The Posthumous Memoirs of Brás Cubas

“I had a passion for ballyhoo, the limelight, fireworks. More modest people will censure me perhaps for this defect. I’m confident, however, that clever people will recognize this talent of mine.”

Brás Cubas showcases his unabashed desire for attention and recognition as well as his self-centered nature. Machado de Assis employs vivid imagery to portray Brás’s craving for grandeur and spectacle in life. His perception of this craving as a “talent” reveals his delusion and arrogance, showcasing his disconnect from reality and highlighting the theme of The Elite’s Entitlement and Hypocrisy.

“‘Call me Nature or Pandora. I am your mother and your enemy.’ […]

‘You Nature? The Nature I know is only mother and not enemy. She doesn’t make life a torment, nor does she, like you, carry a face that’s as indifferent as the tomb. And why Pandora?’

‘Because I carry good and evil in my bag and the greatest thing of all, hope, the consolation of mankind.’”

Through the personification of life in the figure of Nature/Pandora, the author weaves elements of allegory and symbolism to underscore the complexities of human existence. The figure’s self-identification reflects a duality inherent in life, encapsulating both nurturing aspects and the inevitability of its end. Her comments encapsulate the theme of The Macabre Irony of Mortality, exploring life’s contradictory forces and the enigmatic relationship between life and death.

“The poet said that the child is father to the man. […] From age five I’d earned the nickname of ‘Devil Child,’ and I really was just that.”

Brás’s nickname, “Devil Child,” illustrates the enduring nature of his mischievous and cruel character. His comment foreshadows and informs his character in adulthood, where he exhibits a callous and indifferent attitude toward others.

“And the best part of the obligation comes when, by deceiving others, a man deceives himself, because in such a case he saves himself vexation, which is a painful feeling, and hypocrisy, which is a vile vice. But in death, what a difference! What a release! What freedom! […] The gaze of public opinion, that sharp and judgmental gaze, loses its virtue the moment we tread the territory of death.”

Brás’s contemplation on the liberation one finds in death underscores the macabre reality of societal judgment and scrutiny. To the narrator, the constraints of public opinion have such a hold that death comes as a release. The paradoxical nature of finding freedom within mortality further expands on The Macabre Irony of Mortality.

“Our name has to continue, continue it and make it shine even more. […] Fear obscurity, Brás, flee from the negligible. Men are worth something in different ways, and the surest one of all is being worthy in the opinion of other men. Don’t squander the advantages of your position, your means.”

In a powerful expression of the importance of legacy and social standing, Brás’s father, Bento, exposes the patriarchal society in which they live, one that values men who achieve greatness and leave behind a lasting reputation. His comment encapsulates the weight of the familial legacy experienced by Brás. He underscores the fear of being forgotten or fading into insignificance, which comes to define much of his worldview.

“The worst of it was that she was lame. Such lucid eyes, such a fresh mouth, such ladylike composure—and lame!”

Brás’s description of Eugênia reflects not only his ableism but also his shallow perception of romantic involvement. The juxtaposition of his admiration for her physical features against his fixation on her disability reveals an inherent bias toward conventional ideals of beauty and physical capability. To him, her importance lies in being an object of physical desire; however, he struggles to reconcile his aversion to her disability, revealing a deeply superficial and prejudiced viewpoint.

“When he fixes his eyes on the tip of his nose he loses his sense of outside things, becomes enraptured with the invisible, learns the intangible, becomes detached from the world, dissolves, is aetherialized. […] If noses only contemplated each other, humankind wouldn’t have lasted two centuries, it would have died out with the earliest tribes.”

Machado de Assis employs the metaphor of looking at one’s own nose to comment on self-absorption and its negative consequences. The image of a man who fixes his eyes on the tip of his nose is a metaphor for someone so focused on themselves that they lose sight of the world around them. This self-absorption leads to detachment from reality and a loss of connection with others.

“I saw, I clearly saw the half doubloon of the night before, round, shiny, multiplying all by itself—becoming ten—then thirty—then five hundred—expressing in that way the benefits I would be given in life and in death by the simple act of restitution. […] I found myself good—great perhaps.”

By focusing on the recognition he will receive for his good deed, Brás already starts to imagine the rewards he will reap, even before he has done it. This highlights his hypocrisy and his inability to truly be selfless, as well as how much value he places on external validation and recognition.

