Tobacco Poem by Álvaro de Campos (Fernando Pessoa) analyzed
Tobacco um a long and complex poem, where or heterônimo Álvaro de Campos raises the central questões that governs his poetry. A work of the most famous poetic creations by Fernando Pessoa.
Written in 1928 (and published in 1933, in the Presença Magazine), the verses são um register do tempo em que viveu, It gives fast modernity and the feeling of uncertainty of the little guy who felt lost during so many changes. A sensation of emptiness, solidity and incomprehension are the guiding lines of the poem.
Poem Tobacco (full version)
I don't know anything.
I will never be anything.
I don't want to be anything.
On the other hand, I have all the dreams of the world.Janelas do meu quarto,
Do meu fourth of a two thousand people in the world that no one knows how to burn
(E se soubessem quem é, or que saberiam?),
Dais para o mystery de uma street constantly crossed by people,
For a road inaccessible to all thoughts,
Real, impossibly real, certain, unfathomably certain,
As a mistério das coisas by baixo das pedras e dos beings,
As we die from the walls and white hair, we are homens,
As a destination to drive to a carriage from all over the place of nothing.This page expired, as it turns out to be true.
This lucid leaf, as it is estivesse to die,
E não tivesse mais irmandade com as coisas
Senão a farewell, turning this house on this side of the street
A fileira de carruagens de um comboio, e uma apída game
From within gives minha cabeça,
E uma shake it two meus nervos and a ranger de ossos na ida.This page is perplexed, as I have thought and achieved.
I am divided between the loyalty of what I devote
À Tabacaria on the other side of the street, as a real coisa por fora,
E à sensção that tudo é sonho, as real coisa inside.Falhei em tudo.
As I do not intend nenhum, maybe you have nothing.
To apprentice that you give me,
Desci dela pela janela days behind the house.
I went to the field with great purposes.
But I found it only ervas and trees,
And when there were other people it was the same as another.
Saio da janela, sento-me numa cadeira. What am I thinking?What do I know, what do I know, what do I know or what do I know?
Be or what did I think? But I thought so much coisa!
There are so many that I think will be the same thing that I cannot do so many!
Genius? This moment
With a thousand brains are conceived in sonho genios as the United States,
This history will not mark, what do you know?, nem um,
Nem will haverá senão estrume of so many future conquests.
No, I didn't believe in me.
In all the crazy people there have been bad guys with so many certainties!
Eu, that I am not certain, I am more certain or less certain?
Não, nem em mim ...
In how many mansards in the world
Não estão nesta time genios-para-si-mesmos sonhando?
How many high and noble and lucid aspirations -
Sim, truly tall and noble and lucid -,
And what do you know will be realized,
I will never see the light of the real sun with no people?
O world is to burn, it is born to conquer
In order to conquer it, I am still right.
Tenho sonhado more than or than Napoleão fez.
I have open to a hypothetical but more humanities than Christ,
I have feito philosophies in segredo that nenhum Kant escreveu.
More sou, and maybe I'll be forever, or da mansard,
Ainda que no more nela;
Serei semper o que não nasceu para isso;
Serei semper só o que tinha qualidades;
I will always hope that he will open a porta ao pe de uma parede sem porta,
And he sang a cantiga do Infinito numa capoeira,
E ouviu a voice of Deus num poço covered.
Believe em mim? Não, nem em nothing.
Spill-me Natureza on a burning head
Or seu sol, a sua chuva, or wind that makes me flat or hair,
E o rest that come is seen, ou tiver que vir, ou no venha.
Cardiac escravos das estrelas,
We conquer everything or the world before we get up to bed;
But we agree on the opaque,
We get up and get up there,
We left home and ele é a terra inteira,
Mais o solar system e a Via Láctea e o Indefinido.(Eat chocolates, little one;
Eat chocolates!
Olha that there is no more metaphysics no world senão chocolates.
Olha that as religiões all não ensinam more than a confeitaria.
Eat, little suja, eat!
You can eat chocolates just like what you eat!
But he thought e, ao throw or paper of prata, that e of folha de estanho,
Deito tudo para o chão, as I have deited to life.)More or less fica it gives bitterness that I will never be
A quick calligraphy of these verses,
Portico split for or Impossível.
More or less I consecrate myself, I despise my tears,
Nobre ao less no gesture long as I shoot
A roupa suja que sou, em rol, pra o decurso das coisas,
Efficiency at home with a shirt.(You, that consoles, that you do not exist and for isso consoles,
Ou deusa grega, conceived as a statue that lives,
Ou Roman patrimony, impossibly noble and nefarious,
Ou princess of troubadours, most gentle and colorful,
Ou marquesa do seculo dezoito, decotada and longínqua,
Ou famous cocote do tempo dos nossos pais,
Ou não sei quê modern - I do not conceive bem o quê -
Tudo isso, seja or que for, que sejas, can be inspired to inspire!
