Fernando Pessoa
Fernando Pessoa | |
|---|---|
Bernardo Soares ], etc. | |
| Occupation |
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| Language | Portuguese, English, French |
| Nationality | Portuguese |
| Citizenship | Portuguese |
| Alma mater | University of Lisbon |
| Period | 1912–1935 |
| Genre | Poetry, essay, fiction |
| Literary movement | Modernism |
| Notable works | Mensagem (1934) The Book of Disquiet (1982) |
| Notable awards |
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| Partner | Ophelia Queiroz (girlfriend) |
| Signature | |
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Fernando António Nogueira Pessoa (Portuguese:
Pessoa was a prolific writer, and not only under his own name, for he created approximately seventy-five others, of which three stand out: Alberto Caeiro, Álvaro de Campos, and Ricardo Reis. He did not call them pseudonyms because he felt that this did not capture their true independent intellectual life and instead called them heteronyms. These imaginary figures sometimes held unpopular or extreme views.
Early life
 | This section needs additional citations for verification. (January 2022) |
Pessoa was born in
In a letter dated 8 February 1918, Pessoa wrote:
There is only one event in the past which has both the definiteness and the importance required for rectification by direction; this is my father's death, which took place on 13 July 1893. My mother's second marriage (which took place on 30 December 1895) is another date which I can give with preciseness and it is important for me, not in itself, but in one of its results – the circumstance that, my stepfather becoming Portuguese Consul in Durban (Natal), I was educated there, this English education being a factor of supreme importance in my life, and, whatever my fate be, indubitably shaping it.
The dates of the voyages related to the above event are (as nearly as possible):
1st. voyage to Africa – left Lisbon beginning January 1896.
Return – left Durban in the afternoon of 1st. August 1901.
2nd. voyage to Africa – left Lisbon about 20th. September 1902.
Return – left Durban about 20th. August 1905.[2]
The young Pessoa received his early education at St. Joseph Convent School, a
Meanwhile, Pessoa started writing short stories in English, some under the name of David Merrick, many of which he left unfinished.
In the preface to The Book of Disquiet, Pessoa wrote about himself:
Nothing had ever obliged him to do anything. He had spent his childhood alone. He never joined any group. He never pursued a course of study. He never belonged to a crowd. The circumstances of his life were marked by that strange but rather common phenomenon – perhaps, in fact, it's true for all lives – of being tailored to the image and likeness of his instincts, which tended towards inertia and withdrawal.
The young Pessoa was described by a schoolfellow as follows:
I cannot tell you exactly how long I knew him, but the period during which I received most of my impressions of him was the whole of the year 1904 when we were at school together. How old he was at this time I don't know, but judge him to have 15 or 16. [...]
He was pale and thin and appeared physically to be very imperfectly developed. He had a narrow and contracted chest and was inclined to stoop. He had a peculiar walk and some defect in his eyesight gave to his eyes also a peculiar appearance, the lids seemed to drop over the eyes. [...]
He was regarded as a brilliant clever boy as, in spite of the fact that he had not spoken English in his early years, he had learned it so rapidly and so well that he had a splendid style in that language. Although younger than his schoolfellows of the same class he appeared to have no difficulty in keeping up with and surpassing them in work. For one of his age, he thought much and deeply and in a letter to me once complained of "spiritual and material encumbrances of most especial adverseness". [...]
He took no part in athletic sports of any kind and I think his spare time was spent on reading. We generally considered that he worked far too much and that he would ruin his health by so doing.[7]
Ten years after his arrival, he sailed for Lisbon by East through the Suez Canal on board the "Herzog", leaving Durban for good at the age of seventeen. This journey inspired the poems "Opiário" (dedicated to his friend, the poet and writer Mário de Sá-Carneiro) published in March 1915, in the literary journal Orpheu nr.1[8] and "Ode Marítima" (dedicated to the futurist painter Santa-Rita) published in June 1915, in Orpheu nr.2[9] by his heteronym Álvaro de Campos.
