REFLEXÕES POÉTICAS (Portuguese Edition)

Translator Richard Zenith notes that Pessoa eventually established at least seventy-two heteronyms. The heteronyms possess distinct biographies, temperaments, philosophies, appearances, writing styles and even signatures. How do I write in the name of these three? Ricardo Reis, after an abstract meditation, which suddenly takes concrete shape in an ode. His prose is the same as mine, except for certain formal restraint that reason imposes on my own writing, and his Portuguese is exactly the same — whereas Caeiro writes bad Portuguese, Campos writes it reasonably well but with mistakes such as "me myself" instead of "I myself", etc..

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Alberto Caeiro was Pessoa's first great heteronym; it is summarized by Pessoa as follows: He does not let any thoughts arise when he looks at a flower The stupendous fact about Caeiro is that out of this sentiment, or rather, absence of sentiment, he makes poetry. What this means, and what makes Caeiro such an original poet is the way he apprehends existence.

He does not question anything whatsoever; he calmly accepts the world as it is. The recurrent themes to be found in nearly all of Caeiro's poems are wide-eyed childlike wonder at the infinite variety of nature, as noted by a critic.

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He is free of metaphysical entanglements. Central to his world-view is the idea that in the world around us, all is surface: He manages thus to free himself from the anxieties that batter his peers; for Caeiro, things simply exist and we have no right to credit them with more than that. Caeiro attains happiness by not questioning, and by thus avoiding doubts and uncertainties. He apprehends reality solely through his eyes, through his senses.

Octavio Paz called him the innocent poet. Paz made a shrewd remark on the heteronyms: In each are particles of negation or unreality. Reis believes in form, Campos in sensation, Pessoa in symbols. Caeiro doesn't believe in anything. Poetry before Caeiro was essentially interpretative; what poets did was to offer an interpretation of their perceived surroundings; Caeiro does not do this. Instead, he attempts to communicate his senses, and his feelings, without any interpretation whatsoever.

Caeiro attempts to approach Nature from a qualitatively different mode of apprehension; that of simply perceiving an approach akin to phenomenological approaches to philosophy.

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Poets before him would make use of intricate metaphors to describe what was before them; not so Caeiro: Caeiro sought a direct experience of the objects before him. As such it is not surprising to find that Caeiro has been called an anti-intellectual, anti-Romantic, anti-subjectivist, anti-metaphysical He is in this sense very unlike his creator Fernando Pessoa: Pessoa was besieged by metaphysical uncertainties; these were, to a large extent, the cause of his unhappiness; not so Caeiro: Things, for him, simply—are. Caeiro represents a primal vision of reality, of things.

He is the pagan incarnate. Indeed, Caeiro was not simply a pagan but paganism itself. The critic Jane M. Sheets sees the insurgence of Caeiro—who was Pessoa's first major heteronym—as essential in founding the later poetic personas: By means of this artless yet affirmative anti-poet, Caeiro, a short-lived but vital member of his coterie, Pessoa acquired the base of an experienced and universal poetic vision.

After Caeiro's tenets had been established, the avowedly poetic voices of Campos, Reis and Pessoa himself spoke with greater assurance. Reis, both a character and a heteronym of Fernando Pessoa himself, [71] sums up his philosophy of life in his own words, admonishing, "See life from a distance. There's nothing it can tell you. He is a modern pagan who urges one to seize the day and accept fate with tranquility. The seeker will find in all things the abyss, and doubt in himself.

Believing in the Greek gods , yet living in a Christian Europe, Reis feels that his spiritual life is limited and true happiness cannot be attained. This, added to his belief in Fate as a driving force for all that exists, as such disregarding freedom, leads to his epicureanist philosophy, which entails the avoidance of pain, defending that man should seek tranquility and calm above all else, avoiding emotional extremes.

Where Caeiro wrote freely and spontaneously, with joviality, of his basic, meaningless connection to the world, Reis writes in an austere, cerebral manner, with premeditated rhythm and structure and a particular attention to the correct use of the language when approaching his subjects of, as characterized by Richard Zenith, "the brevity of life, the vanity of wealth and struggle, the joy of simple pleasures, patience in time of trouble, and avoidance of extremes". In his detached, intellectual approach, he is closer to Fernando Pessoa's constant rationalization, as such representing the orthonym's wish for measure and sobriety and a world free of troubles and respite, in stark contrast to Caeiro's spirit and style.

