Of time in when it passed the language for the beios, for umedec-los’ ‘ ; they are the sensations and perceptions that if make to feel, as in: ‘ ‘ as if ‘ had a cold chill; ‘ ; they are the attitudes and gestures doubtful, as it appears in this stretch: ‘ ‘ I looked it a little and I doubted the affirmation. The eyes were not of person who finished to sleep; they seemed not to still have caught in sono’ ‘. As if it can see, during all the time where the two had been together, they seemed instigantes, insinuantes and seductive gestures and movements, as it remembers GOTLIB (1985, p.79): ‘ ‘ has the gestures of d. Conceio, the looks, always fixed in it, the white fidget, arm, teeth, the nose, the proximity, the cochichos, the changes of place for more close to it, the sleepiness and over all, the dialogue. Not properly what it is said. This more seems to be the excuse to hide, to disfarar or to dissimulate what it happens for detrs, or moreover: the dialogue of tensions ‘ ‘ From this point of view, D.

Conceio seems to hide behind the mask of the abandonment and the indifference of the husband, being made use of all the qualities that are attributed to it to occult its true personality: of pretending and treasonous, pledged in seducing a garoto of 17 years during absence of the husband. Finally, as one forms to insinuate an evidence of its suspicion, the narrator mentions the case suggestively of, years later, with the death of the husband, D. Conceio to have if married with the scrivener of the husband. At last, everything is suggested, but nothing it is disclosed concretely. The empty ones go if forming and one more time the reader he is induced to agree to the narrator, being become its abetter, partilhados of the same point of view, being marked by the impreciso, uncertainty and ambiguity. This possibility of interpretation of the story, on the basis of two basic hypotheses, of the innocence and of the impudence of D. Conceio, are two intercalated ways to see the personage, are two faces of the same currency, none of the two false, or entirely true ones.

The truth is that Axe of Assis, through the made right choice of the narrative focus, leads the narrative in ambiguous way, leaving the reader on of the inclined wall or in air in way to the difficulty of if taking off conclusions necessary, thus, as it remembers GOTLIB (2006, p.80): ‘ ‘ Axe has this dom of fisgar the reader for intrigues well arquitetada, intriguing it with questions no-resolvidas’ ‘.

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