DOCSLIB.ORG

Los Personajes Literarios Ingleses De Fernando Pessoa: Estudio Crítico Y Valoración De Personalidades Y Textos

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Los Personajes Literarios Ingleses De Fernando Pessoa: Estudio Crítico Y Valoración De Personalidades Y Textos UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA TESIS DOCTORAL Los personajes literarios ingleses de Fernando Pessoa: estudio crítico y valoración de personalidades y textos MEMORIA PARA OPTAR AL GRADO DE DOCTORA PRESENTADA POR María Colom Jiménez Director Dámaso López García Madrid, 2016 © María Colom Jiménez, 2016 UNIVERSIDAD COMPLUTENSE DE MADRID MARÍA COLOM JIMÉNEZ LOS PERSONAJES LITERARIOS INGLESES DE FERNANDO PESSOA: ESTUDIO CRÍTICO Y VALORACIÓN DE PERSONALIDADES Y TEXTOS TESIS DOCTORAL EUROPEA DIRIGIDA POR EL DOCTOR DÁMASO LÓPEZ GARCÍA PROGRAMA DE DOCTORADO EN ESTUDIOS LITERARIOS FACULTAD DE FILOLOGÍA UNIVERSIDAD COMPLUTENSE DE MADRID SEPTIEMBRE 2015 ii UNIVERSIDAD COMPLUTENSE DE MADRID MARÍA COLOM JIMÉNEZ FERNANDO PESSOA’S ENGLISH LITERARY CHARACTERS: A CRITICAL STUDY AND ASSESMENT OF PERSONALITIES AND TEXTS TESIS DOCTORAL EUROPEA DIRIGIDA POR EL DOCTOR DÁMASO LÓPEZ GARCÍA PROGRAMA DE DOCTORADO EN ESTUDIOS LITERARIOS FACULTAD DE FILOLOGÍA UNIVERSIDAD COMPLUTENSE DE MADRID SEPTEMBER 2015 iii iv AGRADECIMIENTOS Esta tesis doctoral no habría sido posible sin la ayuda y el apoyo de distintas instituciones y personas que me han acogido y me han prestado su colaboración durante estos años. En primer lugar me gustaría agradecer a la Universidad Complutense de Madrid por otorgarme una Beca de Colaboración en la Oficina de Relaciones Internacionales durante mis estudios de Licenciatura y Master. Agradezco también al programa LLP-Erasmus Practicum y a la Universidad de Coimbra por otorgarme una beca de prácticas que hizo posible mi estancia de investigación durante un año en la Universidad de Coimbra y en la Biblioteca Nacional de Portugal, facilitando enormemente el comienzo de esta investigación. Por otra parte, agradezco también al Departamento de Filología Inglesa II y al Departamento de Filología Románica, Filología Eslava y Lingüística General de esta institución, ambos de la Facultad de Filología, por nombrarme Colaboradora Honorífica en 2012 y 2013 respectivamente. De manera muy especial quiero agradecer a mi director de tesis, el Dr. Dámaso López García, por su incansable dedicación y trabajo, su constante apoyo y los consejos que me ha prestado siempre con inigualable profesionalidad y enorme cariño. Gracias por sus enseñanzas, por guiarme siempre por el mejor camino posible, por su ánimo v siempre positivo, por sus correcciones y observaciones. Gracias, sobre todo, por ser un ejemplo, por sus constantes “adelante, María, adelante”, por enseñarme a disfrutar del trabajo y también por enseñarme que todo es posible con esfuerzo y dedicación. Esta tesis jamás habría sido posible sin él. De manera igualmente especial y con enorme cariño, quiero hacer constar mi gratitud infinita al Dr. Denis Canellas de Castro Duarte, por su constante confianza, su apoyo y consejo durante tantos años. Gracias por sus innumerables enseñanzas, por sus correcciones y observaciones. Gracias por despertar en mí las inquietudes que me llevaron a esta investigación y por alertarme de lo complejo que es el universo literario de Fernando Pessoa. Gracias sobre todo por su constante disponibilidad. Gracias por apoyar siempre mi trabajo y por hacer posibles todos los pasos que voy dando en el mundo académico. Tampoco habría sido posible esta tesis sin él. Me gustaría agradecer su apoyo a los demás profesores de la Facultad de Filología de la Universidad Complutense de Madrid, de quienes llevo aprendiendo ya diez años y de quienes sigo aprendiendo. Quiero agradecerles sus enseñanzas, constante apoyo y consejo. Gracias especialmente al Dr. Eduardo Valls Oyarzun por sus constantes y buenos consejos. Gracias a la Dra. Isabel Durán Giménez-Rico, a