“So I, Brás Cubas, discovered a sublime law, the law of the equivalencies of windows, and I established the fact that the method of compensating for a closed window is to open another, so that morality can continuously aerate one’s conscience.”

This quote depicts Brás’s rationalization of unethical and dishonest choices. Framing his decision to keep the package of money he finds on the beach as justifiable because he had done one good deed already enables him to maintain a semblance of moral integrity. This showcases Brás’s skewed ethical compass, emphasizing his ability to justify conflicting actions to relieve his conscience.

“On the outside the Valongo episode was dreadful, but only on the outside. As soon as I struck the knife of rationality deeper into it I found it to have a happy, delicate, and even profound marrow. It was the way Prudêncio had to rid himself of the beatings he’d received by transmitting them to someone else. […] Now he could make up for everything. He bought a slave and was paying him back with high interest the amount he’s received from me.”

Prudêncio, once enslaved and abused by Brás, now perpetuates the cycle of oppression by enslaving another man. Brás dismisses the recurrence of cruelty within societal structures. He claims that the Valongo episode is “dreadful,” but he immediately dismisses this claim by saying that it was only “on the outside.” He attempts to rationalize his implication in the cycle of enslavement and abuse, unable to accept his complicity in perpetuating an oppressive institution.

“[T]he main defect of this book is you, reader. You’re in a hurry to grow old and the book moves slowly. You love direct and continuous narration, a regular and fluid style, and this book and my style are like drunkards, they stagger left and right.”

The author’s direct address to the reader establishes a playful and ironic rapport, subverting the traditional relationship between narrator and reader. He acknowledges the reader’s expectations and the unconventional structure and meandering tone of his novel, which deliberately deviates from the conventions of Realist literature.

“If it hadn’t been for our love affair, most likely Dona Plácida would have ended up like so many other human creatures, from which it can be deduced that vice many times is manure for virtue. And that doesn’t prevent virtue from being a fragrant and healthy bloom.”

Brás attempts to justify his interference with Dona Plácida’s life by claiming that his affair with Virgília actually benefits her. This self-serving rationalization demonstrates Brás’s tendency to deflect blame and portray himself in a favorable light. It also exemplifies The Elite’s Entitlement and Hypocrisy.

“The best thing was that we would both converse, the embryo and I, talking about present and future things. The rascal loved me, he was a funny little rogue, giving me little pats on the face with his chubby little hands or then sketching out the shape of a lawyer’s rope, because he was going to be a lawyer and he would make a speech in the chamber of deputies. And his father would listen to him from a box, his eyes gleaming with tears.”

Juxtaposed against Brás’s father’s unfulfilled expectations for him, this scene epitomizes the cyclical nature of aspirations and disappointments within the Cubas lineage. It underscores the thematic motif of unattained ambitions, drawing parallels between Brás’s paternal hopes for his child and the unmet desires he experienced himself. The protagonist’s deep-seated desire to fulfill his father’s expectations and achieve success in life suggests that he views his child as a potential vessel for his unfulfilled aspirations.

“He couldn’t appear resentful toward me without also seeking a conjugal breakup. Therefore he had to pretend the same ignorance as before and, by deduction, similar feelings.”

This quote highlights the complex dynamics between Brás and Lobo Neves, emphasizing the importance of keeping up appearances. Brás recognizes that Lobo is unlikely to overtly express resentment toward him for his affair with Virgília, as this would jeopardize his marriage and, thus, his societal standing. The quote serves as a commentary on the superficiality and hypocrisy often found within the social circles of the time, where a favorable public image was vital to one’s role in society.

“The multitude attracted me, applause was my love.”

This encapsulates Brás’s fascination with societal approval and recognition. It speaks volumes about his character and his relentless pursuit of validation. Ultimately, his desire for external validation underpins his insecurity and his inability to find fulfillment in his own self-worth.

“A philosophical coachman used to say that the pleasure of a coach would be less if we all traveled in coaches.”

The maxim Brás shares suggests that the pleasure of something is inversely proportional to its accessibility. This idea can be applied to many aspects of life, from material possessions to social status. It suggests that true enjoyment comes from having something rare or exclusive, reflecting an elitist mindset.

