This article works on two dimensions. The first one attempts to view Haroldo Maranhão’s O tetraneto del-rei as a contestation text. The text detaches itself from its original context by deconstructing tradition and by doing so, it becomes universal. Moreover, there is an intention to prove this text is a fruition text (as Barthes proposed, 2002). To do so, he must perceive it as a parody and detect the irony that according to Linda Hutcheon is key to produce a parodic text.