This work, at this first moment, will search a parallel it enters the conceptualization of the parody and the workmanship of Mrio de Andrade, ' ' Macunama' ' in the attempt to delineate it and it delimits it, so that, in the next chapters, if it can apprehend as the same one if of and because of the writer to have chosen, after what the new relation between the author and the reader, restored will be approached by means of this ' ' figure of linguagem' '. The parody is confused with the being in the Macunama personage in the same way that Nietzsche, second (FERRAZ 2002, P. 103); ' ' Delineates a curious caricature of the European in the end of century XIX and ties to this characterization the release of the laugh and of the parody that this historical moment, led for its you finish consequences would provide' ' but it runs away from the question how much to the caricature for possessing in itself the irony that it exceeds to the proper text in which if firm to exist, such confusion if of the one for the concern of Nietzsche in investing the personage of aristofnica risibilidade that brings in itself the myth of the creation from ridicule, that in the case of the parody in Macunama is not applied for not being reducionista and yes dynamic in its pragmatic profile. The vestiges of this idea, according to which, the creation if of the one for intermediary of the contrast aesthetic enters accepted as normal and the abnormal person whom, to if collating, the divine forces liberate, can be found between the Greeks of the archaic society that the existence believed the origin of all as something related to an access of uncontrollable laugh, as for example; of Demter, the goddess of the agriculture, provoked for the vision of the parts you summon of Iambo that if undressed ahead of it in order makes to take it the Kykeon, 10 I eliminate regenerator capable to return to it joy to it, which, loses since that its Persfone son is led for Ades, the god of the hell.