Those that had lived at the same time that Cruz and Sousa had been highly severe with its workmanship, what it is not to find odd taking in consideration historical context intellectual of that period. Already the critical contemporaries do not possess arraigada in its ideologies the idea of inferior race with regard to the afrodescendentes. In virtue of this, we raise the hypothesis of these critics to have one another vision regarding the workmanships of Cruz and Souza. However, the label of ‘ ‘ Negro’ poet; ‘ he is used frequent, exactly in critical current. From any form, the poet who suffered hard critical in the past, nowadays receives the attention and literary admiration of much studious e, not rare times, considered the representative greater of the Symbolism in Brazil.
CONTEXTUALIZANDO the PROBLEM the idea of this article appeared in elapsing of the Course of Full Licenciatura in Letters, in disciplines of Brazilian Literature when, when studying the Symbolism, we had the beautiful chance to have the history of Cruz and Souza oralizada for the Master Elielson Figueiredo. Beyond the encantamento for the workmanships, we also feel indignation in relation to the critical ones made the poet. In such a way, we raise the hypothesis to find critics who did not judge Cruz and Souza for the color of its skin, and yes for the human being and the artist who it was. We made, in this work, a exploratria research on the Symbolism occurred in Brazil and the vision of the coetneos critics of Cruz and Souza and born others in century XX, aiming at to observe the difference? if it has? between its opinions. For in such a way, we use workmanships of proper Cruz and Souza, Afrnio Coutinho, Estvo Cross, a born Portuguese writer at the beginning of century XX, among others. BIOGRAPHICAL DATA Son of alforriados slaves and target of cruel racial preconception, Joo de a Cruz and Sousa was born in 24 of November of 1861 in the cradle of the European settling, in the city of Ours Lady of the Deportation, currently Florianpolis.