Articles & Essays Book Reviews

Catholicism, long entrenched in Spanish history, was married to Franco’s politics and became an imposed obligation for decent Spanish life. Under this system the political and religious arms of the law reached, or at least attempted to reach, into the most private activities of daily life. Among the rules and prohibitions were included a rigid censorship of the press, daily masses, daily prayers in schools and sartorial regulations. Couples could not go out un-chaperoned, public dancing was banned and a strict moral code was imposed everywhere[1]. The decade of the sixties, however, saw the younger sections of the Church begin to diverge from conservative policy and cracks began to surface in Franco’s dream of completely fusing Church and State (Gallo 326). Artistic expression under Franco’s regime had also been constrained but evidence of dissidence also begins to appear during the sixties. Theater was no exception as it had certain formulas dictated by the regime that it was obligated to follow. For example, controversial themes could not be presented unless they included a moralizing finale (Abella 116). Miguel Mihura does adhere to that requirement in Ninette: Modas de París when he presents potentially adulterous material but ends the play with the promise of marital reunion and bliss. Mihura’s Ninette plays have been criticized as “the familiar game played between the public’s demand for shallow entertainment and the artist’s willingness to concede to those demands” (McKay 123). A cursory glance at Ninette: Modas de París may provoke one to agree with this statement given the play’s overt “silly” quality. Yet, beneath the laughter lies a stringent criticism of religion’s role in Franco’s Spain. In this context it is important to remember that it was the court jester who was allowed to speak more truth than even the king’s highest-ranking courtiers. The larger theme of marital disharmony serves as a distraction from the underlying criticism. The author accomplishes this principally through the character of Padre Roque but maneuvers the other characters into peppering the stage with trenchant, anti-Catholic words and actions. This study will first briefly summarize the play and then examine the religious criticism that Mihura includes in it. Other details of the play will be included as necessary.

The play is set in Murcia at the home of one don Andres Martinez Segura, owner of the religious bookstore located on the first floor of his house. Having had no choice, he married Ninette[2], daughter of two Spanish exiles who had resided in Paris until their daughter’s marriage. Insistent on heeding Spanish tradition, Andres demands that Ninette behave according to the conduct established for Spanish ladies. Her French upbringing, however, compels her to defy these rules and Andres subsequently regards her with suspicion. Ninette’s parents, Pierre and Bernarda Sanchez, also reside in Andres’ house not wanting to separate themselves from their daughter. This proves to be uncomfortable for Andres as he desires independence. Ninette’s father has quickly established himself in the city as a respectable and influential businessman despite his many years in exile. Likewise, his wife has become friendly with one of the wealthy landladies of Murcia. It is because of these successes and subsequent influence that Padre Roque pays two visits to Andres’ house; he has come to ask favors. Meanwhile, Andres unwittingly becomes involved in an affair with his bookstore assistant Maruja while his wife secretly makes plans with her mother to open a fashion boutique[3]. Interjected amidst all of this are several comical visits by Andres’ friend Armando, madly in love with all women, but especially Ninette and Maruja. Eventually the secret of the boutique is revealed and, despite Andres’ protests, Ninette may proceed with her shop. Andres manages to escape Maruja’s clutches, with a little help from his wife and Armando, and the play ends on a happy note with husband and wife contentedly growing old together.

The majority of the play is structured with dialogue between the characters but Mihura stops the action at several points directing Ninette and Andres to address the audience with a lengthy narration. It is during one of these narrations that the first religious criticism occurs. As Ninette describes the car trip from France to Murcia, she reveals that the potholes[4] in the highway had caused her to miscarry. Upon arrival in Murcia, Ninette sought out the local priest for some comfort in that devastating loss. She is met, however, with harsh criticism: “El primer cura que encontramos en Murcia me dijo que lo que me había pasado con el niño era un castigo por hacer en París cosas que no debía haber hecho y condenó mi conducta” (373) [The first priest we met in Murcia told me that what happened with the child was a punishment for doing things in Paris that I shouldn’t have done and he condemned my conduct].