la Dra. Carmen Méndez García, a la Dra. Mariann Larsen, al Dr. Félix Martin Gutiérrez por sus enseñanzas y por su ejemplo. Gracias también a la Dra. María José Postigo Aldeamil por su constante apoyo, consejo y confianza. De igual modo me gustaría extender mi gratitud al Dr. José Carlos Seabra Pereira del Departamento de Lenguas, Literaturas y Culturas de la Facultad de Letras de la Universidad de Coimbra, que supervisó mi estancia de investigación en la Universidad de Coimbra y en la Biblioteca Nacional de Portugal durante el curso académico 2011- vi 2012. Agradezco también al personal administrativo de la Biblioteca Nacional de Portugal por su amable disposición y acogida. Los recursos bibliográficos a los que tuve acceso durante ese año fueron determinantes para elaborar el presente trabajo. Gracias también a Madalena Lobo Antunes del Grupo de investigación ‘Estranhar Pessoa’ por invitarme a las conferencias y seminarios realizados por el grupo y por sus valiosos consejos y observaciones. Me gustaría agradecer también a todos mis alumnos del Minor de Portugués del Grado de Lenguas Modernas de la Universidad Complutense de Madrid, siempre es un placer y un aprendizaje constante ser su profesora. Han motivado y han apoyado mi vocación por la docencia con su interés y entusiasmo. Gracias de todo corazón a mis compañeras de aventuras académicas, Noelia Malla, Rebeca Cordero y Rebeca Gualberto. Les agradezco tanto su apoyo como su presencia junto a mí en todos los momentos (los buenos y los no tan buenos) de estos años. Sus consejos y su trabajo, su ilusión y sus ánimos constantes que han sido determinantes para llevar a buen puerto esta tesis. Noelia ha sido la mejor amiga posible, la compañera de aventuras más entusiasta y la mano a la que agarrarse para saltar cualquier piedra del camino. Nada hubiera sido lo mismo sin ella. Gracias también a Claudia Alonso por ser una gran compañera con la que es siempre un placer trabajar. Gracias a todos mis amigos, los que están cerca y los que desgraciadamente están lejos, todos ellos han sufrido y compartido esta tesis conmigo: Cristina, Tania, Rémi, Chérine, Esther, Willy, Vagner, Julia, Vanesa, Eva, Madalena, Ezequiel, Diana, Javi, Stijn y Paula. Gracias por acompañarme siempre, por comprender como nadie lo difícil a la vez que satisfactorio que ha sido este trabajo para mí y por sacarme a pasear cuando los días se presentaban más grises de lo normal. Muito obrigada a todos. vii Finalmente y muy especialmente gracias a mi familia. Gracias a mis padres Ernesto y María Antonia por creer siempre en mí, por enseñarme el valor del esfuerzo, por aconsejarme siempre a seguir mi vocación, por no tirar nunca la toalla ni dejar que yo la tire, por enseñarme a luchar y trabajar por lo que quiero y por ser mi gran y constante apoyo y ejemplo. Gracias por todo, siempre. Gracias a mi hermano, Ernesto, por demostrarme que con dedicación, esfuerzo y confianza en uno mismo se llega a todas partes y por decirme siempre: “¡María, eres una crack!”. Gracias a Paulo, por estar a mi lado, por caminar junto a mí por las veredas del sertão de la vida, por su espíritu positivo, por hacerme siempre ver el lado bueno de las cosas, por tranquilizarme, por confiar y estar siempre orgulloso de mí. viii PREFACE I read Fernando Pessoa for the first time early in my adolescence or perhaps not so early considering I was brought-up in Lisbon. I was about fifteen years old when Pessoa’s Mensagem (1935) and a few loose texts signed by the Portuguese heteronyms were presented to me during my secondary studies in the Portuguese capital. I must admit, with some embarrassment, that these texts did not hold my interest at that time; Pessoa was for me just ‘a great Portuguese Poet of the twentieth century’. It was not until I left Lisbon (with great sorrow) and began my university studies in Madrid, that Pessoa, his generation, his texts and his heteronyms were properly introduced to me at Universidad