The Bride Character Analysis

No. I can’t leave your father and your brother here. I have to go to them every morning, and if I leave, one of the Felixes could die, one of the family of murderers, and they’d bury him next to mine. I won’t stand for that. Never that! Because I’ll dig them up with my nails and all on my own I’ll smash them to bits against the wall.

NEIGHBOUR. Calm down. What good does it do you?

MOTHER. None. But you understand.

NEIGHBOUR. Don’t stand in the way of your son’s happiness. Don’t tell him anything. You’re an old woman. Me too. You and me, we have to keep quiet.

MOTHER. I won’t say anything.

NEIGHBOUR (kissing her). Nothing.

MOTHER (calmly). Things!...

NEIGHBOUR. I’m going.

Down they went to the river bank,
Down to the stream they rode.
There his blood ran strong and fast,
Faster than the water could.
[…] Go to sleep carnation,
For the horse will not drink deep.

BRIDEGROOM. These are the dry lands.

MOTHER. Your father would have covered them with trees.

BRIDEGROOM. Without water?

MOTHER. He’d have looked for it. The three years he was married to me, he planted ten cherry trees. (Recalling.)

FATHER. In my day this land didn’t even produce esparto. I’ve had to punish it, even make it suffer, so it gives us something useful.

MOTHER. And now it does. Don’t worry. I’m not going to ask you for anything.

FATHER (smiling). You are better off than me. Your vineyards are worth a fortune. Each vine-shoot a silver coin. What I’m sorry about is that the estates are…you know…separate. I like everything together. There’s just one thorn in my heart, and that’s that little orchard stuck between my fields, and they won’t sell it to me for all the gold in the world.

[…]

If we could use twenty teams of oxen to bring your vineyards here and put them on the hillside. What a joy it would be!

MOTHER. But why?

FATHER. Mine is hers and yours his. That’s why. To see it all together. Together, that would be a thing of beauty!

MOTHER. My son’s handsome. He’s never known a woman. His name’s cleaner than a sheet spread in the sun.

FATHER. What can I tell you about my girl? She’s breaking up bread at three when the morning star’s shining. She never talks too much; she’s as soft as wool; she does all kinds of embroidery, and she can cut a piece of string with her teeth.

MOTHER. Come! Are you happy?

BRIDE. Yes, señora.

FATHER. You mustn’t be so serious. After all, she’s going to be your mother.

BRIDE. I’m happy. When I say ‘yes’ it’s because I want to.

[…]

MOTHER. […] You know what getting married is, child?

BRIDE (solemnly). I do.

MOTHER. A man, children, and as for the rest a wall that’s two feet thick.

BRIDEGROOM. Who needs anything else?

MOTHER. Only that they should live. That’s all…that they should live!

BRIDE. I know my duty.

SERVANT (combing). Such a lucky girl…to be able to put your arms around a man, to kiss him, to feel his weight!

BRIDE. Be quiet!

SERVANT. But it’s best of all when you wake up and you feel him alongside you, and he strokes your shoulders with his breath, like a nightingale’s feather.

BRIDE (forcefully). Will you be quiet!

SERVANT. But child! What is marriage? That’s what marriage is. Nothing more! Is it the sweetmeats? Is it the bunches of flowers? Of course it’s not! It’s a shining bed and a man and a woman.

SERVANT. It’s no time to be feeling sad. (Spiritedly.) Give me the orange-blossom. (The BRIDE throws the wreath away.) Child! Don’t tempt fate by throwing the flowers on the floor! Look at me now. Don’t you want to get married? Tell me. You can still change your mind. (She gets up.)

BRIDE. Dark clouds. A cold wind here inside me. Doesn’t everyone feel it?

LEONARDO (getting up). I suppose the bride will be wearing a big wreath of flowers? It shouldn’t be so big. Something smaller would suit her better. Did the bridegroom bring the orange-blossom so she can wear it on her heart?

BRIDE (she appears still in petticoats and with the wreath of flowers in place). He brought it.

SERVANT (strongly). Don’t come out like that.

BRIDE. What’s the matter? (Seriously.) Why do you want to know if they brought the orange-blossom? What are you hinting at?

LEONARDO. What would I be hinting at? (Moving closer.) You, you know me, you know I’m not hinting. Tell me. What was I to you? Open up your memory, refresh it. But two oxen and a broken-down shack are almost nothing. That’s the thorn.

BRIDE. […] I’ll shut myself away with my husband, and I’ll love him above everything.

LEONARDO. Pride will get you nowhere! (He approaches her.)

BRIDE. Don’t come near me!

LEONARDO. To keep quiet and burn is the greatest punishment we can heap upon ourselves. What use was pride to me and not seeing you and leaving you awake night after night? No use! It only brought the fire down on top of me! You think that time heals and walls conceal, and it’s not true, not true! When the roots of things go deep, no one can pull them up!

