emo ro Carmen Zope es the Mother oad Maris Rol asthe Bride inthe ngs Pod of te Ar produ of Blot Wedding (Lay Angle 198 vitewide tour af Clients arangd by the National Repertory These Frandaton, 3985) Cast of Characters ‘THE BRIDEGROOM THE BRIDEGROOM'S MOTHER ‘THE BRIDE ‘rive BRIDE'S FATHER LEONARDO LeoNaRDo’s WIFE LEONARDO'S MOTHER-IN-LAW ‘THE MAID ‘THE NEIcHBOR THE MOON THREE WOODCUTTERS TWO YOUNG MEN cra ‘TuReE cinis LITTLE GIRL THREE GUESTS A WOMAN NEIGHBORSACTI SCENE I (The room is painted yellow) (Entering) Mother? MOTHER Yes? BRIDEGROOM I'm going. MOTHER Where? BRIDEGROOM To the vineyard. (He starts 10 go) MOTHER Wait BRIDEGROOM Do you need something? Mornee Son, your breakfast! BRIDEGROOM Never mind, I'll eat some grapes. Give me the knife. morHen What for? 5 / toon wappineBRIDEGROOM with. (Laughing) To cut thes MOTHER (Mutering as she looks for it) ‘The knifet The knife! Damn all of them! And the monster who invented them! BRIDEGROOM Let’s change the subject MoTHER ‘And the shotguns and the pistols and the smallest knife—and ‘even the pitchfork and the hoe! BRIDEGROOM Enough! MOTHER ‘Anything that can cut into a man’s body! A beautifal man, with life like a flower in his mouth, who goes out to the vineyards or to his own olive groves, because they are his, inherited BRIDEGROOM (Lowering his head) Mother, be quiet! MOTHER and that man does not return. Or if he does, it’s only to have a palm placed over him or a dish of rock salt, so his body won't float. I don’t know how you dare to carry a knife on you! (Or why [allow this serpent inside the cupboard! pRIDEGROOM, Haven't you said enough? Moriten — * If | lived a hundred yest, L-would talk of nothing else! First, your father, To me hé smelled like carnations, and 1 enjoyed fim only three shore yes, Then your brother. 1p faie? How 6 / Federer Garcia Loves ‘can it be that something as small as a pistol ora knife can destroy ‘mani who is like a bull? I'l never be quiet, The montlis go by, and the desperation stings my eyes and the very tips of my hair! BRIDEGROOM (Loudly) Can't we be done with i? MorHEr No, we can’t be done with it! Can anyone bring me back your father? Or your brother? And then there is prison, What is a prison? People eat there, they smoke there, they play their music there. My dead ones, covered with weeds, silent, tumed to dust ‘Two men who were like two geraniums! The killers, in prison, alive and well, gazing at the mountains. Do you want me to kill them? MOTHER No . . . If [talk about it, it's beeause— How can I not talk about it, watching you go out that door? I don’t want you to carry a knife. I just... [juse wish you wouldn’t go our to the fields. (Laughing) Mother! MOTHER How I wish you had been a girl! You wouldn't be going down to the stream now. And we would be embroidering linens and little wool dogs. sRipEcnoom (Takes her by the arm and laughs) Mother, what if took you with ime to the vineyard? What would an old woman do in the vineyard! Would you hide me under the vine leaves?pnipecRooM (Lifting her up it his arms) Old woman! Old, old woman! Old, old, old woman! MOTHER ‘Your father did take me. That's good stock, good blood! Your grandfather left 2 son on every comer, That I like—men that are men, wheat that is wheat. BRIDEGROOM And me, Mother? MOTHER ‘What about you? BRIDEGROOM Do [ have to tell you again? MOTHER (Serious) Ob! Does it bother you? MOTHER No. BRIDEGROOM, ‘What is it? MOTHER don’t know myself. All ofa sudden, like this, it always surprises me, [know she’s a good girl. That's true, isn’t it? Quiet, hard- working, She bakes her bread and sews her skirts—and yet, every time I mention her, I feel as if Pd been strack on the forehead with a rock, 8 / edevicy Gara Lovee BRIDEGROOM ‘That's nonsense! MOTHER It's not nonsense. I'l be left alone! You're all { have now, and it makes me sad that you'll be leaving. BRIDEGROOM But you'll come with us. MorTHER No, I can't leave your father and your brother alone here. Thave to go to them every moming. And if I go away, one of the Felixes might easily die. One of that family of killers! And they might bury him right next to them. And that—never! Never! Because I will dig him up with my fingernails! And all by myself, Twill smash him against the wall! BRIDEGROOM (Loudly) Back to that again! MorTHER Forgive me. (Pause) How long have you been seeing her? BRIDEGROOM ‘Three years. I was finally able to buy the vineyard. MoTHER ‘Three years. She used to see someone else, didn't she? BRIDEGROOM I don’t know—I don't think so. Girls have to look carefully at who they are going to maery. 9 / aloo wapDineMOTHER Yes. I didn’t look at anyone. Llooked at your father, and when they killed him, Hooked at the wall in front of me, One woman with one man, and that’s it BRIDEGROOM You know my fiancée's a good girl. Morner I don't doube it, Anyway, I'm sorry I don’t know what her ‘mother was like. BRIDEGROOM ‘What does it matter? MOTHER (Looking at him) Son! BRIDEGROOM What do you want? MOTHER It’s true! You're right! When do you want me to ask for her? BRIDEGROOM (Happily) Would Sunday be all right? MOTHER (Seriously) I'l take her those bronze earrings, tbe And you buy her— ’re very old. BRIDEGROOM You know more— MOTHER _-buy her some lace stockings. And for yourself, two suits, No, three! You're all I have, now. 0 / Foleo Gora Lona RIDEGROOM Tm leaving. Tomorrow, I'll go see her, MOTHER ‘Yes. Yes. And let’s see if you can make me happy with six grandchildren—or as many as you feel like—since your father had no chance to give me any more children of my own. BRIDEGROOM ‘The first boy will be for you. MOTHER ‘Yes. But have some girls! I want to embroider, and make lace, and be at peace. BRIDEGROOM Pim sure you will love her. MOTHER 1 will love her. (She starts 0 kiss him, but draws back) Go on. You're too old for kisses. Give them to your wife. (She pauses Then, to herself) When she is your wife! BRIDEGROOM Tm leaving, MOTHER ‘You better hoe the vines over by the little mill, You've been neglecting them. BRIDEGROOM Whatever you say. MOTHER God go with you. ni /ntoop wepoine(The peinsoxoom exis, The MOTHER remains seated, with her hack to the door. A NEIGHBOR wearing a dark dress and a scarf om hher head appears at the door) MOTHER Come in, NEIGHBOR How are you? MOTHER ‘Same as always, NEIGHBOR {came down to the store and dropped in to see you. We live so far apart! MoTHER e's been twenty years since I've been up to the top of the road. NEIGHBOR ‘You seem well MOTHER You think so? NEIGHBOR Things happen. Two days ago they brought in my neighbor's son_-with both arms cut off by the machine. (She sits down) MOTHER Rafael? NEIGHBOR Yes. And there you have him, Many times I think your son and mine are better off where they are, asleep, resting, and nor in danger of being left useless. 1 / Fedorce Garcia Lore MOTHER Don’t say that, That’s all just talk, but it's no consolation. NEIGHBOR (She sighs) MOTHER (She sighs) (There is a moment of silence) NEIcHROR (Sadly) Where is your son? MOTHER He went out NEIGHBOR He finally bought the vineyard! MOTHER He was fortunate. NEIGHBOR And now he'll get married. MOTHER (Asifsuddenty roused, she draws her chair mearer to that of her neighbor) Listen! NEIGHBOR (Eager fora confidence) Yes? MOTHER Do you know this gir! my son wants to marry? NEIGHBOR A good girl!MOTHER Yes, but NEIGHBOR Bur there is no one who really knows her. She lives there alone with her father, so far away—fifteen miles from the nearest hhouse. But she’s « good gitl, accustomed to being alone. MOTHER What about her mother? NEIGHBOR Her mother, I did know— She was beautifil! Her fice shape like a saint’s. But I never liked her She didn't love her husban MOTHER (Harshly) The things some people secm to know! NEIGHBOR Pardon me! I didn't mean to offend you, but it’s true. Now, whether or not she was a decent woman, no one said. There's been no talk about that. She acted so superior. MOTHER Always the same! NEIGHBOR ‘You asked me. MOTHER I just wish that no one knew either the one who's alive or the cone who's dead. I wish they were like two thistles that would prick any wagging tongue that touched them. NEIGHBOR ‘You're right. Your son deserves the best. 14 f Beles Gara Loves MOTHER The best. That's why [take such care of him . . . I was told the girl was engaged to another man, some time ago. NEIGHBOR She must have been fifteen years old. He got married two years ago—to one of her cousins, as a matter of fact, No one remem= bers that engagement. MOTHER How is it you remember? NEIGHBOR You ask me such questions! MOTHER We all like to know more about anything thet can hurt us. Who was he? NEIGHBOR Leonardo. MOTHER Leonardo who? NeIouBOR Leonardo Felix. Mornar (Getting up) Felix wEIGHBOR How could it be Leonardo's fault? He was eight years old when it happened.MotHER ‘hat’s true, But I just heae—"Felix!” (under her breath)—and hearing “Felix” is like having my mouth fill up with slime! (She spits) And I have to spit! I have to spit, so { won't kill! NEIGHBOR Control yourself! What do you gain from this? MOTHER Nothing. But you do understand. NEIGHBOR Don't stand in the way of your son’s happiness. Don't say any- thing to him. You're getting old. So am I. For you and me, it is time to be silent, MOTHER I won't say anything to him. NEIGHBOR (Kissing her) Nothing, moruer (Cally) Such things . . NEIGHBOR T'm leaving, My people will be coming in from the fields soon, MOTHER Have you ever seen such a hot day? NEIGHBOR The children who take water out to the reapers are black from the sun, Goodbye, my friend. MOTHER Goodbye. 