Mensagem (Portuguese Edition)

The eleventh poem "The last galleon" starts with King Sebastian leaving in the last galleon to an unknown fate his death on the battleground of El-Ksar-el-Kebir was never confirmed - maybe his ship set course to an unknown island, like King Arthur heading for Avalon Then, in the second part of this poem, Pessoa brings the reader abruptly to the time of his writing, as if he had woken up from a dream of the past, only to fall immediately in a dream of the future: The twelfth and last poem of the Cycle has Pessoa appealing to God and asking him to bring back the old spirit of Portugal.

It refers to Pessoa's vision of a future world of peace and understanding, the Fifth Empire, which will come about through a Portuguese of mystical origin to which he refers by a number of names including "The Hidden One", "The King" or "King Sebastian". The Hidden One represents the fulfillment of the destiny of mankind, designed by God since before Time, and, at the same time, the accomplishment of Portugal which, in Pessoa's vision is the Chosen Nation, the one that will bear the New Messiah and lead the way towards the Fifth Empire.

My page is not intended as a source on Fernando Pessoa or Mensagem for English-speakers: This page is solely intended to entice the students of Portuguese who may, through it, be tempted to have a go at Mensagem. Pessoa's vocabulary is relatively simple and the beauty of his architecture of words is beyond description and definitely well-worth the effort. The English translations I offer after reading Prof. Harland's versions are intended as an extra incentive for students to read the originals which I have individually explained in Portuguese.

While his family remained in South Africa, Pessoa returned to Lisbon in to study diplomacy. Pessoa became an autodidact, a devoted reader who spent a lot of time at the library. In August , he started working as a practitioner at R. His grandmother died in September and left him a small inheritance, which he spent on setting up his own publishing house, the "Empreza Ibis".

The venture was not successful and closed down in , but the name ibis , [9] the sacred bird of Ancient Egypt and inventor of the alphabet in Greek mythology , would remain an important symbolic reference for him. Pessoa returned to his uncompleted formal studies, complementing his British education with self-directed study of Portuguese culture. Only two issues were published Jan—Feb—Mar and Apr—May—Jun , the third failed to appear due to funding difficulties.

Lost for many years, this issue was finally recovered and published in Along with the artist Ruy Vaz, Pessoa also founded the art journal Athena —25 , [13] in which he published verses under the heteronyms Alberto Caeiro and Ricardo Reis. From to , when his family returned from Pretoria after the death of his stepfather, he lived in fifteen different locations in the city, [14] moving from one rented room to another depending on his fluctuating finances and personal troubles. Soares also supposedly lived in the same downtown street, a world that Pessoa knew quite well due to his long career as freelance correspondence translator.

Indeed, from until his death in , Pessoa worked in twenty-one firms located in Lisbon's downtown, sometimes in two or three of them simultaneously. In his daydream soliloquy he also wrote about Lisbon in the first half of 20th Century. Soares describes crowds in the streets, buildings, shops, traffic, river Tagus, the weather, and even its author, Fernando Pessoa:. Fairly tall and thin, he must have been about thirty years old. It seemed to suggest various kinds: A statue of Pessoa sitting at a table below can be seen outside A Brasileira , one of the preferred places of young writers and artists of Orpheu' s group during the s.

This coffeehouse, in the aristocratic district of Chiado , is quite close to Pessoa's birthplace: In , Pessoa wrote in English a guidebook to Lisbon but it remained unpublished until 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: 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.

In —14, while living with his aunt "Anica" and cousins, [30] Pessoa took part in "semi-spiritualist sessions" that were carried out at home, but he was considered a "delaying element" by the other members of the session. Pessoa's interest in spiritualism was truly awakened in the second half of , while translating theosophist books. This was further deepened in the end of March , when he suddenly started having experiences where he became a medium , which were revealed through automatic writing. On 24 June, Pessoa wrote an impressive letter to his aunt and godmother, then living in Switzerland with her daughter and son in law, in which he describes this "mystery case" that surprised him.

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: Pessoa also developed a strong interest in astrology , becoming a competent astrologist. In , he created the heteronym Raphael Baldaya , an astrologist who planned to write "System of Astrology" and "Introduction to the Study of Occultism". Born on 13 June, Pessoa was native of Gemini and had Scorpio as rising sign.

The characters of the main heteronyms were inspired by the four astral elements: It means that Pessoa and his heteronyms altogether comprised the full principles of ancient knowledge. Those heteronyms were designed according to their horoscopes , all including Mercury , the planet of literature. Astrology was part of his everyday life and Pessoa kept that interest until his death, which he was able to predict with some accuracy.

As a mysticist , Pessoa was an enthusiast of esotericism , occultism , hermetism , numerology and alchemy. Along with spiritualism and astrology, he also paid attention to neopaganism , theosophy , rosicrucianism and freemasonry , which strongly influenced his literary work. He has declared himself a Pagan, in the sense of an "intellectual mystic of the sad race of the Neoplatonists from Alexandria" and a believer in "the Gods, their agency and their real and materially superior existence".

Pessoa also wrote on Crowley's doctrine of Thelema in several fragments, including Moral. I see that, in a note on page 14 of his Emblematic Freemasonery , published by you in , he says, in respect of the earlier work: 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. Later on, he was also influenced by modernists as W.

Eliot , among many other writers. However, in , the prestigious literary journal Athenaeum included one of those poems. Antinous [41] and 35 Sonnets , [42] received by the British literary press without enthusiasm. In his publishing house, Olisipo, Pessoa issued also some books by his friends: 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.

His cause of death is commonly given as cirrhosis of the liver, due to alcoholism, [56] [55] [57] though this is disputed: In his lifetime, he published four books in English and one alone in Portuguese: However, he left a lifetime of unpublished, unfinished or just sketchy work in a domed, wooden trunk 25, [61] manuscript and typed pages which have been housed in the Portuguese National Library since The heavy burden of editing this huge work is still in progress.

Pessoa's earliest heteronym , at the age of six, was Chevalier de Pas. Other childhood heteronyms included Dr. The main reason for this was that, although Search is English, he was born in Lisbon as his author. But Search represents a transition heteronym that Pessoa used while searching to adapt to the Portuguese cultural reality.

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.

1. Mensagem (Portuguese Edition): Fernando Pessoa: theranchhands.com: Books.
2. Harry and Sara: The Final Story.
3. Arbeitsvermögen und Berufsbiografie: Karriereentwicklung im Spannungsfeld zwischen Flexibilisierung und Subjektivierung (German Edition).
4. The Third Alice (Soot, Barnacle, Bob ... and the Devil Book 1).

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..

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. 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.

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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: 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.

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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.