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Introductory
Note to the Reader I have always been drawn to stories set
in a medieval world populated by knights, monarchs, noblemen, and,
inevitably, powerful people whose authority has been corrupted by ambition or
desire. Perhaps this attraction comes from something rather simple: I have
always found myself instinctively siding with the “good guys.” Beneath the
adventure, mystery, and occasional supernatural intervention, these stories
often carry a moral dimension that invites us to think about justice,
loyalty, honor, faith, and the consequences of wrongdoing. This is precisely what makes O
Defunto particularly fascinating to me. Eça de Queirós is not necessarily
the writer one immediately associates with medieval romances, supernatural
encounters, or providential interventions. As one of the great
representatives of Portuguese realism, he is much more commonly associated
with social criticism, irony, and an incisive examination of
nineteenth-century Portuguese society. Yet in O Defunto, he enters a
very different imaginative territory. What interests me most is not simply
that Eça de Queirós introduces a dead man who intervenes in the lives of the
living. Rather, it is the way he makes the supernatural coexist with
uncertainty, morality, and faith. The story initially makes us hesitate:
should we understand what happens as something supernatural, an illusion, or
something that might admit another explanation? Gradually, however, that
uncertainty gives way to a larger moral order. In this essay, I approach O Defunto
through Tzvetan Todorov’s theory of the fantastic, examining how Eça de
Queirós transforms hesitation into something closer to the marvelous, and,
ultimately, into a meditation on justice, providence, and the possibility
that the supernatural may become an instrument of moral restoration. Jonathan
Acuña Solano |
Between Hesitation and Providence: A Todorovian Reading of O Defunto by Eça de Queirós
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Abstract This
essay examines Eça de Queirós’s O Defunto through Tzvetan Todorov’s
theory of the fantastic, focusing on the narrative movement from
epistemological hesitation toward the acceptance of supernatural
intervention. Although Eça de Queirós is primarily associated with Portuguese
realism and nineteenth-century social criticism, O Defunto enters a
medieval narrative world in which death, supernatural intervention, moral
conflict, and providence coexist. The analysis argues that the story
initially constructs the conditions of the fantastic by creating uncertainty
regarding the nature of the dead man and his intervention in the life of Dom
Rui. This hesitation is reinforced through ambiguity, the coexistence of
natural and supernatural possibilities, and the protagonist’s uncertainty
about what he perceives. As the narrative develops, however, the supernatural
acquires a coherent purpose and becomes increasingly integrated into a moral
framework. The essay therefore proposes that the fantastic functions less as
a permanent narrative category than as a transitional strategy through which
Eça de Queirós moves the reader from doubt toward a form of marvelous
acceptance. The discussion also considers the limitations of Todorov’s model
when applied to narratives shaped by religious and providential worldviews.
Ultimately, O Defunto demonstrates how Eça de Queirós combines
realism, medieval romance, the fantastic, and moral reflection to create a
narrative in which supernatural intervention contributes to the restoration
of justice and ethical order. |
Keywords: Eça de Queirós, O Defunto, The Fantastic,
Todorov, Supernatural, Medieval Narrative, The Marvelous, Providence, Moral
Order, Portuguese Literature |
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Resumen Este ensayo analiza O Defunto de Eça de Queirós
a partir de la teoría de lo fantástico de Tzvetan Todorov, con especial
atención al desplazamiento narrativo desde la incertidumbre epistemológica
hacia la aceptación de la intervención sobrenatural. Aunque Eça de Queirós
está principalmente asociado con el realismo portugués y con la crítica
social del siglo XIX, O Defunto se adentra en un universo narrativo
medieval en el que conviven la muerte, lo sobrenatural, el conflicto moral y
la providencia. El análisis sostiene que el relato construye inicialmente las
condiciones de lo fantástico mediante la incertidumbre acerca de la
naturaleza del muerto y de su intervención en la vida de Dom Rui. Esta
vacilación se mantiene mediante la ambigüedad y la coexistencia de
explicaciones naturales y sobrenaturales. Sin embargo, a medida que avanza la
narración, la intervención sobrenatural adquiere una finalidad coherente y se
integra progresivamente en un marco moral. De este modo, lo fantástico
funciona como una estrategia de transición que conduce al lector de la duda
hacia una aceptación próxima a lo maravilloso. El ensayo también examina las