16 1 Folerco Gace Ler (The Moriter starts toward the door at the let. Halfivay there, she stops and blesses herself) CURTAIN SCENE 2 (The room is painted pink, decorated with copper objects and bunches of everyday flowers. At center, «table with a tablecloth, It is morning. LEONARDO'S MOTHER-IN-LAW holds a CHILD in her arms. She rocks him, ‘The w1e8 sits in a comer, knitting) MOTHER-IN-LAW Sleep, my child, and dream About the giant horse Who didn’t want the water. ‘The water, deep and black, In among the branches. Arriving at the bridge, ‘The water stops and sings. Who can say, my child, What the water holds? —With its flowing tail, Along its verdant hall wire (Sofily) Go to sleep, my fower— ‘The horse does not want water. MOTHER-IN-LAW Go to sleep, my rose— ‘The horse begins to ery. His wounded hooves, His frozen mane, And in his eyes 17 Fm1000 WEDDINGA silver dagger. ‘They went to the river, Down to the river! ‘The blood was flowing Stronger than water. wire Go to sleep, my flower— ‘The horse does not want water. MOTHER-IN-LAW Go to sleep, my rose— The horse begins to cry wire He would not touch The riverside. His mouth was hot With silver fies. He only cried To the hard hills, With the dead river Upon his throat. ‘The giant horse Did not want water! Oh, sorrow of snow, ‘The horse of dawn! MOTHER-IN-LAW Stay back! Don't come! Close the window With branches of dreams And dreams of branches. wire My child is sleeping, 18 / Peder MOTHER-IN-LAW My child is quiet. wire O horse, my child A pillow has. MOTHER-IN-LAW. His cradle of steel. wire His blanket of linen. MOTHER-IN-LAW Sleep, my child, and dream, wire Ob, the giant horse Who did not want the water! MOTHER-IN-LAW. Don's come! Don't enter! Go off to the mountain ‘Through the gray valleys, ‘The mare awaits. wire (Looking) My child is sleeping. MOTHER-IN-LAW My child is resting, wire, (Soflly) Go to sleep, my flower— ‘The horse does not want water. 19 /s100p wenoineMOTHER-IN-LAW (Rising. Very softly) Go to sleep, my rose— ‘The horse begins to cry. (MOTHER-IN-LAW exits with CHILD, LEONARDO enters) LEONARDO How’s the child? wire He's sleeping. LEONARDO He wasn't well yesterday. He cried during the night. wire (Heppy) Today he’s like a dahlia. What about you? Have you been to the blacksmith? LEONARDO I just came from there. Would you believe it? For more than two months, I've been putting new shoes on that horse, and they keep coming off. He must be tearing them off on the rocks. wire Could it be you ride him too much? LEONARDO. No. [hardly use him at all. wire ‘Yesterday, the neighbors told me they had seen you at the far end of the drylands, LEONARDO Who said that? 29 / Foteriea Gara Lov wire The women who were out gathering capers. It certainly sur- prised me. Was it you? LEONARDO. No. What would I be doing out there in that wasteland? That's what [ said. But the horse was drowning in sweat. LEONARDO Did you sce it? wire No. My mother did, LEONARDO Is she with the child? wire Yes, Would you like some lemonade? LEONARDO. With very cold water. wire Why didn’t you come home to eat? LEONARDO T was with the wheat buyers. They always keep you. wire (Making his drink. She speaks tenderly) Are they paying a good price? LEONARDO A fair one. 21 /a1o0p weninewire Inced a dress, and the baby needs a bonnet with bows. LEONARDO I'm going in to see him, (He gets up) wire Be careful—he’s asleep. MOTHER-IN-LAW (As she enters) Who is riding that horse so hard? He's stretched ‘out down there, with his eyes rolling around, as if he’d come from the ends of the earth. LEONARDO (Acidly) Me. MOTHER-IN-LAW Pardon me! He és yours! wire (Timidly) He was with the wheat buyers, MOTHER-IN-LAW Let him die, for all I care! (She sts down) (There isa pause) wire Your lemonade—is it cold? LEONARDO Yes Did you know they are asking for my cuusist's hand? 2 / Federio Garda Lona LEONARDO When? ‘Tomorrow. The wedding will be within the month. I suppose they will be coming to invite us, LEONARDO (Somberly) {don't know. MOTHER-IN-LAW T don’t think his mother was very happy about the marriage LEONARDO. ‘And perhaps she is right. You have to watch out for her, wire I don’t like you to think badly of a nice girl MOTHER-IN-LAW ‘But he says thar because he knows her. Don't you realize they ‘were seeing each other for three years? LEONARDO But I stopped seeing her! (To his wrrr) Are you going to cry now? Stop it! (He brusquely pulls her hands away from her face) Ler’s go see the child (They exit, arms around each ether. A GURL runs in, joyously) errs Sefioral MOTHER-IN-LAW What is it?cmt The bridegroom came to the store, and he's bought the best of everything! MOTHER-IN-LAW Did he come by himself? cant No, with his mother—tall, dignified. (She imitates her) And what finery! MOTHER-IN-LAW ‘They have money. comme ‘And they bought some lace stockings. Oh, what stockings! ‘Women dream of such stockings! Look: a swallow here (she points to her ankle), a boat here (she points to her calf), and here (she points to her thigh) a rose! MOTHER-IN-LAW Child! cra ‘A rose with the seeds and the stem! Oh, and all done in silk MOTHER-INGLAW ‘Two wealthy families are going to be joined. (LEONARDO and his WHEE enter) cant came to tell you what they're buying. LEONARDO (Harshty) We don't caret 144 / Felco Garcia Los wire Leave her alone. MOTHER-IN-LAW Leonardo, don’t make so much of it! Please excuse me. (She leaves, weeping) MOTHER-IN-LAW Why do you always have to pick on people? LONARDO I didn’t ask for your opinion. (He sits down) MOTHER-IN-LAW Very well! (Pause) wire What is wrong with you? What scheme is boiling up inside your head? Don't leave me this way—not knowing anything— LEONARDO Get away! wire, No. I want you to look at me and tell me. LEONARDO Leave me alone. (He gets up) Where are you going? j LEONARDO Bitter) Will you be quiet? 2 /s100p wevpineMOTHER-IN-LAW (Resolutely, to her daughter) Sssh! (2roNARDO exits) The child! (She exits, and comes back with the child inher arms) (The wee remains standing, motionless) His wounded hooves, His frozen mane, And in his eyes A silver dagger, ‘They went to the river, Down to the river! The blood was flowing Stronger than water wire (Turning slowly, as if in a dream) Go to sleep, my flower, ‘The horse begins to drink MOTHER-IN-LAW Go to sleep, my rose, The horse begins to cry. wirR Sleep, my child, and dream. MOTHEROIN-LAW ‘Oh, the giant horse Who did not want the water! wire (Dramatically) Don't come! Don’t enter! 26 / Federica Garis Lorca | | Go off to the mountain. Oh, sorrow of snow, ‘The horse of dawn. MOTHER-IN-LAW (Weeping) My child is sleeping wire (Weeping as she slowly moves closer) My child is resting. MOTHER-IN-LAW Go to sleep, my flower, The horse begins to drink. wire (Weeping, supporting herself on the table) Go to sleep, my ro: ‘The horse begins to ery curtain SCENE 3 (Interior of the cave where the supe lives. Upstage, a crass of large pink flowers. The archway doors have lace curtains tied with pink ows. On the hard white masonry walls are round open fans, blue vases, and small mivrors. The MALD is onstage. The BRIDEGROOM: and his moTHER enter. The MoTiEn is dressed in black satin and wears a lace mantilla. The Bu1D EGROOM wears a black corduroy suit and a large gold chain) mai (Affibly, full of hypocritical humility) Come in. Would you like to sit down? They'll be right here, (She exits) a7/avoon wenpiNeE (Mother and son remain seated, as immobile as statues. A long pause) MOTHER Did you bring the watch? bRIDEGROOM ‘Yes. (He takes it out and looks at it) MOTHER We have to get back in time, How far away these people live! pRIDEGROOM But the land here is good, MOTHER Good, but much too lonely. Four hours on the road, and not a house or a tree! BRIDEGROOM ‘These are the drylands. MOTHER Your futher would have covered them with trees. BRIDEGROOM ‘Without water? MOTHER He would have found it. The three years he was married to me, he planted ten cherry trees— (She thinks back) The three walnuts by the mill, one whole vineyard and 2 plant called Jupiter, with blood-red flowers, but it died. (Pause) BRIDEGROOM She must be getting dressed. 28 / Feferea Garis Loca (The nawwe’s FATHER enters—an elderly man with shining white hair. His head is inclined. ‘The MOTHER and the BRIDEGROOM stand to shake hands silently) FATHER Was it a long journey? MOTHER Four hours. (They sit down) FATHER ‘You must have come the long way. MOTHER Lamm too old now to walk along the cliffs by the river, Room She gets dizzy. (Pause) FATHER A good hemp harvest. BRIDEGROOM, ‘Truly good. Farner In my time, not even hemp would grow on this land. You had~ to punish it, even cry over it, before it would provide us with something, MorHER But now it does. Don’t complain—I didn’t come to ask you for anything. 2 /sroop wapvineFATHER {Smiting) You are richer than Tam. Your vineyards are worth 2 fortune. Each young vine a silver coin! I'm only sorry that our lands-—-you understand?