My heart and a clear bucket.
As I invoke spirits I invoke spirits I invoke
At the same time I did not find anything.
Chego à janela e vejo a rua with absolute clarity.
Old as lojas, old as you pass, old to the cars that pass,
Old living beings dressed that crossed,
Vejo you know that I also exist,
And all this weighs on me like a condemnation ao degredo,
E tudo isto é estrangeiro, as tudo.)Vivi, estudei, amei e ate cri,
I have not been a beggar that I have not invented just because I am not the United States.
Olho to each um the rags and the chagas and a lie,
And I thought: maybe you never live, nem studies, nem amasses, nem cresses
(Because it is possible to face the reality of all isso sem fazer nada disso);
Maybe you have barely existed, like a lizard that cut my tail
And what is the tail for here do lizard remexidamenteFiz de mim o que não soube
And what could be done in my não o fiz.
Or domino that I wore was wrong.
Conheceram-me logo because I was not in denial, and lost me.
When I want to throw a mask,
She was glued to the face.
When I saw tirei and I saw myself,
Já tinha envelhecido.
He was drinking, he didn't know how to dress or dominoes that he hadn't thrown away.
Deitei fora a mask and sleep no dress
How um tolerated pela gerência
For being harmless
E vou escrever this story to prove that it is sublime.Essência musical dos meus verses inúteis,
That he should find me, how do you think he would like me,
E não ficasse always front of Tabacaria de front,
Tracing past years in the awareness of being existing,
Like a mat in which a bêbado tropeça
Ou um capacho that we ciganos roubaram and was not worth anything.Mas o Dono da Tabacaria chegou à porta e ficou à porta.
Olho-o how uncomfortable gives head turned wrong
E how uncomfortable gives soul misunderstanding.
He will morrerá and eu morrerei.
He will deixará a tabuleta, eu deixarei os verses.
At a certain height he will dwell on a tab too, the verses too.
Depois of a certain height will dwell on a street onde esteve a tabuleta,
The language in which the verses were written.
Morrerá depois or rotating planet where everything is deu.
In other satellites of other systems qualquer coisa as people
He will continue fazendo coisas as verses and living under the coisas as tabulets,
Always a coisa in front of the other,
Always a thing as useless as another,
Always or impossível as stupid as or real,
Always or mistério do fundo as certain as or sono de mistério da surfície,
Semper isto ou semper outra coisa ou nem uma coisa nem outra.Mas um homem entrou na Tabacaria (to buy tobacco?)
The plausible reality suddenly fell on top of me.
Semiergo-me energetic, convinced, humane,
E vou tencionar to write these verses to what I say or otherwise.I use a cigarette or think about it
And taste not cigar to freedom from all thoughts.
I follow or smoke like a broken own,
E joy, a sensitive and competent moment,
To freedom from all speculations
Be aware that metaphysics is a consequence of being badly disposed.Depois deito-me para na cadeira
And I continue to smoke.
Enquanto or Destino me concede, I will continue smoking.(She got married with filha da minha lavadeira
Maybe he'll be happy.)
Seen isto, I lift-it gives me cadeira. Vou à janela.Or homem saiu da Tabacaria (putting troco na algibeira das calças?).
Ah, conheço-o; é o Esteves sem metaphysics.
(Or Dono da Tabacaria chegou à porta.)
As by a divine instinct or Esteves turned and saw me.
Acenou-me adeus, shout-lhe Adeus or Esteves!, e o universe
Reconstruiu-se-me sem ideal nem esperanza, e o Dono da Tabacaria sorriu.
Analysis of the poem Tobacco
Tabacaria is a fast poem, full of images and emotions of a little guy who felt lost, mergulhado nas suas reflections pessoais.
The verses present a redemoinho of information that is being transmitted to or read quickly, numa speed that does not leave a lot of space for those who receive a message, breathe, face how it feels invaded hair excess of questões that you are going to advance with the poet hair.
This frenetic rhythm is very compatible with the historical period lived by Fernando Pessoa (1888-1935). Nessa occasion, as cities are modernized with an uneven rhythm, to Europe - and Portugal on a smaller scale - it was transformed quickly, for isso is very especially present the poetics of Álvaro de Campos to images of cities, of speed of transformation, of comings and goings and of anguish that is excess trazia. Com uma accelerated dynamicsWe see many images that, as they are quickly overcome, seem chaotic, but they transmit an atmosphere of a tempo to the reader.
