The first verse of the poem, ' ' ocaso hard coito' ' , he is incrivelmente revealing of three ' ' linhas' ' or ' ' tons' ' that they will be developed in elapsing of the poem, that they are confused with the triad cited in the previous paragraph. This because each one of the three words that form the verse can be chores in the following way: ' ' ocaso' ' as representing the nature with all its aspect of undetermination, and valley to remember the graphical proximity of &#039 here; ' ocaso' ' with ' ' acaso' ' ; ' ' duro' ' it would be the arduous work of the poet ahead of the difficult mission to construct the beauty and, finally, ' ' coito' ' as being the sex, but not only the human sexual act or cpula animal, but yes, everything what it has of ' ' attraction vital' ' between the things, also between the words. It has attraction, for example, perceived (or created) for Max between the words ' ' assobio' ' ' ' osso' ' , thanks to the word ' ' tbia' ' , with which &#039 creates verses; ' they had brought faunos/ossobiando tbias' '. With the neologism made for the exchange only of a letter, ' ' a' ' for ' ' o' ' , the blow in the flute of the faunos, so used figure for classic poets and rcades, earns new force in verses of Max, a time that I now sing it magician of such flutes is produced by a blow who comes mixed with bone, that is, a rough, hard blow, that it sends to the work of the artist. Moreover, the neologism serves for not leaving in to forget them double the meaning the word tibia, of bone and of flute, therefore the tbias perhaps do not have to be whistled, but yes, ossobiadas. .