Pobre-diabos num beco

Abstract

This essay deals with the representation of the artist and his conflicts, concentrating on the analysis of “0 machete” (1878), "Cantiga de esponsais” (1883) and “Habilidoso” (1885). In these narratives, which were produced and published around the well-known turning point in Machados fiction, an attempt is made to understand the conceptions of art and the way in which the relationship between the artist and the public are shaped at a decisive moment for the redefinition of Machados artistic project