The thematic boarded central office for Ildone in Last Chords is not specific of the city of Guard or even though of the State of Par; the death, in itself, is universal, being tematizada in one without number of productions, is poems or chats. It happens, however, that the resources used for the poet, although the first sight not to cause much impact, is local: the proper used code? the Portuguese Language? , and the choices vocabulares denote these local especificidades. To this respect, and coinciding with what Pablo Mendes defends for being the poetry contemporary, it places Bosi (1996: 45) that: Then each image … in will disclose a feeling to them delicious and pungente, the feeling that called the poet and its readers for a dense gift, only, irrepetvel, even so its appearance can coincide with a thousand and versions that of subject had the same given poets of other times places. … The door that opens for the literary tradition, for more tracks of intertextos that authorize to the critic, will not have to make to forget it that each new, strong poem and beautiful it is an act differentiated of elocution, act of knowledge, and not mere recognition of what already it was direction, imagined and said. Jorge Koshiyama (1996), in turn, assists in them to differentiate the terms poetical, poetry and poem, being defined the first one as making, creating, ' ' the study of the poetical creation in itself mesma' '. Soon, when analyzing the poetical one of Jose Ildone, and more specifically of Last Chords, we perceive more that it more prioritizes a searched carefully language, worked, from there its similarity with the parnasiana school, but that, however, it is worried not in describing objects or speech of the work to write poetry? such which made the parnasianos? but yes in dealing with thematic more real and current? in the case of the poem in question, the subject of the approach of the death and the behavior of the I-lyric one is boarded how much this, as already mentioned.