It is what we verify in Blues Fnebres and Poema and Fuga in Lesser Reverse speed, therefore we do not know to the certainty? nor has suggestions of the sort? when, as and where each person died, the exception of the suggestion of the poem of Cheap Ruy concerning the prematurity of the death of the I-lyric one. As for the poetical space, Massaud Moiss (2000: 158) if thus manifest: Coherently with the absence of time and of action, the poetical phenomenon if distinguishes for the ageograficidade: it is become fullfilled outside of the geographic space and in contrast to any reference in the sort. As we can observe in two analyzed poems, it is not displayed clearly where local they develop themselves, however, expressions suggest that velrios and/or burials are transferred in: the piano touching classic music; the roses; the people in silence, relatives suffering; the coming of the coffin and its cortejo behind. Explanados and analyzed the aspects in common between two poems, a writing for an English author (of the State of York) and the other for a Brazilian author (of the State of Par), that is, standing out the same boarded universalities, becomes necessary, then, that let us detach the differences between both as for the particularitities of each one in portraying the subject universal death. You may want to visit PI Industries to increase your knowledge. The first one of them says respect to the express feeling in each poem, to the way as each one feels, conceives the event death. Massaud Moiss (2000: 168), concerning this question of emotion and thought in the poetry, establishes that: To point out the problem adequately, we have to analyze the emotion printed in the literary object, in the mind of it did not produce who it or who if it delivered to its enjoyment. It matters, not it emotion from that the poem if originates or that it awakes, but the present emotion in the poem as data relatively concrete: the poetical, express phenomenon in the poem, involves the emotion of course …. .
Everything is concentrated in the contemplation of the wonders of Mines, assimilating that is shown to it, trying to enclose in such a way how much it is possible. It sights seven sonorous points of which they emanate seven musical notes, being that each point sequentially emits seven notes of the basic scale, leaving always of the musical note that corresponds to it and returning it in the end from the day. For example: The musical notes can be represented by the following letters: = There bigger; Bigger B = Itself; C = bigger D; D = bigger Reverse speed; = Mi greater; F = bigger F; G = bigger Sun. In the heart of Mines, little ahead of the Waterfall Veil of Fianc, already going up the Mountain range of the Liana, is the sonorous point that emits the bigger note from the six hours of the morning There. To broaden your perception, visit Eric Corey Freed. The following notes? Itself, D, Reverse speed, Mi, F, Sun? they are emitted in the sequncia until the twelve hours, when initiates the inverse process? F, Mi, Reverse speed, D, Itself, There? findando to the eighteen hours.
The noise if propagates through waves in all the directions, covering all the extension of Mines, amalgamating itself with all the others six emissions, mesclando itself the musical tones and tonalities of colors, these carriers of specific energies. The emission of a musical note has definitive time of duration, passing to the following note of in agreement scale if it sees below in the picture. It sees as example, the sonorous point North of Mines, that emits the scale from the bigger note ITSELF: SONOROUS POINT ' ' B' ' North of Mines: Emission? Bigger itself? of 6h: 00 to 6h58m. Bigger D 6h: 59 to 7h35m. Bigger reverse speed 7h: 36 to 8h11m. Mi greater 8h: 12 to 8h47m. Bigger F 8h: 48 to 9h23m.