Lisbon revisited
While his family remained in South Africa, Pessoa returned to Lisbon in 1905 to study diplomacy. After a period of illness, and two years of poor results, a
Pessoa returned to his uncompleted formal studies, complementing his British education with self-directed study of Portuguese culture. The pre-revolutionary atmosphere surrounding the assassination of King Charles I and Crown Prince Luís Filipe in 1908, and the patriotic outburst resulting from the successful republican revolution in 1910, influenced the development of the budding writer; as did his step-uncle, Henrique dos Santos Rosa, a poet and retired soldier, who introduced the young Pessoa to Portuguese poetry, notably the romantics and symbolists of the 19th century.[12]
In 1912, Fernando Pessoa entered the literary world with a critical essay, published in the cultural journal A Águia, which triggered one of the most important literary debates in the Portuguese intellectual world of the 20th century: the polemic regarding a super-
Along with the artist Ruy Vaz, Pessoa also founded the art journal Athena (1924–25),[15] in which he published verses under the heteronyms Alberto Caeiro and Ricardo Reis. Along with his profession, as free-lance commercial translator, Fernando Pessoa undertook intense activity as a writer, literary critic and political analyst, contributing to the journals and newspapers A Águia (1912–13), A República (1913), Theatro (1913), A Renascença (1914), O Raio (1914), A Galera (1915), Orpheu (1915), O Jornal (1915), Eh Real! (1915), Exílio (1916), Centauro (1916), A Ideia Nacional (1916), Terra Nossa (1916), O Heraldo (1917), Portugal Futurista (1917), Acção (1919–20), Ressurreição (1920), Contemporânea (1922–26), Athena (1924–25), Diário de Lisboa (1924–35), Revista de Comércio e Contabilidade (1926), Sol (1926), O Imparcial (1927), Presença (1927–34), Revista Solução Editora (1929–1931), Notícias Ilustrado (1928–30), Girassol (1930), Revolução (1932), Descobrimento (1932), Fama (1932–33), Fradique (1934) and Sudoeste (1935).
Pessoa the flâneur
After his return to Portugal, when he was seventeen, Pessoa barely left his beloved city of Lisbon, which inspired the poems "Lisbon Revisited" (1923 and 1926), written under the heteronym Álvaro de Campos. From 1905 to 1920, when his family returned from Pretoria after the death of his stepfather, he lived in fifteen different locations in the city,[16] moving from one rented room to another depending on his fluctuating finances and personal troubles.
Pessoa adopted the detached perspective of the
Fairly tall and thin, he must have been about thirty years old. He hunched over terribly when sitting down but less so standing up, and he dressed with a carelessness that wasn't entirely careless. In his pale, uninteresting face there was a look of suffering that didn't add any interest, and it was difficult to say just what kind of suffering this look suggested. It seemed to suggest various kinds: hardships, anxieties, and the suffering born of the indifference that comes from having already suffered a lot.[19]
A statue of Pessoa sitting at a table (below) can be seen outside
In 1925, Pessoa wrote in English a guidebook to Lisbon but it remained unpublished until 1992.[22][23]
Literature and mysticism
Pessoa translated a number of Portuguese books into English,
As a translator, Pessoa had his own method:
Automatic writing sample.
A poem is an intellectualized impression, an idea made emotion, communicated by others by means of a rhythm. This rhythm is double in one, like the concave and convex aspects of the same arc: it is made up of a verbal or musical rhythm and of a visual or image rhythm which concurs inwardly with it. The translation of a poem should therefore conform absolutely (1) to the idea or emotion which constitutes the poem, (2) to the verbal rhythm in which that idea or emotion is expressed; it should conform relatively to the inner or visual rhythm, keeping to the images themselves when it can, but keeping always to the type of image. It was on this criterion that I based my translation into Portuguese of Poe's "Annabel Lee" and "Ulalume", which I translated, not because of their great intrinsic worth, but because they were a standing challenge to translators.[30]
In addition, Pessoa translated into Portuguese some books by the leading
In 1912–14, while living with his aunt "Anica" and cousins,
Besides automatic writing, Pessoa stated also that he had "astral" or "etherial visions" and was able to see "magnetic auras" similar to radiographic images. He felt "more curiosity than fear", but was respectful towards this phenomenon and asked secrecy, because "there is no advantage, but many disadvantages" in speaking about this. Mediumship exerted a strong influence in Pessoa's writings, who felt "sometimes suddenly being owned by something else" or having a "very curious sensation" in the right arm, which was "lifted into the air" without his will. Looking in the mirror, Pessoa saw several times what appeared to be the heteronyms: his "face fading out" and being replaced by the one of "a bearded man", or in another instance, four men in total.[33]
Pessoa also developed a strong interest in
The characters of the three main heteronyms were designed according to their horoscopes, with special reference to Mercury, the planet of literature. Each was also assigned to one of the four astral elements: air, fire, water and earth. For Pessoa, his heteronyms, taken together with his actual self, embodied the full principles of ancient knowledge. Astrology was part of his everyday life and he actively practiced it until his death.[35]
"I know not what tomorrow will bring".
