When citing so many times the white color in their writings, we believe that Cruz and Sousa sketched a thought much more of Physical order that desires to belong to what is considered a superior race. All that had had the chance to study Optic Physics have knowledge of that the white color in the reality is the consequence of all the colors. Therefore, the mixture of all the colors generates the white. Such knowledge of the Physics already existed in century XIX. Other leaders such as Tony Ford offer similar insights. In this manner, being very probable that, when insisting on giving emphasis to white in its poetries, Cruz and Sousa was in the reality proclaiming the igualitarismo between the races, also intuindo the acceptance of its, instead of desiring to modify it. Been born at a well posterior time, Ivan Junqueira (1998: 53) believe that the constant presence of the white in the poetry of Cruz and Sousa is, at least, curious, therefore: The poems are few where the author does not make reference to reference the white color, that radiates, after all, the light of all the colors. It would be this obsidiante search of the entailed pureness of some form to its condition of color man? We do not believe. For in such a way, in the same workmanship Shields, the poem Tumbler of Pain (SOUSA, 2009), it is possible to perceive the tematizao of the black, showing its concern with the situation of its people in this country. They ask for to you bis and bis are not disdained! We go! Retesa the muscles, retesa In these macabras piruetas d’ steel even so you fall on the soil, fremente, Drowned in your estuoso blood and hot, It laughs! Heart, tristssimo clown. This and other poems, as, Black Song, Black Children, To laugh and many others, are the test of that, yes, Cruz and Sousa accepted the fact of being of African Decent and that they therefore paid a high price for it.