The Line Between Reality and Realization

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The Line Between Reality and Realization Federico Garcia Lorca’s The House of Bernarda Alba and Tennessee Williams’ The Glass Menagerie are two plays that exemplify characters’ struggles to define the line between reality and realization. Through the many themes and symbols shared between both plays one can make connections between them that allow the reader to see where both Lorca and Williams’ create a sense of disillusionment amongst character interactions. In Garcia Lorca’s play “Bernarda Alba” many characters play a pivotal role in the construction and delivery of the prose. The main character Bernarda is a traditional Spanish woman who is very proud of her reputation and that of her daughters. She walks with a cane and holds supreme power over her household of women. Always at her side is Poncia who is the housekeeper and head maid for Bernarda’s home. She is often referred to as Bernarda’s pet who is always there when needed. Bernarda’s five daughters each hold strong roles within the play in their own way, as they are all very different from each other. Angustias, the eldest of Bernarda’s daughters is the richest and seeks to obtain freedom from Bernarda’s grip. Magdalena and Amelia which are the two middle sisters have a minor voice in the play but remain submissive to Bernarda and her rule by mostly gossiping amongst themselves. A character which forms a number of the reactions throughout the play is Martirio, who may have been married off but was not due to her mother’s destructive nature. She also cares and loves Pepe el Romano, of whom Angustias is engaged and Adela having an affair. Adela is the youngest daughter and the rebel of the family. She whom is involved in an affair with her sister, Angustias’, fiancé in secret until found out. The actions carried out by Adela could be directly tied to Bernarda as a consequence of her demeanor toward her

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