World is a common name for the whole of human civilization, specifically human experience, history, or the human condition in general, ''worldwide'', i.e. anywhere on Earth.

In a philosophical context it may refer to: (1) the whole of the physical Universe, or (2) an ontological world (''see world disclosure''). In a theological context, ''world'' usually refers to the material or the profane sphere, as opposed to the celestial, spiritual, transcendent or sacred. The "end of the world" refers to scenarios of the final end of human history, often in religious contexts.

World history is commonly understood as spanning the major geopolitical developments of about five millennia, from the first civilizations to the present.

World population is the sum of all human populations at any time; similarly, world economy is the sum of the economies of all societies (all countries), especially in the context of globalization. Terms like world championship, gross world product, world flags etc. also imply the sum or combination of all current-day sovereign states.

In terms such as world religion, world language, and world war, ''world'' suggests international or intercontinental scope without necessarily implying participation of the entire world.

In terms such as world map and world climate, ''world'' is used in the sense detached from human culture or civilization, referring to the planet Earth physically.

Etymology and Usage

The English word ''world'' comes from the Old English ''weorold (-uld), weorld, worold (-uld, -eld)'', a compound of ''wer'' "man" and ''eld'' "age," which thus means roughly "Age of Man." The Old English is a reflex of the Common Germanic ''*wira-alđiz'', also reflected in Old Saxon ''werold'', Old High German ''weralt'', Old Frisian ''warld'' and Old Norse ''verǫld'' (whence the Icelandic ''veröld'').

The corresponding word in Latin ''mundus'', literally "clean, elegant", itself a loan translation of Greek ''cosmos'' "orderly arrangement." While the Germanic word thus reflects a mythological notion of a "domain of Man" (compare Midgard), presumably as opposed to the divine sphere on the one hand and the chthonic sphere of the underworld on the other, the Greco-Latin term expresses a notion of creation as an act of establishing order out of chaos.

'World' distinguishes the entire planet or population from any particular country or region: ''world affairs'' pertain not just to one place but to the whole world, and ''world history'' is a field of history that examines events from a global (rather than a national or a regional) perspective. ''Earth'', on the other hand, refers to the planet as a physical entity, and distinguishes it from other planets and physical objects.

'''World''' can also be used attributively, to mean 'global', 'relating to the whole world', forming usages such as world community or world canonical texts.

By extension, a '''world''' may refer to any planet or heavenly body, especially when it is thought of as inhabited, especially in the context of science fiction or futurology.

'''World''', in original sense, when qualified, can also refer to a particular domain of human experience.

The ''world of work'' describes paid work and the pursuit of career, in all its social aspects, to distinguish it from home life and academic study.

The ''fashion world'' describes the environment of the designers, fashion houses and consumers that make up the fashion industry.

historically, the ''New World'' vs. the ''Old World'', referring to the parts of the world colonized in the wake of the age of discovery. Now mostly used in zoology and botany, as New World monkey.

Philosophy

In philosophy, the term world has several possible meanings. In some contexts, it refers to everything that makes up reality or the physical universe. In others, it can mean have a specific ontological sense (see world disclosure). While clarifying the concept of world has arguably always been among the basic tasks of Western philosophy, this theme appears to have been raised explicitly only at the start of the twentieth century and has been the subject of continuous debate. The question of what the world is has by no means been settled.

;Parmenides The traditional interpretation of Parmenides' work is that he argued that the every-day perception of reality of the physical world (as described in doxa) is mistaken, and that the reality of the world is 'One Being' (as described in aletheia): an unchanging, ungenerated, indestructible whole.

;Plato In his Allegory of the Cave, Plato distingues between forms and ideas and imagines two distinct worlds : the sensible world and the intelligible world.

;Hegel In Hegel's philosophy of history, the expression ''Weltgeschichte ist Weltgericht'' (World History is a tribunal that judges the World) is used to assert the view that History is what judges men, their actions and their opinions. Science is born from the desire to transform the World in relation to Man ; its final end is technical application.

;Schopenhauer ''The World as Will and Representation'' is the central work of Arthur Schopenhauer. Schopenhauer saw the human will as our one window to the world behind the representation; the Kantian thing-in-itself. He believed, therefore, that we could gain knowledge about the thing-in-itself, something Kant said was impossible, since the rest of the relationship between representation and thing-in-itself could be understood by analogy to the relationship between human will and human body.

