Set against this frame, Lorca’s own world makes the insight starker. In Yerma (1934), a woman’s unspeakable yearning for a child calcifies into tragedy; in The House of Bernarda Alba (1936), mandated silence curdles desire into rebellion and grief. Lorca’s lecture “Play and Theory of the Duende” (1933) argues that authentic art draws blood from the deepest passions; repression starves this force. His murder in 1936, amid Spain’s spiraling authoritarianism, has often been read as a silencing of a voice that refused to disguise desire—artistic, political, and personal—thereby revealing how private hush and public censorship can mirror one another. [...]
