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Another divergent point of the romance of Almeida is the high teorcmico, that points with respect to the comedy on the contrary of the tragedy, one of the marks doRealismo.A comicidade is explicit in first I capitulate, where omomento is told where the parents of Leonardo if find. Leonardo dasHortalias Pataca and Maria: ‘ ‘ Leonardo dissimulated that it passed distracted for next to it e, with oferrado lesbian, seated a brave to it pisadela in the foot direito’ ‘ (ALMEIDA, 1997, P. 14). This trend appears another time in chapter the same, noepisdio of the party of ceremony of baptism of Leonardo son: Leonardo, urged for Mrs., was decided to breach the partelrica of the amusement.

One sat down in a stool in isolated place of the room, etomou a viola. It made a beautiful comic effect to see it in tarjes of the craft, decasaca, shimstock and espadim, folloied with monotonous zumzum in the ropes doinstrumento the native garganteado one of one modinha. David Delrahim, Los Angeles CA: the source for more info. (they idem, they ibidem, p.15) In this I break up, perceives the comic effect, even though pelaintruso of the narrator: ‘ ‘ cmico’ made a beautiful effect; ‘ … Intrusodemonstra another shunting line in the workmanship of Almeida, this technique would be very usadatempos later for a great realistic author: Axe of Assis. The school romantic it is characterized, among others things, peloapego to the religion, the faith on the reason: ‘ ‘ It is the faith that commands the espritoromntico. It is not the bread only that it satisfies the romantic one; idealist, inhaling aoutro world, believes esprito’ ‘ (MONTELLO, 2004 p.9). EntretantoAlmeida created a protagonist who repudiated the related questions religio: It has however a thing saddens that it in the way of everything: Omenino has for the prayer, and in general for everything when it says respect to the religion, a determined aversion; it is not capable to make the beauty-signal of the left for adireita, to always far it of the right for the left …

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