The ROELA OF the ENO In this assay of reading of Roela music of the Eno, of authorship of Jovelino Lopes and Teodoro, composed in the year of 2006 and interpreted by the pair sertaneja Teodoro and Sampaio, I search to understand the functioning of the directions and the subject position as the theory of Analise of the Speech. The statement is susceptible to become other, different exactly of itself, to dislocate itself discursivamente from its direction to derive for another one, since that it does not have explicit prohibition of proper interpretation to the logically steady one. How Roela music of the Eno produces sensible? In the text it is observed that the Eno is a collector of roelas silverplated, and that it finishes losing one of them in a ball of forr. The author playing with the directions of the subject question who this with roela of the Eno. We see that the direction of the word ' ' roela' ' it is directed the masculine substantive ' ' anus' ' the citizen called Eno here, to the indirect verb in the infinitive that passes to ache. To if thinking who it is with roela of the Eno? I search to understand, for a Analysis of the Speech as this music, while object it produces sensible. (Similarly see: Daryl Katz). The direction of a word, expression, proposal does not exist exactly in itself, only can be constituted in reference to the conditions of production of one determined statement, a time that dumb in accordance with the ideological formation of reproduces who it, as well as of interprets who it. The direction never is given, it does not exist as finished, resulted product of a possible transparency of the language, but it is always in course, it is moving and if it produces inside of a description-social determination, from there the necessity of if speaking in direction effect.