Madame Bovary
Gustave Flaubert
the borrowed vocabulary of love and the agricultural show in Part II, chs. 1-8 - The Show and the Seduction, and free indirect style in Part I - The Ball as Poison.
The Posthumous Memoirs of Brás Cubas
Machado de Assis
the prologue to the reader, the book as a thinking erratum (chapter XXVII), the dialogue made only of dots (chapter LV), the style that lurches like drunkards (chapter LXXI), the chapter to be inserted into another (chapter CXXX), and the useless chapter (chapter CXXXVI).
Dom Casmurro
Machado de Assis
the meaning the narrator gives to his own nickname (chapter I), the scene he cuts in order to be spared (chapter XIV), the omissive books, which the reader fills in (chapter LIX), the two images of the eyes fused into one (chapter CXLVIII).
Paradise
Dante Alighieri
the verb Dante invents, transhumanize (canto I), the reader's little boat (canto II), the souls who write letters like flocks of birds (canto XVIII), the poem that leaps (canto XXIII) and the pen that leaps (canto XXIV), the name of God that changed from I to El (canto XXVI), and the seeing that was greater than the telling (canto XXXIII).
Don Quixote
Miguel de Cervantes
the stepfather of the prologue (prologue of Part One), the Arabic manuscript and the historian of doubtful authority (chapter IX of Part One), the distinction between poet and historian before the printed book (chapter III of Part Two), the novellas the author no longer wants to write loose (chapter XLIV of Part Two), the apocryphal book read in an inn (chapter LIX of Part Two), translation as the reverse of a tapestry (chapter LXII of Part Two), and the pen that claims the character (chapter LXXIV of Part Two).
Romeo and Juliet
William Shakespeare
the Chorus that tells the end in the prologue to Act I, Romeo's opposites in scene 1 of Act I, the word banished in scene 2 of Act III, and the friar's account in scene 3 of Act V.
Julius Caesar
William Shakespeare
the crown told by Casca in Act I, Scene 2, the two speeches in Act III, Scene 2, and the poet attacked by name in Act III, Scene 3.