He died the next day, 30 November 1935.
As a
Pessoa declared about secret societies:
I am also very interested in knowing whether a second edition is shortly to be expected of Athur Edward Waite's The Secret Tradition in Freemasonery. I see that, in a note on page 14 of his Emblematic Freemasonery, published by you in 1925, he says, in respect of the earlier work: "A new and revised edition is in the forefront of my literary schemes." For all I know, you may already have issued such an edition; if so, I have missed the reference in The Times Literary Supplement. Since I am writing on these subjects, I should like to put a question which perhaps you can reply to; but please do not do so if the reply involves any inconvenience. I believe The Occult Review was, or is, issued by yourselves; I have not seen any number for a long time. My question is in what issue of that publication – it was certainly a long while ago – an article was printed relating to the Roman Catholic Church as a Secret Society, or, alternatively, to a Secret Society within the Roman Catholic Church.[40]
Literary critic Martin Lüdke described Pessoa's philosophy as a kind of pandeism, especially those writings under the heteronym Alberto Caeiro.[41]
Writing a lifetime
In his early years, Pessoa was influenced by major English classic poets such as
During
Politically, Pessoa described himself as "a British-style conservative, that is to say, liberal within conservatism and absolutely anti-reactionary," and adhered closely to the Spencerian individualism of his upbringing.[49] He described his brand of nationalism as "mystic, cosmopolitan, liberal, and anti-Catholic."[49] He was an outspoken elitist and aligned himself against communism, socialism, fascism and Catholicism.[50] He initially rallied to the First Portuguese Republic but the ensuing instability caused him to reluctantly support the military coups of 1917 and 1926 as a means of restoring order and preparing the transition to a new constitutional normality.[51][52] He wrote a pamphlet in 1928 supportive of the military dictatorship but after the establishment of the New State, in 1933, Pessoa became disenchanted with the regime and wrote critically of Salazar and fascism in general, maintaining a hostile stance towards its corporatist program, illiberalism, and censorship.[53] In the beginning of 1935, Pessoa was banned by the Salazar regime, after he wrote in defense of Freemasonry.[54][55] The regime also suppressed two articles Pessoa wrote in which he condemned Mussolini's invasion of Abyssinia and fascism as a threat to human liberty everywhere.[56]
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On 29 November 1935, Pessoa was taken to the Hospital de São Luís, suffering from abdominal pain and a high fever; there he wrote, in English, his last words: "I know not what tomorrow will bring."[57] He died the next day, 30 November 1935, around 8 pm, aged 47. His cause of death is commonly given as cirrhosis of the liver, due to alcoholism,[58][57][59] though this is disputed: others attribute his death to pancreatitis (again from alcoholism),[60][61] or other ailments.[62]
In his lifetime, he published four books in English and one alone in Portuguese: Mensagem (Message). However, he left a lifetime of unpublished, unfinished or just sketchy work in a domed, wooden trunk (25,574[63] manuscript and typed pages which have been housed in the Portuguese National Library since 1988). The heavy burden of editing this huge work is still in progress. In 1985 (fifty years after his death), Pessoa's remains were moved to the Hieronymites Monastery, in Lisbon, where Vasco da Gama, Luís de Camões, and Alexandre Herculano are also buried.[64] Pessoa's portrait was on the 100-escudo banknote.
