Description: Shipping from Europe with tracking number /90mm-90mm,HEAVY Bronze medal,Lsbon mintby Famous José Cabral ANTUNES (1916-1986) Fernando Pessoa Fernando PessoaPortrait of Pessoa, 1914BornFernando António Nogueira Pessoa 13 June 1888 Lisbon, PortugalDied30 November 1935 (aged 47) Lisbon, PortugalPen nameAlberto Caeiro, Álvaro de Campos, Ricardo Reis, Bernardo Soares, etc.OccupationPoetwritertranslatorphilosopherLanguagePortuguese, English, FrenchNationalityPortugueseCitizenshipPortugueseAlma materUniversity of LisbonPeriod1912–1935GenrePoetry, essay, fictionNotable worksMensagem (1934) The Book of Disquiet (1982)Notable awardsQueen Victoria Prize (1903)Antero de Quental Award (1934)PartnerOfélia Queirós (girlfriend)SignatureFernando António Nogueira Pessoa (Portuguese: [fɨɾˈnɐ̃du pɨˈsoɐ]; 13 June 1888 – 30 November 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 created approximately seventy-five others, of which three stand out, Alberto Caeiro, Álvaro de Campos, and Ricardo Reis. He did not call them pseudonyms because he felt that this did not capture their true independent intellectual life and instead called them heteronyms. These imaginary figures sometimes held unpopular or extreme views.Literature and occultismPessoa translated a number of Portuguese books into English,[22] and into Portuguese The Scarlet Letter by Nathaniel Hawthorne,[23] and the short stories "The Theory and the Hound", "The Roads We Take" and "Georgia's Ruling" by O. Henry.[24] He has also translated into Portuguese the poetry "Godiva" by Alfred Tennyson, "Lucy" by William Wordsworth, "Catarina to Camoens" by Elizabeth Barrett Browning,[25] "Barbara Frietchie" by John Greenleaf Whittier,[26] and "The Raven", "Annabel Lee" and "Ulalume" by Edgar Allan Poe[27] who, along with Walt Whitman, strongly influenced him.As a translator, Pessoa had his own method:Pessoa's alleged mediumship: Automatic writing sample.A poem is an intellectualized impression, an idea made emotion, communicated by others by means of a rhythm. This rhythm is double in one, like the concave and convex aspects of the same arc: it is made up of a verbal or musical rhythm and of a visual or image rhythm which concurs inwardly with it. The translation of a poem should therefore conform absolutely (1) to the idea or emotion which constitutes the poem, (2) to the verbal rhythm in which that idea or emotion is expressed; it should conform relatively to the inner or visual rhythm, keeping to the images themselves when it can, but keeping always to the type of image. It was on this criterion that I based my translation into Portuguese of Poe’s "Annabel Lee" and "Ulalume", which I translated, not because of their great intrinsic worth, but because they were a standing challenge to translators.[28]In addition, Pessoa translated into Portuguese some books by the leading theosophists Helena Blavatsky, Charles Webster Leadbeater, Annie Besant, and Mabel Collins.[29]In 1912–14, while living with his aunt "Anica" and cousins,[30] Pessoa took part in "semi-spiritualist sessions" that were carried out at home, but he was considered a "delaying element" by the other members of the sessions. Pessoa's interest in spiritualism was truly awakened in the second half of 1915, while translating theosophist books. This was further deepened in the end of March 1916, when he suddenly started having experiences where he believed he became a medium, having experimented with automatic writing.[31] On June 24, 1916, Pessoa wrote an impressive letter to his aunt and godmother,[32] then living in Switzerland with her daughter and son in law, in which he describes this "mystery case" that surprised him.[33]Besides automatic writing, Pessoa stated also that he had "astral" or "etherial visions" and was able to see "magnetic auras" similar to radiographic images. He felt "more curiosity than fear", but was respectful towards this phenomenon and asked secrecy, because "there is no advantage, but many disadvantages" in speaking about this. Mediumship exerted a strong influence in Pessoa's writings, who felt "sometimes suddenly being owned by something else" or having a "very curious sensation" in the right arm, which was "lifted into the air" without his will. Looking in the mirror, Pessoa saw several times what appeared to be the heteronyms: his "face fading out" and being replaced by the one of "a bearded man", or another one, four men in total.[34]Astral chart of the heteronym Ricardo Reis by Fernando Pessoa.Pessoa also developed a strong interest in astrology, becoming a competent astrologer. He elaborated hundreds of horoscopes, including well-known people such as William Shakespeare, Lord Byron, Oscar Wilde, Chopin, Robespierre, Napoleon I, Benito Mussolini, Wilhelm II, Leopold II of Belgium, Victor Emmanuel III, Alfonso XIII, or the Kings Sebastian and Charles of Portugal, and Salazar. In 1915, he created the heteronym Raphael Baldaya, an astrologer who planned to write "System of Astrology" and "Introduction to the Study of Occultism". Pessoa established the pricing of his astrological services from 500 to 5,000 réis and made horoscopes of relatives, friends, customers, also of himself and astonishingly of the heteronyms and journals as Orpheu.Pessoa was born on June 13. The characters of the main heteronyms were inspired by the four astral elements: air, fire, water and earth. It means that Pessoa and his heteronyms altogether constituted the full principles of ancient knowledge. Those heteronyms were designed according to their horoscopes, all including Mercury, the planet of literature. Astrology was part of his everyday life and Pessoa kept that interest until his death, which he was able to predict with some accuracy.