Cultural elements, man-made, such as those mentioned in the previous line, are also valued by their relationship, belonging and consubstantiality with nature. The best example of this fundamental unit is located between verses seventh to tenth of the same fragment. The situation shown in this moment is a paradisiacal original myth. Nature, man and culture are in harmonic unit. From the moment in which the lyric speaker has become contemporary and witness of that primordial world, and yet the communicative situation that is the poem unfolds in the present contemporary reader gutenberguiano or virtual, the primary to mean that paradise circumstance becomes an illo tempore: I am here to tell the story I, incansico of silt / I touched the stone and said. The word appoints and destroys: my land, without a name, without America. The arrival of civilization implies the destruction of the Paradise.
But there is another prior language that appears as opposed to the nominative poet exercising: the language of water, the initials of the Earth, the keys. The possibility of the poet’s name and say arises paradoxically from their own membership to that primordial world, that pre-palabra, universally mythic originating language, the language of the birds of Rene Guenon. The distortion of this mythical setting Neruda about the mythical world conceived in traditional terms is that, despite being legendary in paradisaical terms, saves itself its own development, that is the story that constitutes the development of this myth, its temporal dimension, involving at the same time suffering. There is no original sin nor outside intervention that imply evil. Is it not here of a fall from a perfect one imperfect State but development so cruel as necessary of a germ. Although not completely separated from a basic mythical conception, of which we have outlined the structure, already a materialistic historical development conception is manifested in this first part.