I am convinced, if only out of conviction, that García Lorca would have been an excellent film director, in the same way that I think, even if only for the sake of thinking, that the man from Granada would have abhorred any adaptation of his work for the big screen. Not in vain, and despite the worthy efforts made, I believe it is heresy to substitute the camera and action for the cart in the Barraca, or the wind from the Sierra de Cazorla for special effects. Beauty in García Lorca is animal, bitter as life, tough as death, cold and warm, depending on the circumstances, like the moons and their experts. “Your tears are tears from the eyes; mine will come when I am alone, and they will come out of the soles of my feet. Whoever interprets a text like this cannot mechanically repeat a scene until the urchins of the mechanics give the delivery for good. That text breathes life and is written to be exuded in front of the very people it represents. Canned Xirgú, no. Xirgu unchained, sheltered by dust the road. In any caso, who undertakes the impossible function of capturing Lorca's symbolic universe in a film, the poetic dialectic of popular tragedy, has an indisputable merit. And I recognize audacity in the company. In 1987 Camus tried it with “La Casa de Bernarda Alba” and recently, a magnificent Aragonese director, Paula Ortiz, did the same with “La novia”, a film adaptation of “Bodas de Sangre”. And it must be a passion of Aragonese, that the Monegros help, because in 1981 Carlos Saura had already opened a gap, well accompanied to flamenco and jondo by Gades, Hoyos and Marisol. Perhaps it will be a serial defect that I have had for many years, but I have developed a manifest predilection for secondary actresses, who, on more than one occasion, account for and justify an entire work. It happens with these two movies. It is possible, due to the possibility, that García Lorca would open up when he saw a scene, but I have no doubt, to eradicate uncertainty, that he would be moved, as an author and as a spectator, at each word, at each gesture. by Enriqueta Carballeira and Luisa Gavasa. If Lorca contains a truth, physical or chemical, that truth is hidden in each tooth of these two actresses. And in the search for Lorca's truth, in that dialectic between the individual and the group, which inexorably ends in death, where love, sex and marriage revolve spectrally around the metaphysical concept of freedom, we can, by power, find a lesson in matrimonial law, because, at that time, Federico was from the union. 

As a precondition for giving way to the lesson of canonical canons, it is prudent to put the Lorca tragedy in context, so far removed from the Greek tragedy. In Lorca, ethics are essentially physical, and the tragic hero claims his full disposition over his body, not as a rebellion against socio-political status but as a pugnacious uprising against the moral present. It is love, yes, but also a deep feeling of possession of the body in the face of conventional uses of the imperatives of rampant morality:  

“LEONARDO: (…) Let's go to the dark corner / where I always love you, / where I don't care about people / or the poison they throw at us. (He hugs her tightly.) 
BRIDE: And I will sleep at your feet / to keep what you dream of. /Naked, looking at the field / (Dramatic) as if I were a bitch,/ because that's what I am! That I look at you / and your beauty burns me. 
At the time, courtship and marriage are two social customs and the Lorca characters try to overcome social determinism, impelled by a bodily passion. Sexual attraction versus determinism: 
“BRIDE: My mother was from a place where there were a lot of trees. From rich land. 
SERVANT: That was how happy she was! 
BRIDE: But he wasted away here. 
SERVANT: Fate. 
GIRLFRIEND: How we all consume each other (…)”. 
By force it is contemplated how the characters release their passion, even knowing that this rebellion will lead them to death. But it is not a man / state rebellion, nor a redemptive behavior against political laws, because Lorca has stripped the tragic dialectic of his work of all institutional drift. The individual does not face the State, nor the leader (Agamemnon), nor the ruler (Creon). He faces, devoid of any rational solution, his own morality and, from that perspective, his characters become irrational but universal beings. They are not citizens, men endowed with rights and freedoms guaranteed by legal systems. No. It is the opposite. They are individual and free beings, idealists in their own sense, in a natural state in which there are no restrictive laws, but there are no laws that guarantee your cries for freedom. It's morality, stupid, it's morality like prison: 
“GIRLFRIEND: A man with his horse knows a lot and can do a lot to be able to squeeze a girl stuck in a desert. But I have pride. That's why I caso. And I will lock myself up with my husband, whom I have to love above all else. 
LEONARDO: Pride won't do you any good. (Approaches) 
BRIDE: Stay away! 
LEONARDO: Keeping quiet and getting burned is the greatest punishment we can put on ourselves. ? What use was pride and not looking at you and leaving you awake nights and nights? !You are welcome! It served to put fire on me! Because you believe that time heals and that the walls hide, and it's not true, it's not true. When things reach the centers, there is no one to tear them up!”. 

In the dialectic between subjective freedom and the Norm, in its most repressive intellectual sense, is the key to understanding the entire Lorca universe. Lorca in his works imposes an impulsive concept of individual freedom openly opposed to the class and savage morality of the time. It comes to deny not legal norms but moral norms, impervious to any liberating impulse. But this dramatic denunciation of the moral code turns into an anticipated death, because the solution to the conflict always ends in tragedy. There is no freedom without death, but there is no reason either for the repentance of the character doomed to that outcome. It is the death of freedom, it is a final triumph against the morale of the group. 

