conversation between the protagonist and his aunt, emotional overflow that it only allowed during which the public finally knows the true essence of the character.

All work is characterized by its slow and delayed action : most of the situations are reduced to long conversations with the various views that are coming to the house of Rosita along the three acts .

In the first act , boyfriend heading Rosita , which is the trigger : in each single situation that can be called truly theatrical effect ( unexpected event that causes a change in the unpredictable course of events ) arises all subsequent action , the second , the letter announcing the marriage by proxy , in the third , moving .

The facts, more or less important , actually occur between an act and another, long periods elapsed - fifteen , ten years , deaths occur , the groom house, old characters disappear to make way for new ones, because all life , with its monotonous succession of increasingly hopeful days , with large or small events and basically the unstanchable time as an element that eats , wears , destroys decay and disintegration agent , is the most important of the part and can not happen on the stage, facing the viewer , so that it is offered in each of the three acts is a small sample of a long series of events, is the result of an empty time and pointless. They take every action situations that represent milestones in the life of the protagonist, because in them a host of causes and effects is condensed and thus symbolize their lifetime.

Let's take them one at time:

1. Heading boyfriend : is the key to the whole piece and the source of all the frustrations , but he could not be as important in a more unprejudiced social medium, which would have allowed Rosita see as an honest and lawful act marry another man it was not his initial promise.

Two . The letter of the second act : is generating hope. It is the synthesis of all the letters that come along twenty-five, with her . Give double effect of illusions and falsehood produce frustration . It is also the symbol of deception perpetrated on · Cousin and tacitly consented Rosita.

Three . Moving : condensed and symbolized the decadence of the whole family , and especially Rosita , flowers that represent the world of delusions and false fueling support for twenty years but now inevitably disintegrates. This decay has occurred slowly , year after year ( after the long periods between acts ) and moving merely express in tangible form, concrete and symbolic .

From the formal point of view , each of these highlights situations have the function to qualify the action, which otherwise would be reduced to a succession of nostalgic genre pictures : they are dramatic cores that serve to arouse interest and expectations of the public.

. The rhythm of the piece is slow, and that is perfectly suited to the nature of the subject and the lives that you want to describe : the first act is the busiest and agile , the second the only momentary animation occurs with the arrival of the letter , the denouement, which occupies the entire third act , develops slowly , faintly , showing the public step by step details of the decay and dissolution of a world that always lacked real support . The highest vibration in the emotional tone of the characters is given in the dialogue between Rosita and aunt.

THE key factor TIEMPOEl piece , the real dramatic spring , the actual trigger situations is the flow of time , which eats everything deteriorates and time to be an empty and meaningless. The most important thing that takes place between an act and another during the first fifteen years and the next ten , twenty in total. That time is checked in the work through various elements : 1) the transformation process from the freshness to the decrepitude, is synthesized in the " Rosa mutabile " whose day is equal to the life of the protagonist .

2) The change of fashion is the visual element that expresses the temporal flow .

3) Rosita attitudes toward time vary according to the different periods of his life and point out fundamental changes :

· When young " dominates impatience, longs for the time fly . Example: AMA : - Is that all you want to fly today and want it to be after tomorrow is cast to fly and we lose hands ' . . . when a little girl had to ' tell the story every day when she was old : " My Rosita and eighty years old ... And always. "

· Later, upon reaching maturity, the opposite happens :

ROSITA : - But on the street is that I notice how time and do not want to lose the illusions. They have already made a new home in the small square . I do not wanna hear about how time flies .

· Finally, each passing year is as if the left most naked and horrified how it goes Boy : >

BOY . You have a good , Dona Rosita.

ROSITA . Go with God , son! (They leave the evening is falling. )Doña Rosita ! Doña Rosita !

4) The youth of the Ayolas notes , by contrast , aging Rosita , already irretrievable distance from his youth, when the groom was still a living presence :

Ayola one . " When I came here I was six and groom Rosita accustomed me to drink it . Do not remember , Rosita ?

ROSITA . ( Seria. )No!

Ayola 2 . To me, ' Rosita and her boyfriend taught me the letters A, B , C . " How much tim -po ago?

AUNT . Fifteen years !

Ayola P. To me, almost, I have forgotten the face of your boyfriend. .

5) Boy that something similar happens with Ayolas : is already an eighteen- year-old son of one of the Manolas , old friends from Rosita. His mother died eight years ago and it suits that still remain of it are " oldies " , real costumes , while Rosita says wistfully , " it was a nice fashion."

Another temporal element that makes the climate of the piece is the insistence with which the time lag is marked the final act : the twilight hour , the decline of the day , six in the afternoon.

INTERMEDIATE LíricosLa play is written in prose and its deepest essence is dramatic, but many lyrical fragments that serve important functions relating to the structure of the piece several times and synthesize their contents are interleaved .

1) Poem Rosa mutabile

· Is given at the beginning of the first act and has the value of an anticipation of the theme of the piece .

· Is repeated at the end of the act and there has , compared to heading the groom, meaning a clear premonition of Rosita.

· At the end of the second act is repeated in fragments and represents the exact situation of the protagonist still has and briefly grilled youth, but is already bleached, as the rose.

· His last two lines are closed and the work their synthesis and the fate of her unfortunate character .

Consistently identify between flower and Rosita states: the name and the fate of both is identical.

2) Spells Mistress

They have all the flavor of the typical popular note that García Lorca was affection in all its dramas.

3) The three ManolasLas poem wrapped in a halo lyric that enhances and serves to express , with a grace that would never have gotten through the prose, the delicate toil and care of youth and courtship time between rides. The festive atmosphere that communicates extends to the quiet happiness Rosita enjoyed at that time.

