Analysis and interpretation of the poem Presságio by Fernando Pessoa
Dated April 24, 1928, or poem "Presságio", popularized as "O amor, quando se reveals", is a composition by Fernando Pessoa. Written in the final phase of the author's life, he is assassinated as his name (orthônimo), illustrating various characteristics of his lyrics.
Embora treat a theme as universal as love, Pessoa not face or praise of sentiment, something very common to poetry. Contrary hair, um defiance of lyrical subject about da suaDifficulty in establishing love relationships.
Conheça also analysis of the poem Autopsychography scored by Fernando Pessoa.
Poem "Presságio"
Or love, when it reveals itself,
It is not known to reveal.
Knows bem olhar for her,
But he does not know how to fail.
What did you want to say or what did you say?
He doesn't know what to say.
Fala: it seems that mind ...
Cala: it seems to be skewed ...
Ah, more is ela guessedhasse,
If he can be ouvir or olhar,
E se um olhar lhe bastasse
To know who is going to love!
But I burned very much, cove;
I wanted to say how much he sat
Fica sem alma nem fala,
Fica only, internally!
More isto be able to tell-lhe
Or that I have not used to tell,
Já não terei que falar-lhe
Because he's going to fail ...
Analysis and interpretation of the poem
A composition is made up of five stanzas, each with four verses (quadras). Or rhymatic and crossed scheme, as the first verse rhyming as a third, or second as a fourth and also by diante (A - B - A - B).
A form obeys popular poetic tradition and simple, accessible language, turns or appellative poem for all types of readers.
A love theme, uma das mais fortes na poetry, assume original contours. Pessoa does not talk about the happiness that love has drawn, but about his affliction of homem apaixonado and a Impossibility of living a reciprocated romance.
Stanza 1
Or love, when it reveals itself,
It is not known to reveal.
Know bem olhar p'ra the A,
But he does not know how to fail.
The initial stanza presents or nickname for the poem, or theme that will be treated, also showing a position of the subject. Com a repetição of "reveals" and "reveals", or author creates a set of words that is numa antite, style resource present ao longo da composition.
These verses I say that when a loving feeling arises, I don't know how to confess. Pessoa travels to personification, Representing love as an autonomous entity, which is independently of the subject.
Assim, I know how to control what he sits, he can barely smell the woman he loves, but he can't talk to her, fica sem jeito, he doesn't know what to say.
Stanza 2
What did you want to say or what did you say?
He doesn't know what to say.
Fala: it seems that mind ...
Cala: it seems to be skewed ...
The second stanza confirms the idea transmitted earlier, reinforcing the incapacitated person to express his love or devotion. It certifies that the sentiment cannot be translated by words, but not by it.
Visit him at inadequacy of the subject In relation to his peers, a striking characteristic of the poetry of Pessoa ortônimo. Sua difficult to communicate as others it results in the feeling that he is always making something wrong.
To observation and opinion two others restrict all your movements. He accredits that he is failing about his feelings, vão achar that he is lying; Contrary hair, I am not failing, I am going to leave it to leave my beloved to fall in love.
Due to this logic, or subject, I feel that he cannot shake nevertheless, being a mere observer of one's own life.
Stanza 3
Ah, more I know the A guess what,
If he can be ouvir or olhar,
E se um olhar lhe bastasse
To know who is going to love!
Depois da gradação das duas first quadras, a third marks a moment of major vulnerability. Sad, he regrets and wishes that she understands the paixão that he felt, just through two serious olhos of her.
Em "ouvir com o olhar" we are perante uma synesthesia, a style figure that is characterized by a mixture of elements from different sensory fields, in this case, visão e a audição. O subject certifies that the way in which the loved one denounces more or more of her sentiment than any declaration.
He sighs, then, imagining what it would be like to perceive it, I know what it means to say for words.
Stanza 4
But I burned very much, cove;
I wanted to say how much he sat
Fica sem alma nem fala,
Fica only, internally!
Part for a conclusion, defending that "quem sede muito, cala", ou seja, Those who are really dull keep safe about his emotions.
Second to his pessimistic vision, it is tempting to express his love "fica sem alma nem fala", "fica only, internally". It accredits that failure to say that it will always lift it to empty and to absolute solidity.
Assim, how do you assume a love fosse, automatically, a sentence of death for or sentiment, that happens to be condemned. A paixão é um beco sem saída, face to which he can sofrer and lick.