As such, where Caeiro's predominant attitude is that of joviality, his sadness being accepted as natural "My sadness is a comfort for it is natural and right. Of the three heteronyms he is the one who feels most strongly, his motto being 'to feel everything in every way. As a result, his mood and principles varied between violent, dynamic exultation, as he fervently wishes to experience the entirety of the universe in himself, in all manners possible a particularly distinctive trait in this state being his futuristic leanings, including the expression of great enthusiasm as to the meaning of city life and its components and a state of nostalgic melancholy, where life is viewed as, essentially, empty.

One of the poet's constant preoccupations, as part of his dichotomous character, is that of identity: Wanting to be everything, and inevitably failing, he despairs. Unlike Caeiro, who asks nothing of life, he asks too much. In his poetic meditation 'Tobacco Shop' he asks:. Mensagem , [72] written in Portuguese, is a symbolist epic made up of 44 short poems organized in three parts or Cycles: The first two poems "The castles" and "The escutcheons" draw inspiration from the material and spiritual natures of Portugal. Each of the remaining poems associates to each charge a historical personality.

Ultimately they all lead to the Golden Age of Discovery. Pessoa brings the reader to the present as if he had woken up from a dream of the past, to fall in a dream of the future: The third Cycle, called "O Encoberto" "The Hidden One" , refers to Pessoa's vision of a future world of peace and the Fifth Empire which, according to Pessoa, is spiritual and not material, because if it were material England would already have achieved it.

The Hidden One represents the fulfillment of the destiny of mankind, designed by God since before Time, and the accomplishment of Portugal. King Sebastian is very important, indeed he appears in all three parts of Mensagem. He represents the capacity of dreaming, and believing that it's possible to achieve dreams. One of the most famous quotes from Mensagem is the first line from O Infante belonging to the second Part , which is Deus quer, o homem sonha, a obra nasce which translates roughly to "God wishes, man dreams, the work is born".

This poem refers to Ulysses , king of Ithaca , as Lisbon's founder recalling an ancient Greek myth. The articles disclose Pessoa as a connoisseur of modern European literature and an expert of recent literary trends. On the other hand, he does not care much for a methodology of analysis or problems in the history of ideas. The philosophical notes of young Fernando Pessoa, mostly written between and , illustrate his debt to the history of Philosophy more through commentators than through a first-hand protracted reading of the Classics, ancient or modern.

Such pantheist transcendentalism is used by Pessoa to define the project that "encompasses and exceeds all systems"; to characterize the new poetry of Saudosismo where the "typical contradiction of this system" occurs; to inquire of the particular social and political results of its adoption as the leading cultural paradigm; and, at last, he hints that metaphysics and religiosity strive "to find in everything a beyond". From Wikipedia, the free encyclopedia.

For the band, see Alexander Search band. This name uses Portuguese naming customs. The first or maternal family name is Nogueira and the second or paternal family name is Pessoa. Portugal portal Europe portal Literature portal Poetry portal Biography portal. In Pessoa, Fernando Manuela Parreira da Silva. Fernando Pessoa , Lisboa: Geerdts, letter to Dr. Faustino Antunes , 10 April Jan—Mar , Orpheu in Portuguese 1—2 , Lisboa: Oct — Feb , Athena in Portuguese 1—5 , Lisboa: Imprensa Libanio da Silva.

Shearsman Books, archived from the original on 2 April , retrieved 28 July Edited and with an introduction By Josiah Blackmore. She traveled to Switzerland in November , with her daughter and son-in-law, recently married. Retrieved 13 February Fernando Pessoa hat in der Poesie Alberto Caeiros seinen Meister gesehen", "A modern guardian of things; The discovery of the great Portuguese continues: Die Dinge, wie er sie sieht, sind als was sie scheinen. Sein Pan-Deismus basiert auf einer Ding- Metaphysik , die in der modernen Dichtung des zwanzigsten Jahrhunderts noch Schule machen sollte.