This is an important reaction on the part of the priest because historically the Church has always promoted families with many progeny. Since Ninette and Andres had married, the pregnancy should have been legitimate in the Church’s opinion. The priest’s callous remarks demonstrate a rigid lack of understanding of human fallibility, especially that of women[5], and subsequently a distance from the everyday life it was supposed to shepherd. The priest’s attitude clearly demonstrates that he has no idea what it is to lose a child and can therefore not sympathize with Ninette. A pregnancy out of wedlock demanded marriage according to Church doctrine yet the priest’s admonition communicates that the marriage was not satisfactory, implying strongly that nothing can really please the Church because, as will be discussed further below, it has no fixed moral goals in Mihura’s portrayal. Ninette, raised in France, is also an outsider, and therefore poses a threat to xenophobic, Catholic Spain. Furthermore, the priest does not condemn Andres’ conduct, thereby highlighting the double standard held against women in Church doctrine. Outward appearance such as that of being a chaste, modest young lady, outweighs the importance of human life and the reality for the priest. He (the Church) is obviously out of touch with the needs of the layperson.

Despite the priest’s admonition, Ninette, seemingly unperturbed by it, continues her new life in Murcia with Andres. She is to be a stay-at-home wife despite the failings of Andres’ bookstore and the obvious need for a second income. Andres refers to his business several times revealing that it is a religious bookshop and that he himself is a traditional, religious, conservative, obedient young man as implied by his admonition of his father-in-law: “Pero, ¿por qué no va usted a misa, hombre? ¿Pero qué trabajo le cuesta? [...] Pero eso de saltarse la misa a la torera no se lo perdonan” (391). [But, why don’t you go to mass, man? What does it cost you? This business of skipping mass cannot be forgiven.] Yet, despite his apparent concern for his business, he spends most of his time at home, rather than tending to his shop, indicating neglect[6]. In addition, Mihura subtly insinuates that the general public is negligent of their religion indicating that the Church is insufficient to fulfill their needs:

Ninette further refers to the failing bookstore at the end of the play: “Tu librería-papelería está muy anticuada, Andrés. No entra nadie nunca, y tú te aburres en ella” (445). [Your book and stationary shop is very old-fashioned, Andres. No one ever comes in and you get bored in it.]

Rather than reacting in frustration to the lack of clients, the hypocritical Andres takes advantage of his nonexistent customers to flirt with Maruja, precariously balancing on the edge of adultery and lust. Mihura tightly binds these lustful actions to Spanish tradition with Andres’ words, “…y seguir fielmente la tradición de mis mayores” (397) […and faithfully follow the tradition of my elders] just before he begins his ill-fated affair with Maruja. Again in Act II he declares, “…a los hombres lo que nos gusta es engañar a nuestras mujeres, que es lo tradicional y lo serio” (412) […we men like to deceive our women, which is what is traditional and serious]. It is plain that the “tradition” of Spanish men maintaining mistresses outweighs the moral dictates of the Church because it remains a tradition, perhaps because the Church, responsible for overseeing Spanish moral life, has chosen to overlook it. Thus, the underlying current of an inconsistent Church begins to ferment.

Andres’ father-in-law, Pierre, also contributes to the general undertone of disrespect and disregard for the Church. When Andres chastises Pierre for not attending Church, motivated more by economic than religious reasons,[7] perhaps in reflection of the Church’s own financial aspirations, Pierre responds with a rather unconventional line of reasoning:

Mire usted, amigo mío. Yo respeto todas las creencias y no tengo nada en contra de la Iglesia. Ahora bien. ¿Voy yo a los toros? No. ¿Voy yo al fútbol…? No. ¿Voy yo al cine? No. Pues tampoco voy a misa. ¿Por qué? Pues simplemente porque no soy aficionado. (391)

Look here my friend. I respect all beliefs and I don’t have anything against the church. Now, do I go see the bullfights? No. Do I go to soccer games…? No. Do I go to the movies? No. Well, so I don’t go to mass either. Why? Well, simply because I’m not a fan of it.]