—are separated, | like everything (- gether. There's one thorn in my heart, and it's that litle orchard Stuck right in the middle of my property. They won't sell it to ‘me for all the gold in the world. BRIDEGROOM I's always that way. FATHER If we could take twenty teams of oxen and bring your vineyards over here and pat them on the hillside— What joy! MOTHER ‘What for? FATHER What's mine is hers, and what’s yours is his, that's why! To see it all together. Because together is beautifel BRIDEGROOM ‘And it would be less work. MOTHER When I dic, you can sell that place and buy next to this one. FATHER Sell? Sell! Bah! Buy, my dear, buy it all! 17 had sons, 1 would have bought this whole hill, as far as the stream. I's not good and, but with muscle you make it good. And since people don't ‘come this way, they don't steal your crops, and you can sleep peacefully. MOTHER (Affer @ pause) You know why I've come. 40 / Fetrco Garis Lose FATHER Yes MOTHER Well? raTHER 1 think its fine, They have talked it over. MorHER My son has what it takes. FATHER My daughter, too. MotiER My son is a good man. He has ky never known a woman. His reputation is cleaner than a sheet spread out in the sun. FATHER : What can I tell you about my daughter? She makes breddl-at three, while the morning star is still shining. She never talks— soft as wool. She embroiders all kinds of embroidery. And she ‘can cut through a rope with her teeth. MorHeR God bless your house! FATHER May God bless it. (Te santo ees with ee 0nysone wit we nyo with wings, the te with sweets) : : MOTHER (To seipncnoom) When do you want the wedding? gi /voop wanpine| BRIDEGROOM Next Thursday. FATHER ‘The day on which she will be exactly twenty-two years old. MoTHER ‘Twenty-two years old. That would be the age of my eldest son, if he were alive. And how alive he'd be—warm and manly as ‘men hadn't invented knives! he was!—i FATHER One shouldn’t think about that. MOTHER Every minute. Look into your own heart ‘Thursday, then, Isn't thar right? BRIDEGROOM ‘That's right. FATHER The bride and groom and the two of us will go to church in the carriage, since i's so far. And the wedding party in their own carts and on their own horses. MOTHER Agreed, (The max crosses the stage) FATHER ‘Tell her that she can come in now. (To the movHten) I'll be very pleased if you like her. (The prave enters, her hands modestly at her sides, her head lowered) 42 / Fotereo Gar Loves MOTHER ‘Come closer. Are you happy? DRIDE Yes, seffora. PATHER You shouldn't look so serious. When all is said and done, she’s ‘going to be your mother! RIDE Lam happy. When I said yes, it was because I wanted to. MOTHER OF course. (Taking her by the chin) Look at me. FATHER She's like my wife, in every way. Yes? What beautiful eyes! Do you know what being married is, a ¥ at being matted is, bRIDE (Gravely) L know. Morne ‘One man, some children—and a wall six feet thick, to shut ont everything else. sRipEckooM Is anything else needed? MOTHER No . . . Just that you all live, Just that! Live! pRIDE 1 will know my duty. 47 /aL00D weopineMOTHER Here are some presents. pre. ‘Thank you. FATHER Shall we have something? Moraes Nothing for me. (To the axipzcxoom) What about you? ‘BRIDEGROOM 1 will (He takes a sweet. The BRIDE takes one also) FATHER (To the BuipEeRoom) Some wine? MOTHER He doesn’t touch it. FATHER ‘That is best. (Pause. Everyone is standing) BRIDEGROOM (To the waipe) Fl come tomorrow. ‘At what time? BRIDEGROOM At five. (yp / eerics Gaia Lena brie Vi be waiting for you. BRIDEGROOM When I leave your side, I feel so lost, and I get 2 lump in my. throat. When you're my husband, you won't feel that way, aaiDEGROOM That's what I say. MOTHER We must go. The sun does not wait. (To the FATHER) Is every- thing agreed? FaTuEe Agreed, MOTHER (To the a1) Goodbye. Go with God. (The morse kisses the BRIDE, and they start to leave in silence) Mornen (At the door) Goodbye, daughter. (The wuipe answers with her hand) FATHER 1 will go out with you. (They leave) 48 /mLoop wenpinemaw mn bursting to see the presents! BRIDE (Harshly) Get away! Maro Oh, child, show them to met aRIDE I don't want to, arp ‘At least the stockings! They say they’re all lace! Please! BRIDE I said not mai For heaven's sake! All right. You're acting like you don’t want to get married, BRIDE (Biting her hand in sage) Oh ap Child! My dear! What's the matter with you? Are you sorry ‘you're giving up the life of queen? Don’t think about unpleasant things! Is there any reason? None. Let's look at the presents (She takes the box) BRIDE (Seizing her by the wrists) Let go! mar Oh, child! 6 ) Pebero Gare Lor BRIDE Let go, I said! arp You're stronger than a man! BRIDE Haven't I done the work of a man? If only I were a man! maiD Don't elk like that! BRIDE Be quiet, I said! Let's tak about something else (The light begins to fae. A long pause) MaiD Did you hear a horse last night? BRIDE ‘At what time? Mai At three o’dlock. BRIDE ft must have been a horse that strayed from the herd. Maip No, it had a rider, BRIDE How do you know that? Mar Because I saw him. He was standing under your window. It really surprised me. 47 / Loop wapminebaie Could it have been my fianeé? Sometimes he comes by at that hour. MAID No. pRIDE Did you see him? Mary ‘Yes. pRIDE Who was it? warp It was Leonardo. BRIDE (Loud) That's a Tie! A lic! What would he come here for? MAID He came, BRIDE Shut up! Damn your tonguet (The sound of hoofbeats is heard) mar (At the window) Look—out there! Was it him? BRIDE Ie was him. FAST CURTAIN “58 / Feevica Garcia Loca te ACTII SCENE I (The veranda of the wrube's house. The front door is upstage. It is night. The snipe comes out, dressed in ruffled white petticoats covered swith lace and embroidered scallops, a white bodice, her arms bare, The main is dressed as before) maw Pll finish combing your hair out here pRipe It’s impossible to stay indoors in this heat! MatD Te never cools off around here, not even at dawn! (The pRiDe sits down in a low chair and looks at herself in a small shand mirror. The MAxD combs her hair) BRIDE My mother came from a place where there were many trees, from a fertile land. Map ‘That's why she was so cheerful priv ' But she wasted away here. Maid Fate, BRIDE Just as we women all waste away. The walls are throwing off heat! Ouch! Don't pull so much! 9 /e.o0p weDDiNearp {just want to do this wave better. I want it to fall over your forehead. (The wxrpe looks at herself in the mirror) How beautifil you are! Oh! (She hisses her with great afection) snipe (Severely) Keep combing my hair. mar (Combing) You are so lucky! You're going to hold a man in your ams. You're going to kiss him. You're going to feel his weight! BRIDE Be quiet! MaID ‘And the best part is when you wake up and you feel him beside you and his breath caresses your shoulder, like a nightingale’s feather! RIDE (Fiercely) Will you be quiet! main But, child! A wedding—what is it? A wedding is that, and nothing more! Is it the wedding cake? Is it the bouquets of flowers? No! It's a shining bed, and a man, and a woman! BRIDE ‘You're not supposed to talk about it! mar such Fan! That's something else. But 40 / Federico Garda Loves | | | | BRIDE (Or such misery! MAID 1 am going to set the orange blossoms from here to here, s0 they form a crown on your hair. (She tries on the orange Blossoms) RIDE (Looking in the mirror) Give it to me. (She takes the orange blossoms, Tooks at them, and hangs her head dejetedly) What is this? BRIDE Leave me alone. ‘This is no time to be sad. (With spirit) Give me those flowers! (The naive throws down the flowers) Child, you're asking for trouble, throwing your crown on the floor! Lift up that head. Don’t you want to get married? Say so. ‘You can still change your mind, (The waxoe stands up) BRIDE ‘They are dark clouds—an ill wind inside me. Who hasn’e felt thar? maid Do you love him? pRIDE Hove hie.MAID Yes, yes. I'm sure. BRIDE But this is a very big step. map ‘You have to take it. BRIDE Thave already given my promise. marD am going to put the crown on you. RIDE (Sitting down) Flurry! They should be arriving soon. MaiD They've been on the road at least two hours. BRIDE How far is it from here to the church? map Five leagues by way of the stream, but it’s twice as far along the road. (The wripe stands; the mao gazes at her with excitement) ‘The bride is awakening, (On the morning of the wedding! ‘The rivers of the world Carry your crown! BRIDE (Smiling) Come on! 2 / Foderio Gara Lona mai (Kisses pane and dances around her) Let her awaken With the tender blossom Of the laurel in flower! ‘May she awaken By the trunk and the branch Of the laurel in flower! (There is a loud knocking) BRIDE ‘Open it! Ie must be the first guests! (The prtDe goes into the house. The MAtD opens the door) MAID (Surprised) You? LEONARDO ‘Me. Good morning. MaiD You're the first one. LEONARDO. Wasn't I invited? Marp Yes. LEONARDO. That's why T came w/ noon wennineMar Where's your wife? LRONARDO I rode the horse. She’s coming along the road. MarD Didn't you come across anyone? LEONARDO 1 passed them on my horse. Marp ‘You're going to kill that animal with so much hard riding! LEONARDO “pon When he dies, he's dead. (Pause) MarD Sit down. Nobody's up yet LEONARDO ‘What about the bride? MAID Tam going to dress her right now. LEONARDO The bride! She must be happy. (Changing the subject) Where is the child? LEONARDO ‘Whar child? 