I can’t hear you. I can’t hear your voice. It’s as if I’d drunk a bottle of anise and fallen asleep on a bedspread of roses. And it drags me along, and I know that I’m drowning, but I still go on.

[…]

And I know I’m mad, and I know that my heart’s putrified from holding out, and here I am, soothed by the sound of his voice, by the sight of his arms moving.

BRIDE. I want to be your wife and be alone with you and not hear any other voice but yours.

BRIDEGROOM. That’s what I want!

BRIDE. And to see only your eyes. And to have you hold me so tight that, even if my mother were to call me, my dead mother, I couldn’t free myself from you.

I want them to have many [children]. This land needs arms that are not paid for. You have to wage a constant battle with the weeds, with the thistles, with the stones that come up from who knows where. And these arms must belong to the owners, so that they can punish and master, so that they can make the seed flourish. Many sons are needed.

FATHER. It can’t be her. Perhaps she’s thrown herself into the water-tank.

MOTHER. Only decent and clean girls throw themselves into the water. Not that one! But now she’s my son’s wife. Two sides. Now there are two sides here. […] My family and yours. All of you must go. Shake the dust from your shoes. Let’s go and help my son. (The people split into two groups.) He’s got plenty of family: his cousins from the coast and all those from inland. Go out from here! Search all the roads. The hour of blood has come again. Two sides. You on yours, me on mine. After them! Get after them!

Be quiet. I’m certain I’ll find them here. You see this arm? Well it’s not my arm. It’s my brother’s arm and my father’s and my whole dead family’s. And it’s got such strength, it could tear this tree from its roots if it wanted to. Let’s go quickly. I can feel the teeth of all my loved ones piercing me here so I can’t breathe.

Oh, I’m not the one at fault.
The fault belongs to the earth
And that scent that comes
From your breasts and your hair.

You would have gone too. I was a woman burning, full of pain inside and out, and your son was a tiny drop of water that I hoped would give me children, land, health; but the other one was a dark river, full of branches, that brought to me the sound of its reeds and its soft song. And I was going with your son, who was like a child of cold water, and the other one sent hundreds of birds that blocked my path and left frost on the wounds of this poor, withered woman, this girl caressed by fire. I didn’t want to, listen to me! I didn’t want to! Your son was my ambition and I haven’t deceived him, but the other one’s arm dragged me like a wave from the sea, like the butt of a mule, and would always have dragged me, always, always, even if I’d been an old woman and all the sons of your son had tried to hold me down by my hair!

No. I can’t leave your father and your brother here. I have to go to them every morning, and if I leave, one of the Felixes could die, one of the family of murderers, and they’d bury him next to mine. I won’t stand for that. Never that! Because I’ll dig them up with my nails and all on my own I’ll smash them to bits against the wall.

NEIGHBOUR. Calm down. What good does it do you?

MOTHER. None. But you understand.

NEIGHBOUR. Don’t stand in the way of your son’s happiness. Don’t tell him anything. You’re an old woman. Me too. You and me, we have to keep quiet.

MOTHER. I won’t say anything.

NEIGHBOUR (kissing her). Nothing.

MOTHER (calmly). Things!...

NEIGHBOUR. I’m going.

Down they went to the river bank,
Down to the stream they rode.
There his blood ran strong and fast,
Faster than the water could.
[…] Go to sleep carnation,
For the horse will not drink deep.

BRIDEGROOM. These are the dry lands.

MOTHER. Your father would have covered them with trees.

BRIDEGROOM. Without water?

MOTHER. He’d have looked for it. The three years he was married to me, he planted ten cherry trees. (Recalling.)

FATHER. In my day this land didn’t even produce esparto. I’ve had to punish it, even make it suffer, so it gives us something useful.

MOTHER. And now it does. Don’t worry. I’m not going to ask you for anything.

FATHER (smiling). You are better off than me. Your vineyards are worth a fortune. Each vine-shoot a silver coin. What I’m sorry about is that the estates are…you know…separate. I like everything together. There’s just one thorn in my heart, and that’s that little orchard stuck between my fields, and they won’t sell it to me for all the gold in the world.

[…]

If we could use twenty teams of oxen to bring your vineyards here and put them on the hillside. What a joy it would be!

MOTHER. But why?

FATHER. Mine is hers and yours his. That’s why. To see it all together. Together, that would be a thing of beauty!

MOTHER. My son’s handsome. He’s never known a woman. His name’s cleaner than a sheet spread in the sun.

FATHER. What can I tell you about my girl? She’s breaking up bread at three when the morning star’s shining. She never talks too much; she’s as soft as wool; she does all kinds of embroidery, and she can cut a piece of string with her teeth.

MOTHER. Come! Are you happy?

BRIDE. Yes, señora.

FATHER. You mustn’t be so serious. After all, she’s going to be your mother.

BRIDE. I’m happy. When I say ‘yes’ it’s because I want to.

