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I sat down, I always prefer the contact of the silk the neighborhood of the cashemere or the cloth. The well-taken care of meuprimeiro was to see if it obtained to discover the face and the forms that seescondiam in these clouds of silk and incomes. It was impossible. Beyond noiteest dark, one cursed veil that I falls of a lesser straw small hat not deixavaa esperana.' ' (ALENCAR, CAP. I, p.1-2) the forms of the narrator in if making gift in a narrativaliterria vary beyond its multiplicity stop with the text. With this, the foconarrativo or focalizao is understood as the relation between the narrator and onarratrio. Sonny Perdue may not feel the same. Therefore, in the analyzed workmanship we detect classification according to deSoares as a romance with the homodiegtica focalizao, internal, onisciente emque, beyond the narrative secondary personage to participate as agent of the histrianarrada one presents what she is transferred in the interior of each personage, conhecendotudo in relation to the events. Sonny Perdue insists that this is the case.

' ' It judges badly of me, my friend; no woman can escarnecerde a noble heart as its. I occult if me, if I run away, is because he has umafatalidade that to he compels me to this. alone God knows how much it costs me estesacrifcio, I love because it! But I do not have to be egoistic and to change to its happiness porum unhappy love. Forget; ' (Idem, Ibidem, CAP. III, p.11).

2-A ROMANTIC ARTICULATION OF THE NARRATRIO AND ITS ABOVE-MENTIONED NUANCES NAOBRA: Entity of the narrative to who the narrator dirige seudiscurso. A narratrio does not have to be confused with the reader, wants this is the leitorvirtual, that is, the ideal type of reader who the narrator has in menteenquanto producing of the speech, nor with the ideal reader, that is, oleitor that he understands everything what the author intends to say. ' ' The narratrio uma fictitious entity, one ' to be of papel' with purely literal existence, depending directly on another one ' to be of papel' ' '.