The evident absurdity and comical aspect of comparing Church attendance to that of a bullring or soccer match effectively provides cover for a more serious criticism of the contemporary Church; that its practices and doctrine simply provide a means to placate the masses through entertainment. Pierre’s statement challenges the audience to take the comparison seriously and penetrate the veil of that entertainment’s levity to perceive the more sinister underpinnings and agenda of the Church.

As if on cue to reveal that agenda, Padre Roque, representing the Spanish Church, arrives at this point in Andres’ and Pierre’s argument. Mihura provides very few clues about the priest’s physical character. The stage directions state only that he is about seventy years old (391). However, the author shrewdly provides another clue when Maruja first announces the priest’s arrival at the bookshop downstairs. Andres instructs Maruja to tell Padre Roque to enter through the front door rather than the back staircase because “esta escalera es muy estrecha” (391) [this staircase is very narrow]. Given that the other characters have no problem using that staircase, it would appear that the priest suffers from obesity. The presence of a portly priest not only alludes to gluttony on a personal level, but also creates an image of a Church that consumes more than it produces. It also suggests that the Church may no longer use backdoor means to enter into the private lives of Spain’s citizens.

When Padre Roque finally enters through the front door Pierre mistakes the priest for the one that had married Ninette and Andres. Pierre then excuses himself nonchalantly declaring “[p]ues perdone que le haya confundido. Pero es que como van ustedes vestidos iguales…” (392) [Well, please excuse me that I confused you. It’s just that since you all are dressed the same...]. This remark has quite a comical effect but it also serves to universalize the priest; he represents a Church that forbids uniqueness and free thought.

Shortly after Padre Roque enters his agenda becomes apparent. He has come to ask two favors of the Sanchez family because “como estamos [los padres] ya tan vistos y hemos pedido tantos favores a la gente, ya nadie nos hace ni pizca de caso” (394) [since we (priests) are so visible and we’ve asked so many favors of the people, no one pays any attention to us anymore]. The Church has lost its power and influence, not to mention its ability to produce for itself, because it has prevailed already too much on the Spanish people, an action that the priest willingly admits. Furthermore, this agenda of asking for favors blatantly overshadows its primary mission, that of religious shepherding.

Andrés: Le advierto que ahora mismo le [a Pierre] estaba yo diciendo que no debía tener tan abandonados sus deberes

Padre: Bueno, realmente no es de eso de lo que yo le venía a hablar. Yo he venido porque le quería pedir una recomendación. (393)

Andres: I’m warning you that just now I was telling Pierre that he should not have abandoned his religious duties.

Father: Well, that’s not really what I came to talk about. I came because I wanted to ask you for a recommendation.]