Stanza 5
More isto be able to tell-lhe
Or that I have not used to tell,
Já não terei que falar-lhe
Because he's going to fail ...
At the end of the day, despite simple vocabulary, it becomes complex due to the formulation of sentences. We are perante or use do hyperbate (investment in order two elements of one sentence). Or meaning two verses também não é evident, giving origin to different readings.
One of them is a logical reasoning: if he can explain to her the difficulty that he fears in expressing his love, it would not be more necessary to face it, because he was already declaring himself. Contudo, I don't get to talk about feelings, nem to discuss this inability. Or relationship is condemned to be just platonic, one-dimensional.
Outra is assuming that the text itself is a declaration of love. Or subject use a poetry as another form of falar, to show or to say; or poem is counting here that the não achieves. However, it would be necessary for him to read his verses and to be sure that they were directed to him. Also, the relationship would not materialize.
A last one, perhaps more supported by elements of the text (initial verses), is that or true love and incommunicable, cannot be placed by words, senão disappears. Or little guy affirms that he would only be able to declare his love, case or sentiment no longer exists.
An adversarial conjunção "plus" marks an opposition between what has been written above and a box that encloses or poem. Isto see sublinhar that makes the mind feel unable to express your feeling, conformed, because he knows that he cannot be revealed, on pain of disappearing.
Meaning of the poem
Faking of love, Pessoa squeezes pessimism and lack of courage to face life, two quite habitual traços na poetry that he assinou as seu verdadeiro nome (Orthônimo Pessoa). Despite feeling destitute and paixões, like everyone else, he assumes his incapacitated of action face them. Embora quase all the rhymes estejam em verbos (that imply ações), or little guy just attends tudo, imóvel.
What should be a source of happiness and prazer is invariably transformed into an em dor. Long year of everything or poem, transparent to his defeatist atitude face ao love, discrediting how you outros or encaram. Is analysis and intellectualization of emotions, quase até esvaziá-las de sense, This is another characteristic of his poetic work.
For this little subject, or feeling is true when it does not pass from a "presságio", it does not exist inside, it is not a type of consummation or reciprocity, it is necessary to reveal its existence. OR Medo do sofrimento was translated into mais sofrimento, let him not get ahead, run behind his own happiness.
By all means, as a dream that it is destroyed no moment when it materializes, a paixão corresponded it seemsa utopia that will never be able to reach. I do not found, and above all, or poem is a confession of a sad and defeated homem that, not knowing how to relate to other people, accredits being destined for a irremediable solidão.
Contemporary music adaptations
Besides having a timeless theme, how many people get related, or poem became more famous in its own form.
A musicality of seus verses and a division in quadras, tradition of popular Portuguese songs, led some artists to gravitate adaptations of "Presságio". Assim, quase um seculo depois da sua composition, or poem continues to conquer new publics.
"Quadras" by Camané
Or fadista Camané singing "Quadras" by Fernando Pessoa, not film "Fados" by Carlos Saura (2007).
"Presságio" by Salvador Sobral
Salvador Sobral, winner of the Eurovisão Festival, singing a show in his adaptation of "Presságio" (2017).
Fernando Pessoa: poet of many nomes
Fernando António Nogueira Pessoa (June 13, 1888 - November 30, 1935), considered the greatest of Portuguese literature, wrote poetry, prose, theater, and critical and philosophical essays. He was also a translator, astrologer, businessman and publicist, among other things.
Herein that most stood out was a literary, nomadic or poetic work, which assisted with several different names. We are not dealing with pseudonyms but heteronyms, ou seja, individual entities that possess their own tastes, styles, influences, values and beliefs.
Raising and incorporating so many personalities, he also assimilates poems as his own, where he frequently exposes his fragility and troubled relationship as others. Numa read more biographer, we know that Pessoa mantinha um namoro intermittently with Ofélia Queirós, as he was and, especially, corresponded by letters.
In 1928, when he created "Presságio", the relationship was finished. This die can contribute to understand me all to disappointment contained not poem. Embora has reacted no year following, to relation no advance. Ofélia e Pessoa will never marry the poet remains divided between existential solidity and compulsive work of writing.
Conheça also
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- Love poems by Fernando Pessoa
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- Poem To be great sê inteiro, by Ricardo Reis (Fernando Pessoa)
- Poem Sonnet of Fidelidade by Vinicius de Moraes
- Poem Intimate Verses of Augusto dos Anjos
- Letter from Pero Vaz de Caminha
