Fernando Pessoa

Fernando Pessoa Poems

I am tired, that is clear,
Because, at certain stage, people have to be tired.
Of what I am tired, I don't know:
...

Symbols? I'm sick of symbols...
Some people tell me that everything is symbols.
They're telling me nothing.

What symbols? Dreams...
Let the sun be a symbol, fine...
Let the moon be a symbol, fine...
Let the earth be a symbol, fine...
But who notices the sun except when the rain stops
And it breaks through the clouds and points behind its back
To the blue of the sky?
And who notices the moon except to admire
Not it but the beautiful light it radiates?
And who notices the very earth we tread?
We say earth and think of fields, trees and hills,
Unwittingly diminishing it,
For the sea is also earth.

Okay, let all of this be symbols.
But what's the symbol - not the sun, not the moon, not the earth -
In this premature sunset amidst the fading blue
With the sun caught in expiring tatters of clouds
And the moon already mystically present at the other end of the sky
As the last remnant of daylight
Gilds the head of the seamstress who hesitates at the corner
Where she used to linger (she lives nearby) with the boyfriend who left her?
Symbols? I don't want symbols.
All I want - poor frail and forlorn creature! -
Is for the boyfriend to go back to the seamstress.
...

I know, I alone
How much it hurts, this heart
With no faith nor law
...

Since we do nothing in this confused world
That lasts or that, lasting, is of any worth,
And even what's useful for us we lose
So soon, with our own lives,
Let us prefer the pleasure of the moment
To an absurd concern with the future,
Whose only certainty is the harm we suffer now
To pay for its prosperity.
Tomorrow doesn't exist. This moment
Alone is mine, and I am only who
Exists in this instant, which might be the last
Of the self I pretend to be.
...

O poeta é um fingidor.
Finge tão completamente
Que chega a fingir que é dor
A dor que deveras sente.

E os que lêem o que escreve,
Na dor lida sentem bem,
Não as duas que ele teve,
Mas só a que eles não têm.

E assim nas calhas da roda
Gira, a entreter a razão,
Esse comboio de corda
Que se chama o coração.
...

The poet is a faker
Who's so good at his act
He even fakes the pain
Of pain he feels in fact.

And those who read his words
Will feel in his writing
Neither of the pains he has
But just the one they're missing.

And so around its track
This thing called the heart winds,
A little clockwork train
To entertain our minds.
...

Não tenho ninguém que me ame.
'Spera lá, tenho; mas é
Difícil ter-se a certeza
Daquilo em que não se crê.

Não é não crer por descrença,
Porque sei: gostam de mim.
É um não crer por feitio
E teimar em ser assim.

Não tenho ninguém que me ame.
Para este poema existir
Tenho por força que ter
Esta mágoa que sentir.

Que pena não ser amado!
Meu perdido coração!
Etcetera, e está acabado
O meu poema pensado.
Sentir é outra questão…
...

There's no one who loves me.
Hold on, yes there is;
But it's hard to feel certain
About what you don't believe in.

It isn't out of disbelief
That I don't believe, for I know
I'm well liked. It's my nature
Not to believe, and not to change.

There's no one who loves me.
For this poem to exist
I have no choice
But to suffer this grief.

How sad not to be loved!
My poor, forlorn heart!
Et cetera, and that's the end
Of this poem I thought up.

What I feel is another matter...
...

A lavadeira no tanque
Bate roupa em pedra bem.
Canta porque canta, e é triste
Porque canta porque existe;
Por isso é alegre também.

Ora se eu alguma vez
Pudesse fazer nos versos
O que a essa roupa ela fez,
Eu perderia talvez
Os meus destinos diversos.

Há uma grande unidade
Em, sem pensar nem razão,
E até cantando a metade,
Bater roupa em realidade...
Quem me lava o coração?
...

The washwoman beats the laundry
Against the stone in the tank.
She sings because she sings and is sad
For she sings because she exists:
Thus she is also happy.

If I could do in verses
What she does with laundry,
Perhaps I would lose
My surfeit of fates.

Ah, the tremendous unity
Of beating laundry in reality,
Singing songs in whole or in part
Without any thought or reason!
But who will wash my heart?
...

Tenho em mim como uma bruma
Que nada é nem contém
A saudade de coisa nenhuma,
O desejo de qualquer bem.

Sou envolvido por ela
Como por um nevoeiro
E vejo luzir a última estrela
Por cima da ponta do meu cinzeiro

Fumei a vida. Que incerto
Tudo quanto vi ou li!
E todo o mundo é um grande livro aberto
Que em ignorada língua me sorri.
...

I have in me like a haze
Which holds and which is nothing
A nostalgia for nothing at all,
The desire for something vague.

