Social Inequality and Redemption in Delibes’ “The Holy Innocents”
Social Differences in “The Holy Innocents”
Social Realism with Aesthetic Intention
The Holy Innocents is a novel of social realism with aesthetic intention. It portrays social issues with a distinct style, reminiscent of Time of Silence, yet without reaching the boldness of Luis Martín Santos or Delibes’ own The Castaway.
Two Social Groups
The novel presents two distinct groups: the upper class and the oppressed. The middle class is barely present, appearing as fleeting shadows like Manolo, the doctor serving Iván, or the teachers Lucas and Gabriel, hired by the Marquesa to educate her “vassals”.
Book II highlights the stark antagonism: victims and victimizers, servants and masters, owners and dispossessed. Paco, El Bajo, his family, Lupe, Dacio, and Facundo represent the victims of injustice, characterized by obedience, authenticity, and solidarity.
The Upper Class
Iván embodies the Francoist gentleman, bordering on caricature. His vanity, cynicism, arrogance, and condescending protectionism epitomize the mentality Delibes critiques. Iván displays a callous disregard for others, defending a stratified socio-economic order that perpetuates his dominance.
Social Hierarchy
The difference between the groups is evident in their homes. Pedro, the foreman, serves both the lords and the serfs, living in the “Big House”. Paco’s family crams into two rooms, while the Marquesa resides in the “Casa de Arriba”. Iván is surrounded by figures of power: the Bishop (Church), the Minister and Secretary (Government), and the Count (aristocracy).
Life on the Estate
The large estate depicts a life of poverty, lack of education, and hardship. The owners use it for entertainment, parties, and hunting. Delibes emphasizes the stark contrast in lifestyles between the landlords and the poor.
The young men visit the estate occasionally, oblivious to their servants’ misery. They enjoy the company of the nobility and Franco’s regime. Their ingrained sense of ownership extends to people, as seen with Iván grooming Paco, El Bajo, as his secretary and later seeking replacements.
Ownership and Allegiance
The “innocents” lack ownership and agency. Paco’s hopes for his children’s future are dashed when Don Pedro takes Nieves as a servant. They are subjected to a rigid hierarchy and forced into resignation, accepting handouts and favors while remaining loyal to their masters.
Nieves’s reprimand to Paco, “In these matters of the gentlemen, hear, see, and be silent,” encapsulates this ingrained subservience.
Barriers to Redemption
Several factors prevent reconciliation between the oppressors and the oppressed. The lack of education, viewed as charity by the lords, hinders progress. The young men’s limited understanding of culture further exacerbates the divide.
Their superficial concept of religion, seen as a ritual for the elite, reinforces the social barriers. Nieves’s desire for First Communion is met with disapproval, highlighting the disconnect between the classes.
Indifference and Abuse
Iván’s shooting of Milán’s kestrel symbolizes his disregard for the little they possess. Azarías’s reaction reflects the value they attach to their meager belongings.
Delibes criticizes the “rising tide of indifference” prevalent in society. The Holy Innocents portrays this indifference through displays of want, degradation of nature, arrogance versus obedience, and abuse versus resignation.