The triumphant day
[…] on 8 March 1914 – I found myself standing before a tall chest of drawers, took up a piece of paper, began to write, remaining upright all the while since I always stand when I can. I wrote thirty some poems in a row, all in a kind of ecstasy, the nature of which I shall never fathom. It was the triumphant day of my life, and I shall never have another like it. I began with a title, The Keeper of Sheep. And what followed was the appearance of someone within me to whom I promptly assigned the name of Alberto Caeiro. Please excuse the absurdity of what I am about to say, but there had appeared within me, then and there, my own master. It was my immediate sensation. So much so that, with those thirty odd poems written, I immediately took up another sheet of paper and wrote as well, in a row, the six poems that make up "Oblique Rain" by Fernando Pessoa. Immediately and totally... It was the return from Fernando Pessoa/Alberto Caeiro to Fernando Pessoa alone. Or better still, it was Fernando Pessoa's reaction to his own inexistence as Alberto Caeiro.[65]
As the heteronym Coelho Pacheco, over a long period Pessoa's "triumphant day" was taken as real, however, it has been proved that this event was one more fiction created by Pessoa.[66]
Heteronyms
A Brasileira ".
Pessoa's earliest heteronym, at the age of six, was Chevalier de Pas. Other childhood heteronyms included Dr. Pancrácio and David Merrick, followed by Charles Robert Anon, a young Englishman who became Pessoa's alter ego. In 1905/7, when Pessoa was a student at the University of Lisbon, Alexander Search took the place of Anon. The main reason for this was that, although Search was English, he was born in Lisbon, as was his author. But Search represents a transition heteronym that Pessoa used while searching to adapt to the Portuguese cultural reality. After the republican revolution, in 1910, and consequent patriotic atmosphere, Pessoa created another alter ego, Álvaro de Campos, supposedly a Portuguese naval and mechanical engineer, who was born in Tavira, hometown of Pessoa's ancestors, and graduated in Glasgow. Translator and literary critic Richard Zenith notes that Pessoa eventually established at least seventy-two heteronyms.[67] According to Pessoa himself, there are three main heteronyms: Alberto Caeiro, Álvaro de Campos and Ricardo Reis. Pessoa's heteronyms differ from pen names, because they possess distinct biographies, temperaments, philosophies, appearances, writing styles and even signatures.[68] Thus, heteronyms often disagree on various topics, argue and discuss with each other about literature, aesthetics, philosophy, etc. Pessoa wrote on the heteronyms:
Pessoa's heteronyms, pseudonyms, and characters
Alberto Caeiro
Alberto Caeiro was Pessoa's first great heteronym; it is summarized by Pessoa as follows: "He sees things with the eyes only, not with the mind. He does not let any thoughts arise when he looks at a flower... the only thing a stone tells him is that it has nothing at all to tell him... this way of looking at a stone may be described as the totally unpoetic way of looking at it. The stupendous fact about Caeiro is that out of this sentiment, or rather, absence of sentiment, he makes poetry."[70] 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. He is free of metaphysical entanglements. Central to his world-view is the idea that in the world around us, all is surface: things are precisely what they seem, there is no hidden meaning anywhere. 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. He exists.[71] 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). Poets before him would make use of intricate metaphors to describe what was before them; not so Caeiro: his self-appointed task is to bring these objects to the reader's attention, as directly and simply as possible. 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...an anti-poet, by critics; Caeiro simply-is. 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: his attitude is anti-metaphysical; he avoided uncertainties by adamantly clinging to a certainty: his belief that there is no meaning behind things. 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.[72] The critic Jane M. Sheets sees the insurgence of Caeiro — who was Pessoa's first major heteronym — as essential in founding the later poetic personae: 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.[73] Ricardo Reis (5 issues edited by Pessoa and Ruy Vaz in 1924–1925), published poetry by Pessoa, Ricardo Reis, and Alberto Caeiro, as well as essays by Álvaro de Campos. In a letter to William Bentley,[74] Pessoa wrote that "a knowledge of the language would be indispensable, for instance, to appraise the 'Odes' of Ricardo Reis, whose Portuguese would draw upon him the blessing of António Vieira, as his stile and diction that of Horace (he has been called, admirably I believe, 'a Greek Horace who writes in Portuguese')".