Marriage is the meeting point of Lorca's dramaturgy, understood as a promise value through which complete happiness is achieved. Also, depending on the circumstances, it is the driving cause of the tragedy, due to the restrictions it imposes on the characters trapped in the cage of the institution of marriage. And Lorca, gutted, gives us a lesson throughout his work on the marriage law of the time. Marriage is an emanation of natural law and is part of the very root of human freedom to contract a lasting legal bond. But, like any right institutionalized by human laws, it has limitations in the form of impediments. The first, the impediment to vote, provided for in canons 1309, 1311, 1313 and 1314 of the Code of Canon Law of 1917. Inspired by this impediment is the poem of the Gypsy Nun (“on the straw cloth/she would like to embroider/ flowers of his fantasy"). Despite the fact that the nun has chosen a higher link with divinity, much higher than mundane love, passion overflows like a human flow that it is, to the point that its cloistered delirium gives way: “Through the eyes of the nun/two gallop horsemen/a last and deaf rumor,/clears his shirt”). The second impediment is the impediment of ligament, due to which "those who during the same legitimate marriage committed consummated adultery and gave each other their oath of marriage or violated it, even if only civilly" (canon 1075) cannot validly contract marriage. of the 1917 Code of Canon Law). Such a suggestive matter could not go unnoticed by Lorca, so that in many of his works it becomes the core of the plot. Throughout casoFor its beauty, you can choose "La casada infiel", a poem about adultery: "because having a husband/she told me she was a young girl/when the river took her". And that the act was consummated, the poet leaves no doubt: "her thighs escaped me/like surprised fish/(...)/that night I ran/the best of roads,/mounted on a mother-of-pearl filly/without bridles and without stirrups ”. There is a third impediment, which as such does not appear in the Code of Canon Law of 1917 and is the one that concerns sacramental unions between same-sex couples. If Lorca's poetic work is a tree with infinite branches of beauty, I cannot help but remember the eternal verses of the Ode to Walt Whitman, where Lorca acknowledges not raising "his voice against El Niño who writes the girl's name on the pillow, nor against the boy who dresses as a bride." 

Another unfinished love story, in which the marriage never takes place, is "Dona Rosita the spinster or the language of flowers". Rosita lives self-absorbed and happy under the promise of marriage that her "nephew" makes her before leaving for Tucumán. Her life passes in the faithful hope of getting married, the highest aspiration of Lorca happiness. She grows old but continues to spin her happiness every day, amassing with delight “Marseille lace tablecloths and bedding sets adorned with guipure”. Courtship is also a sign of happiness (“women without a boyfriend are all poor, overcooked and angry”). The end is well known: the fiancé breaks the promise of marriage and marries another woman: “with a mouth full of poison and with an enormous desire to flee, take off his shoes, rest and never move from his corner". It is the anguish of the frustrated goal, marriage, unattainable happiness. Also the promise of marriage has its regulation in canon 1017, coming to establish that the breach of the promise does not give rise to any action to demand the contraction of marriage, although it is possible to bring an action to demand eventual damages. However, unfortunately for Doña Rosita, the marriage of her fiancée prevents a new marriage from being celebrated, due to a ligament impediment. 

In Federico's tragic trilogy, the culmination of the marriage myth is reached with "Blood Wedding", which, not by chance, is the only work in which the marriage bond itself appears in the title of the drama. Formalized the marriage between the groom and the bride, in the presence of their respective families, thus providing mutual consent before a minister of the Catholic Church, on the same day and the bond not consummated, the bride fled with Leonardo , married man. The ending is well known, “a crossing of knives” and the death of the two men, and “it leaves frost on the wounds of the poor withered woman…”. Symbolically, marriage is the attainable end to satisfy full happiness and, once again, tragedy prevails. The marriage celebrated between the groom and the bride is a valid marriage, it is a temporary but not consummated marriage (canon 1015 of the Code of Canon Law of 1917). Canon 1118 provides that a canonical marriage "cannot be dissolved by any human power or for any cause other than death", as long as the two conditions are met: ratified and consummated. The marriage contracted, therefore, by the groom and the bride could have been dissolved by dispensation if there were just cause from the Apostolic See. 

García Lorca aspired and breathed happiness, and in his own way, turned marriage into a goal, unattainable for himself. It was sex, it was love lies, but also a deep sense of freedom to voluntarily enter into marriage, above all social barriers and impediments. In "La casa de Bernarda Alba" it is María Josefa, who at eighty years old, dresses as a bride and shouts: "I want to get out of here! To get married by the sea, by the sea!” Marriage represents the search for happiness and when it is not possible to achieve it, everything stops making sense and death comes. Like the verses of the poet: "between two long rows of daggers, long love, long death, long fire."