The
second
half
of
Act
II
sees
the
drama
more
conventionally
building
,
through
three
big
:
Martirio
directly
Adela
of
her
illicit
passion
;
Angustias
confronts
all
the
girls
over
the
missing
photo
;
and
Bernarda
refuses
to
heed
La
Poncia's
warning
.
To
use
Lorca's
,
the
storm
is
building
.
The
theme
of
overbearing
is
strongly
present
,
especially
in
the
depiction
of
Martirio
.
First
,
while
she
has
thus
far
seemed
depressed
to
the
edge
of
,
she
here
reveals
in
her
attitude
towards
Adela
a
cruel
,
grounded
resentment
.
She
would
rather
nobody
have
than
Adela
be
able
to
the
man
.
This
shift
in
character
is
explained
by
the
second
big
revelation
about
:
she
is
the
one
who
stole
the
photo
.
It
is
telling
that
even
the
most
outwardly
unconcerned
character
is
in
fact
falling
under
the
sway
of
sexual
.
Though
she
has
it
,
she
is
in
fact
overcome
by
the
heat
,
as
Lorca
communicates
through
Martirio's
sickness
at
the
"
unending
summertime
.
"
In
the
closing
moments
of
this
act
,
all
the
engage
in
a
argument
,
most
vicious
to
Angustias
,
precisely
because
she
is
the
one
primed
to
be
happy
soon
.
As
La
Poncia
says
to
,
the
mother's
smothering
and
repression
will
lead
them
to
one
day
fly
the
coop
without
control
,
and
indeed
we
see
how
little
they
can
control
the
slightest
chance
to
let
those
feelings
come
out
.
While
one
could
argue
that
sexuality
is
less
of
a
motivation
than
marriage
,
it's
useful
to
note
how
,
the
way
men
are
"
forgiven
"
everything
in
this
world
,
nobody
ever
really
criticizes
Pepe's
rather
and
cruel
double
-
timing
.
He's
not
the
catch
,
but
rather
the
catch
is
simply
a
man
,
someone
who
can
provide
them
relief
from
their
smothering
.
After
all
,
La
Poncia
made
clear
earlier
in
the
act
that
marriage
does
not
satiate
for
long
?
but
it
will
satiate
in
the
present
,
and
that's
enough
.