The things, as he sees them, are as they seem. His pandeism is based on a metaphysical thing, which should still become a school of thought under the modern seal of the twentieth century. Athenaeum , January The differential diagnosis of liver colic. Richard Zenith, Penguin classics, Three Heteronyms and an Orthonym". Editado por Eduardo Filipe Freitas. CreateSpace Independent Publishing Platform. This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references.

July Learn how and when to remove this template message. Fernando Pessoa at Wikipedia's sister projects. Retrieved from " https: The Lusiad shows the Portuguese diachronically as a people which, in European terms, confronted its Iberian peninsular Other, the Castilian people, in order properly to outline its profile in difference. This profile has one of its strongest features in the languages spoken on either side of the frontier.

The portals of the colonising process open up, and such Others are compelled to exchange their identitary masks in the name of Faith and Empire. In the Portuguese case, this was the moment when Lusophony pounded its first stakes into the cultural ground and began to build its future. From then on, it became more and more diminished, taking on, in the 19 th century, an undeniably traumatic dimension. This latter century saw the crumbling of the entire euphoric imaginary construction of Portuguese identity. These put forward a new way of reading Portugal and its identitary cartography, at that historical moment of sheer symbolic and institutional crisis.

In this chapter, and upon viewing the decaying tomb of King Fernando, one of monarchs whom Lopes had hallowed in his chronicle, Garrett analyses the decay of Portugal itself. I believe this with the utmost conviction. But I have better hopes, nonetheless, because the people, the people is sound [ We who are the base prose of the nation, we do not understand the poetry of the people.

This fades away at the end, but the author salvages the beauty of the land and of its submerged myths and stories, despite the disheartened final reckoning. He goes on to say: The result of this journey towards historical and identitary recognition is, when all is said and done, crossly melancholic, as we know. Decidedly I am leaving, I cannot be here, I do not want to see this. It is not horror that strikes me, but nausea, disgust, and anger.

It duplicates, back to front, the present time of the narrative, supplementing it. More handsome even and above all more of a man. Africa has not even lightly tinged his face. The greatest nightmare of the European white West had thus been averted: In this context, it is worth turning to an essay by the Brazilian historian Alberto Costa e Silva, in which he challenges the notion that the character could possibly have gained riches by legitimate means in such a short period of time: With its own corrosive irony and its play of ambiguities as I see it , the text lets the matter remain unresolved, as a merely possible interpretation.

In this returning, I perceive, purely and simply, yet another barb of Queirozian irony, a tangible result of his own disenchantment. Among the voices which show the shattering of what might be called euphoric Lusism , it is difficult to choose those which best represent the endeavour to establish new historical-cultural negotiations which might still sustain the quest for a present time by national subjects who were divided and plunged into an identitary crisis.

Heroes of the sea, noble people, Brave and immortal nation, Lift up today anew The splendour of Portugal. The writer achieves this, at times by making the narrative action unfold in the former colony, Angola, by now transformed into an independent nation, at other times by changing the space of action to Portugal, to which the last three descendants of a white Angolan colonial family repair in the post-independence period, at the outbreak of the civil war in this African nation.

Throughout the three parts, the mother, Izilda, speaks from Angola, more precisely from the interior of this country. Through the imagery associated with this character, the anthem loses its patriotic sense and turns inside out. In this cartography, Lusism is thus reconfigured in the shape of loss, as if it were a film negative.

Each of the three emerges in their irreversible loneliness, which at the same time negates any chance of rebirth to which the idea of Christmas might point. The new chance for rebirth points here to a reconfiguration of Lusism , sustaining the very idea of Lusophony as a symbolic place to be erected, since the raft drops anchor — in an equally symbolic geographical coordinate — between Africa and America.

As with the former, it comes to mean, in a more encompassing context, a political gesture which affirms Lusitanian symbolic-cultural strength, as is the case with Francophony, Anglophony, and so on, constructions whose point of departure is signaled by the hegemony of the colonising nations and by the equally hegemonic language spread by the colonising process.

This author begins by showing the late recording of the term in dictionaries, which coincides with the equally late entry of the construct in the area of Portuguese Studies.

It reads as follows: However, I will also call upon Brazilian literature, for, in the community in which we all, speakers of Portuguese, take up our place, there is a series of identifications that bring us together, side by side with the far-reaching diversities which differentiate us.

