The canções are followed by twelve compositions styled odes. In their essential characteristics, these pieces are but little distinguished from the canções, though the object of the poet seems to have been that they should approximate more nearly to the ancient style. The structure of the verse corresponds with that which Ferreira and the Spanish poets, since the time of Luis de Leon, selected for this class of lyric composition. The bold fancy of Pindar, or the energy of Horace, is not to be expected in these any more than other Portuguese and Spanish odes. But Camoens never limited his poetry merely to sonorous language. The first ode is particularly distinguished for its beauty. It is addressed to the moon. The idea is mythological, like all the lofty ideas of Camoens. But in none of his other odes has the poet so well succeeded in combining the grace of antiquity with a romantic tenderness of feeling free from every trace of affectation. The commencement is in the pure ode style. The poet invokes his muse to stem “the current of lovers’ tears, and attired in a rich and gay robe to do homage to the goddess who converts night into day.” He then addresses the goddess of the moon herself, she “whose silver beam penetrates the thick clouds, and prevents night from obscuring the image which love traces and re-traces in his heart; she whose pure forehead is crowned and encircled with stars; she who strews the plains with roses and with flowers, created by spring through her heavenly influence.”[172] But a still finer passage occurs at the conclusion of the ode, where the poet bids farewell to night, “the silent friend whom he obeys; and, that she may listen to his complaints, presents to her roses and fresh amaranth still wet with the tears of the fair bride of the jealous Titan.”[173]