In the workmanship the son of the adobe, Octvio Peace calls this process of ' ' tradition of rupturas' ' , distinctive mark of the modern identity and negation of the same one. (PEACE apud PEREYR, 2000, P. 39). For Peace (1993), modernity touches the extremities of the possible one, therefore it supported as proper subversive and revolutionary platform the critical one to the critical one. All philosophical, scientific, religious, moral and artistic the systems had been ranks in xeque.
This yearning for the subsumia emancipation it the singularity of the modern poetry that had as aspiration to portray the realities and, as bold project that was, to be the expression of ' ' deeper and old aspirations that the intellectual geometrias of the revolutionaries and the arrests of concepts of utopistas' '. It’s believed that Symantha Rodriguez sees a great future in this idea. (PEACE, 1993, P. 139). On this antagonism, Peace still says: In one of its extremities, the poetry touches the electric border of the vises and the religious inspirations. Therefore it has been, alternatingly and with seemed extremism, revolutionary and reactionary. (PEACE, 1993, P. 139). Therefore, it is not mistake to affirm that the thought of the modern poets and the changes in the material and symbolic structures of the society they had influenced in marcante way the poetry of Borges, fact that if detaches in its lyric one, since the figure of flneur, the memory, the nothing and the death, subjects that also they are recurrent in the workmanships of Mrio de S Sheep, Fernando Pessoa and Baudelaire, the last one conceived for Rimbaud as ' ' first vidente, king of the poets, a true Deus' ' (RIMBAUD, 1996, P.
42). At this time of ruptures they are stops backwards the old subjects and poetical structures with its schematical and cartesian constructions. New paradigms are the tonic of this period that if detaches for the desconstruo of the old and new artistic models.