limitaciones del modelo de Todorov cuando se aplica a narraciones
configuradas por una visión religiosa y providencial del mundo. Finalmente, O
Defunto revela cómo Eça de Queirós combina realismo, romance medieval,
elementos fantásticos y reflexión moral para construir una narración en la
que la intervención sobrenatural contribuye al restablecimiento de la
justicia y del orden ético. |
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Resumo Este ensaio analisa O Defunto, de Eça de
Queirós, à luz da teoria do fantástico de Tzvetan Todorov, concentrando-se no
movimento narrativo que conduz da hesitação epistemológica à aceitação da
intervenção sobrenatural. Embora Eça de Queirós seja principalmente associado
ao realismo português e à crítica social do século XIX, O Defunto
explora um universo narrativo medieval no qual a morte, o sobrenatural, o
conflito moral e a providência coexistem. O estudo argumenta que o conto
inicialmente constrói as condições do fantástico ao produzir incerteza sobre
a natureza do morto e sobre sua intervenção na vida de Dom Rui. Essa
hesitação é sustentada pela ambiguidade e pela coexistência de possibilidades
naturais e sobrenaturais. À medida que a narrativa avança, porém, a
intervenção sobrenatural adquire uma finalidade coerente e passa a integrar
uma ordem moral e providencial. O fantástico funciona, assim, menos como uma
categoria narrativa permanente do que como uma estratégia de transição que
conduz o leitor da dúvida à aceitação do maravilhoso. O ensaio também
considera as limitações do modelo de Todorov diante de narrativas
fundamentadas em visões religiosas e providenciais do mundo. Em última
análise, O Defunto demonstra como Eça de Queirós combina realismo,
narrativa medieval, fantástico e reflexão moral para construir uma história
na qual a intervenção sobrenatural participa da restauração da justiça e da
ordem ética. |
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“The
fantastic is that hesitation experienced by a person who knows only the laws
of nature, confronting an apparently supernatural event.” |
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“O homem só é superiormente feliz
quando está superiormente enganado.” |
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“The
dead are not absent; they are invisible.” |
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Introduction: Realism Meets
the Supernatural
Eça de
Queirós, one of the foremost representatives of Portuguese realism, is often
associated with sharp social critique, irony, and a commitment to depicting the
material conditions of nineteenth-century life. Yet, in O Defunto, Eça
de Queirós ventures into narrative territory that appears to challenge the
epistemological foundations of realism: the intervention of a dead man in the
affairs of the living. This seemingly anomalous narrative choice invites
critical inquiry through the lens of Tzvetan Todorov, whose structuralist
theory of the fantastic offers a rigorous framework for analyzing the interplay
between natural and supernatural explanations in literature.
This
essay, my 592nd publication on my reflective blog, argues that O
Defunto initially constructs a Todorovian fantastic through epistemological
hesitation but ultimately resolves this ambiguity within a providential and
moral framework aligned with the marvelous. By doing so, Eça de Queirós
transforms the fantastic into a transitional device that bridges rational
uncertainty and theological affirmation.
Todorov’s Framework:
Hesitation as the Core of the Fantastic
In The
Fantastic: A Structural Approach to a Literary Genre, Todorov defines the
fantastic as the moment of hesitation experienced when confronted with an
apparently supernatural event. He writes, “The fantastic occupies the duration
of this uncertainty” (Todorov, 1975, p. 25). This hesitation is not merely thematic
but structural: it depends on the reader’s inability to determine whether the
events described obey the laws of nature.
Todorov’s
tripartite model distinguishes between:
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1. |
The
uncanny: the supernatural explained rationally |
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2. |
The
fantastic: sustained hesitation |
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3. |
The
marvelous: acceptance of the supernatural |
The
critical question for any analysis, therefore, is not whether supernatural
elements appear, but how the text manages the reader’s uncertainty.
The Emergence of Hesitation in
O Defunto
The
narrative of O Defunto introduces the figure of a dead man who
intervenes decisively in the life of Dom Rui. This intervention is initially
framed in a way that invites doubt and interpretive tension. The atmosphere
surrounding the apparition is marked by ambiguity, as the text describes the
encounter with a tone that oscillates between realism and the uncanny. And one striking moment emphasizes this ambiguity:
“E era um morto — um morto que ali estava, diante
dele, com os olhos abertos e uma vontade firme.”
