10 fundamental poems of Fernando Pessoa analyzed and commented

One of the two greatest authors of the Portuguese language, Fernando Pessoa (1888-1935) is especially known through two heteronomous names. Some two names that we quickly see in mind are the main pessoan children: Álvaro de Campos, Alberto Caeiro, Ricardo Reis and Bernardo Soares.

Além de ter conceived a series of poems as heterônimos acima, or poet also assinou verses as his own. A key figure of Modernism, his vast lyric of him never loses validity and deserves to be remembered forever.

We select below some two more beautiful poems by the Portuguese writer. We wish everyone a boa reading!

1. Poem em linha reta, heterônimo Álvaro de Campos

Perhaps the most consecrated and internationally recognized verses of Pessoa sejam os do Poem em linha reta, an extensive breeding with which we identify ourselves ainda browse deeply.

The verses below compõe just a short stretch of a long poem written between 1914 and 1935. We are perceiving during the reading how heteronymous conceives society and criticism, observing the same time differentiating from which it is to or who is the master.

Here we find a series of complaints social masks, à falsity and à hypocrisy current. O eu-lrico confessa ao leitor a sua maladjustment in this contemporary world that works on the basis of appearances.

O poem launches um olhar on or own little poetic subject, but also on or functioning of the Portuguese society where or author was inserted.

I never found out that he was raised by rage.
All of you know you have been a champion in your life.

E eu, so many times it is reles, so many times it is porco, so many times it is vile,
So many times it is irresponsibly parasitic,
Unapologetically sujo,
Eu, that many times I have not had the patience to take a bath,
Eu, how many times it has been ridiculous, absurd,
That I have enrolled you publicly, you give us rugs
labels,
That I have been grotesque, mean, submissive and arrogant, (...)
Eu, who had frightened with anguish days ridiculous little things,
I verify that I do not have for this world.

Conheça a more profound reflection on Poem em linha reta, by Álvaro de Campos.

2. Lisbon revisited, heterônimo Álvaro de Campos

Or long poem Lisbon revisited, written in 1923, it is here represented hairs seus first verses. Nele we find an extremely eu-lyrical pessimistic and maladjusted, dislocated within the society in which he lives.

The verses are marked by exclamations that translate to revolt e a denial - or eu-lyrical at various times assume here that I don't want. Or poetic subject face a series of recuses to life from its contemporary society. Em Lisbon revisited We identify a eu-lyrical simultaneously revolted and unsuccessful, rebellious and disappointed.

Over the course of the poem we see some important opposition pairs consolidating to establish the basis of the writing, this is, we enforce how the text was built from contrast between past and present, childhood and adulthood, the life that is customary to live.

Não: I don't want anything
Já disse that I do not want anything.

Don't come to me with conclusions!
A sole conclusion is dying.

Don't buy me aesthetics!
Do not fail me in morality!
Tirem-give me metaphysics!
I do not appreciate complete systems, I do not line up conquests
Das sciences (das sciences, Deus meu, das sciences!) -
You give science, you give arts, you give modern civilization!

How bad is it for you all?

It is true, save it!

Sou um technical, but I have technique only within the technique.
Fora disso sou doido, com todo or direito a se-lo.

3. Autopsychographyby Fernando Pessoa

Raised in 1931, or short poem Autopsychography It was published no year to follow in the magazine Presence, an important vehicle of Portuguese Modernism.

We barely doze verses or eu-lyrical rambles on to relação that I keep with myself e on a sua relationship with written. Na verdade, escrever no poem appears as a guiding attitude of the subject, as an essential part of the constitution of his identity.

O subject poetic year long two verses deals not only at the moment of literary creation as well as reception by the public leitor giving an account of all or written process (creation - reading - reception) and including all participants of the action (author-reader).

O poet is a pretense.
Pretend completely
What do you want to pretend that you are
To dor that you really sit.

What I read or what I wrote,
Na dor lida sentem bem,
No as duas que teve you,
More than that eles não têm.

E assim nas calhas de roda
Turn, to entertain at reason,
Esse comboio de corda
That is chama coração.

Discover an analysis of Poem Autopsychography, by Fernando Pessoa.

4. Tobacco, heterônimo Álvaro de Campos

Two more conhecidos poems by heterônimo Álvaro de Campos é Tobacco, an extensive set of verses that narrate a relationship of the eu-lyrical with its own before Accelerated world It is a relationship that he maintains in com a city during this historical period.