;Wittgenstein Two definitions that were both put forward in the 1920s, however, suggest the range of available opinion. "The world is everything that is the case," wrote Ludwig Wittgenstein in his influential ''Tractatus Logico-Philosophicus'', first published in 1922. This definition would serve as the basis of logical positivism, with its assumption that there is exactly one world, consisting of the totality of facts, regardless of the interpretations that individual people may make of them.

;Heidegger Martin Heidegger, meanwhile, argued that "the surrounding world is different for each of us, and notwithstanding that we move about in a common world". The world, for Heidegger, was that into which we are always already "thrown" and with which we, as beings-in-the-world, must come to terms. His conception of "world disclosure" was most notably elaborated in his 1927 work ''Being and Time''.

;Freud In response, Freud proposed that we do not move about in a common world, but a common thought process. He believed that all the actions of a person is motivated by one thing: lust. This led to numerous theories about reactionary consciousness.

;Other Some philosophers, often inspired by David Lewis, argue that metaphysical concepts such as possibility, probability and necessity are best analyzed by comparing ''the'' world to a range of possible worlds; a view commonly known as modal realism.

Religion and mythology

Mythological cosmologies often depict the world as centered around an axis mundi and delimited by a boundary such as a world ocean, a world serpent or similar.

See also

Globe

List of sovereign states

Universe

References

External links

Category:Earth

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name	Fernando Pessoa
pseudonym	Alberto Caeiro, Álvaro de Campos, Ricardo Reis, Bernardo Soares, etc.
birth name	Fernando António Nogueira de Seabra Pessoa
birth date	June 13, 1888
birth place	Lisbon, Portugal
death date	November 30, 1935
death place	Lisbon, Portugal
occupation	Poet, writer, and translator
language	Portuguese, English, and French
nationality	Portuguese
period	1912–1935
genre	Poetry, essay, theatre, fiction
notableworks	''The Book of Disquiet'', ''Message''
influences	Luís de Camões, Edgar Allan Poe, Henri-Frédéric Amiel, Charles Maurras, Marinetti, Walt Whitman, Antero de Quental, António Nobre, Cesário Verde.
influenced	Almada Negreiros, Giannina Braschi, Mário de Sá Carneiro, Octavio Paz, Miguel Torga, José Saramago, Gao Xingjian, Antonio Tabucchi, Alain Badiou, José Luís Peixoto.
awards
signature	Assinatura pessoa fernando.jpg
signature alt	"Fernando Pessoa"
portaldisp	}}

Fernando Pessoa, born Fernando António Nogueira de Seabra Pessoa (June 13, 1888, Lisbon – November 30, 1935, Lisbon), was a Portuguese poet, writer, literary critic and translator described as one of the most significant literary figures of the 20th century and one of the greatest poets in the Portuguese language.

Early years in Durban

{| class = "toccolours" style="float: left; margin-left: 0em; margin-right: 1em; font-size: 100%; background:#c6dbf7; width:30em; max-width: 55%;" cellspacing= "5" | style="text-align: left;" | Nothing had ever obliged him to do anything. He had spent his childhood alone. He never joined any group. He never pursued a course of study. He never belonged to a crowd. The circumstances of his life were marked by that strange but rather common phenomenon – perhaps, in fact, it’s true for all lives – of being tailored to the image and likeness of his instincts, which tended towards inertia and withdrawal. |- | style="text-align: right; font-size: 90%;" | Fernando Pessoa, from the Preface of ''The Book of Disquiet'', tr. by Richard Zenith. |}

On 13 July 1893, when Pessoa was five, his father, Joaquim de Seabra Pessôa, died of tuberculosis. The following year, on 2 January, his younger brother Jorge, aged only one, also died. His mother, Maria Madalena Pinheiro Nogueira, married again in December 1895. In the beginning of 1896, he moved with his mother to Durban, capital of the former British Colony of Natal, where his stepfather João Miguel dos Santos Rosa, a military officer, had been appointed Portuguese consul. The young Pessoa received his early education at St. Joseph Convent School, a Catholic grammar school run by Irish and French nuns. He moved to Durban High School in April, 1899, becoming fluent in English and developing an appreciation for English literature. During the Matriculation Examination, held at the time by the then University of the Cape of Good Hope, forerunner of the University of Cape Town, in November 1903, he was awarded the recently-created Queen Victoria Memorial Prize for best paper in English. While preparing to enter university, he also attended the Durban Commercial School during one year, in the evening shift. Meanwhile, he started writing short stories in English, some under the name of David Merrick, many of which he left unfinished.