[35]Pessoa's last writing: 29-11-1935 "I know not what tomorrow will bring". He died next day, 30 November 1935.As a mysticist, Pessoa was an enthusiast of esotericism, occultism, hermetism, numerology and alchemy. Along with spiritualism and astrology, he also paid attention to neopaganism, theosophy, rosicrucianism and freemasonry, which strongly influenced his literary work. He has declared himself a Pagan, in the sense of an "intellectual mystic of the sad race of the Neoplatonists from Alexandria" and a believer in "the Gods, their agency and their real and materially superior existence".[36] His interest in occultism led Pessoa to correspond with Aleister Crowley and later helped him to elaborate a fake suicide, when Crowley visited Portugal in 1930.[37] Pessoa translated Crowley's poem "Hymn To Pan"[38] into Portuguese, and the catalogue of Pessoa's library shows that he possessed Crowley's books Magick in Theory and Practice and Confessions. Pessoa also wrote on Crowley's doctrine of Thelema in several fragments, including Moral.[39]Pessoa declared about secret societies:I am also very interested in knowing whether a second edition is shortly to be expected of Athur Edward Waite’s The Secret Tradition in Freemasonery. I see that, in a note on page 14 of his Emblematic Freemasonery, published by you in 1925, he says, in respect of the earlier work: "A new and revised edition is in the forefront of my literary schemes." For all I know, you may already have issued such an edition; if so, I have missed the reference in The Times Literary Supplement. Since I am writing on these subjects, I should like to put a question which perhaps you can reply to; but please do not do so if the reply involves any inconvenience. I believe The Occult Review was, or is, issued by yourselves; I have not seen any number for a long time. My question is in what issue of that publication – it was certainly a long while ago – an article was printed relating to the Roman Catholic Church as a Secret Society, or, alternatively, to a Secret Society within the Roman Catholic Church.[40]Literary critic Martin Lüdke described Pessoa's philosophy as a kind of pandeism, especially those writings under the heteronym Alberto Caeiro.[41]Writing a lifetimePessoa in 1929, drinking a glass of wine in a tavern of Lisbon's downtown.In his early years, Pessoa was influenced by major English classic poets such as Shakespeare, Milton and Pope, or romantics like Shelley, Byron, Keats, Wordsworth, Coleridge and Tennyson.[42] After his return to Lisbon in 1905, Pessoa was influenced by French symbolists and decadentists as Charles Baudelaire, Maurice Rollinat, Stéphane Mallarmé; mainly by Portuguese poets as Antero de Quental, Gomes Leal, Cesário Verde, António Nobre, Camilo Pessanha or Teixeira de Pascoaes. Later on, he was also influenced by modernists as W. B. Yeats, James Joyce, Ezra Pound and T. S. Eliot, among many other writers.[2]During World War I, Pessoa wrote to a number of British publishers, namely Constable & Co. Ltd. (currently Constable & Robinson), trying to arrange publication of his collection of English verse The Mad Fiddler (unpublished during his lifetime), but it was refused. However, in 1920, the prestigious literary journal Athenaeum included one of those poems.[43] Since the attempt at British publication failed, in 1918 Pessoa published in Lisbon two slim volumes of English verse: Antinous[44] and 35 Sonnets,[45] received by the British literary press without enthusiasm.[46] Along with some friends, he founded another publishing house – Olisipo – which published in 1921 a further two English poetry volumes: English Poems I–II and English Poems III by Fernando Pessoa. In his publishing house, Pessoa issued also some books by his friends: A Invenção do Dia Claro (The invention of the clear day) by José de Almada Negreiros, Canções (Songs) by António Botto, and Sodoma Divinizada (Deified Sodom) by Raul Leal (Henoch).[47] Olisipo closed down in 1923, following the scandal known as "Literatura de Sodoma" (Literature of Sodom), which Pessoa started with his paper "António Botto e o Ideal Estético em Portugal" (António Botto and the aesthetical ideal in Portugal), published in the journal Contemporanea.[48]Politically, Pessoa described himself as "a British-style conservative, that is to say, liberal within conservatism and absolutely anti-reactionary," and adhered closely to the Spencerian individualism of his upbringing.[49] He described his brand of nationalism as "mystic, cosmopolitan, liberal, and anti-Catholic."[49] He was an outspoken elitist and aligned himself against communism, socialism, fascism and Catholicism.[50] He initially rallied to the First Portuguese Republic but the ensuing instability caused him to reluctantly support the military coups of 1917 and 1926 as a means of restoring order and preparing the transition to a new constitutional normality.