Rafael Lucas (2004) explains that ' ' In accordance with a certain tradition of the maritime romance, the sea very condenses a strong intensity of directions due the duascaractersticas: the immensity of its extension and the death violenta.' ' (In: OLIVIERI-GODET; PENJON, p.197). The workmanship in analysis articulates thematic as the social denunciation, the adventure, daily heroic and the wonderful afro-Brazilian with the presenaencantadora and encantatria of the Iemanj goddess. In this I sing lyric-lover, Amado' ' it fished palavras' ' to speak of mazelas social and to act again emdefesa of its people, greater victim of the indifference and incoherence of the laws that we protect rich and suffocate the poor persons, pointing the imperfections of the sistemapoltico-ideological one. The author uses this narrative stops in them presenting the full vidaprecria and of turbulences of the men and women of the side-sea. Ahead dodescaso and of the misery for these lived, counts on the support of the laws of the wharf, ethical and moral pointer that guides the life of the men of the sea, conducted pelasolidariedade, love, family, education, character, honesty and faith.

In firm lands, who of the direction to the life is Iemanj dospescadores of the wharf, the social matters imposed they is not empecilho for aprocura of another space of survival: The men of the side of the wharf alone have a road in its life: aestrada of the sea. For it they enter, that its destination is this. The sea is owner of todoseles. Of the sea the joy comes all and all the sadness because the sea is mystery quenem the sailors oldest understands, that nor they understand those antigosmestres of saveiro that do not travel more, and, only, they patch candles and contamhistrias. Who already deciphered the mystery of the sea? Of the sea it comes music, comes amore comes the death.