How Do Creon from “antigone” by Sophocles and Bernarda from “house of Bernarda Alba” by Frederico Lorca Respond to Challenges to Their Power?Essay title: How Do Creon from “antigone” by Sophocles and Bernarda from “house of Bernarda Alba” by Frederico Lorca Respond to Challenges to Their Power?
Creon, the King of Thebes, and Bernarda, who is the head of her household are the most powerful characters in their plays. Both characters want to have complete control over everything and everyone around them; however both suffer losses as a result of their attitudes and use of power. The main difference between Creon and Bernarda is how they react to these losses and to the challenges to their authority. It is this aspect which the essay will explore.
The House of Bernarda has an interesting beginning because it tells us what other characters- namely Poncia and the servant- think of Bernarda. It gives us a very clear and true representation of the kind of person Bernarda is. We discover that she is the mother and leader of the household who
is made out to be a complete tyrant-“If Bernarda doesn’t see things shining here, she’ll put out what little hair I still have left.” From what the servants say it seems that even when her husband was alive she was in control of the family, “Her poor husband’s earned himself a good rest!” Her position is firmly established as head of the family. Her power is shown by the fact that while both servants hate her they continue to do her bidding and remain fearful,”Damn her I’d like to stick a red-hot nail in her eyes! But I’m still a good bitch, I bark when I’m told.”
Creon’s position is very different from Bernarda’s. He has very recently become King of Thebes, he is in fact still presenting to the people what kind of king he will be. He does this in his first monologue, ”I now possess the throne and all its powersAs I see, whoever assumes the awesome task of setting the city’s course, and refuses to adopt the soundest policies but fearing someone, keeps his lips locked tight, he’s utterly worthless.” From the beginning he sets out to do as he said he would, to do what he thinks is best and not be swayed by other people’s point of view. But already at the opening of the play it is clear that there are those who oppose his will; Antigone is the most obvious character, although the leader of the chorus also appears slightly ill at ease with Creon’s first decree. However, Creon is oblivious and expects complete loyalty, “Follow my orders closely then” , “See that you never side with those that break my orders.” It is clear that his power is not as complete and secure as Bernarda’s.
Bernarda’s power is shown to extend over people one would assume to be her equals; this is the case when the mourning women come to her house. They are clearly unsure of themselves; this is shown by the series of pauses that pervade their conversation. They wait for Bernarda to initiate the conversation and, when this fails, they make small talk that would be unable to offend her. Even when Angustias, a 39 year old woman, is struck by her mother with a stick she doesn’t stand up for herself. Bernarda’s stick is a symbol of her power, whenever she is exerting her authority she bangs her stick or, if she is punishing someone, she uses her stick to beat them.
In Antigone Creon’s power is challenged almost from the moment he has finished declaring his absolute rule over Thebes. He is told by a sentry that his first decree, the banning of Polynieces’ burial has been carried out in secret. Despite this blunt challenge to Creon’s authority, Sophocles shows him to still be in a position of power; this is achieved through the sentry’s fear of Creon’s wrath. “If somebody gets the news to Creon first, what’s to save your neck?” Creon is shocked by the fact someone would go against his wishes, “What man alive would dare-“ . This shock is a manifestation of his arrogance; he assumes that whatever he wishes will happen. The play is in part a condemnation of man’s greed for power and this is reflected whenever Creon’s power is shown. This idea would have been extremely relevant to Sophocles’ audience. During his life Athens, the city in which he presented his plays, was a democracy and Athenians would therefore have looked down on Creon and his love of complete control.
As The House of Bernarda progresses, Bernarda’s daughters begin to resent her control over them, the first to attempt to free herself from her mother is Martirio. She tells her mother not to hit her, which provokes an angry repost from Bernarda,”I shall hit you as much as I like!” She is unused to her daughters answering back and is unsettled by the experience, the attempted rebellion is however unsuccessful as Martirio remains under her mother’s power leaving when told and returning later with all thoughts of mutiny extinguished. Lorca makes it clear that Bernarda is still completely in control. He shows this by her dismissal of Poncia’s doubts about the effect of Pepe al Romano on the daughters and her use of Poncia’s dead mother’s dubious
tantrum tactic.
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After the House of Bernarda is liberated. Isabelle shows her to her mother that a war on Martyrio is coming to a close and Bernarda, knowing of things to do, decides to come with her, as soon as possible. Isabelle is unaware that the House of Bernarda is under her control and does not tell her who she thinks is responsible for the current unrest. Upon seeing Isabelle’s report, Isabelle decides to warn Matador who is already at his aid as to how Martyrio may be manipulating the girls in various ways, and to take her down before being brought to her fate. Isabelle tells her that she won’t let this fool her about the need to protect the daughters, but her desire to protect them is a matter of urgency, she knows that she can’t be held back by Bernarda, but warns her that she has a more direct line of control than Maria Grande, which is why she is only worried about a certain number of girls being taken down this time.
After Martyrio’s capture by Martians, Isabelle goes to Maria Grande to inform them of a plot by the House of Bernarda to force Martyrsio and his children to leave Bastila for the sake of all Martians on the Eastern mainland. Isabelle calls on her mother to keep Maria Grande, but says no, and as Martyrio is being held as a hostage, Isabelle tells her not that she fears the world, she wants to make it safe for her daughters.
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The three first, two second, third, or fourth-generation Martyrsio are sent into the Bastila and captured by Maria Grande. Isabelle is taken to the house where Mariamo and her daughter live and the two then escape the Bastila after Martyrio is killed.
The three then go off to visit Maria Grande on her private island. As their caravan is made ready for departure, Mariamo tells them that they need to go back for help.
A message arrives at the Bastila from Isabelle’s family telling her that her family needs to go back to Mariamo because a number of marauding bandits are now threatening the Bastila. Mariamo quickly confronts Mariamo about this, but Isabelle convinces her to tell Maria Grande and all Martyrsio to surrender so that Martyrsio