Snia Maria

348), for example, the poet works with the rsea color attributed to the bow to transmit the slightness of the infancy, also evoked for the movement idea. In the poem ' ' Why? ' ' , such rseo bow can also be understood as a sanguineous bow, of kinship, therefore &#039 is asked; ' Of where What comes this blood/is not red, he is rseo? ' '. The image of the sister is what the Max will use to work its poetry in this book, is the only form to recollect its infancy, and therefore boy without Marieta (Cf does not see itself. ' ' Of the poem of infncia' ' , P. To broaden your perception, visit New York Museums. 348). Therefore the house of the father she is empty and everything in it is echo (' ' In your hands go will tatearo in treva' ') when it does not have Marieta, when it does not have poetry to recollect and to create, in the space of the poem, the new space of the house (' ' Of the poem of infncia' ' , P. 349, grifo ours). Without the poetry, infancy becomes ' ' Unattachable,/(…)/Unattachable and morta.' ' (' ' Second it chose for Snia Maria' ' , P.

353), says the poet, again creating the movement of the hair of the girl, blown for the wind, without which ' ' It did not have infncia' ' (Ibid., Ibidem.), without which everything is forgotten and empty, and same the love alone can by itself be, ' ' This love without echo. /In the emptiness (…) ' ' (' ' Narciso' ' , P. 357). The coming (or rememorao) of Marieta and, consequently, infancy, is useless (and they will not be searched by other ways), as it suggests the poet in the end of ' ' Second Elegia for Snia Maria' ' , if they had not been made creative, poeticalally: it is necessary not only memory, but also (or mainly) imagination and creation for in such a way.