La zapatera prodigiosa (The Shoemaker’s Prodigious Wife) draws on many elements from Federico’s childhood in the Vega of Granada: the green costume worn by the protagonist – the same color as the one worn by Adela in La casa de Bernarda Alba (The House of Bernarda Alba) – is an imitation of one worn by Clotilde García Picossi, Federico’s cousin, and which she could not premiere because of a time of mourning; the “polquita antigua” (old polka) from La zapatera (The Shoemaker’s Wife). played in the street by a flute and a guitar is, according to Lorca, the one played by Pepe El Pintor with a clarinet; the Mayor is the one who held that office in Chauchina when he was a child, nicknamed el Pongao; the Child could pick up autobiographical elements, such as the enthusiasm before the arrival of the puppets to the town; the language of the Shoemaker’s Wife apparently comes from the maid of Emilia Llanos, Dolores Cebrián; the personalities of the village people, the gossip, the custom of going to recite the rosary, or going to the casino, the arrival of the flocks in the afternoon with their shepherd, the limitations for a woman in a village (“As far as I see, in this village there are only two extremes: either nun or cleaner”), draws on everything Lorca experienced in his peasant childhood, first in Fuente Vaqueros and, later, in Asquerosa (Disgusting).