Aula

O REALISMO NA PROSA
PORTUGUESA

META
$SUHVHQWDUXPFRQKHFLPHQWRSDQRUkPLFRGDSURVDUHDOLVWDSRUWXJXHVDGHVXDV
FDUDFWHUtVWLFDVQRVJrQHURVURPDQFHHFRQWRGHWHQGRVHHPSDUWLFXODUQDREUDGH(oDGH
4XHLUyVVHPG~YLGDVHXPDLRUUHSUHVHQWDQWH

OBJETIVOS
$R¿QDOGHVWDDXODRDOXQRGHYHUi
FRPSUHHQGHUDSURVDUHDOLVWDHPVHXHVSDoRHWHPSRKLVWyULFRLQVHULGDHPVXDFXOWXUD
FRPRREUDGHFRPEDWHHGHDomRWUDQVIRUPDGRUDGDVRFLHGDGH
UHFRQKHFHUDVFDUDFWHUtVWLFDVGDSURVDGH¿FomRUHDOLVWDHP3RUWXJDO
FRQKHFHUSHFXOLDULGDGHVGDYLGDHREUDGH(oDGH4XHLUyV
desenvolver a capacidade de
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HVWLPXODURHVStULWRFUtWLFRH
investigativo dos discentes.

35e5(48,6,726
/HLWXUDGDVOLo}HVHVREUHR
Realismo em Portugal;
FRQKHFLPHQWRGHQRo}HVEiVLFDVGH
teoria do romance e do conto;
OHLWXUDGDVREUDVGH(oDGH4XHLUyV
O Mandarim e Alves &Cia.

&DUWD] GR ÀOPH 3ULPR %DVtOLR EDVHDGR QR

OLYURKRP{QLPRGH(oDGH4XHLUy]FRQVLG
erada sua obra prima.
(Fontes: http://1.bp.blogspot.com)
 Literatura Portuguesa II

,1752'8d®2
&DUR DOXQR D DXOD DWXDO WUDWD GD SURVD GH ÀFomR HP 3RUWXJDO 6HP
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implicou racionalismo e objetividade ante o objeto analisado, passando a ser,
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VRXWDQWDVFRQWURYpUVLDVVHQGRDOYRGRDPRURXGRyGLRGRVSRUWXJXHVHV
de seu tempo.

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GH4XHLUy])RQWHVKWWSFLQHPDFRPUDSDGXUDFRPEU

166
 O Realismo na prosa portuguesa
Aula

A PROSA REALISTA: O ROMANCE E O CONTO

2URPDQFHUHDOLVWDDEDQGRQDRSURMHWRURPkQWLFRTXHYLVDYDRHQWUH
10
tenimento e se fundamentava, sobretudo, na intriga, no enaltecimento ao
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'HDWLWXGHDQWLUURPkQWLFDRURPDQFHUHDOLVWDHQDWXUDOLVWDWHPHP
YLVWDDSRQWDURVHUURVIXQGDPHQWDLVGDPHQWDOLGDGHURPkQWLFDHSURS}HVH
DUHYHODUTXHVXDVEDVHVHVWDYDPLQWHQVDPHQWHFRUURtGDV&ULWLFDRVSLODUHV
GRHVWLORGHYLGDURPkQWLFRUHSUHVHQWDGRVSHOD%XUJXHVLD0RQDUTXLDH
&OHURTXHQmRPDLVVHVXVWHQWDYDPQHPWLQKDPIRUoDVFDSD]HVGHUHVLVWLU
DRLPSXOVRGDVGHVFREHUWDVÀORVyÀFDVHFLHQWtÀFDVGDVHJXQGDPHWDGHGR
VpFXOR;,;
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HQFRQWUDUVDtGDKRQURVDSDUDHODµ
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&RPRUHSUHVHQWDQWHVPDLRUHVGHVVHVHVWLORVHPSURVDWHPRV(oDGH4XHLUyV
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DH[HPSORGH$EHO%RWHOKR)UDQFLVFR7HL[HLUDGH4XHLUyV-RVp)UDQFLVFR
de Trindade Coelho e o Conde de Arnoso (Bernardo Pinheiro).

(d$'(48(,5Ð6(2520$1&(5($/,67$
6HJXQGR$]HYHGR)LOKRS´(oDGH4XHLUyVFRQVROLGRXR
JrQHURGRURPDQFHQDOLWHUDWXUDSRUWXJXHVDGRVHXWHPSRµ3DUDHOHHP
ERUDVHXVURPDQFHVIDoDPFUtWLFDDRPXQGRGDEXUJXHVLDGHFDGHQWHVHX
REMHWLYRPDLRUHUDVXEVWLWXtORSRURXWURPXQGRWDPEpPEXUJXrVPDVQmR
GHFDGHQWH$RGDUrQIDVHDRVDVSHFWRVEXUOHVFRVGDVRFLHGDGHHGHVWDTXH

167
 Literatura Portuguesa II

DRVSUHFRQFHLWRVSURYHQLHQWHVGRSDVVDGR(oDRVH[S}HDRMXOJDPHQWRGR
PXQGRFRQWHPSRUkQHRID]HQGRGHVHXURPDQFHXPLQVWUXPHQWRDVHUYLoR
da reforma social. De acordo com Dantas,
Victor Hugo
$ WUDMHWyULD GR HVFULWRU (oD GH 4XHLUyV QXQFD SHUGHX GH YLVWD DV
Poeta e romancista PRWLYDo}HVVRFLDLVeFHUWRTXHFRPRURODUGRVDQRVDYLUXOrQFLDGHVXD
IUDQFrVWHYHJUDQGH YR]IRLSRXFRDSRXFRVHDWHQXDQGRPDVDWpRWHUPRGDVXDSURGXomR
DWXDomR SROtWLFDHP URPDQHVFDQXQFDGHL[RXHOHGHVHDEDVWHFHUHPUHIHUrQFLDVGHRUGHP
seu tempo, a ponto VRFLROyJLFDHGRFXPHQWDOQXQFDGHL[RXGHFULDUÁDJUDQWHVGDYLGD
de escrever romanc- UHDOGRVHXWHPSRHGDVXDJHQWH$VXDRSomRS~EOLFDGHLQWHOHFWXDO
es de cunho social HPVLQWRQLDFRPDVTXHVW}HVVRFLDLVHOLWHUiULDVGHVXDpSRFDMiHVWi
como, entre outras, WRPDGDGHVGHTXDQGRSRURFDVLmRGDV&RQIHUrQFLDVGR&DVLQR
³2V PLVHUiYHLV´ DSUHVHQWDDSDOHVWUDFXMRWtWXOR$/LWHUDWXUD1RYD²25HDOLVPRFRPR
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3DULV´H ³2VWUDEDO
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KDGRUHVGRPDU´

