Initially it is pointed as traquina and rowdy, as notrecho was observed above. Another one pontoa to be commented is the exchange of the sentimentalismo for the humorismo, the scenes not soidealizadas, but real. With a verbal and relaxed style. Treat-headquarters a cigana; the Leonardo shortly after turns the escape the Maria, and of cinzasainda hot of a badly paid love another one is born that also was not the esserespeito better portioned, but the man was romantic, if one may use the expression today, ebabo, as he said himself at that time; paixozinha could not pass without one. (they idem, ibidem.
P.25 and 26). We perceive in this excerpt daobra a depreciation of the sentimentalismo, characterized for the irony, tendendopara the gozao. This is a trend of the book, that follows a comic line. Oautor arrives to satirizar the beginning of the romance of the parents of the main personage. … oLeonardo dissimulated that it passed distracted for next to it, and with the ferrado one pisadela in the right foot sapatoassentou a brave to it. The Maria, as if already esperassepor that, smiled ashamed with the joke, and also gave to it in air dedisfarce a tremendous pinch on the back of the left hand.
(they idem, ibidem. P.134) Beyond the satire, is notable the descriptions, however for the customs however for the physical traces daspessoas and situations. Being the narrative focus in the third person. Vidinha erauma rapariga that it had as much of pretty as of moving and has led: one soprinho porbrando that it was, the faia to revoar, and flied and revoava in the direction of how many soprospor it passed; this wants to say, in language ch and undressed of the trejeitos daretrica, that it was a formidable namoradeira, as today she is said, to nodizer lambeta, as she was said at that time.