It is standed out, however, that this transistion becomes of the Romantismo for the Realism, having the last mentioned school bigger emphasis in the workmanship. Of the other style one has only some representations and explicit a critical one to the nailed values, the language is different, is presented objective and daily, the profiles of the personages is others, the society, the environment that is scene for the estria, as well as all the other aspects. already if undoing of that the subjetivismo is Romantic yields place the objetividade, the dream the reality, the feeling to the physical pleasure and plus a series of substitutions. The cited scene is the city of Rio De Janeiro at the time of the Reign of D. Joo VI in the start of century XIX.A workmanship is stuffed of alegricos types that are representative of one same layer of the society, is: barber, comadre, ciganas, widowers and have the presentation of the master-of-ceremonies. The same he classifies yourself as representative of the middle class, however one adds the too much personages participating of conflicts of similar nature. As it appears central office of the workmanship has the Leonardo boy travesso that since its birth already it announced its traquina nature.

All reference of the infancy of the boy what it is had is traps and pranks that the same did not stop to practise. Leonardo is first ‘ ‘ malandro’ ‘ of the Brazilian fiction. If it has some critic or indication that opposes the information, still thus is valid to see it as reigning figure of the malandragem. If in infancy its tricks could be evaluated or be judged as prank, in youth the lack of a craft or inclination for some profession, gave what to speak in that society.