Complutense de Madrid by Professor Denis Canellas de Castro Duarte in his course ‘Literatura Portuguesa del Siglo XX’. After reading and rereading Ode Triunfal (1914), Álvaro de Campos became my greatest companion during those first university years. I found in Bernardo Soares’ Livro do Desassossego —a book I kept for years on my night table— console for the saudade I felt for the country that saw me grow. Soares eased my nostalgia and brought Lisbon, its people, O Cais das Colunas and most importantly, the Portuguese language, to me all the way from Portugal to Spain. ix As I advanced through the academic path, I was always fully determined to keep reading and investigating Pessoa and his legacy. To my astonishment I soon found out that the Portuguese Poet was, like myself, bilingual and that he wrote texts both in English and Portuguese. I discovered in Fernando Pessoa a “brother in sentiment” —as Álvaro de Campos discovered in Walt Whitman—; I too had been raised away from my home country in an English school, and soon came to admire all languages and cultures (Spanish, English and Portuguese) that life circumstances had put in my path. When away from Spain, I write in Spanish; when away from Portugal, I write in Portuguese, as if the use of each language did not depend on my state of feeling, but on the nostalgia felt when being far away from the language itself. I have been questioned in several occasions throughout my life, in which language I think. This question was hard to answer as a child or adolescent, when trilingualism may cause a slight displacement in our understanding of ourselves. Nowadays, I simply answer: “I think and feel in the three languages at the same level, it only depends on my surroundings, I am and my thought is the same always”. One could wonder what Fernando Pessoa would have answered if asked this same question. What we do know is he enriched Portuguese language and literature and gave Portugal one of the greatest poets and thinkers the twentieth century has given the world of literature. Pessoa did state through the voice of Bernardo Soares “a minha pátria é a língua Portuguesa”, and this must never be disregarded when approaching the study of his life or works.
Load more

Recommended publications
  • Modernist Temporalities: the Orpheu Generation and the Impact of History
    Modernist temporalities: the Orpheu generation and the impact of history António Sousa Ribeiro* Keywords Fernando Pessoa, First World War, Modernism, Violence. Abstract Taking the year 1915 as a reference, the essay analyses some aspects of the relationship of modernist writing with the Great War. In Portugal, this relationship appears in many cases in the form of an absence whose scattered traces can only be apprehended through ways of reading which are well aware of the complexities of the articulation between violence and discourse. Palavras-chave Fernando Pessoa, Primeira Guerra Mundial, Modernismo, Violência. Resumo Tomando como referência o ano de 1915, analisam-se aspetos da relação entre a escrita modernista e a Primeira Guerra Mundial. Em Portugal, esta relação assume em muitos casos a forma de uma ausência, cujos traços dispersos apenas podem ser captados por modos de ler suficientemente atentos às complexidades da articulação entre a violência e o discurso. * School of Humanities and Centre for Social Studies of the University of Coimbra. Ribeiro Modernist temporalities (There is so much to do, My God! and these people distracted by war!)1 José de Almada Negreiros, “A Cena do Ódio” Let me start with a short reflection on the year 1915: it would seem that the mention of the year by itself points simply to the simultaneity of a variety of events happening synchronically in different locations. This is not so, however. Upon a closer look, it becomes apparent that 1915 is but the sign uniting what are in fact quite different temporalities. The figure of exile, surfacing metaphorically – e.g.