Without batting an eye Padre Roque ignores his official duty and reveals his agenda of personal gain. Not only does the priest miss this opportunity to minister but also is oblivious to the appearance of each of the seven deadly sins that appears in the household. Padre Roque has come to ask Pierre to help his unskilled nephew secure a job at Pierre’s place of work. He also intends to ask Bernarda to help him find an apartment since she is a friend of doña Remedios, one of Murcia’s most prominent landladies[8]. However, upon discovering that Andres has been pressuring Pierre and Bernarda to find their own apartment Padre Roque prevails upon his religious influence to obtain that apartment for his own use. Feigning indignation at Andres’ attempt to separate Ninette from her parents the priest imperiously shouts at Andres: “¡La familia debe estar unida! ¡Pero, hombre! ¡Si esto es fundamental...! ¡Si viene en la Doctrina[9]!” (396) [The family should be united! Come on man! But that is fundamental! It appears in the Doctrine!]. Continuing his theatrics, he adds: “Eso está muy feo, hijo mío. Y además es un pecado muy grande. Y mañana sin falta te debes ir a confesar y a comulgar...” (396) [This is very ugly, my son. And furthermore it’s a very big sin. And tomorrow you should go confess and have communion without delay]. For appearance’s sake the priest feigns the fulfillment of his sacrosanct duty of keeping his flock free from sin. However, his ulterior motive becomes clear with his next statement: “Tu casa es la de ellos…Pues estaría bueno, qué caramba... (A Pierre.) Ustedes se quedan aquí y el piso ése que les han ofrecido me lo dan a mí. Y no hay más que hablar” (396) [Your house is theirs… Well, it would be good, oh my goodness… (to Pierre). You all can stay here and that apartment that they offered them they can give to me. And the matter is settled then]. Padre Roque is clearly willing to overlook sin when it serves him to do so, but he is also willing to use his station as a religious pillar and leader if doing so will benefit him, suggesting that such behavior is typical of the Spanish Church. The Church therefore cannot provide a solid backbone to society because it bends and undulates under the weight of its own agenda. To ensure that his theatrics have made an impression, thereby cementing his apartment prize, he again repeats to Andres as he exits: “Adiós hijo. Y mañana, ya sabes. A confesar y a comulgar... Y a primera hora..., ¿eh?” (396) [Goodbye my son. And tomorrow, you know. Come and confess and take communion… And first thing in the morning, ok?]. This band-aid remedy demonstrates that the Church has no real skill in solving problems. It rather relies on antiquated, fear-based coercive methods to gloss over real interpersonal problems.

Padre Roque is also not adverse to cheating in order to gain an advantage, the implications being that he learned to do so under the aegis of the Church. In the second act while Pierre and Padre Roque engage in a friendly game of checkers, the priest distracts Pierre by convincing him to turn his head to look at the portrait of Andres’ aunt while reciting a mouthful of nonsense[10] so that he may “mover una ficha a hurtadillas” (422) [secretly move a checker]. Padre Roque’s nonsensical criticism of Andres alludes to the larger image of the Church purposefully employing distracting words while it reaches into the cookie jar.

Mihura, however, does not allow the priest to succeed. “Pierre: ...que no crea usted que hablando tanto, y haciéndome que mire el retrato de la tía, me va a distraer. Porque ya me he dado cuenta de que me ha hecho una trampa” (423) [Pierre:… don’t think that by talking so much and making me look at the portrait of the aunt that you’re going to distract me. Because I’ve already realized that you tricked me]. On one level the audience is presented with a comical vision of two older men squabbling over a checkers game. On a deeper level Mihura insinuates that the masses, especially returning exiles, will not forever be duped into blindly following the dictates of the Church.

Padre Roque exposes the Church’s desire to control others during that same checkers game. Mihura cleverly introduces the critical barb with an absurdist style compliment from Pierre: “El mérito es suyo, que hay que ver el cuento que le echa a las cosas para conseguir todo lo que le conviene” (423)[11] [The merit is yours, one must see the story about the man who throws away everything in order to get everything that he desires]. This immediately prompts the priest to remind Pierre “[q]ue no se le olvide que me tiene que regalar un pájaro de esos que hay allí” (423) [Don’t forget that you have to give me one of those birds there]. It does not matter that the birds belong to Andres and are not for Pierre to give away. Although asking for a bird produces an absurd effect, the bird represents the material gain and control over people so heartily sought by the Church. In order to gain possession of one of the birds Padre Roque encourages Pierre to lie: “Usted me lo da, y si lo echa de menos [Andres], le dice que se le ha volado. No creo que por una mentira más, de esas que dice usted, se vaya a condenar” (423) [You give it to me, and if he (Andres) misses it, tell him that it flew away. I don’t think that one more lie, of those that you tell, will damn you]. This statement rings of the indulgences the medieval Church once sold to wealthy buyers suggesting that the Church has not developed much since that time. It also exposes the Church’s willingness to lie and deceive, look the other way and even encourage others to sin in exchange for some material gain. As the argument over the bird ensues, yet another aspect of Church rule is revealed.

