Symbolism in García Lorca's Trilogy:

Type: Tragedy in three acts and seven scenes (1933).
Foreshadowing: The tragedy is evident from the very first scene.
Themes: Family tradition and a curse weigh heavily on the groom's family. The mother constantly recalls her husband and son, both of whom died young.
Values Explored: Throughout the work, natural values are observed:
- Love.
- Strength and nobility of caste.
- The sentiment of vengeance.

Type: Tragic poem in three acts and six scenes (1934).
Central Symbol: Yerma embodies frustrated motherhood. She loves a child that has not, does not, and will never exist.
Core Theme: The poem is a lament for this longed-for child who will never come.
Yerma's Inner World: The entire play revolves around someone who has never had human form but lives vividly in Yerma's soul and mind.
Conflict of Values: Above her frustration and desire for a child lies the traditional value of noble caste. She refuses to seek a child outside her marriage (e.g., at the pilgrimage), maintaining unwavering fidelity.
Style: The drama blends profound lyricism with popular proverbs, reflecting the common people. Yerma is simultaneously elevated, lyrical, and strikingly real, even harsh.
Yerma's Character: Her bitterness is evident in her songs, words, and actions. Her husband fails to understand her; Yerma is far superior to him.
Beyond Material Needs: She is not satisfied with material possessions; she needs a continuation of her own being, her blood.
Tragedy of Sublimation: The entire work is a sublimation of motherhood, which, left unfulfilled, transforms the poem into a tragedy.

Type: Drama of women in Spanish villages (1936).
Realism: It is a realistic drama, relevant even today.
Bernarda's Symbolism: Bernarda symbolizes authority within her domain: over her daughters, servants, and mother. This authority is fictitious for those around her but very real to herself.
Tragic Outcome: In the end, her authority fails, dishonor ensues, and death triumphs.
María Josefa: Bernarda's mother, she is clairvoyant amidst her madness. She longs to return to her homeland, where life was happier and more normal. Bernarda prevents this, locking her away and neglecting her.
Bernarda's Character: She is personified tyranny, criticized, hated, and disobeyed.

Symbolism's Clarity: Symbols are not always clear; sometimes objects or beings directly represent qualities, other times the author uses simple comparisons.
Lyrical Variation: The three works differ in their lyricism. The intense lyricism of Yerma is not as pronounced in Bodas de Sangre or La Casa de Bernarda Alba.
Thematic Trilogy: Though symbols overlap, the trilogy highlights distinct main themes:
- Bodas de Sangre: The nobility of caste.
- Yerma: Motherhood.
- La Casa de Bernarda Alba: Failed authority.
Interconnectedness: A strong connection exists between the three plays due to shared elements like love, desire, and honor. They cannot be compartmentalized; the force of blood and the law (as Poncia says) always exert influence. One could argue it's a common theme divided into different aspects, with certain aspects more prominent in one work than another.
Lorca's Genius: García Lorca masterfully captures the atmosphere and psychology of his realistic characters, who have existed and still exist.
The People as Inspiration: The common people, his source of inspiration, possess inexhaustible resources of expression and ways of life. The