World Literature: Touch in Pedro Paramo and Dom Casmurro

In novels as sensual as Pedro Paramo and Dom Casmurro, it is non surprising that the authors employ a variety of literary techniques and imagery. Amongst them, non as prominent as the understanding of hearing but still salient, is the sense of call down. I will deal proscribed how narrators in Dom Casmurro and Pedro Paramo use the sense of pass to better their inner motivations and feelings close a situation or character. Touch potentiometer symbolize kinds. When two characters touching shoulders in Pedro Paramo, for example, this seems to show siblinghood.Juan and Abundio walk side by side, so close their shoulders be nearly hint (5). Juan and Abundio turn out to be half(prenominal) br other(a)s. They share a father and are nearly brothers, just as their shoulders nearly touch, but their different mothers produce twain a heritable and physical gap between them. Later in the story, Doniss sis goes to stand beside him, leaning against his shoulder (53). Their shou lders do not merely touch, which would embody that they are siblings she leans against Donis, suggesting their relationship extends beyond a familial one.Although this has already been powerfully implied, Doniss babe leans against Donis before asking Juan whether he truly understands the relationship between her and Donis. Rulfo has already revealed that they are incestuous, but the execute coupled with her straits shows that neither the reader nor Juan realizes fully the nature of this relationship. Like Rulfo, Machado de Assis uses one mode of touching, in his case, manpower brushing against Capitus arms, in different situations. This results in different repercussions. Capitus shapely arms draw perplexity whenever she and Bento swear out balls.However, during the get-go night they are merely admired and when other men touch her it seems incidental, innocuous however much they might touch other frock coats (183). Bento mentions this touch fleetingly. His focus is on Capi tus arms, not manlike attention. On the second night, the men are crasser, going from admiring to staring, almost implore for them, and brushed their black sleeves against them (183). Bento lingers more on the males touching and less on Capitus arms, like he is more concerned slightly the attention his wife is garnering than the object of the attention.The inside information he abide bys in addition speak of his uneasiness. Whereas during the first night, the men wear gentlemanly frock coats, the second night they are dressed in black, which faeces symbolize evilness. As a payoff of situation, detail is used in both Dom Casmurro and Pedro Paramo by the narrators to reveal their feelings about other characters. When either narrator describes the touching at length, or notices still the smallest aspects of it, he shows how important this touch is to him. As young Pedro Paramo and Susana San Juan fly kites together, Pedro urges, ease me, Susana. And well-fixed workforce wo uld tighten on his (12).The fact that Pedro notes Susanas hands are soft suggests that he harbours a liking for her, for to notice her soft hands, he would need to pay more attention to her hands than the geartrain he is letting out or the kite he is flying. This action is also indicative of their relationship. Susana is Pedros lifelong love, and though she enjoys his company and likes him, it is scarcely as a friend. Thus, while she is simply happy to fly kites with him and tightens her hands around his only to help him let out more string, Pedro takes note of how she acts around him and treasures her harmless actions.They appear much more meaningful to him than to her. Machado de Assis uses details in very similar circumstances. As Bento combs Capitus hair, his fingers brush her neck, or her bum with its cotton dress it is a delicious sensation (64). He does not simply concentrate on the task at hand, he takes pleasance in accidental touches, no matter how minor, just like Pedr o. duration this can show the reader his sexual inexperience, as he has not seemed to have had a romantic encounter previously and thus enjoys a seemingly chaste activity, it also shows his nub for Capitu.If Bento was combing the hair of about other girl, he may not notice such minor details. The take on may also not feel as delicious. He also touches Capitu although it is not necessary to do so. Even if this is accidental, he does not set about a move to shy away from it, suggesting that he wants to touch Capitu and likes her in a more-than-platonic fashion. The fact that he brushes her hair is also significant. Hair is considered a symbol of femininity, especially long hair. Combing her hair could put Bento in a position of power.In fact, in the chapter after he combs her hair, Bento utters these proud address I am a man (67). Hair is important when flavor at their history, as well. When Bento thinks about his and Capitus past, he remembers how she ran her hand by his ha ir, saying she thought it was very beautiful (24). However, he never reciprocated. By touching him so, and by other apparent movements such as counting his fingers, Capitu demonstrates her affection for him and shows that she is aware of her fondness.Bento remains oblivious, though, as shown by his lack of response. After he realizes that he too feels warmly about Capitu, he asks to brush her hair, proving both to himself and Capitu that he is finally aware of his feelings. In Dom Casmurro, touch can reveal character traits. Ezequiel is shown to be a warm and affectionate boy Ezequiel gougeged Bentos knees, stood up on the tips of his toes, as if to climb up and give Bento his usual caress (229). He is comfortable with touching his father, and does so regularly to illustrate his love.This can be contrasted with Jose Dias who, even when everyone else is hugging and kissing Bento distantewell, remains composed and recruit (98) and does not touch Bento at all. Jose Dias is not co ld, but occasionally his admire and charm seem debatably genuine. Moments such as when he does not hug Bento farewell add on to this idea. In Pedro Paramo, Juan Preciado does not touch the residents of Comala when he arrives. He cannot they are ghosts while he is still alive. Doniss sister touching his shoulder is the first time touch occurs in Juans Comala. She is also the first living person he encounters.Although there is some disagreement over whether Juan actually died when his soul turned to ice (59), the fact that Dorotea is dead and lying in his arms, touching him, suggests that if he can touch the dead, then he is dead also. Moments of change are expressed through touch as well. After Bento sees that Capitu carved Bento and Capitolina into the wall, their hands took hold of for from each one one other, clasping each other, melting into one another (28). Whereas previously mutual touching was done in childish jest, and Bento was oblivious to Capitus attraction to him, pr esently they touch each other with the ntention of holding hands like lovers. melt down into one another (28) can also show how they are intellection as one they both feel the same way toward each other. When Donis leaves, Juan wakes up beside Doniss sister. The majority of the tactile imagery thus far has been brief and subtle, but here Juan can feel the womans naked legs against his knee, and her breath upon his face (55). After being unable to touch the ghosts, Juan is all of a sudden pressed against a woman, a gesture that stands out from previous paragraphs due to its straight-forwardness.For Juan, it appears that the physical contact is like having to take care of the woman neither pleasant nor unpleasant, simply thrust-upon and unexpected. Unlike in Dom Casmurro, even feelings about environment can be revealed through touch in Pedro Paramo. As Juan approaches Comala, he observes that he and Abundio have left the hot lead behind and are sinking into pure, airless heat. The stillness seems to be delay for something (5). date this airless heat adds on to the atmosphere, it also shows Juans state of mind.The surround in this scene mirror Juans mood, showing that he is waiting for something too. He may not expect to find his father, but he is coming with Comala with expectations, and the closer he gets to the town, the closer he is to finding out the truth. The sense of touch is an important tool in both Pedro Paramo and Dom Casmurro. It can reveal aspects of character personality, relationships and inner thoughts and motivations. This symbolism, coupled with the other literary techniques Machado de Assis and Rulfo employ, helps create the vivid alternate reality of the novels. Word count 1470 words