Since Portuguese literature has already been covered in the previous section on Lusism , I will not discuss it here. There is an issue, raised by the navigators right at the start of the voyage Canto I, 42 , which eventually opens the curtains of the first protocolar scene presenting European subjects and the inhabitants of a small island glimpsed by Gama.

I transcribe it my italics: The issue thus posed becomes the motif for later encounters with other identitary formations. To this statement the Others thus engaged retort in Arabic, understood by some, as the text clarifies on several occasions:. We are one from the islands replied Strangers in the land, law and nation; For the natives are those whom Nature created, lacking law and reason. There is thus no dialogue, nor a protocolar introduction, for there is no prior knowledge of the codes of either people, which leads to an absolute impossibility of linguistic intercourse.

Inevitably, all this will be followed by the first physical clash, with arrows on the one side and firearms on the other. The cultural worlds are mutually exclusive and confrontational, precisely because of the absence of porous linguistic frontiers where they might intersect.

It is in this Portuguese language that we tell of ourselves and, in some places, build part of our national identities. We should not forget that assimilation was the only way Blacks had of accessing a range of rights enabling them to rise to merely middle-ranking citizenship status. In his penetrating analysis, Alfredo Margarido summarises the meaning of this imposition, when he states that the tool of linguistic domination aimed to. Which is not to say that Asians were entirely free from this condemnation. Tell me what language you speak and how you speak it, and I will tell you who you are not — such could be the central aphorism associated with Portuguese linguistic practices.

It is in this space where silence is erected on that which we do not know and do not even wish to know that Lusophony moves. Precisely because of this, it must be pondered as a political gesture that underpins an entire symbolic construct, through which frequent attempts are made to erase the web of differences which nevertheless insist on projecting themselves onto the meshes, in the event, literary, woven by the fabric of the imaginary of producers from the countries once colonised by Portugal. As Cornejo Polar quite aptly stresses with regard to Latin-American literatures, a formulation easily extendable to African literatures, such productions set themselves up as.

It is the fact that, in the intercontinental projection of this language, there is a foundational difference between what happens in Brazil and Portugal, on the one hand, and what happens in the historical-social space of the five African nations, on the other. For this reason, there can be no skirting the matter of plurilingualism when working on the literatures of the five nations, in addition, of course, to all the diversity to be found in the cultural dimension, made even more sweeping by such linguistic polyphony.

It is not simply the case that in some areas national languages are spoken to a larger extent than the European variant, but also that these countries produce literary works in these languages, albeit in small number. I have always taken pleasure in observing the generous alchemy of the Portuguese language, adding its voice to the Umbundu song, smiling at Kimbundu humour or incorporating words fit to make milk go off, characteristic of the Nyaneka language.

Fernando Pessoa

The reverse is also valid and works for the entire universe of the Bantu languages and not just those spoken in the territories where today Portuguese is also spoken. The sun had not risen five times since we left you, when [ The Brazilian modernist project sought to set up another locus of speech which would serve as a possible new model for the African nations, when they committed themselves to dis-assimilating from the prevailing European models. An example can be found in the poetry of Manuel Bandeira, in which the utterance of the people, the popular street cries, the songs, the new rhythm, etc.

Coffee and bread Coffee and bread Coffee and bread Holy Mother, what was that, engine driver? That rascal train goes by goes straight by with the power it has woo-woo woo-woo woo-woo chuga-chuga chuga-chuga chuga-chuga clickety-clack clickety-clack clickety-clack the rascal train goes by Jacinto, I not like people — effing camundongos! Nobody what come and hassled him with their catingas This occurred precisely because Amado stages, on the one hand, the self-justifying life-styles of Bahia Blacks and, on the other, because he opts for staging an aesthetic of deprivation whereby the excluded attain their turn and voice, showing in that voice an utterance in difference:.

The Macumba man spoke: In so doing, they sought to overcome European authoritarian power, confronting it face to face. It opens with an epigraph that acts as a kind of proposal which throws down a riddle, so attuned to African taste:. The blood of the names is the blood of the men Suck it too if you can bring yourself to do it You who do not love it. Dawn breaks On the cities of the future And a yearning grows in the names of things And I say Metengobalame and Macomia and Metengobalame is the warm word blacks made up and nothing other Macomia [