“Nhã-loló had become afraid that a father-in-law like that would seem unworthy to me. […] she undertook an effort to conceal her family’s inferiority. […] ‘There’s no way,’ I said to myself. ‘I’m going to pluck that flower out of that bog.’”

Brás’s comments underscore the theme of The Elite’s Entitlement and Hypocrisy by showcasing his disdain for Nhã-loló’s family background, illustrating a sense of superiority. Machado de Assis uses vivid imagery and symbolism to portray Brás’s shallow and self-absorbed personality. The phrase “pluck that flower out of that bog” is particularly striking, as it compares Nhã-loló to a delicate blossom that needs to be rescued from the harsh realities of her social standing. This metaphor highlights Brás’s sense of superiority and his desire to possess and/or rescue someone whom he considers to be beneath him.

“[H]e had enemies who even accused him of being a barbarian. The only fact alleged in that particular was his frequent sending of slaves to the dungeon, from where they would emerge dripping in blood. But, alongside the fact that he only sent recalcitrants and runaways, it so happens that, having been long involved in the smuggling of slaves, he’d become accustomed to a certain way of dealing that was a bit harsher than the business required, and one can’t honestly attribute to the original nature of a man what is simply the effect of his social relations.”

This quote from Brás about his brother-in-law, Cotrim, illustrates the character’s hypocrisy and willingness to excuse cruel, abhorrent behavior. Brás dismisses Cotrim’s treatment of enslaved people as simply a product of his social conditioning, defending him based on the assumption that Cotrim’s actions are not a reflection of his true character. However, this rationalization is an attempt to absolve Cotrim of any responsibility for his actions and instead preserve the image of his family. This highlights Brás’s inclination to excuse reprehensible actions within his circle, revealing his complicity in justifying oppression and abuse.

“[E]ven though I was in my room, looking at my yard, sitting in my chair, listening to my birds, next to my books, lighted by my sun, it wasn’t enough to cure me of the longing for that other chair that wasn’t mine.”

The imagery of Brás surrounded by the comforts of his home—his yard, his chair, his books, his sun—highlights the irony of his longing for a position that would bring him recognition but ultimately fail to provide the contentment he craves. Even in possession of material wealth and comfort, there remains an insatiable desire for what is beyond his reach.

“[P]hilosophical language can, now and then, fortify itself with the slang of the people.”

Brás believes that philosophical language can be enriched by incorporating elements of everyday speech, or slang. This idea is consistent with Machado de Assis’s approach to writing, which blends high and low literary styles throughout the novel.

“I’d given Dona Plácida five contos. I doubt very much that anyone had been more generous than I, or even equally as generous. Five contos! And what had she done with them? She’d thrown them away, naturally, squandered them on big parties […] You can die anywhere.”

Brás’s statement suggests that he thinks he has already done enough and that Dona should be grateful for his generosity, showing that he is not sympathetic to her situation and instead blames her for her own misfortune. It also exposes Brás’s hypocrisy as he harbors contempt for how she used the money he gave her. Dona’s compliance, albeit coerced, in aiding his extramarital affair remains unnoticed by Brás, underscoring his inability to perceive other’s actions beyond his cynical judgments.

“I realized immediately that if it hadn’t been for Dona Plácida my affair with Virgília might have been interrupted or broken off suddenly in its full effervescence. Such, therefore, was the usefulness of Dona Plácida’s life. A relative usefulness, I admit, but what the devil is absolute in this world?”

Brás acknowledges the significance of Dona’s role in sustaining his affair with Virgília, recognizing her relative but pivotal usefulness to him. This acknowledgment presents a shift from his previous contemptuous tone, though it still stresses that he sees her as a means to an end rather than a human being, revealing his shallowness and lack of empathy.

“It had been rumored for several weeks that he was going to be a minister. And since the rumor filled me with a great deal of irritation and envy, it’s not impossible that the news of his death left me with a touch of tranquility, relief, and one or two minutes of pleasure.”

The quote is an example of Brás’s hypocrisy and self-deception. He claims to feel nothing but relief and tranquility at the news of Lobo’s death, but his use of the word “irritation” suggests that he was actually envious of Lobo’s success. The pleasure he takes in a peer’s death also illustrates one Macabre Irony of Mortality.