Black and white imagery in Blood Wedding by Federico Garcia Lorca

Résumé du document

When analysing Lorca's use of black and white imagery in Blood Wedding, a first observation would tend to show that the colour white is much more present throughout the play than black, the white being used, not essentially in the characters' clothing as black is used, but also in totally different situations. Although recurrent references of all types are made to the colour white and many characters allude to it in their speech and song from the first till the last scene, and to black in a lesser manner, here are some quotes dealing with the use of white and black in Blood Wedding where a deeper analysis of their evocation can help further our understanding of Lorca's developed sense and skill of the use of symbolism. A first notable use of white imagery is found in a rather indirect manner in the Mother-in-law and Wife's song of the horse "who wouldn't drink" in Act I scene 2.

Extraits

[...] But in the Moon's rather surrealistic speech, numerous references are made to imagery evoking whiteness, through mainly the cold. Indeed the moon presents itself as cold trap of lead / that seeks blood's warm cry”. It cries to be let in, come frozen and numbed I'm freezing. I seek the crest of fire . to warm my body of ashes . I ride the dark night / and across water and snow / as cold as the dead / I am made to A definite whiteness emanates from these terms, created from the cold, the snow and is a total contrast to the strength of the colour red issued from the blood to be poured, red blood will caress / my blue cheeks”, the “heart split wide” which the Moon so ardently desires. [...]

[...] With the same force as the Bride chooses to wear black on her wedding day, the Bridegroom refuses to wear such a death-like colour. Thus this seemingly irrelevant exchange between bride and groom on their wedding day actually reveals a tension present in the union of this couple, foreshadows her escape with Leonardo and reinforces the idea that the wedding is founded more on economical interests between the families rather than on love or passion. MOON appears, surrounded by brilliant light” in Act III scene 1 after the woodcutters have discussed their vision of the events. [...]

[...] And with the horse refusing one of life's most vital components, water, while freezing possibly to death, from this imagery definitely emanates a certain sense of danger and the foreshadowing of the coldness of death, which will strike Leonardo. This same snow imagery is yet again alluded to in song, this time in the bridal song of Act II scene 1 where a verse goes as follows, sung by Girl the bride awaken / and slowly begin to stir, / her blouse of shining snow, / jasmines through her hair.” This is a rather dualist image for it evokes the preserved whiteness of purity and virginity always associated with a bride before her wedding night through the snow's immaculate white coat as well as the jasmine's soft white colour, whilst the coldness and hostility of snow reveals the freezing reality of self repression, for the Bride too is repressing her passion for Leonardo, which can only result in death, its coldness as before being evoked and foreshadowing the unavoidable presence of Death at the end of the play. [...]

[...] Indeed Lorca attaches a profound meaning and symbolism to the images of white and blackness. He uses white in clothing but also largely in the characters' speech and song, evoking at times a certain sense of the Bride's purity and virginity, at others the freezing reality of the repression of her and Leonardo's feelings and passion which longs to break free in a society which is unwilling to let passion live freely. White is also strongly associated with the cold and snow, and this whiteness is almost too sterile, sometimes symbolizing the marriage wanted by society itself, and it always needs to be stained by a stronger, richer colour, by feelings represented by blood, just as the cold needs to be melted like the snow by passion and love which together have the power to melt these bonds of ice bounding Leonardo and the Bride to the rigid roles society has assigned them to while the white imagery in the final scenes tends to convey a certain sense of unfair justice established. [...]

[...] The fact of having both Mother and Bridegroom dressed in black as the wedding is arranged could also possibly hold a sense of the foreshadowing of death and mourning which will conclude the play. In Act II scene the wedding preparations have already more than started, and the Bride appears on page 65 after a long traditional bridal song. The stage directions present us her appearance: is wearing a black dress, in the style of the early 1900s, very tight around her hips, and with a train of gauze and lace. [...]