44 f Bode Gus Lovee MAID Your son. LEONARDO (As if from a daze) Oh. arp Are they bringing him? LEONARDO No. (Pause. In the distance, voices are singing) voices ‘The bride is awakening On the morning of the wedding! TEONARDO ‘The bride is awakening On the morning of the wedding! Mar I's the people. They are still a way off LEONARDO (Rising) The bride will wear a large crown, won't she? It shouldn't be too large. A smaller one would suit her better. Did the groom bring the orange blossom she’s to wear on her breast? (The wnrpe enters, still in petticoats, wearing the crown of blossoms) BRIDE He brought it Don't came ont here like that! /aLoop weppineBRIDE “What does it matter? (Coldly) Why do you ask if they brought the orange blossom? Do you have something in mind? LEONARDO Nothing. What would I have in mind? (Approaching her) You Know me—you know I don't. Tell me, what have I ever been to you? Look back and refresh your memory! Two oxen and a tumbledown hut are almost nothing. That's what hurts. aRiDe Why did you come? LEONARDO To see your wedding, BRIDE Just as I saw yours! LEONARDO. You tied the knot with your own two hands. They can kill me, but they can’t spit on me! And gold may glisten—but sometimes it spits! BRIDE That's a lic! LeonanDo I don’t want to talk about it, because I'm hot-blooded, and 1 don't want all these hills to hear my shouts BRIDE My shouts would be louder! Mar ‘This conversation cannot continue! You must not talk about the past. (She glances uneasily at the dovrs) 16 / Federo Garda Lora BRIDE She's right. I shouldn't even be talking to you. But it makes my blood boil to have you come and watch me, and pry into my ‘wedding, and make insinuations about the orange blossom. Get out! And wait for your wife at the door! LEONARDO. You mean you and I can't talk? MAID (Furious) No! You can't talk! LBONARDO Since my wedding, I've thought night and day about who was guilty. And every time I think about it, there is a new guilt that swallows up the old. But there is always guilt. BRIDE ‘A man on his horse knows a lot, and he has the power to squeeze the life out of a lonely girl stranded in a desert. But I have pride—that’s why I’m getting married! And I will shut myself up with my husband, whom I must love more than anything! LEONARDO Pride won't'do you any good. (He comes closer) BRIDE Don’t come near mel LEONARDO To keep still when we'se on fire is the worst punishment we sn inflict on otiféelves. What good did it do me to have pride? ind not see you?—and leave you lying awake, night after night? No good at all It only poured fire over me! Because you ay believe that time can heal and walls can hide—but it's not true. It's not true! When things reach deep inside you, nothing ‘ean pull them out! ar/avoop wenpineBRIDE (Trembling) Lean’t listen to you! I can’t listen ro your voice! I's fs if drank a bottle of anisette and fell asleep on a quilt of roses. ‘And it draws me under, and I know I'm drowning, but I follow. Mar (Seizing 120 NARDO by the lapels) You must leave here right now! LEONARDO It’s the last time I'll ever talk to her. Don't worry about a thing. brie ‘And I know I'm crazy, and I know I'm rotting away with the suffering, and here Lam —quietly listening to him, watching him move his arms! LEONARDO 1 can’t have peace if | don’t tell you these things. I got married Now you get married! MarD She is getting married! vorces (Nearer now) ‘The bride is awakening. On the morning of the wedding! BRIDE ‘The bride is awakening! (Se exits, running t0 her room) MAID ‘The people are here now. (To LEONARDO) Don't come near her again! LEONARDO Don't worry. 48 / Federio Garcia Lora (He exits stage left. It begins to grow lighter) First GIRL. (Entering) The bride is awakening On the moming of the wedding! The circle turns, and brings a crown To every baleony. voices ‘The bride is awakening! (inspiring their cheers) Let her awaken With the tender blossom Of love in lower. Let her awaken By the trunk and the branch Of the laurel in flower. SECOND GIRL (Bering) Let her awaken With her long hair flowing, A nightgown of snowflakes, Silver leather slippers, ‘And jasmine on her forehead. + Maw © Shepherdess, ‘The moon is rising! © gallant lover, Leave your hat in the orchard! @/mL000 wopoineFIRST YOUNG MAN (Eaters with his hat eld high) ‘The bride is awakening The guests are artiving To dance at her wedding, With trays of dahlias, ‘And cakes for the wedding. Mar ‘The bride is awakening! seconp cimt ‘The bride is now wearing Her white bridal crown. ‘The bridegroom has pinned it ‘With ribbons of gold. Mar Under the grapeftuit tree ‘The bride is unable to sleep. rnp GIRL (Entering) Under the orange tree, the groom Offers a tablecloth, 2 spoon. (Three cuests enter) pus YOUNG MAN ‘Awaken, my dove! ‘The white dawn unburden Bells in the shade. curst ‘The bride, the white bride— Today a maiden, Tomorrow a wounsu 0 / Feterve Gants Lona postenreenae FIRST GIRL Come down, dusky maiden, Trailing your train made of sll. Guest ‘Come down, dusky maiden, Fresh with the cool morning dew. FIRST YOUNG MAN Awaken, sefiora, awaken! ‘As orange blossoms rain through the air. MAID L want to embroider a tree Covered with garnet ribbons, With words of love on each ribbon, ‘And shouts of praise all around! vorces ‘The bride is awakening! FIRST YOUNG MAN (On the morning of the wedding! cunst (On the morning of the wedding, How enchanting you will be— Like a flower of the mountains! Like the wife of a captain! FATHER (Entering) ‘The wife of a captain Is taking the bridegroom! He comes with his oxen To capture the treasure! sr /piooo wapnineraiep ime ‘The bridegroom is golden— A golden flower. Wherever he travels ‘There are flowers in his footsteps. mai (© my happy child! SkCOND YOUNG MAN (Entering) "The bride is awakening! ‘MAID © iy enchantress! FIRST GIR, ‘The wedding guests are calling Underneath your window. SECOND GIRL ‘The bride will come out now! Fins caRL Come out now! Come out now! Maid ‘They're ringing! Bells are ringing! FIRST YOUNG MAN ‘She's coming here! She's coming now! ‘MAID ‘The wedding looms Like a bull in ehe ring! se / Feerce Corts Lona (The nexoE appears. Ske wears a tumn-of-the-century black dress, with “flowers at the hip, a long train covered with pleated gauze and heavy lace, and the crown of orange blossoms in her hair. Guitars play. The Gants kiss the BRIDE) THIRD GIRL ‘What perfume did you put in her baie? brie (Laughing) None! SECOND Grit (Looking at her dress) You won't find material like this anywhere! FURST YOUNG MAN Here's the groom! BRIDEGROOM (Entering) Greetings! FURST GIRL (Putting a flower behind his ear) ‘The groom is gold— A golden flower, SECOND GIR A peaceful light Shines from his eyes. (The BarDECROOM goes fo the BRIDE'S side) BRIDE Why did you wear those shoes? BRIDEGROOM, ‘They're more cheerful than the black ones. (LEONARDO'S WiEE enters and kisses dhe BRIDE) 9 /stoan WEDDINGwits Best wishes! (The crown is chattering loudly) LEONARDO (Entering as ifto fulfill a duty) On the moming of your martiage We are crowning you with flowers. wire So the meadows may be merry With the fragrance of your hair. MoTHER (To Ft 5R) Are those people here, 100? FATHER ‘They are family. Today is a day for forgiveness. MOTHER L put up with them, but I won’t forgive them! BRIDEGROOM It makes me happy to see you wearing your crown! ARIDE Let's leave for the church soon. BRIDEGROOM Are you in a hurry? snipe Yes. Iam longing to be your wife. And to be alone with you and hear no voice but yours. pRIDEGROOM, ‘That's what I want, 34 1 Roderic Gara Lovet BRIDE ‘And see no other eyes but yours, And have you hold me so tight that even if my dead mother called to me I couldn’t pull myself away from you. BRIDEGROOM My arms are strong. Iam going to hold you for the next forty years. RIDE (Dramatically, taking him by the arm) Always! FATHER Let's go right away! Get the horses and the carts! The sun has already come wp! MOTHER But be careful. Let’s not have anything go wrong. (The large door upstage opens, and they begin to exit) Mai (Weeping) (On leaving your house, ‘Maiden so pure, Remember: you leave Like a star! FIRST GIRL Clear are your body and gown, Leaving your house for the wedding! SECOND orRL (As they leave) You're leaving your home To go to the church.arp ‘The breeze is tossing flowers Along the sands. rmep Grae Oh, the gis! is pure! MatD The lace of her mantilla Is like a shady breeze. (They exit. We hear the music of uitars, castanets, and tambosrines. LEONARDO and his WIFE are left alone on the stage) Let's go, LEONARDO. Where? wire. To the church, But you're not going on your horse, you're coming with me. LEONARDO In the cart? : wire What other way? LEONARDO Tam not a man who rides in a cart! wire ‘And Lam not a woman who goes to a wedding without her husband. { can’t stand it anymore! 