We visualize warlike, independent the woman as of its social classroom, color, race. It by itself is possessing of the beauty, the candor and pain. Thus in them we delight in these two magnificent creations of Jose de Alencar. Iracema, woman, indian, ‘ ‘ the virgin of the lips of mel’ ‘ Lucola, woman, urban ‘ ‘ the true image of the woman who in the abyss of the perdio conserves the pureness of alma’ ‘. We observe the renaissance of the igualitrio feeling, that both they possuam to carry out the woman heroine who left marks in Brazilian Literature. Tracing the psychological profile of Iracema and Lucola, we consider the existence of a paradox. They are different women of worlds and beliefs, but with the made use soul to live the love intensely, exactly that for this they have that to abandon the solid conviviality of ‘ ‘ casa’ ‘ to be dedicated to loved and the suffering, losing of this form solely proper life and the identity. What it characterizes the classic example of the Lover.
The beddings and analyses for confectioned us had been taken by base in research of texts, assays, articles and the reading of workmanships of great thinkers of our Brazilian Literature, however to confer the fiction with the feminine reality are something very complex, therefore we opt in evidencing the feminine and overwhelming profile of Iracema and Lucola. Two women idealized for the bel masculine pleasure and at the same time owners of its proper desires and frustrations that had consecrated them ‘ ‘ deusas’ ‘ of the Romantismo. To conclude our study on the profile feminine in Literature. We take in consideration the paper of Emma Bovary in the society of its time. A woman in search of adventures and torrid passions. What she becomes it a different woman of that profile for which the woman she was prepared; of wife, mother.
Emma not accepted to be dominated, was not a woman submissa, prendada, nor neither faithful, a true paradox of the Lover. Notes of end: 1 – The present work turns on the conception of the originalidade of the sorts: feminine and masculine. For this we use the assay of Lydian Nazar Maria Alves and diverse consideraes of Simone de Beauvoir and Clarice Lispector. We verify until point these ideas if complement. Also we made consideraes on the marked place of the woman in the speech of the tradition, being based on the studies of Ndia Batella Gotlib. Another worked point was the chapter of Simone de Beauvoir- the Lover who is a feminine example of complete submission and demonstration of traditional roots.