At the age of sixteen, ''The Natal Mercury'' (July 6, 1904 edition) published his poem "Hillier did first usurp the realms of rhyme...", under the name of Charles Robert Anon, along with a brief introductory text: "I read with great amusement...". In December, ''The Durban High School Magazine'' published his essay Macaulay. From February to June, 1905, in the section "The Man in the Moon," ''The Natal Mercury'' also published at least four sonnets by Fernando Pessoa: "Joseph Chamberlain", "To England I", "To England II" and "Liberty". His poems often carried humorous versions of Anon as the author's name. Pessoa started using pen names quite young. The first one, still in his childhood, was Chevalier de Pas, supposedly a French noble. In addition to David Merrick and Charles Robert Anon, the young writer also signed up, among other pen names, as Horace James Faber and Alexander Search, another meaningful pseudonym.

The young Pessoa as seen by a schoolfelow

Ten years after his arrival, he sailed for Lisbon via the Suez Canal on board the "Herzog", leaving Durban for good at the age of seventeen. This journey inspired the poems "Opiário" (dedicated to his friend, the poet and writer Mário de Sá-Carneiro) published in March, 1915, in ''Orpheu'' nr.1 and "Ode Marítima" (dedicated to the futurist painter Santa Rita Pintor) published in June, 1915, in ''Orpheu'' nr.2 by his heteronym Álvaro de Campos.

Adult life in Lisbon

While his family remained in South Africa, Pessoa returned to Lisbon in 1905 to study diplomacy. After a period of illness, and two years of poor results, a student strike put an end to his studies. Pessoa became a self student, a devoted reader that spent a lot of time at the library. In August, 1907, he started working at R.G. Dun & Company, an American mercantile information agency (currently D&B, Dun & Bradstreet). His grandmother died in September and left him a small inheritance, which he spent on setting up his own publishing house, the «Empreza Ibis». The venture was not a success and closed down in 1910, but the name ibis, the sacred bird of Ancient Egypt, would remain an important symbolic reference for him.

Upon his return to Lisbon, Pessoa began to complement his British education with Portuguese culture, as an autodidact. The Republican Revolution of 1910 and associated patriotic atmosphere was certainly of major importance in the formation of the writer. His stepuncle Henrique dos Santos Rosa, a retired general and poet, introduced the young Pessoa to Portuguese poetry, notably the romantics and symbolists of 19th century. In 1912, Fernando Pessoa entered the literary world with a critical essay, published in the cultural journal ''A Águia'', which triggered one of the most important literary debates in the Portuguese intellectual world of the 20th century: the polemic regarding a super-Camões. In 1915 a group of artists and poets, including Fernando Pessoa, Mário de Sá-Carneiro and Almada Negreiros, created the literary magazine ''Orpheu'', which introduced modernist literature to Portugal. Only two issues were published (Jan-Feb-Mar and Apr-May-Jun, 1915), the third failed to appear due to funding difficulties. Lost for many years, this issue was finally recovered and published in 1984. Among other writers and poets, ''Orpheu'' published Pessoa, orthonym, and the modernist heteronym, Álvaro de Campos.

Pessoa also founded the literary review ''Athena'' (1924–25), which published the heteronym Ricardo Reis. Along with his activity as free-lance commercial translator, Fernando Pessoa undertook intense activity as a writer and literary critic, contributing to journals and magazines such as ''A Águia'' (1912–13), ''A Renascença'' (1914), ''Orpheu'' (1915), ''Exílio'' (1916), ''Centauro'' (1916), ''Portugal Futurista'' (1917), ''Contemporânea'' (1922–23), ''Presença'' (1927–34) and ''Sudoeste'' (1935). He also published as a political analyst and literary critic in journals and newspapers such as ''Teatro'' (1913), ''O Jornal'' (1915), ''Centauro'' (1916), ''Acção'' (1919–20), ''Diário de Lisboa'' (1924–35), ''Revista de Comércio e Contabilidade'' (1926) and ''Fama'' (1932–33).

Pessoa the ''flâneur''

If Franz Kafka is the writer of Prague, Fernando Pessoa is certainly the writer of Lisbon. After his return to Portugal, when he was seventeen, Pessoa barely left his beloved city, which inspired the poems "Lisbon Revisited" (1923 and 1926), by his heteronym Álvaro de Campos. From 1905 to 1921, when his family returned from Pretoria after the death of his stepfather, he lived in fifteen different places around the city, moving from a rented room to another according to his financial troubles and the troubles of the young Portuguese Republic.