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HDGHVWUXLomRGRVYDORUHVGHFDGHQWHVGDVRFLHGDGHEXUJXHVDHP3RUWXJDO
Nerval SRURXWURWHPRFRPSURPLVVRGHGHIHQGHURVLGHDLVÀORVyÀFRVHFLHQWt
ÀFRVTXHPRYLDPDJHUDomRGHVXDpSRFD(UDLPSUHVFLQGtYHOSRUWDQWR
Cujo nome verda-
GHLUR p *pUDUG GH
GHUUXEiORVVXEVWLWXtORVSRURXWURVPDLVFRDGXQDGRVFRPRHVStULWRGD
Labrunie. Foi um pSRFD'DtRVHXHVWLORDQWLPRQiUTXLFRDQWLFOHULFDOHDQWLEXUJXrV
GRVFpOHEUHVSRHWDV .
IUDQFHVHVGRVpFXOR $REUDGH-RVp0DULDGH(oDGH4XHLUyVSRGHVHUGLYLGLGDHPWUrV
;,;$WUDtGR SHOD IDVHVDSULPHLUDGRSHUtRGRGHD
OLWHUDWXUD DOHPm a segunda de 1875 a 1887; a terceira, de 1887
desde cedo, espe-
cialmente pelos
DWpRÀPGHVXDYLGD
³&RQWRV IDQWiVWL
FRV´ GH +RIIPDQQ PRIMEIRA FASE
H³*RHWKH´GHSRLV
se desperta para
o esoterismo e o
1HOD UHYHODQGR IRUWH LQFOLQDomR SDUD R
ocultismo, que o URPDQWLVPRIDQWDVLRVRSURGX]LXYiULRVIROKH
levam a uma via- WLQVSDUDD´*D]HWDGH3RUWXJDOµTXHSRVWHUL
gem ao Oriente. RUPHQWHFRPSXVHUDPDV´3URVDVEiUEDUDVµ
Desenvolveu uma FRPRWDPEpPDUWLJRVSDUD´$V)DUSDVµGH
obra marcada por SRLVUHXQLGRVHP´8PDFDPSDQKDDOHJUHµ$LQGDGHVVDIDVHpDREUD´2
uma melancolia,
FRPR VH Yr HP As
PLVWpULRGDHVWUDGDGH6LQWUDµHVFULWDHPSDUFHULDFRP5DPDOKR2UWLJmRH
¿OKDV GR IRJR 2V SXEOLFDGDHPIROKHWLQVQR´'LiULRGH1RWtFLDVµGXUDQWHGRLVPHVHV
amores de Viena: a +iGRLVIDWRVFXULRVRVHPUHODomRj~OWLPDREUD2SULPHLURGL]UHVSHLWR
3DQGRUD H $XUpOLD jGLVWkQFLDItVLFDHQWUHRVGRLVHVFULWRUHV5DPDOKR2UWLJmRUHVLGLQGRHP/L]
ou o sonho e a vida. H(oDGH4XHLUyVHP/LVERDFDGDXPHQYLDYDDRMRUQDODOWHUQDGDPHQWHD
SDUWHTXHOKHFDELDGHVHQYROYHQGRVHDVVLPXPHQUHGRQmRSUHPHGLWDGR
2VHJXQGRpGHFRUUHQWHGDVDQRWDo}HVGHYLDJHPTXH(oDGH4XHLUyVIH]
ao Egito, nos anos de 1869 e 1870.

168
 O Realismo na prosa portuguesa
Aula

e QHVVD IDVH TXH (oD GH 4XHLUR] LQÁXHQFLDGR SRU Victor Hugo,
Michelet, Nerval, Heine e Baudelaire, ingressa no romantismo social,
desenvolvendo um lirismo sombrio e dilacerado, como se observa no
10
Jules Michelet
VHJXLQWHWUHFKRGH´1RWDVPDUJLQDLVµ
Historiador enga-
Andamos todos sofrendo. Passamos lentos, desconsolados e jado no roman-
alumiados pelo sol negro da melancolia. Nem largos risos, nem WLVPRSROtWLFRDX
ErQomRV IHFXQGDV $ HVSHUDQoD IXJLX SDUD DOpP GDV HVWUHODV GDV WRUGHYiULDVREUDV
QXYHQV H GRV FDPLQKRV OiFWHRV 1RV FRUDo}HV QDVFHP DPRUHV entre elas, a entu-
VRPEULRV H ORXFRV ( WXGR SRUTXH XP GLD QDVFHX XPD FULDQoD siasta +LVWyULD GD
HVWUDQKDTXHIRLDOLPHQWDGDFRPXPOHLWHPyUELGRFRPRD/XDH 5HYROXomR )UDQ
cesa, foi um dos
HQYROWDQXPDW~QLFDOtYLGDFRPRDPRUWH
primeiros a con-
siderar o povo na
6(*81'$)$6(²5($/,67$ FRQGLomRGHDJHQWH
KLVWyULFR GH VHX
SUySULRGHVWLQR
,QLFLDVH FRP R HQFHUUDPHQWR GD 4XHVWmR &RLPEUm VHQGR (oD GH
4XHLUyV R SULPHLUR DXWRU GD SURVD UHDOLVWDSRUWXJXHVD FRP D REUD ´2
FULPHGRSDGUH$PDURµ(PQtWLGDRSRVLomRjSHUVSHFWLYDURPkQWLFD
TXHDWpHQWmRVHJXLDUHVVXUJHRDXWRUH[SORUDQGRWHPiWLFDVSROrPLFDVGD
Heine
VRFLHGDGHHPTXHYLYLDFRPrQIDVHQDVFUtWLFDVjUHOLJLmRjEXUJXHVLDHj
PRQDUTXLDLQVSLUDGRSHODLQLFLDWLYDGH%DO]DFQD)UDQoD(PFHUWDIHLWD F o i u m d o s
assim ele se manifestou: gr andes poetas
do romantismo
*UDQGHHSRGHURVDDUWHID]HQGRXPSURIXQGRHVXWLOLQTXpULWRDWRGD DOHPmR 0XLWDV
DVRFLHGDGHHDWRGDDYLGDFRQWHPSRUkQHDSLQWDQGROKHFUXDPHQWH de suas poesias
HVLQFHUDPHQWHRIHLRHRPDXHQmRSRGHQGRQDVXDVDQWDPLVVmR foram musicadas
da verdade ocultar detalhe nenhum por mais torpe, como na sua por compositores
F p O H E U H V  F R P R
FLHQWtÀFDQHFHVVLGDGHGHH[DWLGmRXPOLYURGHDQDWRPLDQmRSRGH
Brahms, Mendels-
RPLWLURHVWDGRGHQHQKXPDIXQomRHGHQHQKXPyUJmR sohn, Schumann,
Schubert e Wag-
$UHOLJLmRVHPG~YLGDWHPJUDQGHrQIDVHSRUTXHQmRVypUHWRPDGD ner. Desenvolveu
FRPRWHPDFHQWUDOHP´$UHOtTXLDµHÀQDOPHQWHQRFRQWR´6XDYH uma obra intensa-
PLODJUHµSXEOLFDGRLQLFLDOPHQWHFRPRWtWXOR´2XWURDPiYHOPLODJUHµ mente marcada
pelo engajamento
PDVWDPEpPpLQWURGX]LGDTXDVHQHFHVVDULDPHQWHHQWUHDVWHPiWLFDV
VRFLDO H SROtWLFR
GHRXWUDVVXDVREUDVGHUHOHYR(P´6REUHDQXGH]IRUWHGDYHUGDGHRPDQWR tornando-se muito
GLiIDQRGDIDQWDVLDµUHYHOD(oDGH4XHLUyVVHXSURSyVLWRGHH[SORUDURTXH conhecido por suas
VHULDPFDVRVWtSLFRVGDYLGDVRFLDOYLVXDOL]DQGRRVQDSHUVSHFWLYDFROHWLYD ironias e sacarmos
HQmRGHLQGLYtGXRV$VVLPVHH[SUHVVDRHVFULWRUSRUWXJXrV HPUHODomRjVRFLH
GDGHDOHPm
$PLQKDDPELomRVHULDSLQWDUDVRFLHGDGHSRUWXJXHVDWDOTXDORIH]R
Constitucionalismo de 1830 e mostrar-lhe, como num espelho, que
WULVWHSDtVHOHVIRUPDP²HOHVHHODV(RÀPQDV&HQDV3RUWXJXHVDV
e QHFHVViULR DFXWLODU R PXQGR RÀFLDO R PXQGR VHQWLPHQWDO R
PXQGROLWHUiULRRPXQGRDJUtFRODRPXQGRVXSHUVWLFLRVRHFRP