36 / Foleo Garo Lore LEONARDO Neither can I wire Why do you look at me like that? There's a dagger in each eye! LEONARDO Let’s go! wire I don’t know what's going on, But | imagine things, and I don’t vwant to, One thing I know: I've already been tossed aside! But Thave a son, And another on the way. Let's get started. My mother had the same fate, But I'm not leaving here alone! (voces are heard outside) voices On leaving your house To go to the church, Remember: you leave Like a star! (Weeping) Remember: you leave Like a star! TThat’s how [eft my house, too! I could taste the whole world LEONARDO (Rising) Let's go! But woth me!LEONARDO Yes. ; (Pause) Get moving! (They exit) voices (On leaving your house To go to the church, Remember: you leave Like a star! sLow CURTAIN SCENE 2 (The exterior of the wuipe’s cave. Shades of white, grays, and cool blues. Large prickly pears. Somber, silvered tones, Views of tablelands the color of paste, and everything as hard as a landscape om a piece of ‘ceramic folk art, The mas is arranging glasses and trays on a table) MAID Turning— ‘The wheel was turning, And tie water was flowing ‘The wedding approaches! Let the branches spread open ‘And the moon embellish Her white verandal (Louily) Spread the tablecloths! 8 / Poderes Garcia Loves (With pathos) Singing — The lovers were singing, And the water was flowing ‘The wedding approaches! Let the frost shine and sparkle! Let the bitter almonds Be filled with honey! (Loudly) Bring out the wine! (Poetical) My lady— My lady of the land, Sce the water flowing! Your wedding approaches! ‘You must gather your trousseau Under the wing of your bridegroom. Never go from your house— Because your bridegroom's a dove, With his whole heart an ember! ‘The fields await the murmur OF the blood that has been spilled. Turning— ‘The wheel was turning, And the water was flowing, Your wedding approaches! Let the, water be glowing! (Emering with eavaER) Ac last! \ rarker Are we the first? \ (moon wrhpiweMAID No. Leonardo arrived with his wife a while ago. They must have driven like demons! His wife arrived frightened to death They got here as quickly as if they had come on horseback PATHER ‘That man looks for trouble. He has bad blood. MOTHER What blood could he have? —That of his whole family, begin ning with his great-grandfather who started the killing, and on through the whole cvil clan! Men who use knives! People with false smiles! FATHER Let’s leave it alone! How can she leave it alone? MOTHER Tache down to the end of my veins! On all their faces, 1 see nothing but the hand that killed what was mine. Do you see me? Don't | seem mad to you? Welt, [am mad—from not having shouted out everything I needed to, I have a scream in my throat—always there—that I have to choke back and hide under my shawl, Buc they carry off the dead and you must keep silent. Or people will criticize. (She takes off her shawl) FATHER Today is not the day for you to be remembering those things. MOTHER ‘When it comes up in conversation, I have to speak. And today more than ever, because today I’m left alone in my house. FATHER In hopes of having new company, (6 / Foteriep Gace Lovee orHre ‘That's my dream. Grandchildren, (They sit down) PatHER wane them to have many. This land needs hands that are not hired. We have to keep up a battle—with weeds, thistles, and rocks that come from who knows where. And these hands should belong to the owners—hands that will punish and will dominate and will sow the seeds, Many sons are needed. MOTHER ‘And some daughters! Boys are like the wind. They are forced to use weapons. Girls never leave the house. FATHER (Cheerfully) 1 think they'll have some of everything! MOTHER ‘My son will have her pregnant in no time. He comes from good stock. His father could have had many sons with me. FATHER What { would like is for it all to happen in one day! For them to have two or three grown sons right away! MOTHER But it's not like that. Ie kes so much time. That’s why it's so terrible to see your own blood spilled on the ground. A fountain that flows for a minute—and takes years out of our lives! When [got to see my son, he was lying in the middie of the street, 1 vet my hands with blood, and [licked them with my tongue Because it was mine! You don't know what that is! 1 would place the earth soaked with his blood in an uen of erystal and tops! 6 /sLoo wappine | iPATHER Now you must wait. My daughter is healthy and your son is strong. MOTHER Thope so. (They stand up) Prepare the trays of wheat! ‘They are ready. wire (Entering, with LeONARDO) Congratulations! MOTHER ‘Thank you. LEONARDO. ‘Will there be a fiesta? ‘A small one. People can’t stay too late. MarD ‘They have arrived! (cunsts begin entering in lively groups. The Rie dnd BRIDE GROOM enter, arm in arm. LEONARDO exis) bRIDEGROOM T've never scen so many people at a wedding! (Gloomity) Never (a / Foleriee Garis Lorca t t FATHER I was magnificent! MOTHER Entire families have come! BRINEGROOM People who never left their houses! MOTHER Your father sowed the seed, and now you reap the harvest. BRIDEGROOM ‘There were cousins of mine that I didn’t know anymore! Morner All the people from the coast. pRIDEGROOM (Laughing) They were frightened by the horses! (Everyone is talking) moruen (To the nar) What are you thinking about? BRIDE Tm not thinking about anything MOTHER ‘The wedding vows weigh heavily (Guitars are playing) pRIDE Like lead! 43 e100 waopineMOTHER (Strongly) But they shouldn't! You should feel as light as a dove. BRIDE ‘Are you staying here tonight? MOTHER No. There is-no one at my house, ‘You should stay! FATHER (To morsen) Look at the dance they have started! Dances from, far away by the edge of the sea (LEONARDO enters and sits down. His wree stands behind him, tify) MOTHER (On her way out) They ace my husband's cousins. As hard as rocks when they dance, FATHER Tenjoy watching them, What a change for this house! (He exits) BRIDEGROOM {To privé) Did you like the orange blossoms? (Staring at him) Yes, DRIDEGROOM, It’s all made of wax. It lasts forever. I would have liked you to wear them all over your dress. There's no need. 6 1 Fedesio Gi (:nowaRDo exits right) rinst cin Ler’s go take off your pins. BRIDE (To the sxipEGROOM) I'll be right back. WIFE, Thope you will be happy with my cousin! BRIDEGROOM 'm sure L will be. wire “The two of you here, without ever leaving, raising 2 family. How I wish I, to0, could live this far away! aRrnEGROOM Why don't you buy some land? It’s cheap on the hillside, and better for raising children. wire We don’t have any money. And the way things are going, BRIDEGROOM Your husband is a hard worker wire Yes. But he likes to move around too much, He goes from one thing to another. He's very restless, MAID ‘Aren't you eating anything? I am going to wrap up some wine biscuits for your mother—she likes them so much. BRIDEGROOM Give her three dozen. 6 /proap wanDinewire No, no! Half'a dozen will be enough. BRIDEGROOM ‘This is a special day. (To the a1p) Where is Leonardo? I didn’t see him. He must be with the others. 1 will go and see! (She leaves) “That is beautifull BRIDEGROOM You're not dancing? MAID No one asked me. (xwo canis cross upstage, During this entire scene, people are crossing upstage, animatedty) BRIDEGROOM (Cheerfully) That's because they don't know any better. Lively old ladies like you dance better than young ones. [Are you trying to flatter me, young man? That family of yours! Men auung ment When 1 was « child, I went to your grand 66 / Feferico Gara Loes father’s wedding. What a figure he cut! It was as ifa mountain. was getting married! BRIDEGROOM Tam not as tall. MaiD ‘But you have the same gleam in your eyes, Where's the child? BRIDEGROOM ‘Taking off her crown. arp Ah! Look, for midnight, since you won't be asleep, I put out ham and some large glasses of old wine. In the lower part of the cupboard. In case you necd it. bripecRoom (Smiling) I don’e eat at midnight. MarD 1£ not you, the bride, (She exits) HIRST YOUNG MAN (Entering) You have to drink with ust BRIDEGROOM Tam waiting for the bride. SECOND YOUNG MAN Her, you'll have at daybreakt FINST YOUNG MAN ‘That's when it's the most fan! SECOND YOUNG MAN Just for a minute! @ (asoon WenningBRIDEGROOM, Let's go. (They exit. There is much chatter, The waive enters. The TWO Carnes run t0 meet her fiom the opposite side of the stage) ‘Who did you give the first pin to, to me or to her? RIDE I don’t remember pinst GIRL You gave it to me, here! SeCOND GIRL To me, in front of the altar! (Restless, in «great inuer sorugele) I don’t know anything. FIRST GIRL I just wish that you'd — RIDE (Interrupting) And I don't care! I have a lot to think about. SECOND cIRL Excuse me. (LEONARDO crosses upstage) (Seeing LEONARDO) And these are anxious moments. FIRST GIRL We don't know anything! 