I'm wrapped by it
As by a fog, and I see
The final star shining
Above the stub in my ashtray.

I smoked my life. How uncertain
All I saw or read! All
The world is a great open book
That smiles at me in an unknown tongue.
...

13.

Of the gardens of Adonis, Lydia, I love
Most of all those fugitive roses
That on the day they are born,
...

I'm herdsman of a flock.
The sheep are my thoughts
And my thoughts are all sensations.
...

The frightful reality of things
Is my everyday discovery.
...

The poet is a man who feigns
And feigns so thoroughly, at last
He manages to feign as pain
...

I don't know how many souls I have.
I've changed at every moment.
I always feel like a stranger.
...

Não queiras, Lídia, edificar no ‘spaço
Que figuras futuro, ou prometer-te
Amanhã. Cumpre-te hoje, não ‘sperando.
Tu mesma és tua vida.
Não te destines, que não és futura.
Quem sabe se, entre a taça que esvazias,
E ela de novo enchida, não te a sorte
Interpõe o abismo?
...

Don't try to build in the space you suppose
Is future, Lydia, and don't promise yourself
Tomorrow. Quit hoping and be who you are
Today. You alone are your life.
Don't plot your destiny, for you are not future.
Between the cup you empty and the same cup
Refilled, who knows whether your fortune
Won't interpose the abyss?
...

Não consentem os deuses mais que a vida.
Tudo pois refusemos, que nos alce
A irrespiráveis píncaros,
Perenes sem ter flores.
Só de aceitar tenhamos a ciência,
E, enquanto bate o sangue em nossas fontes,
Nem se engelha connosco
O mesmo amor, duremos,
Como vidros, às luzes transparentes
E deixando escorrer a chuva triste,
Só mornos ao sol quente,
E reflectindo um pouco.
...

Fernando Pessoa Biography

Fernando Pessoa, born Fernando António Nogueira Pessôa (/pɛˈsoʊə/; Portuguese: [fɨɾˈnɐ̃dw ɐ̃ˈtɔɲju nuˈɣejɾɐ pɨˈsow.wɐ]; June 13, 1888 – November 30, 1935), was a Portuguese poet, writer, literary critic, translator, publisher and philosopher, described as one of the most significant literary figures of the 20th century and one of the greatest poets in the Portuguese language. He also wrote in and translated from English and French. Pessoa was a prolific writer, and not only under his own name, for he dreamed up approximately seventy-five others. He did not call them pseudonyms because he felt that did not capture their true independent intellectual life and instead called them heteronyms. These imaginary figures sometimes held unpopular or extreme views.)

The Best Poem Of Fernando Pessoa

I Am Tired

I am tired, that is clear,
Because, at certain stage, people have to be tired.
Of what I am tired, I don't know:
It would not serve me at all to know
Since the tiredness stays just the same.
The wound hurts as it hurts
And not in function of the cause that produced it.
Yes, I am tired,
And ever so slightly smiling
At the tiredness being only this -
In the body a wish for sleep,
In the soul a desire for not thinking
And, to crown all, a luminous transparency
Of the retrospective understanding…
And the one luxury of not now having hopes?
I am intelligent: that's all.
I have seen much and understood much of what I
have seen.
And there is a certain pleasure even in tiredness
this brings us,
That in the end the head does still serve for
something.

Fernando Pessoa Comments

Bob Kelley 11 August 2021

Today I began reading Pessoa's The Book of Disquiet. Any comments appreciated. Pessoa's poetry resonates feelings.

1 0 Reply
Fabrizio Frosini 04 January 2016

By 1914 Pessoa had started publishing criticism in prose and poetry. This year is also marked as the birth year of Pessoa’s three main literary personas which he preferred to call heteronyms rather than pseudonyms. These were Alberto Caeiro, Ricardo Reis and Alvaro de Campos. Although throughout his career Pessoa used at least Seventy Eight of his literary figures yet these were the three main heteronyms he returned to from time to time. They all were unique in every manner; they had their own writing style, history, exclusive personality and distinctive physiology. In 1935 Pessoa wrote a letter Adolfo Casais Monteiro explaining how he writes through the names of his three favorite heteronyms.

11 1 Reply
Fabrizio Frosini 04 January 2016

“How do I write in the name of these three? Caeiro, through sheer and unexpected inspiration, without knowing or even suspecting that I’m going to write in his name. Ricardo Reis, after an abstract meditation, which suddenly takes concrete shape in an ode. Campos, when I feel a sudden impulse to write and don’t know what.” Pessoa is known and praised to have given his heteronyms a full life, entirely different and separate from his own, compared to many other literary personas adopted by noble writers of his era.

11 1 Reply

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