One Million Red Ribbons

The FACES OF the POWER (they read and they comment) the faces of these facistas of the power estam hidden in mazelas, that it has as origin, to determine the forms to organize, but they only direct this organization, for its regimen dictator, using you mask of human beings, if they make of artists, with its more good paper to make the art of the demon, in treating as figurantes to the real life, forgotten always in the happy end. in these circumstances and this suffering, we are played in the side street of perhaps, and to each day if balancing in the palafitas of ours you live deeply, causing strong scars in our being. in this balance in them we raise to each fall, searching forces in our sun, to illuminate ours to know, and to renounce this false happiness, of these smiles marked for the hypocrisy, using its videos of common-sense, but always hiding its poison, are these vipers, that create its wing through our confidence. For in such a way we go to provide all our wisdom, and to open the eyes for these impostors, to be happy one day, and to make of our voice one raises. Already we are treated as renegados of the society, then we ignore these unjust sovereigns, who construct with much astuteness its goods, we go to show they our civility and our greater well, why he does not exist well bigger that our love. Already we are in state of I besiege, prisoners in our residences, without a true education, in them will only bring violence, we do not want to be deported of our proper conscientious one, therefore if they do not serve stop serving in them, only go to make dirty our environment; Therefore we go to reflect, this is our pure realism, we go of the one is enough, to these genocidas and its faces.

28) are ' ' romances where it studies caracteresfemininos, tortured over contradictions and antagonisms psicolgicos' '. Tambmso called urban, therefore workmanships that say on the bourgeois life dosculo nineteen, downtown of Rio De Janeiro are, where the romance sedesenvolve, whose people were frequentadoras of theaters, passeadoras in the doOuvidor Street and living of the quarters. The author describes some streets of the city, social oconvvio, dances and some daily scenes of the city. The Lucolatem book beginning with the meeting of Pablo, fond young of the interior and Lcia, cujaprofisso of gracious, if incases in the obscure face of the bourgeoisie. It withholds in seuleito, the noblest gentlemen of the society, who to the dusk, changed themselves into the most vile and worthless beings, changing much money for favoressexuais. Lcia in turn, uses to advantage of youth and beauty and its dotesfsicos, to exert its profession.

When comparing itself it protagonist deAlexandre Of a Son, Marguerite Gautier in the Lady of the Camlias with aprotagonista of Alencar, is noticed that both divide in parts, algumascaractersticas such as: fineness, delicacy and seduction. However, the heronaromntica Lcia is possessing of a pureness of the soul, that is not stained pelacarne pecaminosa, exactly being it more perfidious prostitute. This fact comments PROENAsobre ' ' Therefore, exactly in the hours where more aglria it esplende of the gracious one, the romancista the vestment symbolically of branco' ' (1966 p.88). History is counted in flash-back, because the PauloSilva narrator-personage, delivery letters at the beginning of the romance, to one lady denominadasimplesmente of – G.M. That is, ' ' G.M.' ' peloautor Jose is an used disguise de Alencar transforming into narrator, Pablo, the dahistria protagonist. Thus, Alencar counts to history through the narrator Pablo. 2Comparando the Lady of the Camlias it was written in 1847 and Lucolaem 1862, that is, both had been created in century nineteen and fixed in the pocaromntica.