To approach on Jorge Borges Luis in the perspective of lyric mnemonics and its displacement while intellectual city dweller implies to think it as poet of modernity. In order to reach these two objectives are that the three poems of the workmanship will be analyzed Compliment of the Shade: Buenos Aires, May 20, 1928 and Compliment of the shade. To make the contextual correlations of its workmanship demands, in the limits of this article, one brief historical recapitulation of the direction of the lyric word. Greece? cradle of the culture occidental person? it constructed to a knowledge legacy importantssimo for the history of the civilizations. One of its more ingenious cultural accomplishments was the lyric one, originary poetical sort of the Lira, instrument of ropes used in the dither to its deities. The Greeks? precursors of the philosophical thought of ocidente? they searched the essence of the things and found in lyric a rhetorical tool capable to synthecize the nature of its Ethos. Other unfoldings politicians, economic, cultural and social had occurred of Old Greece until our days.

Focar in general lines some transformations of the modern age. In the reality of century XIX the lyric modern subjected it the transformations and displacements of direction, decurrent of the instability of the social world. The speeches had been multiplied (cubismo, dadasmo, futurismo, surrealismo) exaltando new poetical elements: the city, the multitude, the machine, the progress, the decisive teams of the events, factors for the new face of the modern poetry. It is known that the thought is son of the time, of a specific historical context. The thought or modern ideas does not run away to this rule they oppose no matter how hard it, desconstruindo the artistic conceptions that if consolidate in elapsing of history (tradition). The modern tradition is the negation of the tradition, is the critical one to the proper modernity, that is only modern for the constant changes.