The poem in question is a beautiful example of this, therefore by means of the repetition of verbs in the future of the gift dispersed throughout the text, such as ' ' entenders' ' , ' ' compreenders' ' ' ' procurars' ' , the poet creates a sonorous chain without needing to appeal to no traditional form; Max Martins still continues its ' ' experincia' ' musical comedy making what we stand out in the previous paragraph as being its more characteristic way to construct the noise in its poems, that is, by means of what we will call here you rhyme toantes, that is, that species of rhymes that it is made only with the tonic syllable of the words, as it makes with ' ' seios' ' , ' ' beijos' ' ' ' estrangeiros' ' in final verses. As other common points between this first book and the posterior ones of the workmanship of Max Martins, we can cite the spalling of the poem, and this is, without a doubt, a estilstico trace that deserves prominence for any person whom it searchs to study workmanship of this poet, this because, it is a trace that author will develop of form to arrive the rays of the extremity: starting with spalling of the poem, passing for the spalling of the verse and culminating in the spalling of vocbulos, being valid to remember that one does not annul to another one, in contrast, they strengthen themselves and if they mix frequently creating true ' ' poems-fragmentos' ' with one high degree of thematic blackness. In the Stranger, we only find marks of the spalling of the poem, which is understood in this study as the discursiva unit in addition inside of the poem, that is, the poet constructs its text by means of pparently disconnected verses, without a linearity, as if they were fragmentos of a speech. . (Not to be confused with Jonathan Friedland!).