    [Show full text]
  • Jennings on the Trail of Pessoa Or Dimensions of Poetical Music
    Jennings on the Trail of Pessoa or dimensions of poetical music Pedro Marques* Keywords Fernando Pessoa, Hubert Jennings, Roy Campbell, Peter Rickart, translation, versification, musicality, The thing that hurts and wrings, What grieves me is not, What saddens me is not. Abstract Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem “O que me doe” and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-poetic dimensions of the original text. Palavras-chave Fernando Pessoa, Hubert Jennings, Roy Campbell, Peter Rickart, tradução, versificação, musicalidade, O que me doe, O que me dói. Resumo Reproduzem-se aqui dois ensaios inéditos de Hubert Jennings sobre os desafios de se traduzir a poesia de Fernando Pessoa: o primeiro deles, breve e fragmentário, é analisado numa introdução; o segundo, mais longo e versando também sobre questões alheias à tradução, é apresentado em postscriptum. A partir do poema pessoano “O que me dói” e de três traduções comparadas por Hubert Jennings, esta apresentação enfoca alguns aspectos da música poética em língua portuguesa: medida do verso, dinâmica dos acentos, rimas, anáforas e paralelismos.
    [Show full text]
  • Translated Poe
    UC Santa Barbara Journal of Transnational American Studies Title Excerpt from Translated Poe Permalink https://escholarship.org/uc/item/1c13k85x Journal Journal of Transnational American Studies, 6(1) Authors Esplin, Emron Vale de Gato, Margarida Publication Date 2015 DOI 10.5070/T861025842 eScholarship.org Powered by the California Digital Library University of California Excerpted from Emron Esplin and Margarida Vale de Gato, eds., Translated Poe (Bethlehem, PA: Lehigh University Press, 2014). Reprinted with permission from Lehigh University Press (http://inpress.sites.lehigh.edu/) and Rowman & Littlefield Publishing Group (https://rowman.com/ISBN/9781611461725). Esplin and Vale de Gato Esplin and Vale Literary Studies | Translation Studies | Nineteenth-Century Studies Perspectives on Edgar Allan Poe Translated Series Editor: Barbara Cantalupo Few, if any, U.S. writers are as important to the history of world literature as Edgar Allan Poe; and few, if any, U.S. authors owe so much of their current reputations to the process of translation. Translated Poe brings together thirty-one essays from nineteen different national/literary traditions to demonstrate Poe’s extensive influence on world literature and thought while revealing the importance of the vehicle that delivers Poe to the world—translation. Translated Poe is not preoccupied with judging the “quality” of any given Poe translation or with assessing what a specific translation of Poe must or should have done. Rather, this volume demonstrates how Poe’s translations constitute multiple contextual interpretations, testifying to how this prolific author continues to help us read ourselves and the world(s) we live in. The examples of how Poe’s works were spread abroad remind us that literature depends as much on authorial creation and timely readership as on the languages and worlds through which a piece of literature circulates after its initial publication in its first language.
    [Show full text]
  • Fernando Pessoa: a Peripheral Shakespearean out of His Time
    Vincenzo Russo Fernando Pessoa: A Peripheral Shakespearean out of his Time I was a poet animated by philosophy, not a philosopher with poetic faculties. I loved to admire the beauty of things, to trace in the imperceptible through the minute the poetic soul of the universe. he poetry of the earth is never dead. — Fernando Pessoa Traces of Portuguese Modernism he irst historical avant-garde of Portuguese literature may be easily iden- tiied from a chronological point of view. he blaze of avant-garde icono- clasm burned itself out in a little less than two years, as part of a modernist experience which, by contrast, was to continue in its various forms and recurrences at least until the Second World War. his period of the irst avant-garde falls between the publication dates of two short-lived but highly signiicant journals, Orpheu (1915) and Portugal Futurista (1917). he irst two issues of Orpheu – a third was on the brink of publication but was never printed for inancial reasons – came out in March and June of 1915 and, for all the critical complications involved, mark the beginning of Modernism in Portugal. In Fernando Pessoa’s words, Orpheu was the ‘sum and synthesis of all modern literary movements’ and was to prove capable of absorbing Europe’s disruptive literary aesthetic movements (Futurism, Cubism, Vorticism, Orphism) through a process which was not merely 192 Vincenzo Russo of imitation but transposition, as became a peripheral context such as Portugal: with a hallmark of originality which best represents the form, transitory perhaps, but also highly typical, of early Portuguese Modernism.
