O diabo em cena: a presença do fantástico e do maravilhoso no drama Macário, de Álvares de Azevedo.

Abstract

Álvares de Azevedo's 1855 dramatic text Macário presents the story of the troubled relationship between Macário and an unknown figure, revealed to be Satan. Throughout the story, the behaviors and situations in which Satan participates, highlights the satanism in the work. The image of the supernatural is formed in an everyday space presenting what is sublime to the real, escaping from logic and coherence. From the theoretical strands of fantastic literature and the marvelous, elaborated by critics and authors who have dedicated themselves to the genres, it is possible to build an interpretation of the formation of Satanism in the work. By analyzing the evidence in the narrative, the work presents the questioning of how the fantastic and the marvelous genres are aesthetically combined through the presence of Satanism in the work. The main objective of this work is to analyze and interpret the fantastic and the marvelous, in the face of Satanism in Macario. As well as, discuss the theoretical approaches between the fantastic and the marvelous, critically discuss the presence of Satanism as an aesthetic tendency in Romanticism and analyze the presence and functioning of the fantastic and marvelous in Macario. Satanism composes a fantastic side, by the dread created by the presence of Satan, but also the marvelous, because the diabolical figure is recognized in the world, social and religious knowledge. In this way, the work has the hypothesis of possessing both genres, fantastic and marvelous. As a methodology, the work is bibliographic in nature, by means of theoretical texts, qualitative, text analysis, and applied, from the application of the concepts discussed in the analyzed work. Through the bibliographical research, the theoretical foundation is based on the theories developed by Tzvetan Todorov (1970), David Roas (2014) and other theorists that help in the process of analyzing the work.