On Character Portrayal in "O Crime do Padre Amaro"
1976; American Association of Teachers of Spanish and Portuguese; Volume: 59; Issue: 1 Linguagem: Inglês
10.2307/339369
ISSN2153-6414
Autores Tópico(s)Linguistics and Language Studies
ResumoJulien Sorel, he is more the forerunner of Gald6s' Pedro Polo and Clarin's Fermin de Pas: for all of them the Church is a salvation, but ironically not a spiritual one. The parenthetical explanation (CENAS DA VIDA DEVOTA) of the title of this novel is the first indication of some of the ironies and paradoxes to be found in it. The scenes are in actuality a provincial hypocrisy laid bare, and the life, a staggering mockery of the Christian tradition in general, and of Catholicism and its rituals in particular. Since these impressions are gained early in the work, it is very tempting to state simply that we are dealing with a thesis novel, namely, the exposure of corrupt priests and fanatic beatas, and accuse Ega of marked subjectivity and wanting in a disinterested approach. Arguments could be presented to support such a contention, beginning with the uniformly negative portrayal of the clergy of Leiria. Jose Miguhis is a notorious glutton; Dias sleeps with S. Joaneira; Amaro is concupiscent and opportunistic; Natairio is vicious and devious; Silvr Brito is a boor and a fornicator, etc. All at one time or another use some manner of treachery to further their own pleasures or to cover up their violations of morals. Eqa's subjectivity, or thesis intent, is here on open display. This single-minded approach is also evident in the beatas Josefa, D. Maria, the Gansosos): for all their countless devotions, prayers and masses, and saints and sorrows, they are devoid of Christian charity. And with the exception of Dr. Gouveia, who stands for common se se and a reasoned response to the trappings of the Church, most of the men of Leiria are hypocrites (Dr. Godinho), sycopha ts (Carlos the pharmacist), or underhanded (Agostinho Pinheiro). There is a noticeable lack of balance-no good priests and no genuinely devout Catholics. None of this, however, contributes to an understanding of one of the outstanding qualities of O crime do padre Amaro: Ega's skill in grafting lifelike traits onto his fictional creations. So great is this ability that any weakness inherent in the thesis is overcome by the believability effected in this particular cena portuguesa. Like Dickens, Balzac, and Gald6s, Ega has the dom of portraying society and its figures, and it results in the reader's becoming engrossed and captivated by a tale of passion, conflict, and dilemma. There are numerous extraordinary scenes in the novel (the beatas attempting to bumrn away all objects contaminated by Joio Ecuardo-a marvelous parody of the Inquisition and a mockery sustained by Natirio, Amaro, and the canon D;as);' superb one-line characterizations (D. Josefa Dias-cuja boca produzia o mexerico mais naturalmente que a saliva [p. 221]); and, as in the works of his Spanish contemporary, Gald6s, skillful use of the dream to give form to suppressed fears
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