65 pages • 2 hours read
Joaquim Maria Machado de Assis, Transl. Gregory RabassaThe Posthumous Memoirs of Brás Cubas
Fiction | Novel | Adult | Published in 1881A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Symbols & Motifs
Death
Death is threaded into the fabric of the narrative, starting with the posthumous narration of Brás Cubas. Detached from the confines of earthly life, Brás initially embraces death as a form of liberation. Free from the scrutiny of society’s gaze and the relentless pursuit of material success, he finds solace in the absence of worldly pressures. Yet, amid this newfound freedom, a wistful longing for recognition persists. Brás yearns for a lasting legacy, a testament to his existence that transcends the boundaries of life. Recounting the story through a posthumous narrator allows Machado de Assis to explore what death can transform and redeem and what it cannot. Death, rather than being an abrupt end, becomes an integral part of Brás’s existence.
Brás’s death is not the only important one, however. Throughout the novel, references to mortality subtly shape the novel’s thematic landscape, forming a recurrent motif that underscores the fragility of human existence. Whether through personal anecdotes, philosophical contemplations, or the portrayal of others’ deaths, mortality lingers, highlighting the inescapable nature of death. The author emphasizes the way that death transforms the living both for better and worse. Death throws into relief the hypocrisies and cruelties of Brazilian society, as when Nhã-loló’s death reveals the shallowness of Brás’s feelings for her and the indifference of the upper classes to the deaths of those without power or wealth to be redistributed. This continual reference to death, whether in the form of philosophical inquiries or mundane occurrences, underscores the narrative’s exploration of mortality as an ever-present companion of life’s journey.
Nature/Pandora
In Chapter 7, Machado de Assis presents an allegorical encounter among Brás experiences while lying delirious on his deathbed. Central to this delirium is a figure referred to as Nature or Pandora, an enigmatic and multifaceted representation that embodies the complex and contradictory nature of existence. The figure’s self-identification as both Nature and Pandora underscores her multifaceted nature. In the protagonist’s delirium, Nature, as the source of life and sustenance, is inextricably linked to Pandora, the bearer of both blessings and curses. This association reflects the contradictory nature of human experience, in which happiness and misfortune often intertwine. In the myth of Pandora, she manages to close the box before hope escapes, which is usually portrayed as a good thing. Yet that blessing can also be a curse: Hope can also lead to disappointment and despair, as it can fuel unrealistic expectations and a sense of longing for an ideal that may never be fully realized. Its presence in this symbolic figure echoes the recurring struggles Brás encounters in his pursuit of personal and professional fulfillment.
Brás’s encounter with Nature/Pandora introduces the novel’s complex exploration of philosophical and existential themes, inviting contemplation on the purpose of life, the nature of suffering, and the pursuit of meaning within the human experience. The figure’s statement about the impending return of what was borrowed foreshadows Brás’s journey toward reckoning with mortality. The concept of borrowing suggests that life is temporary, a fleeting experience in which one is entrusted with certain gifts, including existence itself.
The Tip of One’s Nose
The metaphor of scrutinizing one’s own nose symbolizes the protagonist’s self-absorption and the detrimental effects of the unchecked narcissism of the elite. Consumed by his own interests, Brás fixates on his own achievements and place in society, disregarding the concerns and perspectives of others. His description of how vision blurs when one focuses on their nose mirrors this narrow-mindedness, emphasizing the diminishing significance of the external world to someone consumed by self-admiration. The subtle foreshadowing of the nose symbol in preceding chapters further highlights this sentiment, suggesting that Brás is self-engrossed even while in the company of others. Brás’s nose gazing symbolizes his detachment from the needs and concerns of others, evident in his relationships with family, friends, and lovers. He remains indifferent to their feelings and well-being, prioritizing his own pursuits at their expense.
Brás paradoxically champions the idea that individualism is a hallmark of societal evolution. He suggests that a focus on the self, while seemingly narcissistic, leads to societal growth and development: “If noses only contemplated each other, humankind wouldn’t have lasted two centuries, it would have died out with the earliest tribes” (82). His reference to “the earliest tribes” points to the widely accepted idea of the time that philosophical introspection is a mark of civility. The phrase carries an undertone that implies a sense of superiority for the self-absorbed nature of the elite. Thus, the symbol serves as a reminder of the elite’s self-aggrandizement and justification of selfishness.
Related Titles
By these authors
