… Is the rider of weighed metal that it projects of high its cyclical series of shades. … Is a sword that served in the war and that it is but a weapon that a memory. …

Is the face of Christ who vi in the dust, I insult the hammers blow, in one of the ships of the Piedad (BORGES, 2001, P. 68-69). Borges really runs away from the buclico saudosismo of the romantic ones, constructing its to make poetical of doubts and subjective contradictions. It has in verses in prominence the coherence and incoherence of one I broken up, that it searchs in the city Buenos Aires the totality of the existence: ' ' Buenos Aires is to another street, the one that I never did not step on, is the private center of blocks, the last patios, is what the faades escondem' ' (BORGES, 2001, P. 68). In the poetry Buenos Aires this return to the origins is evident, vindication of a lyric one of the memory.

The city and the memory are identified while labirntica consubstanciao of the existence. Already if manifest in incipient way the figure it flneur, it andarilho of the city, it man in the anonymity, very characterized in last verses it well poem: ' ' Buenos Aires is … the quarter that is not yours nor mine, what we ignore and amamos' ' (BORGES, 2001, P. 70). In May 20, 1928, beyond showing, really, the consolidation of the poetical force of Borges in the lyric mnemonics, since that the proper heading is a reminiscncia, brings the image of flneur in marcante way: ' ' It walks slowly under the tlias; it looks at railings the doors, do not stop lembr-las' ' (BORGES, 2001, P. 33). It is perceived that in this I break up the caminhante is lost in its souvenirs, anonymous in the world of the cities, way to the world them others, drama of the similar urban poetry to soneto To a Passer-by, of Baudelaire, as if it can evidence I break up in it below: The street in around was an uncommon noise.