    [Show full text]
  • Redalyc.Fernando Pessoa's Fausto and the Concept of Subjective
    Acta Scientiarum. Language and Culture ISSN: 1983-4675 [email protected] Universidade Estadual de Maringá Brasil de Carvalho Xavier, Rodrigo Alexandre Fernando Pessoa’s Fausto and the concept of Subjective Tragedy Acta Scientiarum. Language and Culture, vol. 38, núm. 3, 2016, pp. 271-279 Universidade Estadual de Maringá Maringá, Brasil Available in: http://www.redalyc.org/articulo.oa?id=307446626006 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Acta Scientiarum http://www.uem.br/acta ISSN printed: 1983-4675 ISSN on-line: 1983-4683 Doi: 10.4025/actascilangcult.v38i3.30901 Fernando Pessoa’s Fausto and the concept of Subjective Tragedy Rodrigo Alexandre de Carvalho Xavier Universidade Tecnológica Federal do Paraná, Campus Pato Branco, Via do Conhecimento, Km1, 85503390, Pato Branco, Paraná, Brasil. E-mail: [email protected] ABSTRACT. This paper intends to show, in an embryonic format, how Fernando Pessoa embodied the subjective process, presented in all his work through a heteronimic construction, in his writing project of Portuguese Faust. Consistent with the idea of Static Drama, Pessoa’s Fausto sights the construction of an animistic and apathetic tragedy, supported on a discursive monologism and the tragic conception of existence. Keywords: Fernando Pessoa, Faust, drama, tragedy, subjectivity. O Fausto de Fernando Pessoa e o conceito de Tragédia Subjetiva RESUMO. O presente texto busca apresentar, ainda que de forma embrionária, como Fernando Pessoa incorporou o processo de subjetivação presente em toda a sua obra por meio da construção heteronímica no seu projeto de escritura de um Fausto português.
    [Show full text]
  • Modernism, Joyce, and Portuguese Literature
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 8 (2006) Issue 1 Article 5 Modernism, Joyce, and Portuguese Literature Carlos Ceia New University of Lisboa Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ceia, Carlos. "Modernism, Joyce, and Portuguese Literature." CLCWeb: Comparative Literature and Culture 8.1 (2006): <https://doi.org/10.7771/1481-4374.1293> This text has been double-blind peer reviewed by 2+1 experts in the field. The above text, published by Purdue University Press ©Purdue University, has been downloaded 5051 times as of 11/ 07/19.
    [Show full text]
  • Rua Augusta / Baixa Street Sounds Sofia
    Episode 9. Mouth of Hell Location: Rua Augusta / Baixa Street sounds Sofia: You should now walk down Rua Augusta towards Terreiro do Paço. In 1929 Fernando Pessoa is reading the first volume of the Confessions of Aleister Crowley. Crowley was a notorious British magician and occultist. [00:00:29.09] Steffen Dix: He knew several famous figures. He was in contact with Aldous Huxley, with Albert Einstein. He prepared an exhibition in Berlin with some great German modernists, so Crowley was a very international figure. He lived between Berlin, London and Paris and travelled around the world, while Pessoa never left downtown Lisbon. And in this sense there couldn’t be a greater contrast than Crowley and Pessoa. Aleister Crowley voice recording Aleister Crowley: In the Years of the Primal Course, in the dawn of terrestrial birth, Man mastered the mammoth and horse, and Man was the Lord of the Earth. Sofia: The press dubbed Crowley "the wickedest man in the world". He identified himself as the “Antichrist” and he called himself "The Beast 666". On December 4th, 1929 Fernando Pessoa wrote to Crowley's publisher, Mandrake Press. It was to correct a mistake in the magician's astrological chart. Street sounds Steffen Dix: And he asked if the publisher could tell Crowley and the publisher did so. Then Crowley got in touch, maybe he found some interest in Pessoa and he was fairly quick to state that he was coming to Portugal. Sofia: This started a correspondence that led to a meeting between Pessoa and Crowley on September 2nd, 1930, in Lisbon.