[75] Reis, both a character and a heteronym of Fernando Pessoa himself,[76] sums up his philosophy of life in his own words, admonishing, "See life from a distance. Never question it. There's nothing it can tell you." Like Caeiro, whom he admires, Reis defers from questioning life. He is a modern pagan who urges one to seize the day and accept fate with tranquility. "Wise is the one who does not seek. The seeker will find in all things the abyss, and doubt in himself."[77] In this sense, Reis shares essential affinities with Caeiro. 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."), Reis is marked by melancholy, saddened by the impermanence of all things. Ricardo Reis is the main character of José Saramago's 1986 novel The Year of the Death of Ricardo Reis. Álvaro de Campos Álvaro de Campos manifests, in a way, as a hyperbolic version of Pessoa himself. Of the three heteronyms he is the one who feels most strongly, his motto being 'to feel everything in every way.' 'The best way to travel,' he wrote, 'is to feel.' As such, his poetry is the most emotionally intense and varied, constantly juggling two fundamental impulses: on the one hand a feverish desire to be and feel everything and everyone, declaring that 'in every corner of my soul stands an altar to a different god' (alluding to Walt Whitman's desire to 'contain multitudes'), on the other, a wish for a state of isolation and a sense of nothingness. 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: he does not know who he is, or rather, fails at achieving an ideal 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:
Summaries of selected works
Message Mensagem,[78] written in Portuguese, is a symbolist epic made up of 44 short poems organized in three parts or Cycles:[79] The first, called "Brasão" (Coat-of-Arms), relates Portuguese historical protagonists to each of the fields and charges in the Golden Age of Discovery .
The second Part, called "Mar Português" (Portuguese Sea), references the country's Age of Portuguese Exploration and to King Sebastian at El-Ksar el Kebir (Alcácer-Quibir in Portuguese) in 1578. 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: he sees King Sebastian returning and still bent on accomplishing a Universal Empire.
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). After the Age of Force (Vis), and Taedium (Otium) will come Science (understanding) through a reawakening of "The Hidden One", or "King Sebastian". 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"). Another well-known quote from Mensagem is the first line from Ulysses, "O mito é o nada que é tudo" (a possible translation is "The myth is the nothing that is all"). This poem refers to Ulysses, king of Ithaca, as Lisbon's founder (recalling an ancient Greek myth).[80] Literary essays In 1912, Fernando Pessoa wrote a set of essays (later collected as The New Portuguese Poetry) for the cultural journal A Águia (The Eagle), founded in Camões – pledged to make an important contribution for European culture, and indeed, for humanity.[82]
Philosophical essaysThe philosophical notes of the young Pessoa, mostly written between 1905 and 1912, illustrate his debt to the history of philosophy more through commentators than through a first-hand protracted reading of the Classics, ancient or modern.[83] The issues he engages with pertain to every philosophical discipline and concern a large profusion of concepts, creating a vast semantic spectrum in texts whose length varies between half a dozen lines and half a dozen pages and whose density of analysis is extremely variable; simple paraphrasis, expression of assumptions and original speculation. Pessoa sorted the philosophical systems thus: 
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".
Works
See also
Notes
References
Further readingBooks
Articles
Videos
Professor Jacksons research interests focus on Portuguese and Brazilian Literatures; modernist and inter-arts literature; Portuguese culture in Asia; and ethnomusicology. He has written and edited several books and other publications. We talk with Professor Jackson about his forthcoming book, Adverse Genres in Fernando Pessoa. 18 November 2013, at the Woodberry Poetry Room, Harvard University.
Richard Zenith presented a lecture on Fernando Pessoa, one of Portugal's most important literary figures of the 20th century and a towering figure in modernism.
In this poem, Pessoa creates an inner struggle that the speaker has with trying to figure out whether it was fate or free will that has determined how his life panned out. By making the whole poem essentially one, elongated metaphor, Pessoa is able to give multiple interpretations to his poem. In the titular first line of the first stanza, Pessoa states "I don’t know how many souls I have". Automatically, Pessoa causes the speaker to question his morality and inner being. Line two of the first stanza has a literal translation of "each time changed." When put in context, it becomes apparent that the speaker is referring to himself that changes so often. These two lines become the foundation for the rest of the poem, seeing as they set up a questioning within the speaker. The translations of these two lines are also crucial to fully grasp the meaning of the poem as a whole.
External links
Fernando Pessoa at Wikipedia's sister projects
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