In terms of format, Tabacaria is a typically modern poem that free verses (it rhymes). Longa, a poetic creation and profoundly descriptive, both that it passes not the inner world as well as the outer world.
Main sections of the poem Tobacco explained
I don't know anything.
I will never be anything.
I do not want to be anything.
Já na apresentação de Tobacco ficamos conhecendo um little about quem é or subject portrayed not poem.
Our first approach, we make sure that this homem not nominated has only successive negations to try to define itself. Ele é, sobretudo, aquilo que não é (e o que never foi nem never will be). He also has no ambition.
This type of negative prayer, pessimistic, also appears pontifically a year long two verses denouncing depression and or vazio as a subject faces life.
TO descrença He does not arise only in relation to himself, as well as in relation to what he is in or his own.
O personagem raised by Álvaro de Campos bravely undresses in front of the reader, showing his fragile side and cheio of duvids leaving evident to feeling of being a failure.
Falhei em tudo.
As I do not intend nenhum, maybe you have nothing.
To apprentice that you give me,
Desci dela pela janela days behind the house.
I went to the field with great purposes.
But I found it only ervas and trees,
And when there were other people it was the same as another.
Saio da janela, sento-me numa cadeira. What am I thinking?
We see how this unnamed subject feels like a failure, a defeated one, with energy and ambitions to fight for life. If your personal history is not presented as a defeat, it is because it stops or passed and you see that it does not reach any kind of love or professional fulfillment.
Not at the beginning he observes that he has started, or that, in a certain way, he can still be approached with a brief positive olhar: at the end of the day, a plane, but he did not end up being successful. More logo not to follow Álvaro de Campos destroyed his own idea that he has a flat: everything, at the end, and nothing, because he does not have a purpose in life.
Fica of course nesse stretch of Tobacco o symptoms of tiredness and o tedio, how did you do repetitive fosse e o subjectito fosse incapable of nourishing life or other projects.
He tried to escape from that state of mind, faster than he could see that it was not possible, but no field found a purpose.
Ao long two verses we are observing that or subject look for a true, but a true that is a species of âncora: not temporary, more permanent and eternal, something that does not touch your life with meaning.
Ha um excess of consciousness It gives your personal condition and the subject sees happiness as an impossible hypothesis.
Janelas do meu quarto,
Do meu fourth of a two thousand people in the world that no one knows how to burn
(E se soubessem quem é, or que saberiam?),
Dais para o mystery de uma street constantly crossed by people,
For a road inaccessible to all thoughts,
Real, impossibly real, certain, unfathomably certain,
As a mistério das coisas by baixo das pedras e dos beings,
Tobacco It is, at the same time, a personal and individual portrait of Álvaro de Campos, more simultaneously collective, as we observe not far above.
In various passages of the poem or subject it fails of itself, but also it fails of another, acknowledging having a feeling of partilha, common, which brings together human beings, immersed in their dubious existence and their problems that, in the end, always mesmos. So his janelas are like the janelas of all the other rooms and or mistério also permeates all the beings that, like him, are seen to be lost.
Ele, finally, é um um "comum" subject, like all others, how we manage to identify ourselves and how they We share the same philosophical concerns.
More sou, and maybe I'll be forever, or da mansard,
Ainda que no more nela;
Serei semper o que não nasceu para isso;
Serei semper só o que tinha qualidades;
Mansarda quer dizer sótão, nesse stretch Álvaro de Campos fala da sua feeling of being a permanent dislocated, a disorderly person, someone who does not live in the main part of a house, who is not at a height of two others.
This stretch is important because failing the subject's state of mind, gives his self-image, gives his self-esteem and of how it was conhenated to be able to show with such precision as his faults of character and of personality.
He knows that nothing is ever done, that nothing is ever done, that he never obtains what happens and what will leave the world as a majority of us: anonymous sem qualquer grande feito.
What do I know, what do I know, what do I know or what do I know?
Be or what did I think? But I thought so much coisa!
There are so many that I think will be the same thing that I cannot do so many!
Diante da imensidão of possibilities provided by modern life, or little guy seems lost manancial number of hypotheses. This stretch of the road gives the feeling that we are on the road and the feeling of feeling paralyzed with so many escorts.
In spite of our days of leaf, we relate to each other with these verses, to the truth that this feeling of existing multiple possibilities is intimately related to or historical time lived by Fernando Pessoa, when Portugal industrialized strongly and life passed to present a series of escorts that before were not able to se ter.
A company was transformed very depressa and Álvaro de Campos sentiu na pele - e registrou - these changes sociais e pessoais.