169
 Literatura Portuguesa II

Baudelaire WRGRUHVSHLWRSHODVLQVWLWXLo}HVGHRULJHPHWHUQDGHVWUXLUDVIDODV
LQWHUSUHWDo}HVHIDOVDVUHDOL]Do}HVTXHOKHGiXPDVRFLHGDGHSRGUH
Um dos maiores (destaque no original).
SRHWDV H WHyULFRV
GHDUWHVGD)UDQoD
QR VpFXOR ;,; p
3DUD PRVWUDUR GHFOtQLRGD LQVWLWXLomR EXUJXHVD(oDD H[HPSORGH
considerado, por RXWURV DXWRUHV UHDOLVWDV HXURSHXV DWDFD IURQWDOPHQWH R VHX Q~FOHR R
muitos, como pre- FDVDPHQWR´WUD]HQGRDQXDVPLVpULDVTXHRGHVWURHPFRPRDOLFHUFHGD
cursor do Simbo- %XUJXHVLDPLVpULDVHVVDVFRQGHQVDGDVQRDGXOWpULRWRUQDGROXJDUFRPXP
lismo, embora sua HOHJDQWHµ02,6Ë6S
REUD Pi[LPD As
ÀRUHV GR PDO, foi
FRQVLGHUDGD QmR
1mRSRGHPDTXLÀFDUHVTXHFLGDVDVGXUDVHDWpLUUHYHUHQWHVSDODYUDV
Vy XP PDUFR GD HFLDQDVHPFDUWDGLULJLGDD5DPDOKR2UWLJmRIDODQGRGHVHXVSURSyVLWRV
poesia simbolista,
mas, inclusive, da 2TXHHXTXHURID]HUpGDUXPJUDQGHFKRTXHHOpWULFRDRHQRUPH
moderna. SRUFR DGRUPHFLGR UHÀURPH j 3iWULD 9RFr GLUi TXDO FKRTXH
LQJrQXR"2SRUFRGRUPHSRGHVOKHGDUTXDQWRVFKRTXHVTXLVHUHV
QRV OLYURV TXH R SRUFR Ki GH GRUPLU 2 GHVWLQR PDQWpPQR QD
VRQROrQFLDHPXUPXUDOKHGRUPHPHXSRUFR

2IDWRpTXHDLURQLDHPHVPRDLUUHYHUrQFLDVmRDVW{QLFDVGDREUD
UHDOLVWDGH (oDGH 4XHLUyV )RUDPRV UHFXUVRVTXHHOH XWLOL]RXSDUD UH
SXGLDUGHYH]DVHVTXHPDWL]Do}HVSRVLWLYLVWDVHDOJXPDVLGHLDVUHDOLVWDVH
QDWXUDOLVWDV2VSHUVRQDJHQVGDVREUDVGHVVDIDVHVmRSHVVRDVHTXLYRFDGDV
PRUDOPHQWHDPEtJXDVSUHVDVDYtFLRVHLQFRQVHTXrQFLDVeQHVVHDPELHQWH
TXHDVSRXFDVSHUVRQDJHQVPDLVVLPSiWLFDVDROHLWRUFLUFXODPPXLWRHP
ERUDRDXWRUQmRVHWHQKDSUHRFXSDGRFRPRVFDPSRQHVHVRSHUiULRVHD
SHTXHQDEXUJXHVLDODERULRVDHQÀPDH[SORUDomRFDSLWDOLVWDGRWUDEDOKR
humano, as lutas de classe.

