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It exists to discover and celebrate the best poetry and to place it before the largest audience 0. Books ISBNdb. Caeiro doesn't believe in anything. He exists. 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 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 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 After Caeiro's tenets had been established, the avowedly poetic voices of Campos, Reis and Pessoa himself spoke with greater assurance. Ricardo Reis Reis 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. He is a modern pagan who urges one to seize the day and accept fate with tranquility. 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 ortonym'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,' Caeiro says, 'is a comfort for it is natural and right.
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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: 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. Be what I think? But I think of being so many things! Like Caeiro, Reis and Campos Pessoa 'himself' embodies only aspects of the poet? Fernando Pessoa's personality is not stamped in any given voice; his personality is diffused through the heteronyms.
For this reason 'Fernando Pessoa-himself' stands apart from the poet proper. Lines crop up in his poems that may as well be ascribed to Campos or Caeiro. It is useful to keep this in mind as we read this exposition. The critic Leland Guyer sums up 'Pessoa': "the poetry of the orthonymic Fernando Pessoa normally possesses a measured, regular form and appreciation of the musicality of verse.
LOVE IS A COMPANION
It takes on intellectual issues, and it is marked by concern with dreams, the imagination and mystery. Pessoa-himself has been described as indecisive and doubt plagued, as restless. Like Campos he can be melancholic, weary, resigned. The strength of Pessoa-himself's poetry rests in his ability to suggest a sense of loss; of sorrow for what can never be. The dictionary defines this word simply as 'a condition of being tedious; tediousness or boredom.
His is more than simple boredom: it is from a world of weariness and disgust with life; a sense of the finality of failure; of the impossibility of having anything to want. Penguin Books, , page It is one thing to have nothing to do or want, but to be deprived even of this Kierkegaard tells how if asked to choose between the two; between a perpetual state of boredom, or eternal bodily pain; he would choose Pessoa-himself, it would seem, would concur with the melancholy Dane.
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: he sees King Sebastian returning and still bent on accomplishing a Universal Empire, like King Arthur heading for Avalon It refers to Pessoa's vision of a future world of peace and the Fifth Empire.
The Hidden One represents the fulfillment of the destiny of mankind, designed by God since before Time, and the accomplishment of Portugal. 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 wills it, man dreams it, it is born". That means 'Only by God's will man does', a full comprehension of man's subjection to God's wealth. This poem refers Ulysses, king of Ithaca, as Lisbon's founder recalling an ancient Greek myth.
The first series of two articles engage the issue 'The new Portuguese poetry viewed sociologically' nos. 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. Philosophical essays 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. The issues he engages with pertain to every philosophical discipline and are dealt with a large profusion of concepts, creating a vast semantic spectrum in texts whose length oscillates 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: Relative Spiritualism and relative Materialism privilege "Spirit" or "Matter" as the main pole that organizes data around Experience. Absolute Spiritualist and Absolute Materialist "deny all objective reality to one of the elements of Experience".
The materialistic Pantheism of Spinoza and the spiritualizing Pantheism of Malebranche, "admit that experience is a double manifestation of any thing that in its essence has no matter neither spirit". Considering both elements as an illusory manifestation", of a transcendent and true and alone realities, there is Transcendentalism, inclined into matter with Schopenhauer, or into spirit, a position where Bergson could be emplaced.
A terminal system "the limited and summit of metaphysics" would not radicalize - as poles of experience one of the singled categories - matter, relative, absolute, real, illusory, spirit. Instead, matching all categories, it takes contradiction as "the essence of the universe" and defends that "an affirmation is so more true insofar the more contradiction involves". The transcendent must be conceived beyond categories. There is one only and eternal example of it. It is that cathedral of thought -the philosophy of Hegel.
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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 what are the social and politic 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". Taylor, foreword by Octavio Paz, Carcanet Press, Richard Zenith, Penguin Classics, Richard Zenith, Penguin classics, Richard Zenith, Grove Press, Eirin Moure, House of Anansi, Jonathan Griffin, Penguin Classics; 2nd edition, Brown, City Lights Publishers, Brown, Sheep Meadow, ISBN Message , tr.
Richard Zenith, Carcanet Press, Iain Watson, Quartet Books, George Monteiro, Gavea-Brown Publications, Edwin Honig, Swallow Press, Suarez, Jose, "Fernando Pessoa's acknowledged involvement with the occult" in Hispania 90 2 : , May Dissertation, Brigham Young University. Yeats" in Portuguese Studies Muldoon P.
New York: Warner Books. Dissertation, Brigham Young University, Bamforth, I. Hicks, J. Haberly, David T. James Press, Lopes J. Anderson, R. Brown, S. Cruz, Anne J.
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