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Neighbour I was down at the shop and came to see you. A Neighbour dressed in dark clothes, wearing a headscarf, appears in the doorway.) Enter. The mother remains seated her back to the door. Mother Dig over the field near the mill, you’ve been neglecting. ( She goes to kiss him and draws back) Go, you’re too big for kisses. So we can embroider and sew and be tranquil.īridegroom I’m sure you’ll grow to like my bride. Mother Yes, yes and then make me happy with six grandchildren, at the very least, now that your father’s no longer here. Mother Buy her some embroidered silk stockings, and for yourself two suits…Three! You’re all I have!īridegroom I’m off. Mother ( Gravely) I’ll take her the studded earrings, they’re heirlooms, and you can buy for her… Mother It’s true! You’re right! When do you want me to ask them for her? But I don’t think I know who her mother was. I looked at your father, and when they killed him I looked at the wall in front of me. A girl needs to take a good look at the man she marries.
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She had a fiancé, no?īridegroom I don’t know. ( Pause) How long have you known her?īridegroom Three years. And it must not be! That! It must not be! Because I’d dig them up with my nails and shatter them against the wall myself.īridegroom ( Emphatically) Talk about something else. I can’t leave your father and brother here alone…I must go and see them every morning, and if I went away, likely one of the Felix’s would die, one of that family of killers, and they’d bury him beside them. I only have you left, and I’m sad you are leaving. She bakes her own bread, and sews her own skirts, yet I feel, when she’s named, as if I’d been struck on the forehead with a stone. Suddenly, like this, it always takes me by surprise. Your grandfather left offspring everywhere. Mother What use is an old woman in a vineyard? Are you going to lay me down under the vines?īridegroom ( Taking her in his arms) Old, so old, so very old. You’d not go to the river now, and we would sit and sew.īridegroom ( Taking his mother’s arm and laughing) Mother, what if I took you with me to the vineyard? It’s this…I wish you wouldn’t go to the fields. Mother No…if you want to know, it’s this…How can I not speak when you go through that door? It’s this…I don’t like you carrying a knife. What is prison? They still eat there, they smoke they play their instruments! My dead push up the grass, silently turning to dust two who were like flowers….the killers, in prison, coolly gazing at the mountains… Can anyone give me back your father or your brother? And they talk about prison. The months pass and pain still pricks my eyes, to the very roots of my hair. First, your father, who brought me the scent of carnations, and enjoyed me three short years, and then, your brother…is it right, is it possible that so small a thing as a pistol or a knife can do for a man, a bull of a man? I’ll never be quiet.
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Mother If I lived a hundred years I could speak of nothing else.
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I don’t know how you can carry a knife about you, or why I have these serpent’s teeth in my kitchen. Or if he does return it’s so we can lay a palm leaf or a big plate of salt on him so the body won’t swell. Mother Whatever can cut through a man’s body, a lovely man, in the flower of his life, who is off to the vines or the olives, because they are his, his family’s….īridegroom ( Lowering his head) You’ve missed the point. Mother And shotguns, and pistols, and little razors, and even hoes and winnowing hooks. Mother( muttering) Knives, knives…Curse them all, and the wretch who invented them… Where the original works are not in the public domain, any required permissions should also be sought from the representatives of the Lorca estate, Casanovas & Lynch Agencia Literaria.īridegroom To the vineyard ( He makes as if to leave)īridegroom Never mind. Please note that Federico García Lorca's original, Spanish works may not be in the public domain in all jurisdictions, notably the United States of America.
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Permission to perform this version of the play, on stage or film, by amateur or professional companies, and for commercial purposes, should be requested from the translator. This work may be freely reproduced, stored and transmitted, electronically or otherwise, for any non-commercial purpose. Published as part of the collection ‘ Four Final Plays’, ISBN-10: 1986116565, March 2018. Made available as an individual, open-access work in the United Kingdom, 2007, via the Poetry in Translation website. ‘The Reconciliation of the Montagues and the Capulets’ A tragedy in three acts and seven scenes - 1933