65 pages • 2 hours read
Joaquim Maria Machado de Assis, Transl. Gregory RabassaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Brás walks home after visiting Virgília and finds himself distracted by thoughts of her. He is so preoccupied that he does not notice walking to a hotel where he usually dines.
Returning home from the hotel, Brás discovers a letter from Virgília, revealing suspicions of their involvement spreading. She proposes ending their affair. Brás promptly visits her, urging Virgília to flee with him. When she declines, they decide to sustain their romance discreetly in a secluded house, where Virgília’s former servant will reside.
One day, Brás witnesses his formerly enslaved servant Prudêncio whipping an enslaved worker, citing negligence as the reason. Despite Brás urging forgiveness, Prudêncio remains adamant about disciplining the man. Brás finds the situation amusing, recognizing it as Prudêncio’s opportunity for revenge for the beatings he endured from Brás.
Brás compares Prudêncio to a “madman” who takes on a new identity and embarks on a cycle of revenge. He concludes that it is best to leave such tales and focus on the secluded house he will share with Virgília.
Brás and Virgília rent a small house to be together and have Dona Plácida pose as the owner to avoid suspicion. Initially hesitant, Dona acquiesces to her new surroundings after Brás offers her a large sum of money.
Brás is dissatisfied with his memoirs and blames the reader for this, arguing that they are too impatient to appreciate his unique style. He likens his writing to the unsteady stumble of a drunkard, implying that his story is difficult to follow.
Brás regrets writing the previous chapter, deeming it absurd. He envisions a future reader eagerly scouring the previous chapter for clues and imagines the reader becoming fascinated by the book’s uniqueness.
Brás and Virgília continue their affair, spending time together at their secluded house with Dona. However, during meals, Dona consistently avoids joining them. When questioned by Virgília, she dismisses any avoidance on her part. Later, Brás gives Dona a coin as a token of his gratitude.
Dona shares her life story with Brás. Born to a church custodian and a candy maker, she faced many hardships in life after losing her father and husband. She tirelessly worked to sustain her mother and daughter and chose not to remarry. Her daughter eventually ran away with a man, leaving her alone and saddened. She found employment with Virgília’s family and remains grateful for the opportunity. However, realizing she is divulging too much to Brás, she abruptly excuses herself, leaving the room.
After hearing Dona’s story, Brás reflects on the unfairness of her life, wondering why she experienced so many struggles.
Brás feels a sense of moral conflict about involving Dona as a mediator between himself and Virgília, a married woman. Despite recognizing the ethical ambiguity of his actions, he rationalizes that they resulted in a positive change for Dona. He believes he rescued her from a destitute life, comparing her transformation to a flower blossoming from manure.
Brás and Virgília’s passion has waned, but they remain content. One day, Virgília expresses discontent over Brás’s absence the previous day, while he is upset that she danced with the same man twice at a recent ball. When Brás admits his dissatisfaction, Virgília finds it amusing, and they share a laugh about the incident. Later, Brás suspects that Virgília might have deliberately deceived him.
Lobo Neves prepares to assume the presidency of a province, causing Virgília to worry about leaving Rio de Janeiro. Brás discovers Virgília in tears as she informs Dona of the news. Though she wants Brás to join her and her husband, he decides not to influence her decision.
Brás grapples with the dilemma of whether to let Virgília make her decision independently or involve himself in her affairs. He opts for a compromise, choosing to meet her in the presence of her husband.
The night before Virgília and Lobo depart for the province, Brás visits them. Virgília appears unhappy, while Lobo is enthusiastic about his new position. He shares his plans for the province with Brás and unexpectedly offers him the role of his secretary. Initially taken aback and unsure, Brás eventually consents to the proposal.
Brás grapples with the decision of whether to accept Lobo’s offer. Over dinner, the protagonist mends his relationship with his sister, Sabina. Cotrim, Sabina’s husband, attempts to persuade Brás to remain in Rio de Janeiro. Brás remains uncertain about accepting Lobo’s proposal.