Pierre: Pero es que no se lo va a creer. Porque usted quiere el pájaro con jaula y todo.

Padre: ¡Ah eso sí! ¡No querrá usted que tenga siempre el pájaro en un dedo! Y además, que a mí lo que más me gusta de los pájaros es la jaula.... (423)

[Pierre: But he won’t believe it. Because you want the bird and the cage and everything.

Padre: Oh yes that’s true! You won’t want me to always have to bird on my finger! And furthermore, what I like best are birds in a cage…]

It is a short step to interpret Padre’s statement as a metaphor for the Church’s fascist grip on the Spanish population. The cage is necessary because a bird[12] sitting on a finger could too easily fly away to explore its own freedom.

Yet, as stated earlier, the Church as portrayed by Mihura is very willing to overlook religious breaches when it gains some type of benefit. Padre Roque is willing to use religious force for a minor offense such as Andres’ desire for his own home[13] but overlooks the commission of the seven deadly sins in that household, himself guilty of all of them.

Mihura has effectively criticized and discredited the Church with his portrayal of Padre Roque and the aforementioned serious issues couched in comic scenarios. On a lighter note, Mihura allows Padre Roque to exit the stage but not before interjecting one last criticism of the Church’s incompetence and, revealing how unqualified it is to relate to the general population:

Ninette: Puede ser, papá. Qué vamos a hacerle... “Stultorum infinitus est numerus.”

Padre: ¡Ah, claro, sí! Ya me sonaba a mí eso. Lo que ocurre es que yo no entiendo muy bien este latín moderno que habla ahora la gente. (429)

[Ninette: It could be, Dad. We’re going to make him…’Stultorum infinitus est numerous.’

Padre: Oh of course! It sounded familiar to me. What is going on is that I don’t understand this modern Latin that people speak now.]

Perhaps Padre Roque/Church is an imposter merely pretending qualification for a position as important as religious shepherding. After an entire lifetime dedicated to the service of the Catholic Church as one of its priests, Padre Roque’s inability to understand even a simple Latin sentence is highly indicative of a slothful existence.

Mihura’s play is replete with religious criticism that is presented in a ridiculous enough way to manage to pass. He has judged the Church incompetent and outmoded as well as guilty of greed, sloth, envy, anger, gluttony, pride[14], and lust[15]. Padre Roque’s representation of the Church clearly reveals that the Church seeks personal gain and will compromise its principles and duties to obtain it. The commentary of the other characters also contributes to the general feeling of contempt for the Church and indicates that the masses will not long continue to buckle under the pressures and dictates of the Church. By masking this criticism in humor Mihura is able to both entertain and send the viewer home with a seed idea grasped from the allusions behind the humor.

Abella, Rafael. La vida cotidiana bajo el regimen de Franco. Madrid: Ediciones Temas

[1] Rafael Abella provides a thorough description of Spanish daily life under Franco in his book La vida cotidiana bajo el regimen de Franco.

[2] This occurs in the first play Ninette y un señor de Murcia.

[3] Ninette’s fashion shop foreshadows Spain’s future since Spain may no longer resist the influence of other countries, especially that of France. It is also a blatant defiance of Franco’s sartorial regulations.

[4] The potholes, although appearing to be an absurd cause for a miscarriage, indicate that life in Spain, although appearing smooth from a panoramic view, is riddled with problems serious enough to kill.

[5] This is further emphasized in Act II when Ninette displays her wares for her boutique. She gives Padre Roque a bra to admire. Padre Roque then remarks, “¡Qué boinas tan raras!” (427) [What strange hats!] demonstrating an extreme ignorance of women.