7(5&(,5$)$6(²3Ð65($/,67$
1HVVDIDVH(oDGH4XHLUyVDIDVWDVHGRTXHVHSRGHGHQRPLQDUUHDOLVPR
QDWXUDOLVPRUHWRPDQGRDIDQWDVLD(QWUHDVUD]}HVGHVVDPXGDQoDVHJXQGR
DOJXQVHVWXGLRVRVGHVWDFDVHSDUWLFXODUPHQWHVXDFDUUHLUDGLSORPiWLFDTXH
RREULJRXDÀFDUDIDVWDGRGH3RUWXJDOSRUORQJRWHPSRRTXHPXLWRRGLV
tanciou das mazelas da realidade social do mundo lusitano. Escreve ele, da
,QJODWHUUDRQGHSDVVRXJUDQGHSDUWHGHVHXVGLDVD5DPDOKR2UWLJmR

3DUDHVFUHYHUTXDOTXHUSiJLQDTXDOTXHUOLQKDWHQKRGHID]HUGRLV
YLROHQWRVHVIRUoRVGHVSUHQGHUPHLQWHLUDPHQWHGDLPSUHVVmRTXH
PHGiDVRFLHGDGHTXHPHFHUFDHHYRFDUSRUXPUHWHVDPHQWRGD
UHPLQLVFrQFLDDVRFLHGDGHTXHHVWiORQJH,VWRID]FRPTXHRVPHXV
personagens sejam cada vez menos portugueses - sem por isso
VHUHP LQJOHVHV FRPHoDUDP D VHU FRQYHQFLRQDLVYmRVH WRUQDQGR

170
 O Realismo na prosa portuguesa
Aula

uma maneira. [...] De modo que estou nesta crise intelectual: ou

tenho de me recolher ao meio onde posso produzir, por processo
H[SHULPHQWDO²LVWRpLUSDUD3RUWXJDO²RXWHQKRGHPHHQWUHJDUj
10
literatura puramente fantasista ou humorista.

)DVHPDUFDGDSHODGHVLOXVmRHSHODUHQ~QFLDGRVLGHDLVUHDOLVWDVHP
TXH(oDGH4XHLUyVSDVVDDDFDWDURXWURVYDORUHVFRPRDSROtWLFDFRORQLDO
ista, o nacionalismo e a vida no campo. O saudosismo, o nacionalismo, a
SUHRFXSDomRPRUDOHPHVPRXPRWLPLVPRPRGHUDGRWRPDPROXJDUGD
LQVDWLVIDomRHGRSHVVLPLVPRGRFHWLFLVPRHGDLURQLD8WLOL]DQGRVHXP
YRFDEXOiULRPDLVSREUHVHPDVHVWUXWXUDVFRPSOH[DVHVHPRVSXULVPRVGRV
FOiVVLFRVTXHRDQWHFHGHUDP(oDGH4XHLUyVFRQVHJXHGHIRUPDPDOHiYHO
HKDUPRQLRVDEHPPDLVGRTXHTXDOTXHURXWURHOHYDUDOtQJXDSRUWXJXHVD
HQtYHLVGDQWHVQXQFDLPDJLQDGRVeRTXHVHREVHUYDVHPGLÀFXOGDGHV
em $FRUUHVSRQGrQFLDGH)UDGLTXH0HQGHVH$FLGDGHHDVVHUUDV.

&20(17É5,2662%5($/*80$6
OBRAS DO AUTOR

O crime do padre Amaro

2FHQiULRGRURPDQFHXPGRVPDLVGLIXQGLGRVGH(oDGH4XHLUyVpD
cidade portuguesa de Leiria, com sua sociedade provinciana, conservadora,
UHOLJLRVDHDSDUHQWHPHQWHSDFDWD$RWRPPDOLFLRVRFKHLRGHREVHUYDo}HV
VXWLVLPS}HPVHDVSHFWRVSVLFROyJLFRVEULOKDQWHV$VSHUVRQDJHQVFHQWUDLV
SDGUH$PDURH$PpOLDPDQWrPXPURPDQFHTXHFKHJDDUHODo}HVtQWLPDV
VHQGRHODDEDQGRQDGDSHORUHOLJLRVRGHSRLVGHHQJUDYLGDGD1DREUD(oD
GH4XHLUyVDSURIXQGDVHQDTXHVWmRGRFDUiWHUGDVSHVVRDVGDPRUDOLGDGH
HGRFHOLEDWRFOHULFDORTXHGHXFDXVDDLQ~PHUDVSROrPLFDVHDYHHPHQWHV
SURWHVWRVGD,JUHMD&DWyOLFD
9iULRVDXWRUHVEUDVLOHLURVVRIUHUDPLQÁXrQFLDVGHVVDREUDHQWUHHODV
Graciliano Ramos, em &DHWpV$ORtVLRGH$]HYHGRHPO mulatoH,QJOrVGH
Souza, em 2PLVVLRQiULR.

2SULPR%DVtOLR

Por muitos, considerada sua obra prima, nela, o autor volta-se contra
a burguesia de Lisboa, detendo-se em um lar aparentemente perfeito, puro
HUHVSHLWRVRSDUDPRVWUDUVXDVEDVHVIDOVDVHSRGUHV/XtVDPXOKHUFULDGD
VRERVSDUDGLJPDVGDpSRFDFRQYHQLHQWHPHQWHFDVDGDFRP-RUJHXPHQ
genheiro bem sucedido, tem a vida ideal da mulher urbana de seu tempo,
HQWUHJXHjVURWLQDVGRyFLRGRIDVWLRHGDVIXWLOLGDGHV&RPDYLDJHPD

171
 Literatura Portuguesa II

QHJyFLRVGRPDULGRDRLQWHULRUGRSDtVHRDSDUHFLPHQWRGH%DVtOLRXP
SULPRHVVHPRGRGHYLYHUpUHSHQWLQDHUDGLFDOPHQWHLQWHUURPSLGR2V
HQFDQWRVGRSULPRWRUQDPQDVXDDPDQWHDSDL[RQDGDHFDUWDVVmRWURFDGDV
entre os dois.
$OJXPDVGDV FDUWDV DFDEDPQDV PmRVGH -XOLDQDFULDGDGH /XtVDD
RXWUDIDFHGDPHQWDOLGDGHEXUJXHVD0RYLGDSHORWpGLRHXPDLQVDWLVIDomR
DPDUJDFRPDYLGDDOpPGHXPyGLRH[WUHPRjSDWURDSDVVDDH[HUFHUXP
YLQJDWLYRHWLUkQLFRGRPtQLRVREUHHOD2HVSRVRUHJUHVVDQGRGDYLDJHP
WRPDFRQKHFLPHQWRGRRFRUULGRHWDUGLDPHQWHSHUGRD/XtVDMiTXHHOD
IDOHFH%DVtOLRPRGHORGRVGkQGLVOLVERHWDVGDpSRFDFRQWLQXDVXDYLGDGH
VHGXWRURUGLQiULRLUUHVSRQViYHOHLQFRQVHTXHQWH
Todos os personagens de 2SULPR%DVtOLR retratam, necessariamente, os
WLSRVFRPXQVGDVRFLHGDGHOLVERHWD8PH[HPSORpRFRQVHOKHLUR$FiFLR
com seus formalismos e maneiras afetadas:

(UDDOWRPDJURYHVWLGRWRGRGHSUHWRFRPRSHVFRoRHQWDODGRQXP
FRODULQKRGLUHLWR2URVWRDJXoDGRQRTXHL[RLDVHDODUJDQGRDWpD
calva, vasta e polida, um pouco amolgada no alto; tingia os cabelos
TXH GH XPD RUHOKD D RXWUD OKH ID]LDP FRODU SRU WUiV GD QXFD² H
DTXHOHSUHWROXVWURVRGDYDSHORFRQWUDVWHPDLVEULOKRjFDOYD>@
(UDPXLWRSiOLGRQXQFDWLUDYDDVOXQHWDVHVFXUDV>@
)RUD RXWURUD GLUHWRUJHUDO GR PLQLVWpULR GR UHLQR H VHPSUH TXH
GL]LD ² (O5HL ² HUJXLDVH XP SRXFR QD FDGHLUD 2V VHXV JHVWRV
HUDPPHGLGRVPHVPRDWRPDUUDSp1XQFDXVDYDSDODYUDVWULYLDLV
QmRGL]LDYRPLWDUID]LDXPJHVWRLQGLFDWLYRHHPSUHJDYDUHVWLWXLU

(PFDUWDGLULJLGDD7HyÀOR%UDJD(oDGH4XHLUyVREVHUYRXTXDQWR
a seu romance:

>@YHQGRPHWRPDUDIDPtOLDFRPRDVVXQWRSHQVDTXHHXQmRGHYLD
DWDFDU HVVD LQVWLWXLomR HWHUQD H GHYLD YROWDU R PHX LQVWUXPHQWR
GH H[SHULPHQWDomR VRFLDO FRQWUD RV SURGXWRV WUDQVLWyULRV TXH VH
SHUSHWXDP DOpP GR PRPHQWR TXH RV MXVWLÀFRX H TXH GH IRUoDV
VRFLDLVSDVVDUDPDVHUHPSHFLOKRVS~EOLFRV3HUIHLWDPHQWHPDVHXQmR
DWDFRDIDPtOLD²DWDFRDIDPtOLDOLVERHWD²DIDPtOLDOLVERHWDSURGXWR
GRQDPRURUHXQLmRGHVDJUDGiYHOGHHJRtVPRVTXHVHFRQWUDGL]HP
e mais tarde ou mais cedo centro de bambochata. Em O Primo
%DVtOLRTXHDSUHVHQWDVREUHWXGRXPSHTXHQRTXDGURGRPpVWLFR
extremamente familiar a quem conhece bem a burguesia de Lisboa
[...].

O mandarim

Obra de menor porte, escrita em Bristol, Inglaterra, e publicada em

pPDLVFRQVLGHUDGDXPFRQWRGRTXHXPURPDQFHMiTXHSRVVXL

172
 O Realismo na prosa portuguesa
Aula

XPVySHUVRQDJHPFHQWUDOHGHVHQYROYHVHHPXPVyDWR,QÁXHQFLDGR
SHORRULHQWDOLVPRHQWmRHPYRJD(oDGH4XHLUyVFRQFHQWUDVHQDTXHVWmR
GHXPLQGLYtGXRLQHVFUXSXORVRRTXHOKHSHUPLWHH[SRUVREUHRHJRtVPR
10
extremado e criminoso.

$UHOtTXLD

Publicado em 1887, foi escrito na primeira pessoa do singular e, como O

mandarimUHÁHWHLQÁXrQFLDVRULHQWDOLVWDV2ULJLQDULDPHQWHUHFHEHXRVXEWtWXOR
6REUHDQXGH]IRUWHGDYHUGDGH²RPDQWRGLiIDQRGDIDQWDVLD.
O protagonista do romance, Teodorico Raposo, narra sua viagem ao Oriente
0pGLRDSyVGHFHSomRDPRURVDHQWHQGHQGRTXHSURSLFLD´XPDOLomRO~FLGDH
IRUWHµGHYLGD1DDEHUWXUDGDREUDID]DOXV}HVDSUHWHQVRVFDVRVTXHSURYRFDUDP
PXGDQoDVUHOHYDQWHVHPVXDYLGDHVSHFLDOPHQWHHPUHODomRDXPDKHUDQoDGH
que se imaginava merecedor. Todavia, logo adiante, no prosseguimento do texto,
UHYHODXPVHJXQGRREMHWLYRRGHFRUULJLUIDOVDVLQIRUPDo}HVVREUHHOHUHJLVWUDGDV
HP´-HUXVDOpPSDVVHDGDHFRPHQWDGDµREUDGHVHXDPLJR7RSVLXVXPDOHPmR

+iSRUpPXPSRQWRGH-(586$/e03$66($'$TXHQmRSRVVR
GHL[DUVHPHQpUJLFDFRQWHVWDomReTXDQGRRGRXWtVVLPR7RSVLXVDOXGH
a dois embrulhos de papel, que me acompanharam e me ocuparam,
QDPLQKDSHUHJULQDomRGHVGHDVYLHODVGH$OH[DQGULDDWpjVTXHEUDGDV
GR&DUPHOR1DTXHODIRUPDURWXQGDTXHFDUDFWHUL]DDVXDHORTrQFLD
XQLYHUVLWiULDRGU7RSVLXGL]²´2LOXVWUHÀGDOJROXVLWDQRWUDQVSRUWDYD
ali restos dos seus antepassados, recolhidos por ele, antes de deixar o
VRORVDFURGDSiWULDQRVHXYHOKRVRODUWRUUHDGRµ0DQHLUDGHGL]HU
VLQJXODUPHQWHIDOD]HFHQVXUiYHO3RUTXHID]VXSRUj$OHPDQKDHUXGLWD
TXHHXYLDMDYDSHODVWHUUDVGR(YDQJHOKR²WUD]HQGRHPEUXOKDGRVQXP
SDSHOSDUGRRVRVVRVGHPHXVDYyV

$ViWLUDDRVHQWLPHQWRUHOLJLRVRpPDLVGRTXHHYLGHQWH'D7HUUD6DQWD
GHYHULD7HRGRULFR5DSRVROHYDUXPDUHOtTXLDSDUDVXD7LD3DWURFtQLRD7LWLXPD
beata velha e rica, de quem ele pretendia ser herdeiro. Assoberbado com seu caso
DPRURVRFRPXPDLQJOHVD0DU\HOHSDUDDWHQGHUjWLDHPEUXOKDXPDFRURD
LPSURYLVDGDFRPRJDOKRGHiUYRUHHVSLQKHQWD7RGDYLDGHYROWDD3RUWXJDO

$FRUGDQGRGHVHXODQJRUWUrPXODHSiOLGDPDVFRPDJUDYLGDGH
G·XP SRQWtÀFHD 7LWLWRPRX RHPEUXOKRIH] PHVXUDDRV VDQWRV
FRORFRXR VREUH R DOWDU GHYRWDPHQWH GHVDWRX R Qy GR QDVWUR
vermelho; depois, com o cuidado de quem teme magoar um corpo
divino, foi desfazendo uma a uma as dobras do papel pardo... Uma
brancura de linho apareceu... A Titi segurou-a nas pontas dos dedos,
UHSX[RXDEUXVFDPHQWH²HVREUHDDUDSRUHQWUHRVVDQWRVHPFLPD
GDVFDPpOLDVDRVSpVGD&UX]²HVSDOKRXVHFRPODoRVHUHQGDVD
camisa de dormir da Mary!