Brás starts spreading news of his impending role as Lobo’s secretary. However, suspicions arise among some that his motive might be his affection for Virgília, making him realize the widespread knowledge of their affair. He recognizes a shift in his reactions—from formerly displaying anger at jests to their affair to presently feeling content at such comments.
Cotrim cautions Brás of the perilous nature of accepting Lobo’s offer, foreseeing exposure of his affair with Virgília and an ensuing scandal. Despite the risk, Brás decides to accompany Lobo to the province. However, unexpectedly, Lobo declines the nomination shortly after its publication.
Brás feels relieved that Lobo declined the position, as he sees it as a potential facilitator for his relationship with Virgília. The minister doubts Lobo’s explanation, suspecting political motives behind his refusal, which prompts him to join the opposition.
Brás and Virgília’s affection strengthens significantly following the close call of potential separation, marking the pinnacle of their love.
Brás perceives a change in Virgília’s demeanor and her unwillingness to share an important matter. The narrator avoids disclosing the cause for her reluctance, only disclosing that it refers to her pregnancy in a future chapter.
One of Virgília’s relatives, Viegas, dies of poor health. She had hoped he would leave a legacy to her son before his death, a sentiment silently shared by her husband. Brás perceives Lobo as a man of fundamental dignity, occasionally compromised by life’s demands. This complex nature reminds him of an acquaintance named Jacó, known for his honesty yet prone to evading conflict or unpleasantness with occasional lies.
Virgília showed great care and attention to her relative Viegas, engaging him in conversation during his visits and tending to his needs.
Before Viegas’s passing, Brás and Virgília visited him and witnessed him negotiating his house’s sale. Despite his declining health, Viegas remained resolute in securing the highest possible price for his property, firmly reiterating his desired amount to the potential buyer. Tragically, as he persisted in emphasizing the price, Viegas passed away, stunning both the buyer and Virgília.
Viegas died without leaving a legacy to Virgília and Lobo’s son. She is disappointed, but Brás suggests focusing on her pregnancy instead. Engrossed in thoughts of his impending fatherhood, Brás feels a rush of purpose and satisfaction, imagining the child’s prosperous future as a lawyer.
Brás gets a letter from Quincas Borba, accompanied by the pocket watch he had previously stolen. His colleague mentions significant changes in his life and introduces a new philosophy he calls “humanitism.” He proposes a future meeting to discuss the matter further, leaving Brás intrigued about the circumstances behind his transformation and new ideology.
Brás receives a visit from a man bearing a note from his brother-in-law, Cotrim. The visitor speaks of his own noble family’s roots and his involvement in governmental matters, discussing a variety of subjects, including his family, politics, and the arts.
Brás joins his sister for dinner at Cotrim’s brother-in-law’s house and finds himself seated beside his daughter, Dona Eulália, nicknamed Nhã-loló. Initially reserved, Nhã-loló gradually warms up to Brás during the evening. Sabina, determined to see her brother married, advocates for Nhã-loló as a potential spouse, extolling her virtues as a kind and gentle woman. However, Brás remains uninterested in the prospect of matrimony. He departs from the dinner to visit Virgília.
Virgília’s demeanor changes when he discusses their child. Initially assuming her withdrawal stems from remorse over their affair, he learns that she is apprehensive about childbirth and bothered by the pregnancy.
Brás visits Virgília and learns of her miscarriage from Lobo. He is saddened by the news, reflecting on the fleeting nature of life and the loss of the child he eagerly anticipated.
Following Virgília’s miscarriage, an anonymous letter sent to Lobo accuses Brás and Virgília of having an affair. Despite Virgília denying the accusation, Lobo turns distant. Although she asserts her innocence, Virgília promises to avoid meeting with Brás to safeguard their marriage, much to Brás’s disappointment. Virgília regrets the sacrifices she is making for her and Brás’s affair.
Brás is disappointed by Virgília’s reaction to the letter, as he expected her to be more distressed over being parted. Attempting to reconcile, he kisses her forehead, but she recoils. This moment becomes significant for Brás, symbolizing the potential end of their affair.
