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Resumo : Partindo de uma observacao feita na obra Raizes do Brasil (1936), de Sergio Buarque de Holanda, na qual o autor reflete sobre a disparidade entre a sociedade brasileira do seculo XIX e as ideias do liberalismo europeu, Roberto Schwarz desenvolve em Ao vencedor as batatas (1977) uma critica ao Romantismo brasileiro, que teria sido montado sobre uma comedia ideologica, diferente da europeia, representando uma idealizacao que nao correspondeu a realidade. O presente artigo reve esses conceitos a partir da cena de baile da obra Senhora (1875), de Jose de Alencar. Observa-se a presenca da valsa na literatura brasileira oitocentista, objetivando analisar de que maneira esse fenomeno europeu se manifestou em territorio brasileiro e como o imaginario em torno do baile foi apropriado e relido pelo autor. O artigo coloca a literatura brasileira em dialogo com a literatura europeia produzida no mesmo periodo. Ao ponto de vista de Roberto Schwarz acrescenta-se o estudo feito por Maria Cecilia de Moraes Pinto (1999) que investiga as influencias europeias de Alencar e o seu empenho em fazer uma literatura nacional. Palavras-chave : valsa na Europa e no Brasil; Romantismo; literatura nacional. Abstract : The piece of writing Raizes do Brasil (1936) by Sergio Buarque de Holanda, in which the author reflects about the disparities between Brazilian society of the nineteenth century and the ideas of European liberalism, provides a basis to Roberto Schwarz’s criticism of Brazilian Romanticism in Ao vencedor as batatas (1977). According to Schwarz, different from its European correlate, Brazilian Romanticism would have been based on an ideological comedy, thus representing an idealization that did not correspond to reality. This article revisits such concepts from the perspective of the ballroom dancing scene in Senhora (1875), by Jose de Alencar. Based on the presence of the waltz in nineteenth century Brazilian literature we analyzed how the European phenomenon manifested in Brazilian territory and how the imaginary constructed around ballroom dancing was appropriated and re-read by Alencar. This work establishes a connection between Brazilian Literature and the literature produced in Europe during the same period. In addition to Roberto Schwartz’s point of view, we included Maria Cecilia de Moraes Pinto’s study (1999), which investigated Alencar’s European influences and his efforts in creating a national literature. Keywords : waltz in Europe and Brazil; Romanticism; national literature.

A valsa nos trópicos: repercussões de um fenômeno europeu na literatura brasileira do século XIX