Abstract
When we examine the multiple facets of the arlequinal poet highlighted by critics, we can understand that the musical and the amorous facets of Mário de Andrade's poetry began to be constructed in Pauliceia desvairada (1922) and in Losango cáqui (1926); remain in Clã do jabuti (1927) and gain prominence in the mature phase of the author as in Remate de males (1930), "Livro azul" (1941), p…