Luís's Reviews > Os Maias

The two favourite themes of Eça de Queirós are undoubtedly the humiliated conscience of the Portuguese concerning their country in this second half of the 19th century and the passion for love, above all impossible.

In the salons of the Lisbon aristocracy, there is a lot of talk about the apathy that has descended on the country and sterilized its resources: without innovative political talents, without considerable wealth despite large colonies, unable to develop agriculture flourishing or a viable industry, without artistic genius, Portugal lives on loans that will lead it to bankruptcy and for all the rest behind Europe, imitating the more dynamic countries even in its philanthropic societies and its sporting events; unfit for certain refinements of civilization, it also fails to safeguard its own culture, which would be limited to the release of bulls in the streets. Melancholy and sluggish, these gentlemen come to wish mezza voce a placement under Spanish tutelage and let themselves sink with majesty and fatalism by entrusting their affairs to the managers and bankers.
For the rest, what occupies this idle and still privileged class is love, of course, a big deal when you have nothing to do:
Love as a pastime, preferably adultery.
Love scandalous and routine, but also passionate love.
Mad love.
Love for which one is ready to sacrifice one's future.
In the intrigue of Eça de Queirós always arises an obstacle to the happiness of lovers, insurmountable: never the one that we see emerging, but even worse. I will not reveal more.
The style is delightful, fluid and classic but very alert, often mischievous. The description of the Portuguese nature (we want to leave for Sintra all business ceasing) and the interiors are exquisite. The characters have a relief that makes them exist. We have the impression of knowing Alfonso, Carlos, Ega.
Queirós considered to belong to the naturalist literary movement: "The Maias" also includes many polemics opposing the characters on their conception of art. But it is not about the naturalism of Emile Zola in "L' Assommoir" or "La Terre", but of a form closer to that of Flaubert or Maupassant.