Sente-se verses are present, therefore, with a feeling of helplessness, of emotional instability, as the poet or estivesse stunned by two roads that I have been appresented. Sem planes e sem um future possível, ele desbafa as leitor a sua inaptidão for life.
(Eat chocolates, little one;
Eat chocolates!
Olha that there is no more metaphysics no world senão chocolates.
Olha that as religiões all não ensinam more than a confeitaria.
Eat, little suja, eat!
You can eat chocolates just like what you eat!
But he thought e, ao throw or paper of prata, that e of folha de estanho,
Deito tudo para o chão, as I have deited to life.)
A few otimistic moments of the poem, where or little subject sketches some joy, it happens when you see her janela a menininha eating chocolates alheia aos existential problems you two adults.
Inocência da criança fascinates e deixa or Álvaro de Campos in the state of inveja. A simple happiness, found in the garotinha numa mere bar of chocolate, seems to be impossible to be reached by him.
Or little guy still trying to board, not walking or happy opening small, more quickly he returned to or his initial state of sadness logo ao throw or prata paper, which he confirms to be of this.
When I want to throw a mask
I was stuck to my face
When I saw tirei and I saw myself,
Já tinha envelhecido.
A feeling of helplessness and even more because the little guy doesn't know what he wants and also he does not properly know what he is. Nessa passagem important from Tabacaria, Álvaro de Campos fala da presença de uma mask raising a questão da seeks identity, a frequent poetic theme by Fernando Pessoa.
Here is evidenced by the human necessity of wanting to appear to be what we are not in order to fit ourselves socially, to please others.
You spend so much time using his mask -or personagem that he chooses to represent a collective life-Álvaro de Campos faces a difficult year to withdraw it. When it achieves, barnacle as or tempo passes and as it grows, when it appears to be another thing.
O world is to burn, it is born to conquer
In order to conquer it, I am still right.
Tenho sonhado more than or than Napoleão fez.
Or I am presented by Álvaro de Campos in some stretches of Tabacaria as a possibility of escaping from reality concrete and hard - that long of the poem is represented by physical elements: as janelas, as stones, as streets, as houses.
O poet reverses moments of extreme lucidity, fazendo menção to that concrete, external world, with images of his unconscious, fantasies and dreams. There is an intentional mixture not a poem, therefore, desses real elements, with reflective, interior passages (verses where we see philosophies, thoughts, fancies, dreams).
Álvaro de Campos analyzes the depths of his being, the emotions that or movem, the apathy that lodges within him and aponta o I dream like a rest space, a kind of shelter is given to a temporary.
Envelope or title of poem
Tobacco This is a type of commercial establishment (which traditionally sells products related to tobacco), which is also a frequent subject of the poem, and also what is seen by Jane at her house. It is in fact that he finds life, he assists the usual visits, correctors, two buyers, two acquaintances and the owner.
Despite not mentioning any specific date - nem sequer or ano - we reconnect, hair verses, having the presence of traços two modern tempos. As well as tobacco shops, they are also quite characteristic of their historical time.
Historic context
Written on January 15, 1928 and published for the first time in July 1933, in the Presença Magazine (edition 39), Tabacaria and two most important poetic exemplars of Modernism in Portugal.
Or poem, which part of the third phase of the poetic production of heterônimo Álvaro de Campos, face a portrait of his own time and traces a characteristic sentiments of his generation as a fragmentation and a efemeridade.
The third phase poet of his poetry, which lasted between 1923 and 1930, investigated a more intimate and pessimistic approach. Eduardo Lourenço, a great contemporary Portuguese scholar of the work of Álvaro de Campos, highlights that Tobacco These are the most important criações do heterônimo because, secondly, “Everything or Álvaro de Campos is concentrated”, ou seja, em Tobacco We find a summary, a sit down, of all the main questions raised with heteronic hair.
Álvaro de Campos testemunhou um Portugal who lived profound social and economic transformations in his life, through two serious verses of him, to nervous poems, which transmit uncertainty and the feeling of being lost in a period in which a society changes in such a way Quick.
Or heterônimo Álvaro de Campos, raised by Fernando Pessoa, was born on October 15, 1890, in the Tavira region (Algarve) and was trained in mechanical and naval engineering. It was tested and assisted in the creation of a political and social order, it was necessary to mark the First World War (1914) and the Russa Revolution (1919).
Escute or poem Tobacco na whole
Se você gosta da poesia de Fernando Pessoa we also indicate to read two articles:
- Poem Autopsychography, by Fernando Pessoa
- Fernando Pessoa: fundamental poems
- Poem Presságio by Fernando Pessoa
- Poem To be great sê inteiro, by Ricardo Reis (Fernando Pessoa)