Pessoa had the flâneur's regard, namely through the eyes of ''Bernardo Soares'', another of his heteronyms. This character was supposedly an accountant, working at an office in Douradores Street, where Vasques was the boss. ''Bernardo Soares'' also supposedly lived in the same downtown street, a world that Pessoa knew quite well due to his long career as free lance correspondence translator. In fact, from 1907 until his death, in 1935, Pessoa worked in twenty one firms located in Lisbon's downtown, sometimes in two or three of them simultaneously. In ''The Book of Disquiet'', ''Bernardo Soares'' describes some of those typical places and its "atmosphere".

Pessoa was a frequent customer at Martinho da Arcada, a centennial coffeehouse in Comercio Square, surrounded by ministries, almost an "office" for his private business and literary concerns, where he used to meet friends in the 1920s. He also frequented other coffee shops, pubs and restaurants, a number of which no longer exist. The statue of Fernando Pessoa (below) can be seen outside A Brasileira, one of the preferred places of the young writers and artists of the group of orpheu during the 1910s. This coffeehouse, in the aristocratic district of Chiado, is quite close to Pessoa's birthplace: 4, Largo de São Carlos (in front of the Opera House), one of the most elegant neighborhoods of Lisbon.

In 1925, Pessoa wrote in English a guidebook to Lisbon but it remained unpublished until 1992.

Writing a lifetime

In his early years, Pessoa was influenced by major English classic poets as Shakespeare, Milton or Spenser and romantics like Wordsworth, Coleridge, Byron, Shelley and Keats. Later, when he returned to Lisbon for good, he was influenced by French symbolists 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 he was also influenced by modernists as Yeats, Ezra Pound and T. S. Eliot, among many other writers. Since the British publication failed, in 1918 Pessoa published in Lisbon two slim volumes of English verse: ''Antinous'' and ''35 Sonnets'', received by the British literary press without enthusiasm. Along with two associates, 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.

Pessoa translated into English some Portuguese books and from English the poems "The Raven", "Annabel Lee" and "Ulalume" by Edgar Allan Poe which, along with Walt Whitman, strongly influenced him. He also translated into Portuguese a number of esoteric books by leading Theosophists such as C. W. Leadbeater and Annie Besant.

Pessoa received a strong influence of occultism and developed an interest in spiritism and astrology. He was an amateur astrologue, elaborating astral charts for friends and even for himself and the heteronyms. His interest in occultism led Pessoa to correspond with Aleister Crowley. Later he helped Crowley plan an elaborate fake suicide when he visited Portugal in 1930. Pessoa translated Crowley's poem "Hymn To Pan" into Portuguese, and the catalogue of Pessoa's library shows that he possessed copies of Crowley's ''Magick in Theory and Practice'' and ''Confessions''. Pessoa also wrote on Crowley's doctrine of Thelema in several fragments, including ''Moral''.

Politically, Pessoa considered himself a "mystical nationalist" and, despite his monarchist sympathies, he didn't favour the restoration of the monarchy. He described himself as a liberal and a conservative. He was an outspoken elitist and aligned himself against communism, socialism, fascism and Catholicism. He supported the military coups of 1917 and 1926, and wrote a pamphlet in 1928 supportive of the Military Dictatorship but after the establishment of the New State, in 1933, Pessoa become disenchanted with the regime and wrote critically of Salazar and fascism in general. He also wrote in defense of Freemasonary when it was banned by the Salazar regimen in 1935.

Pessoa died of cirrhosis in 1935, at the age of forty-seven, with only one book published in Portuguese: "''Mensagem''" (Message). However, he left a lifetime of unpublished and unfinished work (over 25,000 pages manuscript and typed that have been housed in the Portuguese National Library since 1988). The heavy burden of editing this huge work is still in progress. In 1988 (the centenary of his birth), Pessoa's remains were moved to the Hieronymites Monastery, in Lisbon, where Vasco da Gama, Luís de Camões, and Alexandre Herculano are also buried. Pessoa's portrait was on the 100-escudo banknote.

Heteronyms

Pessoa's earliest heteronym, at the age of six, was the Chevalier de Pas. Other childhood heteronyms included Dr. Pancrácio and David Merrick, followed by Charles Robert Anon and Alexander Search, succeeded by others. Translator Richard Zenith notes that Pessoa eventually established at least seventy-two heteronyms. According to Pessoa himself, there were three main heteronyms: Alberto Caeiro, Álvaro de Campos and Ricardo Reis. The heteronyms possess distinct biographies, temperaments, philosophies, appearances and writing styles.

