By Robert White Linker
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Extra info for A bibliography of Old French lyrics
And returning in the carriage, Jorge, putting his hand around her waist, repeated: Al pallido chiarore Dei astri d’oro . . And he pressed her to him. (130) By juxtaposing Luísa’s fall with the conversation about La Traviata, Eça makes it clear that Luísa is attempting with her adultery to experience the world of Dumas’s novel. As we have seen, her illusions about the courtesan will be deflated by economic realities, by the demands of the vindictive proletarian Juliana. Before this threat even emerges, however, Luísa is already disappointed.
In Paco’s version, however, the saviors are invading barbarians. In his imagination, the young marquis has translated the plot of 1848 into a decadent cliché. He has converted political rebels into primitives, their advance into an anachronism. His EXHUMING MARGUERITE GAUTIER 45 translation neutralizes the ideological significance of the prostitute and postpones indefinitely the change she embodies. Like Emma Bovary and Luísa Mendonça, Paco Vegallana reads La dame aux camélias quixotically, looking for analogies in the real world and attempting to reenact its plot.
Luísa has dangerously exposed herself to the prostitute’s world—the life of the Bairro Alto, the fate of the fosse commune—but Sebastião exhumes her from the plot of 1848. It is Juliana rather than Luísa who ends up in “the poor people’s grave” (298). Eça exposes his heroine to revolution, but the reversal she experiences is incomplete. Ultimately, what allows him to reestablish the distance between his heroine and her reading is the same Bovaresque character that has introduced the danger in the first place: It was with two tears trembling on her eyelids that Luísa finished La dame aux camélias.
A bibliography of Old French lyrics by Robert White Linker