🦋 Resolution
I'm seeing a lot of tropes in The Year of the Death of Ricardo Reis that will be repeated and magnified in Saramago's later work. For instance about halfway through the book Reis and Lydia (who are having an affair) have been talking for a little while, and Reis says,
...All I know about you is that you live here in the hotel, that you go out on your days off, that you are single and unattached as far as one can see, What could be better, Lydia retorted, and with these four words she wrung the heart of Ricardo Reis. It is banal to say so, but that is precisely how they affected him... We could go on in this manner multiplying words, adding them to the four already spoken, What could be better.... Lydia is about to leave, a clear indication of not having spoken at random. Certain phrases may seem spontaneous, a thing of the moment, but God alone knows what millstone ground them, what invisible sieve filtered them, so that when pronounced they ring like judgements of Solomon. The best one could hope for now is silence, or that one of the two interlocutors should depart, but people usually go on talking and talking, until what was for a moment definitive and irrefutable is completely lost.
-- And from here the conversation goes on, until what was definitive is lost. This seems to me to speak to Randolph's observations about the dialog in The Cave, that its realism stems from its fallibility and lack of direction. Saramago is laying out his thoughts about how conversation works, which will support his constructions of conversations in his later work.
 I am curious about where Saramago is going with the developing conflict within Reis, opposing Lydia and his earthy affection for her to Marcenda and his more cerebral attraction to her. The archetypal nature of this conflict is pretty superficially clear -- the narrator even mentions at one point, Marcenda is understood to be a virgin, and has Reis wondering whether he should pay Lydia -- but it's hard for me to see how it will add to the story and to the characters Saramago is describing. (As I write "more cerebral" I think Hm, that's not quite what I mean -- the distinction is not really between "earthy" and "cerebral" but rather class-based. Reis is socially above Lydia but in the same class as Marcenda. Lydia is attainable but not an appropriate match. I was trying to think of Reis' attraction to Marcenda as similar to Dante's attraction to Beatrice, but that is probably not going to be a productive line of thought.)
posted morning of Monday, August 11th, 2008
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