Braz Cubas (“Bras” in the original), the somewhat spoiled son of a typical upper-class Brazilian family. A cynical egoist afflicted by the countercurrents of sentimentalism and melancholy, Braz describes his own death at the beginning of the first-person narration and then relates the rest of his life as flashbacks. In each of his major social or intellectual enterprises, Braz aspires to external fame and internal satisfaction, but his accomplishments are only mediocre and superficial. A classicist in a romantic environment, he seeks sex, philosophical wisdom, and humanitarianism in personal conduct but succeeds only partly in each of these quests. In tune with his sentimentalism, he affirms “the voluptuousness of misery.” His philosophy and humanitarianism soon decline into cynicism, iconoclasm, and pessimism. His first liaison is with Marcella, a licentious Spanish woman of the world who becomes his mistress but makes him pay dearly for every privilege. He becomes engaged to a girl from his own class, Virgilia, in a match contracted with solid political prospects in view. He is almost immediately supplanted by another young man in both the marital and the political arenas. Within a short time, however, he and Virgilia become lovers, but she refuses to abandon her marriage, upon which her social position depends. He arranges for them to meet clandestinely in an outwardly respectable love nest, the permanent residence of an elderly female acquaintance. Braz’s conscience temporarily attacks him over the use of this older woman to gratify his illicit desires, but his cynicism almost immediately leads him to conclude that “vice is the fertilizing flower of virtue.” When Virgilia’s husband eventually receives a letter informing him of his wife’s...
(The entire section is 734 words.)