;Fernando Pessoa 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...).» ~Fernando Pessoa, "Letter to Adolfo Casais Monteiro", 13.01.1935, translated by Richard Zenith.

List of known heteronyms

Fernando Pessoa Fernando Pessoa Fernando Pessoa Alberto Caeiro Ricardo Reis Federico Reis Álvaro de Campos António Mora Claude Pasteur Bernardo Soares Vicente Guedes Gervasio Guedes Alexander Search Charles James Search Jean-Méluret of Seoul Rafael Baldaya Barão de Teive Charles Robert Anon A. A. Crosse Thomas Crosse I. I. Crosse David Merrick Lucas Merrick Pêro Botelho Abilio Quaresma Inspector Guedes Uncle Pork Frederick Wyatt Rev. Walter Wyatt Alfred Wyatt Maria José Chevalier de Pas Efbeedee Pasha Faustino Antunes / A. Moreira Carlos Otto Michael Otto Sebastian Knight Horace James Faber Navas Pantaleão Torquato Fonseca Mendes da Cunha Rey Joaquim Moura Costa Sher Henay Anthony Gomes Professor Trochee Willyam Links Esk António de Seabra João Craveiro Tagus Pipa Gomes Ibis Dr. Gaudencio Turnips Pip Dr. Pancrácio Luís António Congo Eduardo Lança A. Francisco de Paula Angard Pedro da Silva Salles / Zé Pad José Rodrigues do Valle / Scicio Dr. Caloiro Adolph Moscow Marvell Kisch Gabriel Keene Sableton-Kay Morris & Theodor Diabo Azul Parry Gallião Pequeno Urban Accursio Cecília José Rasteiro Nympha Negra Diniz da Silva Herr Prosit Henry More Wardour J. M. Hyslop Vadooisf ? Nuno Reis João Caeiro

