The light that burns, as captured in the first edition and as technically reshaped in the second, externally has the character of a composition. It is a composite and not an organic and unified composition, as seen from its distinctive features: it consists of self-contained poems or discourses that thematically reference different levels and times and is expressed alternatively in two languages.

In other words, opposites coexist in its intellectual framework: the Christian and the ancient myth, symbolism and realism, the poetic and the prose discourse at the same time. Above all, lyricism and satire coexist.

If its ideological aim is the theoretical connective tissue of the work, the contribution of two factors that are also distinctive of its literary identity plays a role in the formation of its separate composites. These are the method of mythical symbols and the para-theatrical structure of the work.