He lives periods of anguish and fear in result of an act unprovided of loaded reason and of sentimentalismo, until the moment where its husband discovers and finishes pardoning it, however late excessively, therefore Lusa adoece and dies. One perceives that the adultery one is used in the workmanship as critical to the standards of the family lisboeta of century XIX as it affirms the author in letter the Tefilo Braga: ' ' and you seeing to take me the family as subject, think that I did not have to attack this perpetual institution, and had to come back my instrument of social experimentation against the transitory products, that if perpetuate beyond the moment justified that them, and that of social forces they had started to be empecilhos public. Perfectly: but I do not attack the family – I attack the family lisboeta – the family lisboeta product of namoro, ackward meeting of egoism that if contradict, and later or more early bambochata center. In Baslio Cousin who presents, over all, a small domestic picture, extremely familiar to who knows the bourgeoisie of Lisbon well (…) ' ' they idem; they ibidem, p.386. In short, the personages Juliana and Lusa fulfill to its paper in the workmanship Baslio cousin, of Ea de Queirs.

Juliana and Lusa, representatives of the queirosiana woman, exert a subordinate paper, without considered personalities excellent. A SOCIOLOGICAL ANALYSIS OF JULIANA X LUSA IN COUSIN BASLIO, OF EA OF QUEIRS. ' ' The romance starts to be, in the Realism, workmanship of combat, weapon of reformadora action of the bourgeois society of the ends of century XIX. One changeds into instrument of attack and demolition, on the other hand, and of implicit defense of philosophical and scientific ideals, for outro.' ' (MOISS, 1972, P. 234). According to Moiss (1972), the realists went of meeting to the romantic thoughts that had as main focus ' ' eu' '.