    [Show full text]
  • Fernando Pessoa As English Reader and Writer
    MARIANA GRAY DE CASTRO Pessoa and Keats abstract: This article examines the dialogue between Fernando Pessoa and the English romantic poet John Keats (1795-1821). It begins by exploring Pessoa’s poetic engagement with Keats's verse, before moving on to an analysis of his assimilation of Keats's most influential aesthetic ideas, above all those of the chameleon poet and negative capability, which I argue were a significant, yet hitherto largely unex- plored, influence on Pessoa’s heteronymic invention. keywords: influence, Pessoa, Keats, private library Several of Fernando Pessoa’s poems, particularly his adolescent production in English, as well as his ideas about poetry, are indebted to his immersion in Eng- lish Romantic era literature during his formative years. This article will explore Pessoa’s creative and theoretical debt to the poet-critic John Keats (1795-1821), following in the footsteps of pioneering studies about this fertile dialogue by such critics as George Monteiro, Maria Irene Ramalho de Sousa Santos, and 1 Antonio M. Feijo. It will begin by examining an instance of poetic influence, before going on to consider Pessoa’s wider assimilation, in the context of his thinking on the heteronyms, of Keats’s aesthetic ideals. Pessoa’s reading diary of 1903, when he was fifteen and sixteen years old, reveals his voracious consumption of Keats over several months, and in the 2 same year he selected Keats’s Poetical Works as part of a school prize. This book is still present in his personal library, together with a number of critical studies of romantic literature, plus a biography of Keats.
    [Show full text]
  • Fernando Pessoa, Poet, Publisher, and Translator
    FERNANDO PESSOA, POET, PUBLISHER, AND TRANSLATOR R. W. HOWES FERNANDO PESSOA is widely considered to be the greatest Portuguese poet of the twentieth century and a major writer of European stature. His enigmatic personality and the potent combination of poetic genius and metaphysics in his verse have fascinated a wide variety of readers both in Portugal and abroad. His invention of heteronyms, or alter egos, poets of his own creation who conducted a poetic 'drama in people', has found a response in the anxieties of the twentieth century, while the innovations in his poetic style, partly influenced by his fluency in English, have revolutionized modern Portuguese poetry. Pessoa published a relatively small proportion of his work during his lifetime, much of it in ephemeral periodical publications. He left behind a trunk full of manuscript poems and fragments of verse into which successive researchers have delved to produce a seemingly inexhaustible supply of'unpublished' writings. This has tended to divert attention from a detailed study of the works which he did publish while alive. ^ The British Library is fortunate to possess copies of all five of the volumes of Fernando Pessoa's verse which were published in his lifetime as well as some of the periodicals in which he published contributions, together with various other publications associated with him. These help to illuminate not only the bibliographical history of Pessoa as a poet but also his activities as a publisher and translator. They provide too an interesting illustration of the complex way in which a large research library's collections are built up, even where the works of a relatively modern author are concerned.
    [Show full text]
  • Fernando-Pessoa-Message-SAMPLE
    Message The Pessoa Edition from Shearsman Books: Selected English Poems Messsage (translated by Jonathan Griffin & published in association with The Menard Press) The Collected Poems of Alberto Caeiro The Collected Poems of Álvaro de Campos Vol. 1 The Collected Poems of Álvaro de Campos Vol. 2 (all translated by Chris Daniels) Lisbon – What the Tourist Should See Zbigniew Kotowicz: Fernando Pessoa – Voices of a Nomadic Soul (published in association with The Menard Press) Jonathan Griffin titles available from The Menard Press: In Earthlight. Selected Poems Sage Eye: The Aesthetic Passion of Jonathan Griffin (ed. Anthony Rudolf) Fernando Pessoa Mensagem / Message translated by Jonathan Griffin & introduced by Helder Macedo Shearsman Books & The Menard Press Exeter London First published in in the United Kingdom in 1992 by The Menard Press and King’s College London. This second edition is published in 2007 by Shearsman Books Ltd and The Menard Press 58 Velwell Road 8 The Oaks Exeter EX4 4LD Woodside Avenue London N12 8AR www.shearsman.com ISBN-13 978-1-905700-27-1 ISBN-10 1-905700-27-x Translations by Jonathan Griffin, copyright © Anthony Rudolf, 1992. Introduction copyright © Helder Macedo, 1992. Preface copyright © Anthony Rudolf, 1992, 2007. The right of Jonathan Griffin to be identified as the translator of this work has been asserted by his executor, Anthony Rudolf, in accordance with the Copyrights, Designs and Patents Act of 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher.