173
 Literatura Portuguesa II

>@(SUHJDGRQHODSRUXPDOÀQHWHEHPHYLGHQWHDRFODUmRGDVYHODV
RFDUWmRFRPDRIHUWDHPOHWUDHQFRUSDGD²´DRPHX7HRGRULFRPHX
SRUWXJXHVLQKRSRVVDQWHXPDOHPEUDQoDGRPXLWRTXHJR]DPRVµ
      IUDJPHQWRGROLYUR$UHOtTXLD

Os Maias

(oDGH4XHLUyVFRPOs Maias, uma de suas obras mais conhecidas,

publicada em 1888, encerrou sua fase socialmente engajada, abandonando a
FUtWLFDjVRFLHGDGHSRUWXJXHVDHPXLWRHVSHFLDOPHQWHjEXUJXHVLDOLVERHWD
suas futilidades, crendices, preconceitos e vida religiosa. Trata-se de um
URPDQFHFRPWUDPDFRPSOH[DTXHDWHQGRVHjVUHODo}HVLQFHVWXRVDVHQWUH
GRLVSHUVRQDJHQVRVLUPmRV&DUORVGD0DLDH0DULD(GXDUGDHVWHQGHVH
SRUWUrVJHUDo}HVGDIDPtOLD0DLD
&DUORVGD0DLDpXPSHUVRQDJHPTXHVHHTXLOLEUDHQWUHVHXVDSHJRV
j&LrQFLDHjVPXOKHUHV([HUFHDSURÀVVmRGHPpGLFRSRUGLOHWDQWLVPR
SRUSUD]HUHQmRSRUREULJDomR(GXFDGRjLQJOHVDSRUVHXDY{$IRQVR
GD0DLDXPSDWULDUFDTXHQmRUHVLVWLXjGHFDGrQFLDIDPLOLDUWRUQDVHXP
KRPHPDWUDHQWHWDQWRSRUVHXDVSHFWRItVLFRTXDQWRVXDLQWHOHFWXDOLGDGH
FRPSOHWDPHQWHGLIHUHQWHGHVHXSDL3HGURGD0DLDXPLQGLYtGXRSHTXHQR
IUiJLOPHODQFyOLFRGHWHPSHUDPHQWRLQVWiYHO6XDHGXFDomRIRLULJRURVD
PHQWHDSRUWXJXHVDGDHEHDWLÀFDGDSRUGHWHUPLQDomRGHVXDPmH0DULD
(GXDUGD5XQDXPDPXOKHUFRQVHUYDGRUDHXOWUDFDWyOLFD
$PmHGH&DUORVGD0DLDp0DULD0RQIRUWHTXHIRJHFRPXPQDSROL
WDQROHYDQGRVXD~QLFDLUPm2SDL3HGURGD0DLDTXHDFROKHUDRQDSROL
WDQRHPVXDFDVDQmRUHVLVWHDRLPSDFWRHVXLFLGDVH&RPLVVR&DUORVGD
0DLDpFRQYHQFLGRGHTXHVXDLUPmWLQKDIDOHFLGRHHODSRUVXDYH]DFUHGLWD
TXHWHYHDSHQDVXPDLUPmIDOHFLGDHP/RQGUHV3RUFRQVHJXLQWHRVGRLV
quando se encontram, desconhecem de todo o passado que os unia. Surge
XPDSDL[mRHQWUHRVGRLVDSRQWRGHVREUHYLYHUjUHYHODomRGHVVHSDVVDGR
9iULRVSHUVRQDJHQVVHULDPFDUDFWHUtVWLFRVGRTXHVHHQWHQGLDFRPR
PRGHORVGDpSRFD8PGHOHV-RmRGD(JDÀOKRGHXPDULFDHEHDWDYL~YD
amigo de Carlos da Maia desde os tempos do curso de Medicina, em Co-
LPEUDHVHXFRQÀGHQWHpXPUHYROXFLRQiULRLQRIHQVLYRHFRQWUDGLWyULR
TXHSUHJD XPDUHYROXomRDQLTXLODGRUDHFRPRDOWHUQDWLYDDLQYDVmRGH
Portugal pela Espanha. Proclama-se anarquista, nega Deus e a moral, mais
SUHRFXSDGRHPHVFDQGDOL]DUDVSHVVRDVFRPRVHIHLWRVGHVXDUHWyULFDDOpP
GHFRQFHEHUSURMHWRVOLWHUiULRVTXHQXQFDH[HFXWDYD)D]VHGHGHIHQVRU
IHpULFRGRV YDORUHV GD HVFRODUHDOLVWDPDV QD SUiWLFDQmR SDVVD GH XP
URPkQWLFRVLPSOyULR
2XWURp&UDIWXPLQJOrVULFRHERrPLRFROHFLRQDGRUGHEULFDEUDTXHV
DSDUHQWDVHUFRUUHWRGHERQVKiELWRVHLQFRUUXSWtYHO´>@KRPHPEDL[R
ORXURGHSHOHURVDGDHIUHVFDHDSDUrQFLDIULD6RERIUDTXHFRUUHWRSHUFHELD
VHXPDPXVFXODWXUDGHDWOHWDµ