As lines below are just a part of the beginning of the longo and beautiful poetic work written in 1928. Com um olhar pessimistic, we see or eu-lyrical disagree on what is da disappointment from uma niilist perspective.

Or little guy, lonely, he sat vazio, despite assuming that you are dreams. A long two verses we observe a gap between the current situation and what the poetic subject would like to be, between what he is and what he would like to be. It is from these divergences that the poem was built: na verification of the current place and I do not regret the distance for the ideal.

I don't know anything.
I will never be anything.
I do not want to be anything.
On the other hand, I have all the dreams of the world.
Janelas do meu quarto,
I am a 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,
Come to die by humidness of the walls and white hair, we are homens,
As a destination to drive to a carriage from all over the road to nothing.

Conheça or artigo Tobacco Poem by Álvaro de Campos (Fernando Pessoa) analyzed.

5. Istoby Fernando Pessoa

Assinado own hair Fernando Pessoa - and not by nenhum two serious heterônimos - Isto, published in magazine Presence em 1933, um metapoem, isto é, a poem that disagrees about o its own breeding process.

Either eu-lyrical deixa or leitor assist to engrenagem that moves to the construction of two verses, fazendo as a process of approximation and affinity as public is created.

Fica clear ao long two verses as or poetic subject seems to use logic da rationalization to build or poem: the verses arise with imaginação e não com o coração. As it is proved in the last lines, or eu-lyrical delegates for the reader to fruição obtained through the writing.

I say that I'm pretending to be
I do not believe. No.
Eu simply sinto
Com a imaginação.
I do not use or heart.

Tudo o que sonho ou passo,
Or that I am missing or finda,
É like um terraço
About another coisa ainda.
That thing is cute.

By isso escrevo em meio
Do you not want to,
Livre do meu enleio,
Serio do que não é.
Feel? Sinta quem lê!

6. Ode triumphant, heterônimo Álvaro de Campos

A long year of thirty stanzas (just some of them appear below), we see typically Modernist characteristics - or poem that makes it transparent as anguish and novelty do seu tempo.

Published in 1915 em Orpheu, or historical period e as social changes são o mote that fazem move to written. We observe, for example, how the city and the industrialized world are presented by tracing a painful modernity.

The verses sublinham or fato da passagem do tempo, which traced changes boas, simultaneously carrying negative aspects. Repare, as apontam os verses, em como o homem deixa to be a sedentário, a contemplator, to specify to be a productive creature, imersa na daily press.

I have dry lips, or great modern noises,
Of you ouvir too much from the point of view,
And it burns me at the head of you wanting to sing with an excess
From expressão of all the minhas sensations,
With a contemporary excess of you, or machines!

Ah, to be able to squeeze everything as an engine is squeezed!
To be complete as a machine!
To be able to go into life triumphant as a late-model car!
I can at least penetrate me physically all at once,
Tear-me all, open-me completely, turn-me over
To all the perfumes of oils and heats and carvões
Stunning flora, black, artificial and insatiable!

7. Presságioby Fernando Pessoa

Presságio Fernando Pessoa's own hair was assassinated and published in 1928, never again for the end of the poet's life. Se a maior part two love poems costuma fazer um homagem e um praise to this sentiment nobre, here we see a disconnected eu-lyrical, sem get to establish affectionate ties, finding no love um problem in não uma bênção.

A long year of twenty verses divided into five stanzas we see a poetic subject that wishes to live or love to its fullness, but it seems not to know how to lead or feel. O fato do amor not be reciprocated - from there, nem to be properly communicated - is a source of immense anguish for those who love em silence.

Chega to be curious as a poetic subject who gets to compor such beautiful verses seems not to be able to squeeze himself out of the beloved woman.

Like glued pessimistic and defeatist, or poem fails to all of us that one day we just faint and we do not have courage of expor or sentiment com medo da rejeição.

Or love, when it reveals itself,
It is not known to reveal.
He knows bem olhar for her,
But I do not know how to fail.
What did you want to say or what did you say?
He does not know or what he has to say.
Fala: it seems that mind ...
Cala: it seems to be skewed ...
Ah, more is ela guessedhasse,
If she can be ouvir or olhar,
E se um olhar lhe bastasse
To know who is going to love!
But I burned very much, cove;
What do you want to say, how much do I sit?
She 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 ...