68 / Redevice Gone Lovee pripe ‘You will know when your time comes. This step is one that costs you dearly. FIRST GIRL ‘Are you upset with us? pRIDE No, Please forgive me. SECOND GIRL For what? But cither pin means you get married, docsn’t i? RIDE Both Fans Gra, But one of us will get married before the other. aRIDE Do you want it so badly? SECOND GIRL (Shyly) Yes. BRIDE why? First Gat Well (rinse cine embraces the other. They both mun off. The BRIDE- GROOM enters and very slowly embraces the BRIDE from behind) BRIDE (Startled) Get away! f@ /axoop weppincBRIDEGROOM Do I frighten you? \ BRIDE Ob! It was you? BRIDEGROOM Who would it be? (Peuse) Your father or me. BRIDE ‘That's true. KIDEGROOM But your father would have embraced you more gently BRIDE (Gloomily) OF course. (The BRIDEGROOM hugs her tightly, in a brusque manner) BRIDEGROOM Because he is old! pripe. (Dryly) Let me go. BRIDEGROOM Why? (He lets her go) pRIDE Because... people. . . They can sce us! “The masw crosses upstage again, without looking at the couple) (i nt 0 / Federico Garda Loves BRIDEGROOM What of it? It is blessed now! BRIDE Yes, but let me go. Later. BRIDEGROOM What is wrong? You seem frightened. Nothing is wrong. (eONARDO's wire enters) Don't go. wire I don’t want to interrupt BRIDEGROOM What is it? Did my husband come through here? at omy You see, I can’t find him. And his horse isn’t in the stable, either. pRIDEGROOM (Cheerfully) He must be out riding (The wre exits, uneasy. The MaxD enters) Mat Aren't you happy with so many good wishes?BRIDEGROOM L wish it were over already. The bride is a lite tired, map What is ic, child? BRIDE There's a sort of pounding in my temples. In these hills, a bride must be strong. (To the 8x1DxCROOM) You're the only one who can cure her, because she belongs to you. (The Maun goes off quickly) BRIDEGROOM (Embracing her) Lets join the dancing awhile. (He kisses her) BRIDE (ln anguish) No. 1 want to lie down awhile. bRIDEGROOM Til keep you company. RIDE Never! With all these people here? What would they say? Let me rest 2 moment. pRIDEGROOM Whotever you like. But don’t be like this tonight! peive (Ar the door) By tonight 1 will be better. pRIDEcROOM That's what I want, 72 1 Folerice Car Loves (The mornsn enters) MOTHER Son, BRIDEGROOM Where have you been? MOTHER In all that noise, Are you happy? BRIDEGROOM MOTHER Where is your wife? DRIDEGROOM She's resting a little. It’s a bad day for brides. MOTHER A bad day? It’s the only good one! For me, it was like coming into an inheritance! (The ssarolgnters and goes toward the wRiD¥'s room) It’s the plowing of land, the planting of new trees. BRIDEGROOM Ate you going to leave? Yes, [have to be at my house. BRIDEGROOM, Alone. yy /m100b wunvineMOTHER Not alone. My head is full of things—and men and struggles. But struggles that are no longer struggles. (The Matw enters quickly. She exits upstage, running) MOTHER While you live, you struggle BRIDEGROOM Lalways respect your wishes. MOTHER With your wife, try to be affectionate, And if you notice her being distant or shy, caress her in a way that will hurt her abit. A tight hug, a litle bite—and then a soft kiss, Not enough to upset her, but enough for her to know you are the man, the ‘master, the one who gives the orders: ‘That's how I learned from your father. And since you don’t have him, | must be the one to teach you these strategies. BRIDEGROOM I will always do what you say (Emeving) Where is my daughter? BRIDEGROOM She's inside. (The varruiER goes inside) ‘Come on, bride and groom! We're going to dance the Wheel! 74-( Folerics Garis Les | | | | | | FIRST YOUNG MAN (To neinecroom) You're going to lead it, FATHER (As he comes out) She's not here! BRIDEGROOM No? FATRER She must have gone out on the veranda. RIDEGROOM I'm going to see! (He exits. Crowd noises and guitars are heard) PIRST GIRL, They've already started! (She exits) BRIDEGROOM (Entering) She's not there. ( mornes (Uneasy) No? FATHER Where could she have gone? Mar (Entering) The child, where is she? MOTHER (Gravely) We don’t know. (The werpxcnoom exits, Three ounsys enter) rs /atoan weovineFATHER (Dramatically) But isn't she in the dance? Mai She's not in the dance. FATHER (Energetically) There are so many people. Go look! I've already looked! (Tragically) Well, where is she? BRIDEGROOM (Entering) Nothing. She's not anywhere MOTHER (To FATHER) What is this? Where is your daughter? (LEONARDO'S WHER enters) wire They ran away! They ran away! She and Leonardo! On the horse! They rode off in each other's arms, like a bolt of lightning! FATHER It’s not true! My daughter? No! MOTHER Your daughter, yes! Born of an evil mother, and him—him, too! But now she is my son’s wife! BRIDEGROOM, (Entering) Let's wo afies (nein! Who has « horse? 16 / Folerio Garde Lona | i I MOTHER Who has a horse? Right now—who has a horse? I'll give you everything I have: my eyes and even my tongue! voice ‘There's one here! (To waivEcRoom) Go! After them! (He leaves with two YOUNG MEN) No! Don’t go! Those people kill quickly and welll But—yes: run! And I'll follow. FATHER It can't be her! Maybe she threw herself into the cistern! Honore women tow hems in the we, she dese te Nowa! Ba nw shes my a wi (Eves oes reff There ate eo sles ee! My anil and yous oe le hee! ln he ds fom yor shu! Wear gong he my snl (the exow xptes nove gms) Deets he hs his people—his cousins om he el And al thse nto came fe Be ero! Ove af hee Along esery tea rh come ome agate hua boa! Tes You with yours and me wich mine! After them! After them! cuRrain 7 /s100p wenpine | | |ACTIIL SCENE I (A forest. Night, Great moist tree trunks. A murky atmosphere, Two violins are playing. Three woocurrers enter) FIRST WOODCUTTER And have they found them? seconD wooDcurTER No. But they’te searching everywhere THIRD WooDcUTTER ‘They will find them soon. SECOND WoopcuTtER Ssshh! What? SECOND WooDcUTTER They seem to be closing in on every road at once. FIRST WOODCUTTER ‘When the moon comes out, they will see them. sRCOND WoopcuTTER ‘They should leave them alone. First WoopcuTTER ‘The world is wide—everyone can live in it But they will kill them. 178 / Federico Cars Loree SECOND WoODCUTTER ‘You must follow your heart. They did well to run away. finst wooncuTTER ‘They had been lying to each other. But in the end, blood was stronger! THIRD WOODCUTTER Blood! rinst WoODCUTTER You must follow the course of your blood. SECOND WoopcuTTER But blood that is spilled is soaked up by the earth. Finst WooncuTTER What of it? Better to be dead with no blood than alive with it festering riikp WoopcurrER Be quiet! t Finst WOODCUTTER wie? Do you hear something? rmrp woopcurTER hear the crickets, the frogs, the ambush of the night. FinsT WOODCUTTER But you don’t hear the horse. ‘rmimp WoopcuTTER rinst WoopcuTTER Now he must be making love w lev nw /s.oop wenoineSECOND WOODCUTTER Her body was meant for him; his body was meant for her. THIRD WOODCUTTER ‘They will track them down and kill them. ninst woopeuTrER \\ But their blood will have mingled by then! They will be like | ewo empty water jars, like two dry rivers a SECOND WoopcuTTER ‘There are many clouds, and it will be easy for the moon not to come out. ‘The bridegroom will find them—with the moon or without the ‘moon! [ saw him start off—like a raging star! His face, the color of ashes, revealed the fate of his whole family. FIRST WOODCUTTER His family of corpses in the middle of the road! SECOND WOODCUTTER ‘That's right. Do you think they will manage to break through the circle? It would be difficult. There are knives and guns for ten leagues around. ‘THIRD WOODCUTTER He's riding a good horse SECOND WoODEUTTER But he is carrying a woman! 9 / Pederice Garis Lorex | i FIRST WOODCUTTER We are close now. SECOND WOODCUTTER A tree with forey branches. We'll soon cut it down. ‘THIRD WOODCUTTER Now the moon is coming out. Let's hurry! (The lights grow brighter at stage left) rinst woopcurrer rising Moon! ‘Moon of the giant leaves. SECOND WoODCUTTER Fill che blood with jasmine! sunst WoopcuTTER © Ionely Moon! Moon of the tender leaves. (siverontne torte oe ‘THIRD WooDCUTTER (O evil Moon! Leave the dark bough for their love! First WoopcuTTER © somber Moon! Leave the dark bough for their love! (They exit. ‘The MOON appears through the light at siage let. The MOON is a young woodcutter in whiteface. The stage takes on a vivid bine brilliance) fr /x00n wenpineMOON Tm a round swan on the river. I'm the cathedrals’ eye Pau the false dawn in the treetops. ‘They will not get away! ‘Who's hiding there? Who sobs Beneath the thorns and brambles? ‘The moon drops down a dagger, Abandoned in the air— Ambush of lead that aims to be ‘The agony of blood. Let me in! I come, frozen, Through the walls and windows; Open your roofs, your breast Where I can warm myself! Lam cold! My ashes Of heavy, sleeping metals Seek the cxest of fire ‘Through the streets and mountains. But the snow will bear me Upon its jasper shoulder; Pll sink beneath the water Of the frozen ponds And so tonight my cheeks Will fll with crimson blood ‘And the reeds that huddle At the wide feet of the wind. Allow no shade, no shadow— They will not get away! T want to enter a breast, So I can warm myself! A heart! A heart for me— Feverish, let it low ‘Over the hills of my breast Let me in! Oh, let me! (To the boughs) T want no shade. My rays ‘Must enter everywhere: 42 / Fedvico Garia Loma ‘Among the darkened trees, ‘A murmuring of light. So that tonight I'll have ‘Sweet blood upon my cheeks ‘And the reeds that huddle At the wide feet of the wind. Who is hiding? Come out, I say! No! They cannot escape! Til make the horse shine bright, A feverish diamond light! (The Moon disappears between the tree inanks, and the stage lights dim again. A very old woman enters, completely covered in flimsy, dark green garments. She is barefoot. Her face can barely be seen under the folds of doth, Th his ch BEGGAR WOMAN ‘That moon