In its workmanships, it had to support critical and satire on the part of who analyzed protected for the racial and literary preconception. ' ' Nobody felt yours espasmo obscure, to be humble enters the humble beings. Tipsy, idiot of the pleasures. The world for you was black and hard. You crossed in a dark silence. The imprisoned life the tragic duties.

Nobody to you saw uneasy, Hurt, occult and terrifying, private the feeling, That the heart you apunhalou the world. (CROSS and SOUSA, Sonetos, Obscure Life, 1983) the rejection in the literary ways and the press feeds its hurt, that feeds its verse. The hurt if distills, turns raw material the poetry. The concrete experience is articulated with the rhetoric, that is, the daily ingrate becomes itself into the decadentista tpica of the cursed poet. my hatred, my majestical hatred, My hatred pure saint and benfazejo, Unge me it fronte with your great kiss, Becomes humble and becomes me proud. Humble, with humble generous, the Proud one with the beings without Desire, Without Goodness, without Faith and fecundador and affectionate sun flashing. my hatred, bendito mine lbaro, Of minh' soul agitated in the infinite, Through other sacred lbaros. Hatred is, good hatred! you are my shield Against the villains of the Love, who defame everything, Of the seven towers of the mortal Sins (CROSS and SOUSA, sonetos, Sacred hatred, 1983) In this soneto, Cruz and Sousa, suffering the rejections from jobs and of its literary compositions by means of the society, it writes this soneto saying that its hatred was sacred, therefore it had an obvious reason for this and that hatred was sacred.

Next to the Death it is that the Life blossoms! We walk laughing next to the sepulture. The opened mouth, escancarada, dark Of the hollow are as apodrecida flower. The Death remembers to the stranger Daisy Of our body, Fausto without happiness It walks in lathe to all the creature In an indefinite dance macabra.