    [Show full text]
  • Evocando Roy Campbell
    Roy Campbell (1901-1957): o hispanista escocês da África Austral 1 À Pat e ao Lito Cinquenta anos após o trágico desaparecimento de Roy Campbell, em acidente rodoviário ocorrido próximo de Setúbal, 2 vale a pena revisitar 3 a figura deste poeta e hispanista de ascendência escocesa, nascido em Durban, cuja actividade lusófila o torna merecedor de um estudo fatalmente mais vasto do que este artigo visa empreender. Não obstante a importância das vivências sul-africanas 4 e espanholas (por exemplo, o testemunho presencial da eclosão, em 1936, da Guerra Civil), a orientação comparativista desta publicação justifica que privilegiemos as vertentes inglesa e anglo- portuguesa de Roy Campbell, começando por apontar, no que toca à primeira e além do parentesco (familiar, que não político-ideológico...) com George Orwell (1903-1950), a contemporaneidade e os contactos mantidos com poetas, romancistas, ensaístas e críticos como Wyndham Lewis (1884-1957), os irmãos Sitwell (Edith, 1887-1964, Osbert, 1892-1969 e Sacheverell, 1897-1988), T. S. Eliot (1888-1965), 5 Vita Sackville- 1 Decerto por lapso, a edição consultada de The Oxford Companion apresenta 1902 como data de nascimento, omitindo ainda a referência ao 3º volume de Collected Poems, publicado em 1960 (Harvey (ed.), 1983: 138). 2 A morte de Campbell foi noticiada na BBC, onde Campbell trabalhou entre Janeiro de 1946 e Setembro de 1949. 3 Na verdade, Roy Campbell e “Rounding the Cape” (1930) são meteoricamente referidos por Filipe Furtado em recensão a Shades of Adamastor, uma antologia de poetas sul-africanos publicada em 1988 (Furtado, 1990: 137-143); cf. também infra: nota 9.
    [Show full text]
  • Pessoa in Lisboa Sharon Dolin
    Pessoa in Lisboa Sharon Dolin Countless lives inhabit us I don’t know, when I think or feel, Who it is that thinks or feels. I am merely the place Where things are thought or felt. Ricard Reis (Fernando Pessoa) 13 Nov. 1935 Pessoa means person in Portuguese. The most generic of names for this most elusive and shape-shifting of poets. ø Lisboa is the best place to land on my birthday. For what are birth- days, but a way of emphatically saying I am here. But who is that I. And where is here? ø To celebrate one’s birth? I’d rather celebrate the death of all the un- happiness that preceded this day. ø When Pessoa writes of the “ennui of the brave” in his Book of Dis- quietude, he has eluded it by casting those thoughts onto Bernardo Soares (whom he deems a semi-heteronym) who is, and is not, Pessoa. ø I don’t write as in compose. I pull invisible threads from the air and conjure them into legibility with this pen. ø Impossible to be in Lisbon without a brooding sense of being inside and outside oneself. ø 60 To know the self by becoming an other. As Rimbaud said, Je est un autre. ø Perhaps poets are the true ventriloquists of language — throwing our voice to revive/enliven the dummy of words. ø Café Brasiliera in Chiado: in the center of everything. Why would Pessoa ever need to travel again? ø Lisboa: from the Phoenician Allis Ubbo, “safe harbor,” from the Lat- in Ulyssippo, after “Ulysses.” Ulysses Tower overlooking the Tejo (Tagus River).
    [Show full text]