In Search of a Phallus: Jacinto's True Quest in "A Cidade e As Serras"

Abstract

InSearchofa Phallus:Jacinto's TrueQuestinA Cidadee AsSerras PHILLIP ROTHWELL A Cidade e As Serrasis a storyof skeletons and closetcases. Indeed,a suppressedhomoeroticframework structures the whole novel; Eça's narrator reveals, through possessive epithets andpulchritudinous appellations ,the object of his desire,a 'belo Jacinto'who is repeatedly the 'príncipe' ofthebesotted JoséFernandes.1 Ofcourse, thelovethey shareis one whichdarenotspeakitsnameand,on theoccasionwhenitdoesreducedto a coarsesexualact- itis pathologized as a symptom ofthe decadent processofurbanization (p. 69).JoséFernandes relates thetaleof Jacinto's salvation from theillsofthecity, from pollution andartificiality, from immorality, and from himself. Anheirless dandywithno interest in women,Jacinto willreturn to hisancestral hometo re-bury thebonesof his forebears and, in the process,appears to be converted, or rather naturalized, toheterosexuality. Just howfarhistransformation iscomplete is a mootpoint,fortheboneshe buriesareconfused, and hisnarrator's possessive gazeisnever fully relinquished, as willbediscussed. Alexander Colemanpositsthedegreeto whichJacinto changes, inany quality, as thecentral questionofthenovel.He asserts that'boredomand tedium' areattheheartofJacinto's characterization, making hisportrayal consistent withthatofmostofEça's protagonists.2 Thenovel,according to Coleman,received a favourable reception inPortugal andwas disliked by mostforeign readersforits 'highlynationalistic' toneand 'reactionary pastoralism'.3 Ata simplistic level,itis easyto seewhytheEstadoNovo promoted A Cidadee As Serrasanddiscouraged thestudy ofO Crimedo PadreAmaro,The former allowed theregimeto 'recuperar ideologicamente 'a writerwho preemptively struckat one of Salazar's principal backers through hisdepiction oftheCatholic church inthelatter.4 However, asMariaLuciaLePecki hasmadeclear, A CidadeeAsSerras isa muchmore ambiguous textthanideologically premised readings havecountenanced.5 CarlosReis'sassertion that'o narrador não deixaa menordúvidaacerca dos sentimentos que experimenta emrelaçãoa Jacinto', a feeling heterms 'umindesmentível apreço',isweakened byLePecki'sclosetextual analysis, 1 Eça de Queirós, A Cidade e As Serras(Mem Martins:Publicações Europa-América,[n.d.]), p. 68. Pagereferences inthetextareto thisedition. 2 AlexanderColeman, Eça de Queirós and European Realism (New York & London: New YorkUniversity Press,1980),p. 271. Coleman,p. 268. 4 Carlos Reis,'O escritor estána obra', Jornalde Letras,Artese Ideias,6-8 (2000),6. Maria Lúcia LePecki,Eça na ambiguidade(Lisbon:Jornaldo Fundão, 1974). JACINTO'S QUEST IN A CIDADE E AS SERRAS 6$ in whichshe pointsout thata negativeconnotation accompaniesJosé Fernandes's useoftheword'principe' on sixty-five occasions.6 The ironic ambiguity thatseepsintothenarrator's voicecan be readas morethana disavowalof Jacinto'spoliticalpostures.It is flirtatious, and conceals sentiments that exceedReis's'indesmentível apreço'. Eça's useofthefirst-person narrative voiceinA Cidadee AsSerrasisan interesting choice thathas a seriesof ramifications. He sets halfthe narrative inParis,whereheserved as a diplomat from 1889,andportrays thecityas theepicentre ofimmorality and vice,thenreturns hisnarrator andhisfriend totheinnocence andbeautyofthePortuguese countryside. Clearly, Eça, often criticized forhisstatusas an 'estrangeirado', performs a patriotic gesture replete withquintessential 'saudades'inthisposthumouslypublishedwork .The first-person narrative voice maybe read to approximate thelatter-end sentiments ofan authorwhohadbeenacerbic inhisearlier literary depictions ofPortuguese society. Ata diegetic level, the lack of an omniscient narratorbringsperspectives into play, and prohibits thereader's entry intoJacinto's mind.Thislimitation allowsfor a reading between thelinesbecauseallthereadereverknowsiswhatJosé Fernandes allowshimorhertoglimpse. Jacinto's friend distils thenarrative andimbuesevery detailwitha simultaneously obliqueandovertaffection forhis 'príncipe'.The reader,everconsciousof thenarrator's voice,is forced to relyon thewordsand interpret theactionsoftherecuperable dilettante. Atthesametime, sincethefocusofJoséFernandes's story is a character other thanhimself, thereader learns very little aboutthenarrator beyond anapparent total,ifironic, dedication toJacinto. Jacinto'smainproblemin thetextis thathe has losthisphallus.Or rather, hehasnever found it.Asthenarrative evolves, itbecomes clearthat external influences, amongthemactsofnatureand gentlecajolingfrom JoséFernandes, impeltheprotagonist to claimthattotemofmasculinity. LikeCarlosMaia andAmaroVieirabefore him, Jacinto hasnofather. He hasnever passedthrough theOedipalphasesincehehasnofather tobury. Anadditional complication ishislackofrealcontact withwomen.InParis, heprefers thecompany ofmen,yawning at themeremention offemales (p. 55). He holds sharesin the expensivecourtesanDiana de Lorge 'meramente por civismo,para dotara cidade com uma cocottemonumental 'butsignificantly neither knowsnorcareswhatcolourherskinis 'dos ombrosparabaixo' (p. 38).He becomestotally dependent on 'seuZé Fernandes' (p. 77),particularly forhisvisits toMadamed'Oriol'sparlour. The narrator declares:'eu compreendi que o meupríncipe (à maneirado divinoAquiles,que soba tenda,e juntoda branca,insípida e dócilBriséis, 6 Carlos Reis, Estatuto e perspectivado narrador na ficção de Eça de Queirós, 3rd edn (Coimbra:LivrariaAlmedina,1984),235-36. 66 PHILLIP ROTHWELL nuncadispensavaPatoclo)desejavater,no retiro do amor,a presença, o conforto e o socorroda amizade'(p. 77). The analogywiththecharacters from theIliad is telling. Achilles'passionforBriséispales incomparison withhisdeeper loveforPatroclus. Theslavegirlisa temporary distraction, anasidefrom thehomosocial framework oftheTrojanWar. In orderforJacinto...