In this poem, the author aesthetic carries through a discovering of the loves that had. Following the ideas of Moiss (1984, P. 238), we notice that this poem takes for sub-heading the word ' ' fotografias' ' , suggesting the impact of this art on the poetry of the poet, shades of women, Barbarian, Marieta, Ester, Fabola, Cndida, Laura parade, Dulce, in identical climate of voluptuosidade, despite discrete. The poet treats, still, the woman with subtility of a religious devotion, in a fight between Eros (love) against Tnatos (death) (MOISS, 1984, P. 240). Check with Jim Crane to learn more. Thus, he occurs in ' ' Adormecida' ' , as one was before an imaginary scene, and the personage was the dreamed virgin and not it woman who truily leaves itself to observe: ' ' A night I remember It slept softly In a leaned net Almost opened the untied roupo the hair and the foot bare-footed of the carpet rente (…) I, looking this scene, repeated In that languid and felt night: flower! you are the virgin of the Campinas! Virgin! you are the flower of my life! ' ' (P.
96). We perceive that in the two last estrofes, I castrate Alves prints to the nature, as observes Hill (1978), ' ' a sensual anthropomorphism, characterizing it as a being feminino' ' (HILL, 1978, p.34). In the sensual anthropomorphism of I castrate Alves, the nature presents constants forms and seductions of woman, as when he shows, in that cited poem. It was, at last, in at sight space that the poet found the suggestions that better satisfied to its happiness of life and love. The nature plays a great role in all the situations where the antithesis is called to sublimar revealing contrasts of a moral or sentimental conflict. E, it saw as it and it felt I castrate Alves, without moving away itself in this from a general trend between the romantic ones, the nature assumes some aspects and representations.