ATANDO AS DUAS PONTAS

Abstract

Important theorists understand that, after The Posthumous Memoirs of Brás Cubas, Machado’s work undergoes an aesthetic shift, marked by the adoption of a “free form.” Critics have sought to understand how this new formalization relates to Machado’s literary project. In dialogue with Sá Rego (1989) and Rouanet (2007), we argue that the form of Machado’s second-phase novels represents a conscious adherence to a literary tradition, referred to by Rouanet (2007, p. 227) as the “Shandean form,” understood as a modern update of the Lucianic Tradition and the Menippean Satire (Sá Rego, 1989). Rouanet also suggests that this Shandean tradition constitutes an ironic appropriation of the Baroque, illustrated through his analysis of Brás Cubas. Building on this hypothesis, we propose that Dom Casmurro presents, in both its form and character construction, an ironic appropriation of the Baroque form. Here, the term “Baroque” refers to an aesthetic and subjective structure that transcends historical boundaries. We identify Baroque traits throughout the novel, such as Bento’s melancholic subjectivity and the fragmentary narrative — both signs of a Baroque aesthetic. Thus, the “free form” becomes a privileged space for introspection, skepticism, and psychological depth. KEYWORDS: Machado de Assis. Baroque. Dom Casmurro. free form. shandian tradition.