Thus Dirceu goes making a picture of loved, either blond or brown its, comparing it with the European women ' ' white rosto' ' , idealizing either, with its ' ' smooth testa' ' or with its ' ' hooped sobrancelhas' ' joining all these details if not only had its formosa woman, whom exactly into the full sky of stars if it transforms into a beautiful sun, illuminating Marlia, but the love that Dirceu felt. LIRA V one I sell at retail Here Ran calm For edges covered Of flowers, and hay: The left if raised a closed forest, and the hasty time, That nothing respects, Already everything moved. Are these the small farms? They are these; but I The same am not. Marlia, you call? It waits, that I go But I eat I discourse? Perhaps could Already everything be changed In the space of one day? The copados sources, and feixos exist; They give to flowers the prados ones, and runs the cascade, That never dried. Are these the small farms? They are these; but I The same am not. Marlia, you call? It waits, that I go. ANALYSIS In this lira notices the conviviality with the nature, a characteristic of the arcadismo, a scene that also was part of the loving meeting of Dirceu, and that the same place is the point of if transforming into only, in fields of pastures, in which the shepherds and its flocks live, a place in the magic and calm truth, as exalta in the verse ' ' it ran calm/for edges covered/of flowers and feno' '. For it is absent of Marlia, Dirceu sees that everything to be different in the nature, or better, moved, and that for it does not have more ' ' graa' ' alone of looking at for the field if saddens. LIRA XIV My Marlia beautiful, all passes; The luck of this world is badly insurance; If it comes after males adventure, Comes after the pleasures the disaster.