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Deixant a part prejudicis miops, hem pres com a punt de partida del present estudi un nou enfoc que ens permetera confirmar que, sota l'escorça del llarg poema de tall èpic Seidia hi havia un alé esperonador;un missatge que ultrapassava el llindar de l'enyor historicista, satisfet i anacrònic. Mossén Joaquim Garcia Girona no és pas un poeta més ,desintonitzat i estantís; un cantor d'enyorances vàcues encabides en versos innocus, perpetuadors d'una imatge desfigurada -un miratge al·lucinat- del que una Renaixença autèntica hagués fet esperable. L'autor és un sacerdot renaixentista i la seua obra, Seidia, és el reflex que així ho evidencia., Ignoring short-sighted pre-conceived views, we have adopted, as a starting point of the present study , a new approach that will enable us to state that under the surface of the epic poem Seidia there was a stimulating breath, a message that surpassed the threshold of anachronistic and self-satisfied historicist nostalgia. Rev. Joaquim Garcia Girona is not just another untuned and stagnant poet, he is not a singer of empty nostalgia wrapped in harmless verse which perpetuates a distorted image -a hallucinated image- which could be expected in an authentic Renaissance. The author is a Renaissance priest and his poem Seidia is the evident reflection of this fact.

Inside the almost monocolor panorama that literature in Castelló de la Plana presents along the first third of the XX century -dominated by a «Iandscape painten» aesthetics-, it shines for its own values «Ioesa»by Maximià Alloza. This is the unique work that shares the purposes of renewing of the Valencian authors in modernistic times. Published in 1914, «Ioesa» was a bomb: his author was accused of having done a foreign piece of work, alien to the usual poetry of that time. As a result of these attacks (certainly, not justified), Maximià Alloza left writing and found shelter in the world of painting.