		No. !! Name !! Type !! Notes
1	Fernando Antonio Nogueira Pessoa	Himself
2	|	Orthonym	Poet and prose writer
3	|	Autonym	Poet and prose writer
4	|	Heteronym	Poet; a pupil of Alberto Caeiro
5	|	Heteronym	Poet; author of ''O guardador de Rebanhos'', ''O Pastor Amoroso'' and ''Poemas inconjuntos''; master of heteronyms Fernando Pessoa, Álvaro de Campos, Ricardo Reis, António Mora and Coelho Pacheco
6	|	Heteronym	Poet and prose writer, author of ''Odes'' and texts on the work of Alberto Caeiro
7	|	Heteronym / Para-heteronym	Essayist; brother of Ricardo Reis, upon whom he writes
8	|	Heteronym	Poet and prose writer; a pupil of Alberto Caeiro
9	|	Heteronym	Philosopher and sociologist; theorist of Neopaganism; a pupil of Alberto Caeiro
10	|	Heteronym / Semi-heteronym	French translator of ''Cadernos de reconstrução pagã'' conducted by António Mora
11	|	Heteronym / Semi-heteronym	Poet and prose writer; author of ''The Book of Disquiet''
12	|	Heteronym / Semi-heteronym	Translator, poet; director of Ibis Press; author of a paper
13	|	Heteronym / Para-heteronym	Author of the text "A Coroação de Jorge Quinto"
14	|	Heteronym	Poet and short story writer
15	|	Heteronym / Para-heteronym	Translator and essayist; brother of Alexander Search
16	|	Heteronym / Proto-heteronym	French poet and essayist
17	|	Heteronym	Astrologer; author of ''Tratado da Negação'' and ''Princípios de Metaphysica Esotérica''
18	|	Heteronym	Prose writer; author of ''Educação do Stoica'' and ''Daphnis e Chloe''
19	|	Heteronym / Semi-heteronym	Poet, philosopher and story writer
20	|	Pseudonym / Proto-heteronym	Author and puzzle-solver
21	|	Heteronym / Proto-heteronym	English epic character/occultist, popularized in Portuguese culture
22	|	Heteronym / Para-heteronym
23	|	Heteronym / Semi-heteronym	Poet, storyteller and playwright
24	|	Heteronym / Para-heteronym	Short story writer; perhaps brother David Merrick
25	|	Heteronym / Pseudonym	Short story writer and author of letters
26	|	Heteronym / Character / Meta-heteronym	Character inspired by Pêro Botelho and author of short detective stories
27	|	Character / Meta-heteronym?	Character inspired by Pêro Botelho and author of short detective stories
28	|	Pseudonym / Character	Character inspired by Pêro Botelho and author of short detective stories
29	|	Alias / Heteronym	English poet and prose writer
30	|	Character	Possibly brother of Frederick Wyatt
31	|	Character	Another brother of Frederick Wyatt and resident of Paris
32	|	Heteronym / Proto-heteronym	Wrote and signed "A Carta da Corcunda para o Serralheiro"
33	|	Pseudonym / Proto-heteronym	Author of poems and letters
34	|	Heteronym / Proto-heteronym	Author of humoristic stories
35	|	Heteronym / Pseudonym	Psychologist and author of ''Ensaio sobre a Intuição''
36	|	Heteronym / Proto-heteronym	Poet and author of ''Tratado de Lucta Livre''
37	|	Pseudonym / Para-heteronym	Probably brother of Carlos Otto who was entrusted with the translation into English of ''Tratado de Lucta Livre''
38	|	Proto-heteronym / Alias
39	|	Heteronym / Semi-heteronym	English short story writer and essayist
40	|	Heteronym / Para-heteronym	Translated Horace James Faber in Portuguese
41	|	Heteronym / Proto-heteronym	Poet and prose writer
42	|	Heteronym / Meta-heteronym	Deceased author of a text Pantaleão decided to publish
43	|	Proto-heteronym / Semi-heteronym	Satirical poet; Republican activist; member of ''O Phosphoro''
44	|	Proto-heteronym / Pseudonym	Compiler and author of the preface of a sensationalist anthology in English
45	|	Semi-heteronym / Character	Philosopher; author of "Historia Cómica do Affonso Çapateiro"
46	|	Proto-heteronym / Pseudonym	Author of an essay with humorous advice for young poets
47	|	Character	Signed a letter written in English on April 13, 1905
48	|	Pseudonym / Proto-heteronym	Literary critic
49	|	Pseudonym / Proto-heteronym	Journalist; follower of Sidonio Pereira
50	|	Pseudonym	Collaborator in ''Natal Mercury'' (Durban, South Africa)
51	|	Draft heteronym	Collaborator in ''O Phosphoro''
52	|	Character / Pseudonym	Character from Pessoa's childhood accompanying him until the end of his life; also signed poems
53	|	Proto-heteronym / Pseudonym	English-Portuguese journalist and humorist; director of ''O Palrador''
54	|	Proto-heteronym / Pseudonym	Poet and author of humorous anecdotes; predecessor of Dr. Pancrácio
55	|	Proto-heteronym / Pseudonym	Storyteller, poet and creator of charades
56	|	Proto-heteronym / Pseudonym	Collaborator in ''O Palrador''; columnist and presenter of Eduardo Lança
57	|	Proto-heteronym / Pseudonym	Luso-Brazilian poet
58	|	Proto-heteronym / Pseudonym	Collaborator in ''O Palrador''; author of "Textos scientificos"
59	|	Proto-heteronym / Alias	Author and director of the section of anecdotes at ''O Palrador''
60	|	Proto-heteronym / Alias	Collaborator in ''O Palrador''; author of charades; literary manager
61	|	Proto-heteronym / Pseudonym	Collaborator in ''O Palrador''; reporter and author of ''A pesca das pérolas''
62	|	Proto-heteronym / Pseudonym	Collaborator in ''O Palrador''; novelist and author of ''Os Rapazes de Barrowby''
63	|	Proto-heteronym / Pseudonym	Author of a novel announced in ''O Palrador'', called ''A Riqueza de um Doido''
64	|	Proto-heteronym / Pseudonym	Author of a novel announced in ''O Palrador'', called ''Em Dias de Perigo''
65	|	Proto-heteronym / Pseudonym	Author of a novel announced in ''O Palrador'', called ''A Lucta Aérea''
66	|	Pseudonym	Collaborator in ''O Palrador''; author of charades
67	|	Pseudonym	Collaborator in ''O Palrador''; author of charades
68	|	Pseudonym	Collaborator in ''O Palrador''; author of charades
69	|	Pseudonym	Collaborator in ''O Palrador''; author of charades
70	|	Alias	Collaborator in ''O Palrador''; author of charades
71	|	Pseudonym	Collaborator in ''O Palrador''; author of charades
72	|	Proto-heteronym / Pseudonym	Collaborator in ''O Palrador''; author of proverbs and riddles
73	|	Pseudonym	Collaborator in ''O Palrador''; author of charades
74	|	Pseudonym / Proto-heteronym	Author of the poem "Loucura"; collaborator in ''Europe''
75	|	Pseudonym	Translator of ''El estudiante de Salamanca'' by José Espronceda
76	|	Proto-heteronym	Author and prose writer
77	|	Character?	Poet
78	|	Character?	Poet
79	|	Character?	Poet
80	|	Pseudonym	Son of Ricardo Reis
81	|	Character?	Son of Alberto Caeiro and Ana Taveira

