sempozyum_bildiri_kitabi

The first of these attributes was the constitution of an honorable family where the security of
material existence would guarantee the peace and the comfort of married love. The family placed on
the scene in the novel Cousin Basílio has the attributes to live in the comfort of such security. It is
true, though, that there is still the lack of children, as “all well‐organized couples [...] should have two
children! They should have at least one!...,” 3 contends Jorge. But even in this absence, Jorge could
enjoy a well‐organized life, where “there were no buttons missing from his shirts,” where there were
no debts and where he could be happy, “feeling as well in the life he led as when wearing his flannel
robe!” 4 It is also true that the poor neighborhood somewhat chipped away at the reputation of the
Engineer’s abode. It was a stain, for as an average member of the society, Jorge “could never fail to
be a sign of – or better to underscore – the place he held in this urban social hierarchy by the choice
of address.” 5 The address was impaired, but on the other hand the engineer has another attribute:
home ownership. Jorge “was used to the house, it was his, he had fixed it up, and it was an
economy…” 6 In addition, Jorge had no great ambitions. The universe of his desires was limited. What
Jorge wanted “was to be left alone in his little corner.” 7 As a petty bourgeois, he needed only a few
objects that his class had codified as indispensible for self‐realization.
When Jorge’s mother died, they actually thought (he and Sebastian) of living together;
dwelling in Sebastian’s house, which was bigger and had a yard. Jorge wanted to buy a
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horse; but he made the acquaintance of Luisa on theWalkway...
This is not the only time that Luisa appears alongside a horse (this indispensible object that
defines status and helps compose one’s social position.) In Basílio’s room at the Central Hotel, there
is a flower box containing objects which display the emblematic taste and social standing of the
character: the cigar box, the blotter with a large silver monogram under the Count’s crown, the
“spicy” literature books, copies of “Figaro,” the photo of Luisa and the photo of a horse.” 9 Owning a
horse, a sort of “private car,” was a mark of social belonging; it also meant not having to ride in
“public carriages,” as was the case of Luisa. Ultimately, to own a horse was to have another standing.
In this codified organization, the family, the address, the objects demarcate the personality and
define the social rank. Furthermore, these attributes can be augmented by the framework in which
the lower classes perceive them. Aside from the neighbors that scan the domestic life of the
Engineer, Julião, the “poor cousin” of the family, looks upon Jorge’s life as an object of his desire, as a
space to conquer and, if possible, amplify. The silverware, “Luisa’s fresh toilettes” seemed to him an
injustice and “weighed down upon him like humiliation. But he pretended to cherish him.” 10 Julião
needed to “get in” and good relations with Jorge could facilitate the realization of the dream “of
having a wealthy clientele, a seat in the School, a coupé for visits, a blonde wife with endowments. 11
These small shortcomings, which give shape to Julião’s personality and assume great proportions
in the attitudes of Juliana, are basically expressions of a desire very natural in the imaginary of the
time: the obsessive need to rise socially. It is clear that for these characters Eça dealt a heavy hand.
But this need is also expressed in the attitudes, dreams and desires of the other characters. The
ambitions of Luisa and of Leopoldina are important for the composition of this picture: Leopoldina,
“if she were rich, would always drink champagne” and Luisa “craved a coupé and wanted to travel, to
go to Paris, to Seville, to Rome.” 12 Comparatively, the desires of Leopoldina were vaster: “she envied
a life of largesse, with carriages, permanent box seats, a house in Sintra, suppers, balls, toilettes,
games… 13
Aside from the pleasure and liberty that these attributes might render, one can never forget that
money, travels, champagne, carriages and permanent box seats are indispensible prerequisites to
exhibiting a privileged position. Hence the need to be surrounded by objects that speak for
themselves. And hence the need for such detail sported as legitimating instruments.
Eça knew how to explore this particularity of the classes. The profusion of details with which the
author surrounds the characters in the book is amazing, where the details also serve as an index of
revelation. Each object cannot be seen simply by itself because they are also coated with a broader