is gone, and they draw near. ‘They'll go no farther. The river's whisper And the whispering tranks of trees will drown "Their screams, their lacerated screams Here it will be, and soon. Tam so tired! ‘The coffers open, and clean white sheets Are waiting upon the bedroom floor (For bouties of men whose throats have been torn Let no bird wake. And let the breeze Gather their moans in the folds of her skitt ‘And fly with them over the black treetops, Or bury them deep in the softness of mud. (mpatientty) ‘That moon, that moon! (The MOON appears. The intense blue light returns) Now they are neat! Some through the ravine, the other along the river, PI shine on the rocks. What do you need? & /roop weppineBEGGAR WOMAN Nothing Moon The wind blows hard, with a double edge. BEGGAR WOMAN Shine om his vest, open the buttons— then the daggers will know their way. Let them be a long time dying, Let blood hiss sofily through my fingers. See my ashen valleys waken, Anxious for this trembling fountain! BEGGAR WOMAN ‘We won't let them cross the river. Silence! Moon ‘There they come! (The MOON exits. The stage lights dim) BEGGAR WOMAN Hurry! Lots of light! Did you hear me? They cannot escape! (The BRIDEGROOM and the FIRST YOUNG MAN enter. The BEGGAR WOMAN sits down and conceals herself in her shawl) bRIDEGROOM (Entering) This way HIRST YOUNG MAN ‘You won't find them. 84 f Federio Gara Loves BRIDEGROOM (Forcefilly) Yes, 1 will find chem! HIRST YOUNG MAN I think they've taken another path. BRIDEGROOM No. A moment ago, I heard galloping FIRST YOUNG MAN Tt must have been another horse, DRIDEGROOM (Dramatically) Listen! There is only one horse in the world—and it’s this one! Do you understand! If you follow me, follow me ‘without talking! FIRST YOUNG MAN 1 just wish— BRIDEGROOM Be quiet! {am sure I'l find them here! See this arm? Well, itis not my arm—it is the arm of my brother and of my. father and ‘of egeryone in my family who is dead! And it has so much pork: that it can pull this tree up by the roots if it wants! And let's hurry, because I feel the teeth of my whole family digging into me—here! In a way that makes it impossible for me to breathe casity. BEGGAR WOMAN (Whining) Ay! FIRST YOUNG MAN Did you hear that? BRIDEGROOM Go that way, and circle back.‘This is a hunt, BRIDEGROOM ‘The greatest there can be! (The YOUNG MAN exits. The BRIDEGROOM goes rapidly Coward the left and stumbles upon the BEGGAR WOMAN: Death) BEGGAR WOMAN Ay! ‘What do you wan Tam cold! BRIDEGROOM Which way are you going? BEGGAR WOMAN (Still whining, like a beggar) That way—far away, BRIDEGROOM Where are you coming from? DEGGAR WOMAN From there. From very far. BRIDEGROOM Did you see a man and a woman race by on horseback? BEGGAR WOMAN (Uncovering herself) Wait! (Looks at him) Beautiful young man! (She gets up} But much more beautiful if you were asleep! 86 / Federico Gara Loves BRIDEGROOM, ‘Tell me! Answer! Did you see them? BEGGAR WOMAN Wait! What broad shoulders! Why don’t you want to be laid out on them, instead of walking around on the soles of such small fer? (Shaking her) 1 asked you if you saw them! Have they passed through here? BEGGAR WOMAN (Forcefully) They have not passed! But they are coming down the hill. Don’t you hear? BRIDEGROOM BEGGAR WOMAN ‘You don’t know the road? BRIDEGROOM ’ g0, whatever it rakes! BEGGAR WOMAN J will go with you. 1 know this land. BRIDEGROOM (Umpatiently) Then let’s go! Which way? BEGGAR WOMAN (Dramatically) Through there! (They exit rapidly. Two violins are heard in the distance, They evoke the forest, The WOODCUTTERS retum, their axes on their shoulders They walle slovely between the trunks of the trees) i /atoon weovinepinst WOODCUTTER Death! Death is coming, Beneath the giant leaves! SECOND WOODCUTTER Don't start the flow of blood! First WoopcUTTER Death, lonely death, Beneath the withered leaves. ‘rmIRD WOODCUTTER Don't cover the wedding with flowers! SECOND WOODCUTTER Death, mournful death, Leave a grcen branch for love! ‘THIRD WoODCUTTER Death, vicious death, Leave a green branch for love. LEONARDO. Quiet! From here, Til go alone! Leave! I want you to go back! LnONARDO. Quiet, I said! ‘With your teeth, ‘With your hands—however you can— Take this snctal chain from my neck. 48 / Federico Gorda Loa ( (They each leave as they speak. LeOwARDO and the BRIDE enter) Leave me, let me live forsaken, There in my house made of earth. ‘And if you do not want to kill me, As you would kill the smallest snake, Then put the barrel of your gun Into my hands, the hands of a bride! A song of sorrow—burning! burning! Rises up inside my head! ‘My tongue is pierced with glass. 1BoNARDO We've taken the step now. Quiet! Because they follow us closely, ‘And I must take you with me BRIDE Then it must be by force! LEONARDO By force? But which of us went first Back there? Who led me down the stairs? BRIDE Led the way. LEONARDO ‘Who untied the horse? BRIDE I did. I did. I's true! LEONARDO ‘Whose hands Put spurs upon my boots? ‘These hands that are yours. They ache To dig into your flesh & /s1909 weopineBordered-withr violet And open each blue vein ‘To hear your murmuring blood. Love yout Tove you! But leave met IFT were able to kill you, | 'd wrap you in a shroud [A song of sorrow-—burning! Rises in my head! LEONARDO My tongue is pierced with glass! In order to forget, [ put a wall of stone Between your house and mine It’s true! Don’t you remember? Seeing. you in the distance, 1rd fill my eyes with sand! But T would take my horse, ‘And the horse would go to your door. The silver pins of your wedding Were making my blood tum black. ‘The dream was filling my flesh With biter, choking weeds! ‘Because the blame’s not.minc! The blame belongs to the earth And to the smell that comes From your breasts and from your braids. Brive must be mad! I do not want To shate your bed or food, But every minute of the day Hong to be with you ‘You pull me, and I go along, ‘And then you push me back. ‘And helplessly | follow you Like straw blown on the wind. Tve left a good aud honest mass, His family, his house, In the middle of the wedding, Still wearing my bridal crown! But you are the one they will punish, ‘And I don’e want that ¢0 be Leave me alone! Escape! No one can help you now. LEONARDO ‘The first wild birds of the morning Are breaking out of the tees ‘And now the night is dying ‘On the sharp edge of the stone. Let's find a comer of darkness Where I will love you always, ‘And [ won't care about people Or the poison that they spread (He embraces her tightly) RIDE ‘And I will lie at your feet— Guarding what you dream— Naked, watching the fields (Dramatically) ‘Asif | were your dog. Because | am! I look at you: ‘Your beauty makes me burn! LEONARDO Fire is fed by fire. ‘The same small flame destroys ‘Two stalks of wheat at once, Let's go! (He pulls her) BRIDE Where are you taking me? or /mLoon wappine1moNARDO Somewhere they cannot go, “These men who now surround us— ‘Where I can look at you! (Sarcastically) And show me at the country fairs, “An Insult to Decent Women”? So everyone can stare at me, My wedding sheets unfurled As if they were my banners? Low anno 1 would want to leave yous too, If | thought like others think! But wherever you go, Iam going, And you, too. Take one step. Only try! ‘The moon nails us together. ‘My loins are fused to your thighs (This entire scene is violent, filled with great sensuality) Listen! LEONARDO. They're coming! RIDE Ran! It’s right for me to dic Here, with my fect in the water ‘And thors around my head. ‘And for the leaves to mourn me: A lost and fallen maiden! 2 / Feder Garis Lorca EONARDO Quiet! They're here now! BRIDE Go! Leonarpo: Be still! Don't let them hear ust ‘You first, Let's go, I say! (The waive hesitates) BRIDE Together! LEONARDO (Embracing her) As you wish! If they tear us apart, it will be Because | am dead, And I am dead! (They exit, their arms around each other) (The Moon emerges, very slowly. The stage takes on an intense blue light. The two violins play. Suddenly, their music is cut short by two Jong, piercing screams. On the second scream, the BEGGAR WOMAN appears and stands with her back fo the audience. She opens her cloak dred remains at center stage, like a great bird with immense wings. The MOON stops moving, The curtain descends on complete silence) 95/1000 wenDINet i i SCENE 2 (A room with arches and thick walls. At lft and right, whit stein Upstage, a very large arch, and a wall the same color. Even the floor is shining white. This unadorned room has the monumental feling of a church, There must nt be a single gray, a single shadow—no1 ev if required for persptitive, 7wO GURLS dressed in dark Blie are winding a réd madgja, a skein of wool. A LITTLE G1RL watches) FIRST GIRL, Madeja, madeja, What will you te SECOND cant Jasmine clothing, Crystal paper: Born at four, Dead at ten, ‘The woolen thread A chain at your feet A knot that binds Bitter laurel. (Singing) Did you go to the wedding? Pins Gun LITTLE Gree Neither did 1! ‘What could have happened In the budding vineyard? What could have happened In the olive prove? 