4) The meeting and parting of the bride and groom at the end of the first act

It is a dramatic moment of high tension in which, through a lyrical language coalesced into a cluster of metaphors and images of great poetic value , pain and hopes of her empty promises and it is expressed.

5) Language of Flowers

It's a musical poetic theme which is sandwiched in the second act and allows , by extending the language of various flowers, Rosita resume and breakdown the driver mutabile Rosa and their transformations throughout the day reason. It is an intermediate relaxation dramatic climax preceding the arrival of the letter.

6) A popular , suitable for singing and dancing, theme closes the second act

In the third act , except shooting reiterations Poem mutabile Rosa , no lyrical fragments. These, in general , are a function of expressing the feelings of the characters , especially the protagonist, indirect and poetic manner : they appear as hope or joy remains , hence its absence in the third act.

COLORS

Another important from the point of view visual element are the colors that are used in the piece and have a symbolic value. Main are three:

1) The red

There appears through the costumes and scenery but the color of the Rosa mutabile morning: it is a symbol of the fullness of life , of the freshness of youth and passion.

2) The pink

That color are the three dresses Rosita along the three acts . Name , flower and color · symbolize the very essence of the character remains unchanged : fashion changes , that is, over time , but not the hue that represents your feminine self and its gloomy shade of antique postcard.

3) White

It is the color of old age, silver hair, metal night ( the moon). Flower and Rosita are identified in this white dress gets to leave the house at the end of the work. At the same time , the white curtains that move stirred by the wind in the empty room before the curtain finally comes down, the veils evoke the wedding dress that the star never wear.

LOS PERSONAJES1 ) Rosita

Their presence and drama dominate the entire work. There are no real character development or inner change , which is amending its fate by external circumstances , but it remains always the same as in the first act makes urgent the passage of time, revealing their inability to live thoroughly any situation.

Rosita is a profound inability to face reality and find positive solutions and vital . The social environment riddled with convention and prejudice has shaped so that it has canceled its responsiveness . Its scale ' values ​​suffer an unfortunate confusion for her to forget her boyfriend and performed as a wife with another man would be " to talk " and "seriousness " of the virtuous woman is not allowed. So the solution is to escape reality , to pretend not to see it :

ROSITA .... I knew everything. He knew he had married : and a kind soul for ' took care to tell me , and I have been receiving your letters with an illusion filled with sobs even myself amazed me . If people had not spoken , if ye had not known you , if I had not known anyone but me , his letters and his lie had fueled my enthusiasm as the first year of his absence.

AUNT . Why did not you listen ? Why do not you marry one ?

ROSITA . I have always been serious .

AUNT . You 've held your idea without seeing reality without having your future charity .

ROSITA . I am who I am. And I can not change .

Now all I have left is my dignity . · What I have inside I keep it to myself.

Rosita , rather than a victim of her boyfriend, what is self and society . It is a character of great dramatic achievement , well shaped and defined.

2) The TIAA Despite its kind and motherly character weighs negatively in the life of the protagonist, at first denied the possibility nephew marry her because she has yet to carve out an economic future and only at the end , when it is definitely late, reproaches having failed to find best solution for your life. It is a blurred character , without life or dramatic weight .

3) The love

Quite the contrary : a character vigorously drawn and which emanates an intense affection and vital heat. It is the counterpart of the aunt, with whom faces repeatedly peacefully . The author has benefited from a number of popular connotations: it is superstitious , he likes spicy expressions, has great common sense and a practical and realistic view of life is active and working and generous capacity for love constantly rises in affective and vital center of the piece .

4) Girl Groups surrounding Rosita

There is always a group of women by similarity or contrast , extend and illustrate the situation of Rosita , constituting a sort of chorus and background · backdrop of his presence.

1. The Manolas . They appear in the first act. They are friends Rosita , her fellow ride, and vital part of the same attitude : hope for a full and happy morning. We return to learn their fate only in the third act: the boy is the son of one who has died eight years ago. Despite this adverse circumstance , and paradoxically , it feels much more ' full and on the Manola in his death than in his life Rosita . The other is also married and has four children. That is, the dramatic function of this group is to reflect the situation if · the protagonist at first and then highlight , by contrast , his misfortune.

Two . The soteronas . Appear in the second act and are sort of distorting mirror in which can be seen Rosita . They are grotesque figures , and , besides coineidir with the protagonist in singleness , they prefigure and anticipate their current misery in the declining economic situation of that in the future. His conduct and his scale of values ​​of manners set effective stroke.

Three . The Ayolas . Are the counterpart of Rosita and soteronas . Its fresh lust for life , marriage, performed, his youth, heightened by contrast the passage of time and the deterioration of the four mature women.

5 ) Male characters

They have very little weight in the work, except the groom , not presence but absence. Those who move on stage, or are unimportant in action or perform specific functions and subsidiaries :

1. Uncle : As a character is blurred, indistinct , like temperament , ineffective and passive. It is part of a world in dissolution and death is not only real but also symbolic : in today's world it is impossible to live solely dedicated to cultivating a garden. Your little practical meaning of life leads his wife and Rosita to ruin.

Two . Mr. X and Mr. Martin. Your funciónn is relative only to the custom painting . Represent conflicting values ​​and conflicting aspects of the society of the time , the positivist scientific materialism and falsely in a case and the absolute idealism on the other , but from the dramatic point of view no role .

Three . Boy . It is a dramatic spring whose sole function is to mark the passage of time.