Holy Innocents: Character Analysis & Narrative Structure
Content and Structure in *The Holy Innocents*
Miguel Delibes’ *The Holy Innocents* is divided into six sections, referred to as “books.” Each book functions as a chapter in the narrative, focusing on a specific aspect of the represented reality while maintaining a degree of autonomy. The titles of these books are: *Book One: Azarías*, *Book Two: Paco, the Lower*, *Book Three: The Milana*, *Book Four: The Lord*, *Book Five: The Accident*, and *Book Six: The Crime*.
The story has been described as a poetic novel due to the narrator’s subjectivity, his alignment with the innocent characters, and the use of repetition and variation. These elements create a rhythmic quality reminiscent of poetry, contributing to the novel’s subjective treatment of time and language. It gives the appearance of an extended prose poem. However, from a plot perspective, it adheres to a traditional novel structure with a clear beginning, middle, and end. The episodic structure builds towards a definitive conclusion: the crime. The narrative follows a linear chronology, which can be divided into three distinct parts.
Part One: Introduction of the Oppressed
The first part encompasses the first three books. The author introduces the humiliated characters from two perspectives:
- Social: This perspective highlights the poverty in which they live, emphasizing the unjust social context of large estates. A form of biological or historical determinism seems to force them into submission.
- Existential: This perspective underscores the inherent honesty that governs their actions.
The title of the first book, *Azarías*, is significant, as it immediately introduces a central character. The second book, *Paco, the Lower*, begins the characterization of Paco and delves into the lives of the poor and their relationships with the estate owners. The third book, *The Milana*, provides further depth to the stories presented in the first two books through a multifaceted interweaving of characters, themes, and other narrative elements.
Part Two: Introducing the Antagonist and Heightening Conflict
The second part consists of the fourth book, *The Lord*. This section introduces the antagonist, Master Iván, and intensifies the contrast between the humble characters and their oppressors. This is a crucial part of the novel, as it reveals the core conflict that will ultimately lead to tragic consequences. It develops two opposing traits and two contrasting views of life: the arrogance and paternalism of the gentry versus the submission of the humble. It also highlights two contrasting passions: Iván’s unbridled passion for hunting compared to Azarías’s affection for his “*grajeta*” (a type of bird).
Part Three: Climax and Resolution
The third part covers the fifth and sixth books, which revisit episodes, themes, and character traits established earlier. The narrative shifts from personal adventures to focus on key events: Paco’s accident, the “death” of the Milana, and the murder of the master. The murder of Master Iván can be interpreted in two ways:
- As the decisive event that justifies and motivates all preceding events.
- As another episode, albeit a significant one, comparable in importance to others.
Internal Structure: Man, Landscape, and Passion
While the external structure presents an episodic journey towards a tragic end, the narrative’s internal structure is more complex. This internal structure gives full meaning to three essential elements: a man, a landscape, and a passion. The human profile of the characters, especially Azarías, is emphasized. Alongside him are Paco el Bajo, Master Iván, and many others. The context in which the events unfold is also crucial: the farm setting allows for a depiction of the semi-feudal social structure and the clash of passions. This includes a constructive passion, characteristic of a humble character (the Milana), and a destructive one, characteristic of a gentleman (hunting).