The second phase is about the moment more characteristically realist-naturalist, where the author displays in its proper characteristic romances, also he adheres to ' ' theories of the Realism iconoclasta' ' , denouncing critically the Portuguese society giving it has detached the three effective institutions (Monarchy, Church and Bourgeoisie). The romance in study, Baslio Cousin, is an example of this phase, where the Portuguese bourgeoisie denounces. We perceive that the naturalistic language, needs and fluente, gains prominence from its as moment of literature. In the third phase, without abandoning the realistic critical register, the author, more confident, it shows its proper expressive resources, it escapes of the rigid norms realist-naturalists, giving place to the fancy. At this moment the writer decides to construct workmanships of construtivista direction, as he would say MOISS (2005: 196) ' ' …
fruit of the painful conscience to have uselessly invested the bourgeois and famlia' '. Ea de Queirs is considered a precursor of the Portuguese Realism, therefore, it disclosed in its workmanships, the decline of the moral and the hypocrisy of the Portuguese society of century XIX by means of the pathological analysis, moreover, the malleability and naturalismo of the language that it uses, makes with that its workmanships are distinguished in Portuguese Literature. Confirming what already we detach above, the reason of Ea to be considered one of the great names of Portuguese Literature, is also for the use of a simple language, that involves the readers and is capable to reflect the reality social, unmasking its colorful side. In Baslio Cousin, Ea denounces the Bourgeoisie, in special, the family lisboeta, that (together with the Monarchy and the Church) very it was unmasked in the Realism and in Naturalismo, and analyzing this workmanship, in the plan of the content and the expression, the problem appears.