Use the subjunctive mood in clauses introduced by conjunctions like 'dudar que,' 'no creer que,' and 'es posible que' to express doubt, disbelief, or uncertainty about an action or situation.

'Por' is used to indicate the cause or reason for an action, while 'para' indicates the purpose or goal. For example, 'Lo hizo por amor' (He did it for love) vs. 'Lo hizo para ayudar' (He did it to help).

The impersonal 'se' is used to express actions without specifying who performs them. For example, 'Se dice que...' (It is said that...).

The preterite is used for completed actions in the past, while the imperfect is used for ongoing or habitual actions. For example, 'Ella gritó' (She shouted) vs. 'Ella gritaba' (She was shouting).

Direct object pronouns (me, te, lo/la, nos, os, los/las) replace the direct object of a verb, while indirect object pronouns (me, te, le, nos, os, les) indicate to whom or for whom the action is done. They usually precede the verb.

'Ser' is used for permanent or inherent characteristics, while 'estar' is used for temporary states or conditions. For example, 'Ella es alta' (She is tall) vs. 'Ella está cansada' (She is tired).

The conditional tense is formed by adding conditional endings (-ía, -ías, -ía, -íamos, -íais, -ían) to the infinitive. It's used to express what would happen under certain conditions or to make polite requests.

The pluperfect subjunctive (hubiera/hubiese + past participle) expresses hypothetical past actions or conditions, often in 'si' clauses.

Adjectives must agree in gender and number with the nouns they modify. Masculine singular, feminine singular, masculine plural and feminine plural.

The passive voice is formed with 'ser' + past participle. It emphasizes the action rather than the actor. For example, 'La casa fue construida' (The house was built).

Female head of a family or tribe; Bernarda Alba is a domineering matriarch.

The suppression of someone or something; a key theme in the play.

A code of conduct dictating social standing and reputation, especially for women.

A drama or literary work in which the main character is brought to ruin or suffers extreme sorrow, especially as a consequence of a tragic flaw, moral weakness, or inability to cope with unfavorable circumstances.

A female domestic servant; Poncia is Bernarda's maid.

Mourning; Bernarda imposes eight years of mourning on her daughters.

An act of violent or open resistance to an established government or ruler; Adela symbolizes rebellion.

Exaggerated or toxic masculinity; a key element of the patriarchal society depicted.

The practice of claiming to have moral standards or beliefs to which one's own behavior does not conform; highlighted through irony in the play.

Property or money brought by a bride to her husband on their marriage; Angustias is envied for her wealth.

Dialogue depicts the characters' ideas, emotions, and conflicts, revealing their personalities and motivations.

Symbolism, like the color black, enhances the themes of grief and repression, adding depth to the narrative.

Metaphorical language expresses emotions and relationships, providing insight into the characters' inner lives.

Similes highlight characters' confinement and desire for escape, emphasizing their restricted existence.

Stage directions control actors' actions and expressions, enhancing the dramatic impact of the play.

Foreshadowing builds tension and hints at tragic events, creating suspense and anticipation.

Irony contrasts appearance and reality, highlighting the hypocrisy of characters and their actions.

Hyperbolic language emphasizes extreme emotions and the oppressive setting, intensifying the play's impact.

The setting, primarily Bernarda's house, creates a tense and oppressive atmosphere, reflecting the characters' internal struggles.

Through dialogue, Lorca reveals the power dynamics and the characters' inability to express themselves freely, thus highlighting the theme of oppression.