Its first poetry denotes, therefore, the crisis of the adolescence that if it relates to the stage of transistion of the disappearance of the pure and innocent world of infancy with the rough universe, bad, insensitive and impolite of the adult life. To this respect, Francisco Pablo Mendes comments that (2001: 196): It is the drama spiritual of delicate and demasiadamente sensible adolescents e, for certain, nothing more than what the drama of the pureness of the man, drama that in its paroxysm can generate, as in the case of Rimbaud, according to Daniel Rops, the desperation and the revolt. However, differently of the majority of the other adolescents, express Faustino to feel that still it possesss certain pureness, denoting a benign side of all this situation. The responsible one for allowing to the auto-discovery of its personality, making possible the rise of its soul and the permanence is exactly this pureness and exteriorizao (by means of the poetry) of its more chaste and sublime feelings. Exactly with the disillusionments, Faustino obtained to reserve in its mago its beauty, pureness and delicacy. Below some marks that suggest the consideraes of this its drama spiritual of the transistion adult infancy-life, of its auto-discovery and the presence of the pureness and of raised feelings more in its soul, in its meet mago. ).
saddest of the men/even so never he has been the prodigal/I am only one poor child/for the first time ahead of proper itself/and that it has fear? of the poem Self-portrait, 25/02/1948; b). I hear yours I sing poor person decayed angel/but I am imprisoned and it contemplates me to the vulture? of the Ode poem, 07/03/1948; c). The beauty is only impious the divine ticket/and fugaz? of the poem 1 reason of the rose, 02/04/1948; d). Lode so that the poem was born as its sensible petals: /untouchable and humid of the dew? of the poem 2 reason of the rose, 02/04/1948; e).
… The Old Hope, that at the time not yet was so old thus, cried out, it begged, makes some thing master! The animals are to suffer, and remember my father to set the caadeira, while dragged it me for the room so that she did not attend that. … Still today I cry the death of my dogs. Nor it had to say this, I do not know you will understand if me, but I cry more for my dogs of what for my poor father. The description of the memory sends the souvenirs to it detected for the capacity of an individual memory that survives of the collective memory.
When Flix tells an event occurred in infancy, it backwards a tona other personages who had been part of this tram, proving, in such a way that the individual memory survives of the collective memory. This, in turn, backwards a tona a representation of the present absentee in the gift. Iser (1996, P. 17) affirms that the elements gifts in the text are strengthened for that if they had absented. Thus the chosen element reaches a perspectivstica position, that makes possible an evaluation of what it is present in the text for what of it if it absents. … And thus the present world in the text is pointed for what it is absented and what is absented can be designated by this presence. Still Iser (1996, P.
13): … the double relation of the fiction with the reality would have to be substituted by a relation trplice. As the ficcional text contains elements of the Real without if it depletes in the description of this Real, then its fictitious component does not have the character of a purpose in same itself, but he is, while pretending, the preparation of an imaginary one. The author par excellence strengthens the idea of the presence of something absent, of that already he happened, evidencing that literature portraies the world in a perspectivstica position, representacional, demonstrating, in such a way, that the Real if makes gift in the ficcional, and that the imagination is the point of divergence between both.