Know more about o Poem Presságio.

8. Anniversary, heterônimo Álvaro de Campos

A classic of poetry by Álvaro de Campos, Anniversary It is a painful poem, more than immediately provokes identification with each one of us. Or aniversário do eu-lrico é o motif that faz like that o poetic subject promotes uma verdadeira viagem no tempo.

The verses published in 1930 (below you will find the initial passage of the poem) voltam-se para o pasado e deixam transparecer a species of nostalgia, of saudades of a tempo that will never turn again.

We need to confirm that nothing remains in the same place: dear people have died, they have lost their naivety, they have lost their childhood home. Or passado é tido as an interminável source of joy enquanto or present face with a bitter taste, as a melancholia.

It is not a question here just of the record of a banal saudade, or eu-lyrical appears dejected, vazio, sad, full of a deeper feeling of disappointment, a vontade de voltar no tempo e no passado remain.

Do not let me celebrate or day two months,
Eu was happy and no one was dead.
In an old house, I tied it for many years it was a tradition of hasecules,
E to everyone's joy, and to minha, I was celebrating a qualifying religion.

Do not let me celebrate or day two months,
Eu tinha a grande saúde de não perceber coisa nenhuma,
From being smart to enter the family,
And I do not have the hopes that you others tinham for me.
When I saw hope, I never knew hope.
When you saw life for life, you will lose or give life meaning.

9. O keeper of slices, heterônimo Alberto Caeiro

Written by Volta in 1914, but published for the first time in 1925, or an extensive poem Or keeper of slices - represented below by a brief stretch - foi or responsible for the emergence of heterônimo Alberto Caeiro.

Nos verses or eu-lyrical is presented as a humble pessoa, do countryside, what a taste of contemplate To the landscape, the phenomena of nature, you are animated and the space to the redor.

Outra important brand gives written e a superiority of feeling over reason. We also see uma exaltação ao sol, ao vento, à terra, in a general way, two essential elements give country life.

Em Or keeper of slices It is important to sublimate the questão do divino: it stops many Deus and a superior being, not to cover two lines we see how the creature that governs us seems to be, for Caeiro, nature.

I will never keep slices,
But how is it to be kept for you?
Minha alma é like a shepherd,
Conhece o vento e o sol
And walk pela mão das Estações
To follow and to olhar.
All to peace da Natureza sem people
Vem sit-se next to me.
More sad like a sun pôr
For our imagination,
When it is not found, the plan is
And he sat at the entrance
As a borboleta peels janela.

10. I don't know how many souls I haveby Fernando Pessoa

Uma questão muito cara à lyrical pessoana appears logo first verses of I don't know how many souls I have. Here we find um eu-lyrical multiple, restless, dispersed embora lonely, that is not known to be true and is subject to continuous and constant changes.

Or topic gives identity It is the emanating center of the poem, which was built as voltas of investigation of the personality of the poetic subject.

Some questions that or poem places são: Quem sou eu? How did I become here, what do I know? What was not past and what will be not future? What are you in relation to other years? How do I get involved in the landscape?

Constant em euphoria e as marked anxiety, or eu-lyrical anda às voltas na attempt to answer the questions that are posed.

I don't know how many souls I have.
Every moment mudei.
I continually miss myself.
I never saw myself nem achei.
From so much being, I only have a soul.
Quem tem soul no tem calm.
Quem vê é só o que vê,
Quem sente não é quem é,
Attentive to what I'm old,
Lathe-me eles e não eu.
Every meu sonho ou desejo
É do que nasce e não meu.
Sou minha own paisagem,
Assist in minha passagem,
Diverse, mobile is only,
I don't know how to feel it.
By isso, alheio, vou lendo
Like pages, meu be
Or that I am not foreseeing,
Or what happened to you.
Noto à margem do que li
Or what julguei I felt.
I reread and say: «Was I eu?»
Deus knows, because he or escreveu.

Conheça also:

• Love poems by Fernando Pessoa
• Poem All the love letters are ridiculous by Álvaro de Campos
• Os melhores poems by Florbela Espanca
• Poem To be great sê inteiro, by Ricardo Reis (Fernando Pessoa)
• Poem Amor é fire that burns sem se ver, by Luís Vaz de Camões
• The imperdíveis poems of Portuguese literature
• Futurism: what were the main works?