[…]

MOTHER. […] You know what getting married is, child?

BRIDE (solemnly). I do.

MOTHER. A man, children, and as for the rest a wall that’s two feet thick.

BRIDEGROOM. Who needs anything else?

MOTHER. Only that they should live. That’s all…that they should live!

BRIDE. I know my duty.

SERVANT (combing). Such a lucky girl…to be able to put your arms around a man, to kiss him, to feel his weight!

BRIDE. Be quiet!

SERVANT. But it’s best of all when you wake up and you feel him alongside you, and he strokes your shoulders with his breath, like a nightingale’s feather.

BRIDE (forcefully). Will you be quiet!

SERVANT. But child! What is marriage? That’s what marriage is. Nothing more! Is it the sweetmeats? Is it the bunches of flowers? Of course it’s not! It’s a shining bed and a man and a woman.

SERVANT. It’s no time to be feeling sad. (Spiritedly.) Give me the orange-blossom. (The BRIDE throws the wreath away.) Child! Don’t tempt fate by throwing the flowers on the floor! Look at me now. Don’t you want to get married? Tell me. You can still change your mind. (She gets up.)

BRIDE. Dark clouds. A cold wind here inside me. Doesn’t everyone feel it?

LEONARDO (getting up). I suppose the bride will be wearing a big wreath of flowers? It shouldn’t be so big. Something smaller would suit her better. Did the bridegroom bring the orange-blossom so she can wear it on her heart?

BRIDE (she appears still in petticoats and with the wreath of flowers in place). He brought it.

SERVANT (strongly). Don’t come out like that.

BRIDE. What’s the matter? (Seriously.) Why do you want to know if they brought the orange-blossom? What are you hinting at?

LEONARDO. What would I be hinting at? (Moving closer.) You, you know me, you know I’m not hinting. Tell me. What was I to you? Open up your memory, refresh it. But two oxen and a broken-down shack are almost nothing. That’s the thorn.

BRIDE. […] I’ll shut myself away with my husband, and I’ll love him above everything.

LEONARDO. Pride will get you nowhere! (He approaches her.)

BRIDE. Don’t come near me!

LEONARDO. To keep quiet and burn is the greatest punishment we can heap upon ourselves. What use was pride to me and not seeing you and leaving you awake night after night? No use! It only brought the fire down on top of me! You think that time heals and walls conceal, and it’s not true, not true! When the roots of things go deep, no one can pull them up!

I can’t hear you. I can’t hear your voice. It’s as if I’d drunk a bottle of anise and fallen asleep on a bedspread of roses. And it drags me along, and I know that I’m drowning, but I still go on.

[…]

And I know I’m mad, and I know that my heart’s putrified from holding out, and here I am, soothed by the sound of his voice, by the sight of his arms moving.

BRIDE. I want to be your wife and be alone with you and not hear any other voice but yours.

BRIDEGROOM. That’s what I want!

BRIDE. And to see only your eyes. And to have you hold me so tight that, even if my mother were to call me, my dead mother, I couldn’t free myself from you.

I want them to have many [children]. This land needs arms that are not paid for. You have to wage a constant battle with the weeds, with the thistles, with the stones that come up from who knows where. And these arms must belong to the owners, so that they can punish and master, so that they can make the seed flourish. Many sons are needed.

FATHER. It can’t be her. Perhaps she’s thrown herself into the water-tank.

MOTHER. Only decent and clean girls throw themselves into the water. Not that one! But now she’s my son’s wife. Two sides. Now there are two sides here. […] My family and yours. All of you must go. Shake the dust from your shoes. Let’s go and help my son. (The people split into two groups.) He’s got plenty of family: his cousins from the coast and all those from inland. Go out from here! Search all the roads. The hour of blood has come again. Two sides. You on yours, me on mine. After them! Get after them!

Be quiet. I’m certain I’ll find them here. You see this arm? Well it’s not my arm. It’s my brother’s arm and my father’s and my whole dead family’s. And it’s got such strength, it could tear this tree from its roots if it wanted to. Let’s go quickly. I can feel the teeth of all my loved ones piercing me here so I can’t breathe.

Oh, I’m not the one at fault.
The fault belongs to the earth
And that scent that comes
From your breasts and your hair.

You would have gone too. I was a woman burning, full of pain inside and out, and your son was a tiny drop of water that I hoped would give me children, land, health; but the other one was a dark river, full of branches, that brought to me the sound of its reeds and its soft song. And I was going with your son, who was like a child of cold water, and the other one sent hundreds of birds that blocked my path and left frost on the wounds of this poor, withered woman, this girl caressed by fire. I didn’t want to, listen to me! I didn’t want to! Your son was my ambition and I haven’t deceived him, but the other one’s arm dragged me like a wave from the sea, like the butt of a mule, and would always have dragged me, always, always, even if I’d been an old woman and all the sons of your son had tried to hold me down by my hair!