174
 O Realismo na prosa portuguesa
Aula

+iDLQGD7RPiVGH$OHQFDUDPLJRtQWLPRGRV0DLDVIDOVRPRUDOLVWD
e incoerente, defasado em seu tempo, a ponto de considerar o realismo e
naturalismo imorais.
10
$OpPGHVVHVpYiOLGRDFUHVFHQWDUR6U&RKHQXPKRPHPFtQLFRH
FDOFXOLVWD$SHVDUGHVXDVIXQo}HVHHOHYDGDSRVLomRTXHGHVIUXWDH[LPHVH
GHTXDOTXHUUHVSRQVDELOLGDGHFRPRGHVWLQRGRSDtVSRXFRVHSUHRFXSDQGR
com o fato de ele estar a caminho da bancarrota. Sua esposa, uma mulher de
JUDQGHEHOH]DpLPRUDOPDQWpPXPDGXOWpULRFRP-RmRGD(JDHGHSRLV
FRP'kPDVR6DOFHGHÀOKRGHXPDJLRWDSUHVXQoRVRFRYDUGHPHQWLURVR
LQGLJQRHWDFDQKRUHSUHVHQWDQWHGRQRYRULTXLVPRHGRVYtFLRVGH/LVERD
GDVHJXQGDPHWDGHGRVpFXOR;,;
1RURPDQFHVmRVXFHVVLYDVDVYLV}HVFUtWLFDVHFDULFDWXUDLVGDYLGDHGD
sociedade lisboeta. Na corrida de cavalos, em que se anuncia o cosmopolit-
LVPRHDHTXLSDUDomRGH/LVERDjVGHPDLVFDSLWDLVHXURSpLDVHVSHFLDOPHQWH
3DULVRTXHVHYHULÀFDpXPKLSyGURPRTXHPDLVSDUHFHXPSDODQTXHGH
DUUDLDO(PDLVDVSHVVRDVQmRVDEHPLGHQWLÀFDUHRFXSDUVHXVOXJDUHVDV
PXOKHUHVXVDYDPYHVWLGRVSRUGHPDLVVpULRVGHPLVVDREXIHWHWLQKDXPDV
pecto repugnante e uma das corridas, logo a primeira, acaba em pancadaria.
4XDQWRjLPSUHQVD(oDGH4XHLUyVQmRSRGLDVHUPDLVSUHFLVRDUHGDomR
GH ´$ FRUQHWD GR 'LDERµ SHULyGLFR GLULJLGR SRU XP LQGLYtGXR LPRUDO
3DOPD´&DYDOmRpXPDQWURGHLPXQGtFLHHSRUFDULDVHQGRLQ~PHURVRV
IROKHWLQVUHOHVHGHEDL[RQtYHOSXEOLFDGRVMi´$WDUGHµpLQVWUXPHQWRGH
VyUGLGDVYLQJDQoDVSROtWLFDVHVySXEOLFDRTXHpGRLQWHUHVVHGHVHXGLUH
WRUXPGHSXWDGRRXGHVHXVFRUUHOLJLRQiULRV(QÀPRTXHVHDSXUDQD
PtGLDLPSUHVVDpWmRVRPHQWHDLQWULJDDVRUGLGH]IDYRULWLVPRVSROtWLFRV
YLFLDGRVVHQGRHODRUHWUDWRGRSUySULRSDtV

$FRUUHVSRQGrQFLDGH)UDGLTXH0HQGHV

Publicado em 1900, no romance, Fradique, personagem completamente

ÀFWtFLDHPQDGDHVSHOKDGDHPTXDOTXHUSHVVRDGDUHDOLGDGHHPERUDIRVVH
XPJUDQGHKRPHPpXPGLOHWDQWHTXHFXOWXDRPi[LPRGHHPRo}HVHLGHLDV
QmRREVWDQWHWHQKDRMHUL]DDTXDOTXHUDWXDomRFROHWLYD(QTXDQWRFRQGHQD
RVOLYURVYLYHHQWUHHOHVVHUHSURYDRVMRUQDLVQXQFDGHL[DGHOrORV
3DUDIRUoDUDLGHLDGHTXH)UDGLTXHpUHDO(oDGH4XHLUyVYDOHVHSHUVR
QDJHQVDXWrQWLFDVRXVHMDGHSHVVRDVTXHUHDOPHQWHH[LVWLDPLQWURGX]LQGR
DVQDREUDFRPRWHVWHPXQKRVGDH[LVWrQFLDGH)UDGLTXH'DtDSUHVHQoDQR
romance, de Antero de Quental, Oliveira Martins, J. Teixeira de Azevedo e
5DPDOKR2UWLJmR$VFDUWDVVHPSUHHQGHUHoDGDVDHVVDVSHUVRQDJHQVDSHVDU
de aparentemente desordenadas, sem deixar de sugerir a falta de determina-
GDVFDUWDVRTXHSHUPLWHDROHLWRUXPDVHQVDomRGHVHUHPHODVYHUGDGHLUDV

175
 Literatura Portuguesa II

A ilustre casa de Ramires

7UDWDVH GH XPD SURSDJDQGD DEHUWD GD FRORQL]DomR SRUWXJXHVD QD

ÉIULFD*RQoDOR0HQGHV5DPLUHVGLIHUHQWHPHQWHGHVHXVDQFHVWUDLVpXP
QREUHGHFDGHQWHGHFDUiWHUSXVLOkQLPHHGXYLGRVRFRODERUDSDUDRDGXOWpULR
GDLUPmHPWURFDGHFDUJRVSROtWLFRVH[SHULPHQWDGHUURWDVIUDFDVVRVH
GHVLOXV}HVDWpTXHPXGDSDUD0RoDPELTXHRQGHREWHUiRVXFHVVRÀQDQ
FHLURHDSD]WmRSUHWHQGLGD1DYHUGDGH*RQoDORUHSUHVHQWDRSUySULRSDtV
3RUWXJDOTXHSHVVLPLVWDHVHPSHUVSHFWLYDVSURFXUDRXWUDVVDtGDVSDUDVXD
FULVHÀQDQFHLUDHGHYDORUHVEXVFDQGRHQWmRLQYHVWLUHPSDtVHVGDÉIULFD
DH[HPSORGH0RoDPELTXH

