It reappears in the modern version of the myth. This inteface politics in the baudelariana poetry appears considering the hierarchic position and pointing the libertarian direction, a time that the system abandoned the guard of the small things. For Benjamim it is necessary to reassume the allegiance to the particular one. The universal one cannot be given by measured, the universal one is the idea. This desproporo between universal and the particular one must be fought by the image dialectic. They reconstitute the world from its fragmentos.
In mentality of the baroque one for each idea exists an idea, different of the image contemporary. The baroque drama (trauesrpiel) is in the reading of Benjamim an idea and as idea of the beauty leaves to scintillate the truth (die Wahrheit) of the time. Knowing of the necessary beauty to be transformed into wisdom. The paper of criticizes is to test what it has of truth in the work of art. The beauty that coincides with the truth. The bias of the philosophical, analytical and logical tradition rational only values the knowledge that passes for the selection of science. While the alegorista in the art says the being in its totality, not more in the incapacity of the logic to read the mystery of the world. As emblem of this to know it (to give Allegoriker) venerates the image that is monograma of the Ser, of this form foreseen for the totality of experiences that can be become fullfilled or not. The image brings an enigma. The drama characterized for the image in the baroque one had the necessity of fixidez and sign, but this fixidez is only as a flash of a camera, its against face, the esbanjamento (Verschwendung) a characteristic of the baroque one, this storage of the direction (Scrhifibild) is present in all exagero of the baroque one in the images.