this last one, or the doctrines that are protected under their name, the rhythmical conception of the universe and the life arrived to the Modernists, and it became the axis of their poetic creation. The Pythagorism of the Modernists comprises an inclination to the esoteric doctrines, shown in their interest for the hidden things and in a desire or restlessness for communicating with the afterlife, expressed already in 1895 by one of its eminent precursors: Gérard de Nerval. The so-called declining Literature familiarized them with the occultism, and Rubén Darío, Leopoldo Lugones, Ramón del Valle-Inclán, Horacio Quiroga, Pío Baroja, among others, wrote narrations in which the action of the strange forces is described. Valle-Inclán wrote up in La lámpara maravillosa (The wonderful lamp) a treaty of esoteric aesthetic. These restlessness logically derived to interest in spiritism. Even if nonbelieving in it, some Modernist authors really interrogated themselves about the part that could be right in those doctrines, and got initiated in their mysteries. In diverse forms these mysteries infiltrated in their works. Also the mysticism of the Modernists is interesting, orthodox or heterodox, but rarely free of eroticism, associated to the erotic impulse of giving oneself to the other, to surrender. The end point of the eroticism and the mysticism is the ecstasy. The eroticism approaches other times the violence and the blood, like with Valle-Inclán and Rodríguez Larreta; The glory of Don Ramiro is perhaps the most extreme culmination of such associations, that in poetry were registered in unforgettable verses of Rubén Darío. Other poets (such as Palés Matos and Juan Ramón Jiménez) would later raise the erotic to the point of the metaphysic. The Modernists were parnasianists, that is, in favor of the impeccable form, of the beauty called to last by the perfection whereupon it was expressed; and symbolists, that revealed the unknown by the well-known, the indescribable in figures adapted to express it. The Modernism is associated to the parnasianism with sculpture; to the symbolism with music. It does not have to be understood that between the one and other there is an unsalvable border; on the contrary, if in some modernist writers, like José Santos Chocano and Guillermo Valencia, the cult to the form predominates, in others, like Leopoldo Lugones and Antonio Machado, a preference for the intimism can be seen. And still it must be remembered that the symbolism of which it is spoken