Through a fusion of high literary style and incongruous moments of crudeness, Machado de Assis not only subverts and satirizes storytelling conventions but also reinforces his novel’s theme of Memory and the Passage of Time. The metaphor comparing the book’s structure to the walk of a drunkard serves as a metacommentary on reader expectations versus his narrative style: “[T]he main defect of this book is you, reader. You’re in a hurry to grow old and the book moves slowly. You love direct and continuous narration, a regular and fluid style, and this book and my style are like drunkards, they stagger left and right” (111). In likening the pace and unpredictability of his writing to the stumbling movements of an intoxicated person, the author emphasizes the irregularity, abrupt pauses, and unpredictability in the book’s progression. He also hints at readers’ desires for a linear narrative, which reflects their desire for a linear, forward-moving life. The zigzagging of Brás’s narrative, however, reflects the actual, uneven progression of memory and time, rather than the tidied-up version presented in conventional literary narratives of the time. The narrator’s self-awareness of his style reflects Machado de Assis’s challenge to conventional storytelling, signaling his intention to disrupt convention and tradition.
The author’s transgressive narrative style reflects his transgressive satire of The Elite’s Entitlement and Hypocrisy, which he deepens in these chapters by exposing the depth of Brás’s detachment and cynicism. He maintains a distant vantage point, often finding humor in the most tragic events even when they happen to those he loves. While he acknowledges the potential consequences Virgília would face if their affair were to be discovered, he focuses on the inconveniences her anxiety causes him rather than the harm he is causing her. Similarly, when he realizes that Dona’s inadvertent involvement in covering up their affair harms her, he is indifferent to her suffering, highlighted by the imagery of him looking down at his boots while they talk. Although he acknowledges Dona’s hardships, he refrains from altering his behavior. Instead, he justifies her unwitting concealment of the extramarital affair by considering it advantageous to her since it secures her employment: “If it hadn’t been for our love affair, most likely Dona Plácida would have ended up like so many other human creatures, from which it can be deduced that vice many times is manure for virtue. And that doesn’t prevent virtue from being a fragrant and healthy bloom” (117). His assertion that vice can serve as fertilizer for virtue reflects his cynical belief that positive outcomes can arise from negative actions, allowing him to dismiss or trivialize the detrimental consequences of his behavior. His interaction with Dona also reinforces The Macabre Irony of Mortality, as her dependence on Virgília for security is the result of the loss of her husband and father. To Brás, their tragic deaths are merely the “manure” from which Dona’s blossom of virtue can grow.
The narrator’s detachment also serves as a mask for his active reinforcing of societal hierarchies. His imagined dialogue with celestial entities, in which Dona’s fate is ordained as suffering, stands in stark contrast to his envisioned future for himself and his son. The disparity lies not just in their fates but in the very foundation of expectations based on social status. His attempt at rationalizing Dona’s hardships reflects an entrenched societal belief that positions of power and success are predestined for some while suffering and struggle are predetermined for others. By maintaining this outlook, Brás reinforces the societal structures that perpetuate inequality, playing a role in sustaining the status quo rather than challenging it. Indifference proves to preserve an inherently unequal system that favors the elite, of which Brás is part, further building on the theme of the elite’s entitlement and hypocrisy.
Brás’s cynical misinterpretation of Prudêncio’s actions further reveals his distorted perception of the world, underscoring an inclination to overlook systemic oppression. Instead of recognizing the cyclical nature of oppression within the institution of slavery, he interprets Prudêncio’s behavior as a sign of his own freedom, neglecting the suffering inflicted upon him. This incident serves as a glaring example of Brás’s tendency to distance himself from the repercussions of his actions. He occupies the dual role of both participant and observer yet claims a detached stance, acknowledging the absurdity of the situation while disregarding its ethical implications. Thus, his cynicism impedes his introspection into the role he plays in perpetuating and normalizing cycles of violence and injustice.
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