Alberto Caeiro

Alberto Caeiro was Pessoa's first great heteronym; summarized by Pessoa, writing: He sees things with the eyes only, not with the mind. He does not let any thoughts arise when he looks at a flower... the only thing a stone tells him is that it has nothing at all to tell him... this way of looking at a stone may be described as the totally unpoetic way of looking at it. The stupendous fact about Caeiro is that out of this sentiment, or rather, absence of sentiment, he makes poetry.

What this means, and what makes Caeiro such an original poet is the way he apprehends existence. He does not question anything whatsoever; he calmly accepts the world as it is. The recurrent themes to be found in nearly all of Caeiro's poems are wide-eyed child-like wonder at the infinite variety of nature, as noted by a critic. He is free of metaphysical entanglements. Central to his world-view is the idea that in the world around us, all is surface: things are precisely what they seem, there is no hidden meaning anywhere.

He manages thus to free himself from the anxieties that batter his peers; for Caeiro, things simply exist and we have no right to credit them with more than that. Our unhappiness, he tells us, springs from our unwillingness to limit our horizons. As such, Caeiro attains happiness by not questioning, and by thus avoiding doubts and uncertainties. He apprehends reality solely through his eyes, through his senses. What he teaches us is that if we want to be happy we ought to do the same. Octavio Paz called him the innocent poet. Paz made a shrewd remark on the heteronyms: In each are particles of negation or unreality. Reis believes in form, Campos in sensation, Pessoa in symbols. Caeiro doesn't believe in anything. He exists.

Poetry before Caeiro was essentially interpretative; what poets did was to offer an interpretation of their perceived surroundings; Caeiro does not do this. Instead, he attempts to communicate his senses, and his feelings, without any interpretation whatsoever.

Caeiro attempts to approach Nature from a qualitatively different mode of apprehension; that of simply perceiving (an approach akin to phenomenological approaches to philosophy). Poets before him would make use of intricate metaphors to describe what was before them; not so Caeiro: his self-appointed task is to bring these objects to the reader's attention, as directly and simply as possible. Caeiro sought a direct experience of the objects before him.

As such it is not surprising to find that Caeiro has been called an anti-intellectual, anti-Romantic, anti-subjectivist, anti-metaphysical...an anti-poet, by critics; Caeiro simply—is. He is in this sense very unlike his creator Fernando Pessoa: Pessoa was besieged by metaphysical uncertainties; these were, to a large extent, the cause of his unhappiness; not so Caeiro: his attitude is anti-metaphysical; he avoided uncertainties by adamantly clinging to a certainty: his belief that there is no meaning behind things. Things, for him, simply—are.

Caeiro represents a primal vision of reality, of things. He is the pagan incarnate. Indeed Caeiro was not simply a pagan but paganism itself.

The critic Jane M. Sheets sees the insurgence of Caeiro—who was Pessoa's first major heteronym—as essential in founding the later poetic ''personas'': By means of this artless yet affirmative anti-poet, Caeiro, a short-lived but vital member of his coterie, Pessoa acquired the base of an experienced and universal poetic vision. After Caeiro's tenets had been established, the avowedly poetic voices of Campos, Reis and Pessoa himself spoke with greater assurance.

Ricardo Reis

Reis sums up his philosophy of life in his own words, admonishing: 'See life from a distance. Never question it. There's nothing it can tell you.' Like Caeiro, whom he admires, Reis defers from questioning life. He is a modern pagan who urges one to seize the day and accept fate with tranquility. 'Wise is the one who does not seek', he says; and continues: 'the seeker will find in all things the abyss, and doubt in himself.' In this sense Reis shares essential affinities with Caeiro.

Believing in the Greek gods, yet living in a Christian Europe, Reis feels that his spiritual life is limited, and true happiness cannot be attained. This, added to his belief in Fate as a driving force for all that exists, as such disregarding freedom, leads to his epicureanist philosophy, which entails the avoidance of pain, defending that man should seek tranquility and calm above all else, avoiding emotional extremes.