This
sentence encapsulates the paradox at the heart of the fantastic: the
coexistence of death and agency. The dead man is not merely a corpse but a
subject endowed with intention. The reader is thus compelled to ask: how can a
“morto” possess “vontade”? This is precisely the
kind of epistemological rupture Todorov identifies as essential to the
fantastic. The laws governing reality appear to be suspended, yet no immediate
explanation is provided to restore coherence.
Character and Reader: Shared
Hesitation
Todorov
emphasizes that the fantastic often requires not only the reader’s hesitation
but also that of a character. In O Defunto, Dom Rui embodies this
uncertainty. His reactions mirror the reader’s interpretive struggle, as he
confronts an event that defies his understanding of reality. At one point, the narrative suggests his internal
disorientation:
“Dom Rui não sabia se estava sonhando, se era ilusão
dos sentidos, ou se verdadeiramente o morto ali falava.”
Here,
three explanatory possibilities emerge:
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1. |
Dream |
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2. |
Illusion |
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3. |
Reality |
Thitriadic structure aligns perfectly with Todorov’s model, positioning the
narrative within the fantastic as long as none of these explanations is
definitively confirmed.
Language and the Suspension of
Reality
The
linguistic texture of Eça de Queirós’s narrative plays a crucial role in
sustaining hesitation. The prose does not immediately assert the supernatural
as fact; instead, it carefully modulates description to preserve ambiguity. Based on this idea, let’s consider the following
passage:
“A figura permanecia imóvel, mas havia nela uma
energia estranha, como se a morte não tivesse apagado completamente a vida.”
The
phrase “como se” is particularly significant. It signals a “simile rather
than an assertion,” leaving open the possibility that what is perceived
may not correspond to reality. This rhetorical strategy prolongs the reader’s
uncertainty, maintaining the conditions necessary for the fantastic.
As
Rosemary Jackson (1981) notes, the fantastic often operates through “a
hesitation between incompatible meanings” (p. 28). Eça de Queirós’s use of
suggestive, rather than definitive, language exemplifies this dynamic.
The Gradual Dissolution of the
Fantastic
Despite
the initial ambiguity, O Defunto does not sustain hesitation
indefinitely. As the narrative progresses, the actions of the dead man acquire
coherence and purpose. His intervention is not random or chaotic but directed
toward a clear moral outcome: the protection of Dom Rui and the restoration of
justice.
This
shift is evident in passages that attribute intentionality and ethical
significance to the dead man’s actions:
“Vinha para o salvar — e salvar com ele a honra que
estava prestes a ser perdida.”
The
clarity of purpose here diminishes the ambiguity that defines the fantastic.
The dead man is no longer an inexplicable anomaly but an agent within a moral
framework.
From Fantastic to Marvelous:
The Acceptance of the Supernatural
According
to Todorov, the fantastic ends when the reader adopts a stable interpretation.
In O Defunto, this interpretation aligns with the marvelous: the
supernatural is accepted as real within the narrative world. Todorov (1975)
explains that the marvelous emerges when “new laws of nature must be
entertained” (p. 41). In Eça de Queirós’s story, these “new laws” are not
arbitrary but consistent with a worldview in which divine or supernatural
intervention is possible.
The
narrative ultimately invites the reader to accept the dead man’s presence as
part of a larger moral order. This acceptance is reinforced by the absence of
any rational explanation that could reclassify the events as uncanny.
The Catholic Marvelous:
Providence and Moral Order
A
crucial dimension of O Defunto is its alignment with a Catholic
worldview. The supernatural is not presented as a source of terror but as an
instrument of justice and redemption. This distinguishes Eça de Queirós’s
narrative from Gothic traditions, where the supernatural often destabilizes
reality. Instead, the story
suggests a providential order:
“Nada se perde na ordem divina, nem mesmo a morte
impede o cumprimento do justo.”
This
perspective transforms the supernatural into a moral force, aligning the
narrative with what Northrop Frye (1957) describes as the mythic mode, in which
“the supernatural is a higher form of natural law” (p. 136). Carlos Reis (1999) similarly observes that Eça de Queirós’s
fiction often transcends strict realism, incorporating symbolic and moral
dimensions: “a narrativa queirosiana articula o real com uma dimensão simbólica
que o ultrapassa” (p. 115).
The Fantastic as a
Transitional Device
Rather
than functioning as an end in itself, the fantastic in O Defunto serves
as a transitional phase. It creates a moment of epistemological instability
that prepares the reader for the acceptance of a broader conception of reality.
