Abstract
LORCA HAS BEEN WIDELY PRAISED for the achievement in Blood Wedding of a tragic form the distinctive features of which are the fusion of lyric and dramatic impulses; the skillful integration of a musical pattern in the drama's structural design; the thematic relevance of songs, stage effects, and recurrent images—in short, for the assimilation of the Spanish folk and classical traditions in a poetic drama that is modern, sophisticated, and authentic. But some questions remain to puzzle the reader, especially the reader of an English version of the play: How does Blood Wedding fit our current concept of poetic drama? In what sense is the organization of the play musical? What is the function of the lyrics in the development of action and theme? Is there a comprehensive structure of imagery defining the tonality and modulations of the play, and supporting themes perhaps resting upon and therefore nearer to the surface of the text than those more profound echoes of vegetation gods and human sacrifice which the archetypal symbols of the play suggest? The following essay is an attempt to explore some aspects of these questions.
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