[6] Mihura alludes to the theme of the seven deadly sins, sloth appearing here. Andres and Maruja both buckle under the temptation of lust. Armando’s constant vigilance of the household and both he and Maruja’s jealousy of Ninette indicates envy. Andres’ refusal to bend Spanish tradition or recognize that his business is failing stem from pride, which in turn sparks several bouts of anger. Padre Roque is guilty of all of the seven deadly sins.

[7] “Andrés: Pero es de saltarse la misa a la torera no se lo perdonan. Y yo tengo un negocio en donde toda mi clientela es religiosa. Y si a los curas les da por decir que en vez de venir a mi librería vayan a la calle de Azucaque, me hacen puré el negocio” (391). [Andres: But skipping mass is not forgivable. And I have a business in which all of my clientele is religious. And if priests start saying that instead of coming to my bookstore they should go out to Azucaque street, they’re ruining my business.]

[8] Mihura extends Padre’s asking for favors beyond the scope of the play with Padre Roque’s last exit: “Pierre: Bueno, pues ande, vaya usted saliendo. Padre: No, hijo, usted primero, Que todavía le tengo que pedir otro favor” (429) [Pierre: Well, then go, keep going. Padre: No, son, you first. I still have to ask them for another favor]. The Church will allow others to go first, to live their lives as they choose, only when it has a favor to ask, only when it can benefit from such indulgence.

[9] Padre Roque refers more to Franco’s political agenda of promoting tight family bonds more than religious doctrine demonstrating Spain’s fusion of Church and State.

[10] “Y más valía que Andrés, en vez de dar tanto la lata, modernizase un poco su tienda y su negocio. Porque hay que ver qué orlas les planta a los recordatorios de primera comunión. Si es que da risa verlas... De esas de ‘el sereno le felicita a usted las pascuas.’ Y luego se queja de que en su tienda no entre un gato” (422-3) [And it would be better if Andres, instead of fussing so much, would modernize his store and business a little. Because one must see the phrases that go on the first communion books. It makes you laugh to see them. Like those that ‘the watchmen wishes you happy Easter.’ And then he complains that not even a cat comes to his store].

[11] Padre Roque was successful at getting the job for his nephew as well as the apartment.

[12] Birds frequently symbolize human souls, thought and imagination (Cirlot 28).

[13] The Church is threatened by this because it would leave young couples free of the controlling eyes of their elders who have been indoctrinated under the teachings of the Church.

[14] Padre’s pride is evidenced in an exchange with Pierre. “Pierre: En primer lugar porque no me gusta que me vean tanto en público con usted. Esto me puede perjudicar, ¿comprende? Porque se van a creer que estoy chaqueteando. Padre: También a mí me perjudica mucho esta amistad suya, no crea (424) [Pierre: In the first place because I don’t like it that they see me in public with you. That could hurt me, do you understand? Because they are going to think that I am a turncoat. Padre: Your friendship also hurts me a lot, don’t think that it doesn’t]. “Padre: Pues que yo tengo dos hermanos canónigos, una hermana monja, un tío fraile, otro tío jesuita, y otro sobrino misionario. Vamos, que yo creo que no se pueda decir que sea una familia de anarquistas (426) [Padre: I have two religious brothers, a sister who is a nun, a friar for an uncle, another Jesuit uncle, and a missionary nephew. Come on, I don’t think that it could be said that I come from a family of anarchists]. This last statement also provokes one to wonder how Padre Roque has a nephew if his family is comprised so fully of Church personnel.

[15] Although Padre Roque does not commit any lustful acts there is an allusion that he would if given the opportunity: “Pierre: Pues también he oído que, con el tiempo, a lo mejor les dejan que se casen… Padre: Pues eso sí que se les debía haber ocurrido antes, caramba. Porque a ver ahora a mi edad, en dónde voy a sacar yo novia” (424) [Pierre: Well I’ve also Heard that, with time, they’ll allow them to marry… Padre: Well that should have happened before, my gosh. Because now at my age, where am I going to get a girlfriend?].