The study proposes a range of theoretical-practical considerations upon the Giuseppe Ungaretti’s poetical conception and stylistics. The analysis is mainly focused on the word issue and on some ways through which the word is poetically updated by the founder of the Hermetism. We specify that those expounded in the study refer mainly to the first period of the lyric opera of the author, represented by the volumes Porto Sepolto (1916) and Allegria di Naufragi (1919). Concious (following the French symbolism, avangardism and futurism) of the necessity of the word “adjustment” to the new modern sensitivity, of the imperative of the release of this from the “crust” of the traditionalism, the poet aspire to a pure, mysterious and essentialised logos. As a result, Ungaretti resorts to a new approach of the verse, to an increased “autonomy” of the word, to the stress put on the analogy (at the disadvantage of the similitude), to the elliptical syntax, to the almost total abolition of the punctuation etc. The mentioned above stylistic ways, but also the others, are correlated with the poet’s theoretical considerations and with a range of conclusions of ours that we propose to those interested in, in order to understand better the Ungaretti’s lyrics.