(José de Alencar)
In a lendária atmosphere, of exotic and delicate poetry, it is uncurled sad history of the loves of Martim, first Portuguese colonizador of the Ceará, and Iracema, young and beautiful indian tabajara, son of Araquém, pajé of the tribe. Martim leaves to the hunting with its Poti friend, warrior pitiguara, and is lost of the friend, having gone to have to the fields of the enemies tabajaras. It finds Iracema, who receives it in the hut of Araquém, while Caubi comes back, its brother, that the white warrior would lead back, safe and sound to lands pitiguaras. Iracema, however, gets passionate for Martim, traindo the secret of jurema, that she kept as virgin of Tupã. He folloies the husband, leaving in its tribe an environment of revolt, incited for ciúmes of Irapuã, destemido head tabajara. It is unchained war of the revenge, and tabajaras is defeated; Iracema confuses the happiness of the love with the bitter sadnesses that despertam corpse the covered with rush fields of its brothers. To the remorse and homesickness another pain if adds to it; the cooling of the love of Martim that, to brighten up nostalgia of the distant native land, is absented in long and delayed days. In one of its returns, it finds Iracema to the doors of the death, - exausta for the effort that makes to feed filhinho just-been born, to who gives the name of Moacir, literally in its language, son of pain. Martim embeds the body of the wife and has left, taking the son and the homesickness of the accompanying fidiciary office. Without a doubt, the workmanship of Jose de Alencar if fits in the romantic style of time where if it detaches the indianismo, that was one of the forms most significant assumed by the romantic nationalism. Predominant the literary sort in the workmanship is the epic one, characterized for the presence of a narrator, the comment and the vision of the exterior world. Although the epic one predominates, Iracema also presents lyric aspects, mainly to be taken in account to the poetry of its language, marked for the rhythm and noise, beyond the highly subjective configuration, disclosed, over all for the metafórico tone that perpassa the romance. Percebe in this workmanship characteristic of chats romantic, focusing as a poetical metaphor idealizer of the collective suffering of the indian, founder of a nationality, ?a civilized? society characteristic that they consolidate the national spirit - main reason of Brazilian romantic literature, in general terms. The appearance of this type of text was on to the necessity to in general democratize the cultural goods, and particular literature in, becoming it accessible the new social classroom in the power: the bourgeoisie. Compromised in seducing the reading bourgeois and at the same time with the artistic representation of the world where this lives, the limits and the inaqualities they go appearing in the romance in a indianista language very known by the o author well. The language is extremely poetical, what in it makes to imagine them the beauties, fascinates them of the virgin bush, of the nature. Moreover, during all the plot, it has the use of símiles that in they make them to visualize, with bigger precision, what the author wants to pass to the reader.