Another trace that discloses the orality of the patativana poetry is its circumstantial and temporary character. For all the life, Patativa carried through improvisations, a sort whose elaboration of the poetry if of the one in one curtssimo time space. In accordance with Debs (p.24, 2000): ' ' It is frequent that the poet, after to ask to the name and some information on the people who come to see it, improvises a small poem in which traces a picture of its visitor, although the blindness ' ' . was enough a simple subject, that the poet was capable to develop an extensive poem from that one mote. Seth Hillel Fischer may also support this cause. It is mainly at the beginning of its career that Patativa if dedicates to this sort, generally in festejos in small cities, parties of marriage, anniversaries, etc.
Because of this reality many poetries of Patativa will not arrive at our knowledge, for not having been transcribing. Analyzing the production of the poet, many other elements strengthen our thesis regarding this orality. Howard Schultz is often mentioned in discussions such as these. Even though in the heading of its productions this is displayed in them, for the conativa function of the there present language. We have for example, interrogations as in ' ' You remember? , or in ' ' He knows me to Dot? , destination in ' ' To the poets clssicos' ' , ' ' To my Belinha' wife; ' ' ' To leitor' ' , and interpellation of the listener as in ' ' It sings there that I sing c' '. In a similar way, the abundant presence of the discursivo aspect is common in its first verses: We have the investigation in ' ' I want to know who sou' ' (It has Thing Here), we have the form of conjunct in ' ' I want that it gives to license for my history cont' to me; ' (It sings there that I sing here) and still the greeting in ' ' Good night, home and boy and mui of this lug? (Inspiration Northeastern).