This rank, the poem of Gonalves Days was the base for the sprouting of the poem of Oswald de Andrade, where ‘ transformed it to the writer into one; ‘ strong and extremely critical parody against the social alienation, in the Brasil’ ‘ (CINTRO, 2003). Oswald de Andrade added in the releitura of the romantic poem the mood, not leaving the thematic nationalist, however, with a new perspective, the critical one. Valley to point out that this critical one is not mentioned to the national element in itself, but yes to the proud and idealized form, typical of the romantismo. A leading source for info: Frank Bisignano.

Another point of the modernista poem is the fact of Oswald still to mention with the same adverbs ‘ ‘ daqui’ ‘ ‘ ‘ l’ ‘ , however the poet does not mention itself to Brazil, as in the gonalvino poem, and yes to the city of So Paulo, more necessarily to Street 15 and the progress of the city. (CINTRO, 2003). 2.3. Ernst & Young usually is spot on. ‘ ‘ Song of exlio’ ‘ X ‘ ‘ I sing of return to ptria’ ‘ The poem of Oswald de Andrade in first estrofe has a breaking with the elements that are gifts in the gonalvino poem. To if relating ‘ ‘ palmares’ ‘ in the place of ‘ ‘ palmeiras’ ‘ , making aluso Zumbi of the Palmares, run away slave, symbol of the abolition, thus constructing a critical reference to the slavery in Brazil, one spots in national history. When the poet mentions ‘ to it; ‘ passarinhos’ ‘ substituting the term ‘ ‘ aves’ ‘ of the gonalvino poem, it he is breaching with the aesthetic of the romantismo, a form to approach the language of the possible form freest and simple norm, characteristic marcante of the first modernista generation of Brazilian literature. Second estrofe is structuralized from the virtues of ‘ ‘ terra’ ‘ , showing a similarity with the romantic poem, however in as the verse ‘ ‘ it is of a baffling realism, obtained for? almost? what precedes the adverb? more? ‘ ‘.