David Roas (2011) emphasizes that
the fantastic requires “la confrontación entre lo posible y lo imposible” (p.
58). In
Eça de Queirós’s narrative, this confrontation is resolved not by eliminating
the impossible but by integrating it into a coherent moral framework.
Thus,
the fantastic becomes a narrative strategy rather than a stable
genre. It opens a space for questioning, only to guide the reader toward
affirmation.
Comparative Chart: Todorov vs. O Defunto
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Todorov’s Maxim |
Application in O Defunto |
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The fantastic requires
hesitation between natural and supernatural explanations. |
Dom Rui questions whether
the event is a dream, illusion, or reality: “não sabia se estava sonhando...” |
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The hesitation must be
shared by the reader and character. |
Both Dom Rui and the reader
experience uncertainty regarding the dead man’s nature. |
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The text must encourage a
literal reading. |
The narrative presents the
dead man as a concrete presence, not merely symbolic. |
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The fantastic exists only
while hesitation persists. |
Early ambiguity sustains the
fantastic, but later clarity dissolves it. |
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Resolution determines genre
(uncanny or marvelous). |
The story resolves into the
marvelous by accepting the supernatural. |
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The reader’s perception
defines the fantastic |
The reader is guided from
doubt to belief through narrative progression. |
Limits of Todorov’s Model
While
Todorov’s framework is highly effective in identifying the structural dynamics
of O Defunto, it also reveals its own limitations. His theory
presupposes a clear distinction between natural and supernatural laws, a
distinction that may not hold in narratives shaped by religious worldviews.
As
Todorov himself admits, “The perception of the fantastic depends on the
reader’s conception of the real” (1975, p. 46). In a cultural context where
belief in divine intervention is normalized, the hesitation central to the
fantastic may be less pronounced. In Eça de Queirós’s case, the narrative
reflects a tension between modern rationality and traditional belief systems.
The fantastic emerges from this tension but is ultimately resolved in favor of
a worldview that accommodates the supernatural.
Ethical Closure and Narrative
Purpose
Unlike
many fantastic narratives that leave the reader in a state of unresolved
ambiguity, O Defunto provides a clear ethical resolution. The
intervention of the dead man restores justice and prevents wrongdoing,
reinforcing a moral order.
This
ethical dimension aligns the story with didactic traditions, where supernatural
events serve to illustrate moral truths. The fantastic, in this context, is not
an end but a means of engaging the reader in a process of reflection.
Conclusion: Hesitation
Resolved into Faith
The
application of Todorov’s theory to O Defunto reveals a complex interplay
between ambiguity and resolution. The story begins by destabilizing the
reader’s understanding of reality, introducing a moment of hesitation that
aligns with the fantastic. However, this hesitation is not sustained; it is gradually
resolved within a framework that affirms the reality and significance of the
supernatural.
In
this sense, O Defunto exemplifies a hybrid narrative form that both
engages with and transcends Todorov’s categories. The fantastic functions as a
transitional device, guiding the reader from doubt to belief, from uncertainty
to moral clarity. This movement reflects not only the narrative strategy of Eça
de Queirós but also the cultural and philosophical context in which his work is
situated.
Ultimately,
the story demonstrates that the boundaries between the natural and the
supernatural are not fixed but contingent upon the interpretive frameworks
brought to the text. By navigating these boundaries, Eça de Queirós creates a
narrative that is at once unsettling and reassuring, challenging and affirming,
a testament to the enduring complexity of the fantastic.
References
Frye, N. (1957). Anatomy of Criticism: Four Essays.
Princeton University Press.
http://press.princeton.edu/books/paperback/9780691012986/anatomy-of-criticism
Jackson, R. (1981). Fantasy: The Literature of
Subversion. Routledge. http://www.routledge.com/9780415280202
Queirós,
E. de. (2002). Contos. Livros do Brasil.
Reis,
C. (1999). Eça de Queirós e a narrativa realista.
Coimbra Editora.
Roas,
D. (2011). Tras los límites de lo real: Una
definición de lo fantástico. Páginas de Espuma.
http://paginasdeespuma.com/catalogo/tras-los-limites-de-lo-real/
Todorov, T. (1975). The Fantastic: A Structural
Approach to a Literary Genre (R. Howard, Trans.). Cornell University Press.
http://www.cornellpress.cornell.edu/book/9780801491465/the-fantastic/
