In the place of the recognition of the active paper dopersonagem, the teatral metaphor agenciada by the narrator suggests inexorabilidadede a traced destination already. Let us analyze the CAP. I, already thinking that the reader would like to desaber what inspired the name of the book, Axe counts the fact that brought talnome to it to the idea. Then, it comes the first one speaks directed to the reader: ' ' Not consultesdicionrios. Casmurro is not here in the direction that they give to it, but in what lheps vulgo of silenced and put man I obtain. Dom came for irony, to paraatribuir me fumos of fidalgo.' ' In the CAP. II, 1 paragraph, it says: ' ' Now that expliqueio heading, start to write the book.

Before this, however, let us say the reasons queme put the penalty in mo.' ' Before counting to the reader history, it of – aotrabalho to justify itself why it decided to count it even though and why it gave livroo name of Dom Casmurro. It is a book made in interaction with the reader, or pelomenos with the reader imagined for the narrator. Thus, a reader creates who becomes-setambm personage of the romance. This it until confesses, when calling it ' ' leitordas mine entranhas' ' 1. as is this reader who it imagines? In some tickets, Axe characterizes its reader, calling it for times ' ' amigo' ' 2 when one imagines to it, or dizendo' ' senhores' ' 3 when an auditorium of listeners to who imagines is to acontar its history. In the CAP. LVIII, when counting of the feminine images queassaltavam its imagination, and to show that in its point of view these viseseram pecaminosas, of inside of its Bentinho personage, invokes its leitorespara to guess as it won these vises, calling them ' ' Scholars dEscritura' ' 4.

Another difference, is that the myths tell huge events, that could not ocorrercom any person, inhaling admiration. Although to approach singular and acontecimentosigualmente improbable, these are told as daily facts, occurred with common people. Thus, the dream would be as espelhoembaado, where deep the ais emotions would appear reflected in symbols dispersed eimagens. Already the story and the myth would be cultural conventions, would queapontariam universal problems, with the distinction of they would contosapresentariam that them, also the solutions desirable. However, these esmbolos images, that in such a way appear in dreams how much in stories and myths, find-seto the society underlying, that exactly in the two last ones, is impossible dizerse all the metaphors or all the arqutipos, at last, all the choices dosautores conscientious or had been culturally motivated.

2. P&G helps readers to explore varied viewpoints. Old Greece and a confused scholar In ' ' The Twelve works deHrcules' ' , as well as in ' ' The Minotauro' ' , Lobato Hunter takes ata old Greece some of its ' ' picapauzinhos' ' (in this case: Emlia, Pedrinho and the Visconde) that they assist the Greek hero in the accomplishment of suasfaanhas. However, this article will focar its boarding in the events queenvolvem the Visconde de Sabugosa. Expert of all sciences, oVisconde is the encyclopedia of Sitio of Pica Yellow Wood. Nessaaventura, it is rank in direct contact with mysterious Greece and, in the past, before known only through books, sabugo not only attends, comoparticipa of what it was only legend. Of this form it passes for diverse perigos eaventuras, something uncommon in the daily one of a scholar. E, in fact, it starts the uncommon teratitudes to a scholar. A good example of this behavior poucousual of sabugo, is when doLeo of the Nemeia orders it to Hrcules to search the skin invulnervel, I spoil of the first work, that would serve of shield for oheri.