94 / Falereo Caria Lovee How could it happen ‘That no one returned? Did you go to the wedding? SECOND G We told you: no. (Leaving) Neither did I! SECOND GIRL Madeja, madeja, What will you sing? FIRST GIRL ‘Wounds of wax, ‘The pain of myrtle, Sleeping by morning, ‘Watching by night. LITTLE GIRL (At the door) ‘The thread is caught Upon the flint. ‘The azure mountains Let it pass. Ie runs and runs, ‘And then arrives At the stab of the knife, ‘The last of the bread. (She exits) SECOND CIRL Madeja, madeja, ‘What will you say? 9s /mLoon wenpinePiRsr ern ‘The Lover is silent. Crimson, the Groom. (On the mute riverbank, saw them Iaid out. (She pauses, staring at the madeja) LITTLE GIRL (Coming 0 the door) ‘he hd eons ant ns It runs to here. Covered with mud. I bear them come. Lifeless bodies, Ivory sheets. (LEONARDO'S WIFE and MOTHER-IN-LAW enter, anguished. The LITTLE Grae exits) FIRST GIRL Are they coming now? MOTHER-IN-LAW (Sourly) We don’t know. SECOND ciRL What can you tell us about the wedding? FIRST GIRL Tell me! MOTHER-IN-LAW (rly) Nothing. I want to return, to know everything. 96 1 Boerice Goris Lowa MOTHER-IN-LAW __ Foreeidly) ‘You: go to your heise! \ Brave and alone in your house | You will grow old and you'll weep. / | Always, the door will be closed. | | Nover, Living or dead \ ‘We'll nail down the windows forever. | Let the rains come, and night Blanket the bitter weeds! } wire ‘What could have happened! MOTHER-IN-LAW No matter. Cover your face with a veil Your children are children of yours, Nothing else matters to you. ‘You must place a cross made of ashes On the bed where his pillow has been. (They exit) BEGGAR WOMAN (At the door) A piece of bread, girls! LATTLE GIRL Go away! (The carts draw together) BEGGAR WOMAN, Why? LITTLE GIRL Because ‘You whine. Go away! gr /axoop wannineFIRST GIRL Child! BEGGAR WOMAN I could have asked you for your eyes! A cloud of birds follows me. Want one? LITTLE GIRL T want to leave! ~ SECOND GIRE (To the nEGGAR WOMAN) Don't pay attention! FIRST GIRL ‘You came along the road by the stream? BEGGAR WOMAN I came that way. FIRST GIR (Timidly) Can 1 ask you? BEGGAR WOMAN I saw them. They'll soon be here. Two torrents, Still at last among the boulders. ‘Two men at the feet of the horse. Dead in the splendor of the night. (Savoring ig) Dead! Yes, dead! FIRST GIRL Quiet, old woman! BEGGAR WOMAN ‘Their eyes are broken flowers. Their teeth Are just wo handfuls of frozen snow. They both fell dead. The bride returns With bloodstains on her skirt and hair. 98 / Felerics Gavia Lowe | | Covered with blankets, the bodies come, ‘Comte on the shoulders of tall young men. ‘That's how it was. Nothing more. It was just ‘Over the golden fower—filthy sand. (She leaves. The c1ns how their heads and stat to exit, rhythmically) PARST GIRL Filthy sand, SECOND GIRL ‘Over the golden flower. LITTLE GIRL Over the golden flower. ‘They bring the dead from the stream. Young and dark, the one. Young and dark, the other. The nightingale of shadow Soars and grieves Over the golden flower! (She leaves. The stage is empty. The MOTHER enters wit the NELGH- Bor, who is weeping) MOTHER Quiet! NEIGHBOR can't MOTHER Quiet, said! (At the doorway) Is there no one here? (Ske puts her ands to her forehead) My son should be answering me! But my son is now an armful of withered flowers. My son is now a dim voice behind the mountains. (Angry, the Nercusox) Will you be quiet? T want no weeping in this house. Your tears are tears that come only from your eyes, and mine will come when oy (ntoop WEDDING1 am alone—from the soles of my feet, from my roots—and they will bun hotter than blood! 4 weicipon Come to my house—don’t stay here. Mortiter Here. Here is where I want to be. And at peace. Now everyone is dead. At midnight, I will sleep. I will sleep at last, no longer terrified of guns or knives. Other mothers will be looking out of windows lashed by the rain, to see the faces of their sons. i Nor me. I will make from my dream a cold ivory dove that will \ carry camellias of frost over the cemetery. But no! —Nor the | \, cemetery, not the cemetery! A bed of earth, a bed that shelters \,hem and rocks them in the sky. ' (A woman dressed in Back enters, gosto the right, ad knee there) i (To the Ne1GHs0R) Take your hands from your face. There are terrible days ahead of us. I doo’t want to see anyone. The carth and me! My tears and me! And these four walls! Oh! Oh! (She sits down, overcome) NEIGHBOR Have pity on yourself. (Pushing her hair back) 1 must be calm, Because the neighbors will be coming, and I don’t want them to see how poor | am. How poor! A woman without even one son to touch to her lips! (The weawe enters, without her orange blossom, wearing a black cape) NEIGHBOR (Looking at the oR1D8 angrily) Where are you going? BRIDE Wm coming here. 100 1 Federiso Garda Lora MOTHER (To the Ne1cnnor) Who is it? NEIGHBOR Don't you recognize her? That's why I ask who it is. Because { must not recognize her, so T won't dig my tecth into her neck! You vile serpent! (She moves threateningly toward the oexpe, then stops. To the NEIGH on) You see her? She's there, and she's crying, and I—calm —without tearing her eyes out. I don’t understand myself. Could it be that I didn’t love my son? But what abouther honor? Where is her honor? (She strikes the nruDe, who fills to the floor) NEIGHBOR My Godt (She tries to separate them) Rips (To NetcuB0R) Let her! I have come so she can kill me and I can be buried with them. (To the moTHER) But not with your hhands—with grappling hooks, with a sickle, and with all your might, until it breaks on my bones. Go ahead! But I want you to know I am unstained. I may be mad, but they can bury me without any man ever having seen himself in the whiteness of my breasts! MOTHER Be quiet! Be quiet! What do I care about that? Because [ ran away with another man, I ran away! (Anguished) You would have gone, too! I was a woman consumed by fire, covered with open sores inside and out, and your son was alittle bie of water from whom I hoped for children, land, health! But the other was a dark river filled with branches that brought close to me the whisper of its rushes and its murmuring song. And I would yo with your son, who was like a litle boy made of cold tat /#LooD WEDDINGwater, and the other would send hundreds of birds that blocked my way and left frost on the wounds of this poor, wasted woman, a girl caressed by fire! [ didn’t want ro! Listen to me! | didn’t want to! Your son was what. | wanted, and I have not, deceived him, But the arm of the other dragged me—like the Surge of the sea, like 2 mule butting me with his head—and ‘would have dragged me always, always, always! Even if | were old and all the sons of your son held me by the hai (A wercnpor enters) MOTHER I's not her fault, Nor mine! (Sarcastically) Whose is it, then? Loose, weak, indecent woman—who throws off her bridal crown to go looking for 2 piece of a bed warmed by another womant Stop it! Stop it! Take your revenge on me! Here I am! Sce how soft my neck is? It will be easier than cutting a dahlia from your garden. But that, no! Honorable, as honorable as a newborn child! And strong enough to prove it to you! Light the fire! We'll put our hands in it—you, for your son; me, for my body! You'll rst! take yours out (Another neicsinon comes in) What do I care about your honor? What do I care about your death? What do I care about anything at all? Blessed be the fields ‘of wheat, because my sons lie under them. Blessed be the rain, because it wets the faces of the dead. Blessed be God who lays us down together to rest. (Another Ne1cHBOR enters) BRIDE Let me weep wath you. sas / Federo Cara Lora MOTHER ‘Weep, Bur at the door. (vir TLE Ine enters; the BREDE remains at the door, the MOTHER atthe center of the stage) wire (mers, goes 10 the left) He was a handsome horseman ‘And now he’s a bank of snow. He rode through the fairs and mountains ‘And into the arms of love, ‘And now the moss of night Isa crown around his forehead ‘My child, my son, my sunflower, Mirror of the earth. Upon your chest a cross Of bitter oleander— A sheet to cover you With shining, silken strands. And water forms a sob Between your quiet hands. wire ‘Oh, the four young men Who come with weary shoulders! BRIDE Ob, the fair young men ‘Who carry death through the air! MOTHER Neighbors! 105 / aL0OD wepoIncLITTLE GIR (At the doorway) ‘They're bringing them now. MOTHER It's the same— The Cross! The Cross! women Sweet nails, Sweet Cross, Sweet Name— Jesus. MOTHER May the Cross protect the dead and the living! Neighbors, with a knife, ‘With alittle knife, (On a fated day, between two and three o'clock, Two men killed each other over love. With a knife, with a litle knife That scarcely fits the hand, Bat penetrates precisely ‘Through the astonished flesh ‘To stop exactly at the place Where, trembling and entangled, Lies the dark root of the scream. ‘And this is a knife, A little knife ‘That scarcely fits the hand, Fish without scales or river. So ona fated day, between two and three o'clock, With this knife Two men are left dead, ‘With their lips tuning yellow. tog / Paderio Garcta Loves ' | MOTHER ‘And it scarcely fits the hand, But penetrates so coldly ‘Through the astonished fles’, And stops there—at the place Where, trembling and entangled, Lies the dark root of the scream. (The wercnnors, kneeling on the ground, weep) CURTAIN wes /2L0OD WEDDING