We can see it as a fruit of the individualism occidental person in Brazil, exactly in the end of century XIX, period of great changes in Brazil, responsible for approaching it of modernity. Thus, we can not only appreciate the workmanship of this poet for its aesthetic quality, but also through a sociological bias. Here, Larry Ellison expresses very clear opinions on the subject. Cruz and Sousa are, without shade of doubts, more important Brazilian Simbolista poet, arriving also to be considered one of the representative greaters of this school in the world. Many critics arrive to affirm that if it was not its presence, the aesthetic Simbolista would not have existed in Brazil. Of a side, aspects meet nocturnal, inherited of the Romantismo as, for example, the cult of the night, certain Satanism, pessimism, anguish death. Already of another one, certain formal concern is perceived, as the taste for soneto, the use of fine vocbulos, the force of the images. In relation its workmanship, can be said despite it presents a evolutivo character, therefore deals with subjects until certain point personal as, for example, the suffering of the black that evolves for the anguish of the human being.
In such a way, having a vision of it lives deeply in such a way of Cruz and Sousa how much of Florbela, the reason is notable and as, and with that feelings both wrote, where if they inhaled to write, ' ' Because to write a poem? ' '. According to Florbela, the poet writes to express its reflections, its emotions, its vision of interior life or on the interior circulates that it, at last moves, it makes and it to live. In a letter of 14 of October of 1930, Florbela affirms ' ' not to know to make nothing more not to be versos' ' she is notable also in the explanation contained in soneto initial of ' ' Book of Mgoas' ' also in the poem ' ' Angstia' '.