A cidade e as serras

3XEOLFDomRSyVWXPDHP´$FLGDGHHDVVHUUDVµDSUHVHQWDXPD

YLVmRTXHGHSUHFLDDFLYLOL]DomRXUEDQDHPEHQHItFLRGRFDPSRWRPDQGR
por modelos Paris e uma pacata localidade rural portuguesa, denominada
7RUPHV8PGRVSHUVRQDJHQV-RVp)HUQDQGHVpTXHPUHODWDDKLVWyULDGR
SURWDJRQLVWDSULQFLSDOGDKLVWyULD-DFLQWRGH7RUPHV$LGHLDFHQWUDOGR
URPDQFHpSUHYLDPHQWHHVWDEHOHFLGDORJRQRLQtFLRRQDUUDGRUDSUHVHQWD
XPDFRQYLFomRÀUPHTXHGHSUHFLDWRWDOPHQWHDFLYLOLGDGHXUEDQD
2-DFLQWRQDVFHUDHYLYHUDVHPSUHHPXPSDOiFLRGRV&DPSRV(OtVHRV
HP GHFRUUrQFLD GH VHXDY{WHUVH PXGDGRSDUDOi DLQGD MRYHPSRU GH
testar a vida camponesa e encontrar-se sequioso pelo fausto da grande
FLGDGH5LFRHLQWHOLJHQWHRDY{GH-DFLQWRFHUFRXVHGHOLYURVVREUHWRGDV
DVFRQTXLVWDVFLHQWtÀFDVHÀORVyÀFDVDOpPGHDSDUHOKRVVRÀVWLFDGRVSDUD
VXDpSRFD(QWHQGLDTXHRKRPHPSDUDVHUVXSHULRUPHQWHIHOL]GHYLDVHU
superiormente civilizado.
-DFLQWRQmRWHPDVPHVPDVLGHLDVGRDY{$YLGDOX[XRVDHP 3DULV
HQFKHRGHWpGLRSURIXQGRHVHPVROXomR2SUHWH[WRSDUDVXDLGDDRFDPSR
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FRPDURXSDGRFRUSR(QWUHWDQWRLVVRQmRRLPSHGHGHFRQWDJLDUVHSHOD
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$RVXUJLURHQFDQWDPHQWRGH-DFLQWRFRPDVVHUUDVVmRGHVFULWRVQmR
Vy RV FRQWUDVWHVHQWUHDVFLGDGHVHDV VHUUDVPDVLQ~PHURVGHWDOKHVGD
UHJLmRGR'RXUR(OHDRVSRXFRVLQWHJUDVHjYLGDFDPSRQHVDHSDVVDD
HPSUHJDUVHXVFRQKHFLPHQWRVWpFQLFRFLHQWtÀFRVHPVLWXDo}HVFRQFUHWDVGD
vida campesina, planejando construir queijarias, desenvolver lavouras, passa
DOHYDUPpGLFRVHERWLFiULRVjUHJLmRSDUDFXUDUHQIHUPRVHWFHPERUDQmR
rompesse com os valores da vida civilizada em que se criara.

176
 O Realismo na prosa portuguesa
Aula

Por conseguinte, Jacinto passa a ver as serras como um lugar ideal e

SHUIHLWRSDUDYLYHU7RUQDVHVROLGiULRDVXDSRSXODomRHLQWHJUDVHDHOD
passando a ser reconhecido como um verdadeiro pai dos pobres. Ao con-
10
hecer Joaninha, pessoa simples e sem maldades, prima de Fernandes, sua
IHOLFLGDGHVHFRPSOHWDVXUJLQGRGHVXDXQLmRFRPHODGRLVÀOKRV
(QÀP-DFLQWRQmRPDLVYROWDD3DULVDRFRQWUiULRGH-RVp)HUQDQGHV
TXHYLDMDPDLVXPDYH]SDUDOiHSDVVDDSHUFHEHUDVUD]}HVGRyFLRGRHQWLR
GRDPLJRDSUHVVDHDIDOVLGDGHGDVSHVVRDVDGHJHQHUDomRPRUDOHHVSLULWXDO
da sociedade, especialmente da elite em que vivia Jacinto, a exemplo do
JUmGXTXH&DVHPLURGDGRFRQGHHGDFRQGHVVDGH7UpYHVGREDQTXHLUR
(IUDLPGDPDGDPHG·2ULROHRXWURV
2URPDQFHHVWDEHOHFHXPDGLDOpWLFDLPSRUWDQWHHQYROYHQGRRVLGHDLV
GDYLGDVXSHUFLYLOL]DGDHRLGtOLRFDPSRQrV'HXPODGRFRORFDVHD&LrQFLD
HDSRWrQFLDGHRXWURDVLPSOLFLGDGHGDYLGDIHOL]
eLPSRUWDQWHUHVVDOWDUTXHHP´$FLGDGHHDVVHUUDVµFRPRHPRXWURV
URPDQFHVGDWHUFHLUDIDVHREVHUYDVHXP(oDGH4XHLUyVGLVWDQWHGDUHDOL
GDGHSRUWXJXHVD)UDGLTXH0HQGHVSRUH[HPSORHUDXPLQGLYtGXRTXHVy
VHUHWRUQDDVXDWHUUDTXDQGRGHVDÀDGR-DFLQWRSRUVHXODGRVyUHWRUQDD
3RUWXJDOOXGLEULDGRSHORDPLJR-RVp)HUQDQGHVTXHRFRQYHQFHFRQVWUXLU
XPDFDSHODQDWHUUDGHRULJHPGHVXDIDPtOLD6LWXDo}HVVHPHOKDQWHVRFRU
rem em outras obras dessa fase.

A sineta tilintou.

²2K3LPHQWLQKDHVSHUDKRPHPQmRGHL[HVODUJDURFRPERLR
As nossas bagagens, homem!
(DÁLWRHPSXUUHLRHQRUPHFKHIHSDUDRIXUJmRGHFDUJDDSHVTXLVDU
GHVFRUWLQDUDVQRVVDVYLQWHHWUrVPDODV$SHQDVHQFRQWUDPRVEDUULV
FHVWRVGHYLPHODWDVGHD]HLWHXPED~DPDUUDGRFRPFRUGDV
-DFLQWRPRUGLDRVEHLoRVOtYLGR(R3LPHQWLQKDHVJD]HDGR
²2KÀOKRVHXQmRSRVVRDWUDVDURFRPERLR
A sineta repicou... E com um belo fumo claro o comboio desapareceu
SRUGHWUiVGDVIUDJDVDOWDV7XGRHPWRUQRSDUHFHXPDLVFDODGRH
GHVHUWR$OLÀFiYDPRVSRLVEDOGHDGRVSHUGLGRVQDVHUUDVHP*ULOR
sem procurador, sem caseiro, sem cavalos, sem malas! Eu conservava
RSDOHWyDOYDGLRGRQGHVXUGLDR-RUQDOGR&RPpUFLR-DFLQWRXPD
bengala. Eram todos os nossos bens!
23LPHQWmRDUUHJDODYDSDUDQyVRVROKLQKRVSDSXGRVHFRPSDGHFLGRV
&RQWHLHQWmRjTXHOHDPLJRRDWDUDQWDGRWUDVIHJRHP0HGLQDVRED
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Letras, 1999.
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179