[51][52] He wrote a pamphlet in 1928 supportive of the military dictatorship but after the establishment of the New State, in 1933, Pessoa became disenchanted with the regime and wrote critically of Salazar and fascism in general, maintaining a hostile stance towards its corporatist program, illiberalism, and censorship.[53] In the beginning of 1935, Pessoa was banned by the Salazar regime, after he wrote in defense of Freemasonry.[54][55] The regime also suppressed two articles Pessoa wrote in which he condemned Mussolini's invasion of Abyssinia and fascism as a threat to human liberty everywhere.[56]Pessoa's tomb in Lisbon, at the cloister of the Hieronymites Monastery since 1985.On 29 November 1935, Pessoa was taken to the Hospital de São Luís, suffering from abdominal pain and a high fever; there he wrote, in English, his last words: "I know not what tomorrow will bring."[57] He died the next day, 30 November 1935, around 8 pm, aged 47. His cause of death is commonly given as cirrhosis of the liver, due to alcoholism,[58][57][59] though this is disputed: others attribute his death to pancreatitis (again from alcoholism),[60][61] or other ailments.[62]In his lifetime, he published four books in English and one alone in Portuguese: Mensagem (Message). However, he left a lifetime of unpublished, unfinished or just sketchy work in a domed, wooden trunk (25,574[63] manuscript and typed pages which have been housed in the Portuguese National Library since 1988). The heavy burden of editing this huge work is still in progress. In 1985 (fifty years after his death), Pessoa's remains were moved to the Hieronymites Monastery, in Lisbon, where Vasco da Gama, Luís de Camões, and Alexandre Herculano are also buried.[64] Pessoa's portrait was on the 100-escudo banknote.The triumphant day[…] on 8 March 1914 – I found myself standing before a tall chest of drawers, took up a piece of paper, began to write, remaining upright all the while since I always stand when I can. I wrote thirty some poems in a row, all in a kind of ecstasy, the nature of which I shall never fathom. It was the triumphant day of my life, and I shall never have another like it. I began with a title, The Keeper of Sheep. And what followed was the appearance of someone within me to whom I promptly assigned the name of Alberto Caeiro. Please excuse the absurdity of what I am about to say, but there had appeared within me, then and there, my own master. It was my immediate sensation. So much so that, with those thirty odd poems written, I immediately took up another sheet of paper and wrote as well, in a row, the six poems that make up "Oblique Rain" by Fernando Pessoa. Immediately and totally... It was the return from Fernando Pessoa/Alberto Caeiro to Fernando Pessoa alone. Or better still, it was Fernando Pessoa’s reaction to his own inexistence as Alberto Caeiro.[65]As the fake heteronym Coelho Pacheco, over a long period Pessoa's "triumphant day" was taken as real, however, it has been proved that this event was one more fiction created by Pessoa.[66]Heteronyms[edit]Pessoa's statue outside Lisbon's famous coffeehouse "A Brasileira".Pessoa's earliest heteronym, at the age of six, was Chevalier de Pas. Other childhood heteronyms included Dr. Pancrácio and David Merrick, followed by Charles Robert Anon, an English young man that became Pessoa's alter ego. In 1905/7, when Pessoa was a student at the University of Lisbon, Alexander Search took the place of Anon. The main reason for this was that, although Search is English, he was born in Lisbon as his author. But Search represents a transition heteronym that Pessoa used while searching to adapt to the Portuguese cultural reality. After the republican revolution, in 1910, and consequent patriotic atmosphere, Pessoa created another alter ego, Álvaro de Campos, supposedly a Portuguese naval engineer, who was born in Tavira and graduated in Glasgow. Translator and literary critic Richard Zenith notes that Pessoa eventually established at least seventy-two heteronyms.[67] According to Pessoa himself, there are three main heteronyms: Alberto Caeiro, Álvaro de Campos and Ricardo Reis. Pessoa's heteronyms differ from pen names, because they possess distinct biographies, temperaments, philosophies, appearances, writing styles and even signatures.[68] Thus, heteronyms often disagree on various topics, argue and discuss with each other about literature, aesthetics, philosophy, etc.Pessoa wrote on the heteronyms: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. (My semi-heteronym Bernardo Soares, who in many ways resembles Álvaro de Campos, always appears when I'm sleepy or drowsy, so that my qualities of inhibition and rational thought are suspended; his prose is an endless reverie. He’s a semi-heteronym because his personality, although not my own, doesn’t differ from my own but is a mere mutilation of it. He’s me without my rationalism and emotions. His prose is the same as mine, except for certain formal restraint that reason imposes on my own writing, and his Portuguese is exactly the same – whereas Caeiro writes bad Portuguese, Campos writes it reasonably well but with mistakes such as "me myself" instead of "I myself", etc.., and Reis writes better than I, but with a purism I find excessive...)
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