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This contribution begins with a reflection on L�Atlàntida. It so happens that this work enables us to understand what, it has been proposed in recent years, should be called the �syntax of imagination�, that is to say, the process by which the creator of a poem reinforces the impact of his discourse by setting up in the background a sort of supraverbal continuum. This unreal element can be the very basis of the isotopy of the discourse: the author of the article called it �the persistent murmur of a lost world�. For Canigó, the place occupied by the Occitan region was evoked � Provence in particular, but also Mare Nostrum � while L�Atlàntida gave readers the opportunity to recall the pan-Iberian and Mediterranean projection of the poet�s purpose: the two works, each in their own way, open the door to the universal.