Where Caeiro wrote freely and spontaneously, with joviality, of his basic, meaningless connection to the world, Reis writes in an austere, cerebral manner, with premeditated rhythm and structure and a particular attention to the correct use of the language, when approaching his subjects of, as characterized by Richard Zenith,'the brevity of life, the vanity of wealth and struggle, the joy of simple pleasures, patience in time of trouble, and avoidance of extremes'.

In his detached, intellectual approach, he is closer to Fernando Pessoa's constant rationalization, as such representing the ortonym's wish for measure and sobriety and a world free of troubles and respite, in stark contrast to Caeiro's spirit and style. As such, where Caeiro's predominant attitude is that of joviality, his sadness being accepted as natural ('My sadness,' Caeiro says, 'is a comfort for it is natural and right.'), Reis is marked by melancholy, saddened by the impermanence of all things.

Ricardo Reis is the main character of José Saramago's 1986 novel ''The Year of the Death of Ricardo Reis''.

Álvaro de Campos

Álvaro de Campos manifests, in a way, as an hyperbolic version of Pessoa himself. Of the three heteronyms he is the one who feels most strongly, his motto being 'to feel everything in every way.' 'The best way to travel,' he wrote, 'is to feel.' As such, his poetry is the most emotionally intense and varied, constantly juggling two fundamental impulses: on the one hand a feverish desire to be and feel everything and everyone, declaring that 'in every corner of my soul stands an altar to a different god '(alluding to Walt Whitman's desire to 'contain multitudes'), on the other, a wish for a state of isolation and a sense of nothingness.

As a result, his mood and principles varied between violent, dynamic exultation, as he fervently wishes to experience the entirety of the universe in himself, in all manners possible (a particularly distinctive trait in this state being his futuristic leanings, including the expression of great enthusiasm as to the meaning of city life and its components) and a state of nostalgic melancholy, where life is viewed as, essentially, empty.

One of the poet's constant preoccupations, as part of his dichotomous character, is that of identity: he does not know who he is, or rather, fails at achieving an ideal identity. Wanting to be everything, and inevitably failing, he despairs. Unlike Caeiro, who asks nothing of life, he asks too much. In his poetic meditation 'Tobacco Shop' he asks:

:''How should I know what I'll be, I who don't know what I am?'' : Be what I think? But I think of being so many things!''

Fernando Pessoa-himself

'Fernando Pessoa-himself' is not the 'real' Fernando Pessoa. Like Caeiro, Reis and Campos—Pessoa 'himself' embodies only aspects of the poet Fernando Pessoa's personality is not stamped in any given voice; his personality is diffused through the heteronyms. For this reason 'Fernando Pessoa-himself' stands apart from the poet proper.

'Pessoa' shares many essential affinities with his peers, Caeiro and Campos in particular. Lines crop up in his poems that may as well be ascribed to Campos or Caeiro. It is useful to keep this in mind as we read this exposition.

The critic Leland Guyer sums up 'Pessoa': "the poetry of the orthonymic Fernando Pessoa normally possesses a measured, regular form and appreciation of the musicality of verse. It takes on intellectual issues, and it is marked by concern with dreams, the imagination and mystery."

Richard Zenith calls 'Pessoa' '[Pessoa's] most intellectual and analytic poetic persona.' Like Álvaro de Campos, Pessoa-himself was afflicted with an acute identity crisis. Pessoa-himself has been described as indecisive and doubt plagued, as restless. Like Campos he can be melancholic, weary, resigned. The strength of Pessoa-himself's poetry rests in his ability to suggest a sense of loss; of sorrow for what can never be.

A constant theme in Pessoa's poetry is Tédio, or Tedium. The dictionary defines this word simply as 'a condition of being tedious; tediousness or boredom.' This definition does not sufficiently encompass the peculiar brand of tedium experienced by Pessoa-himself. His is more than simple boredom: it is from a world of weariness and disgust with life; a sense of the finality of failure; of the impossibility of having anything to want.

Summaries of selected works

''Message''

''Mensagem'' in Portuguese (from the Latin "MENS AGitat molEM", which means, "The Mind moves/commands the Matter), is a very unusual twentieth century book: it is a symbolist epic made up of 44 short poems organized in three parts or Cycles:

The first, called "Brasão" (Coat-of-Arms), relates Portuguese historical protagonists to each of the fields and charges in the Portuguese coat-of-arms. The first two poems ("The castles" and "The escutcheons") draw inspiration from the material and spiritual natures of Portugal. Each of the remaining poems associates to each charge a historical personality. Ultimately they all lead to the Golden Age of Discovery.

The second Part, called "Mar Português" (Portuguese Sea), references the country's Age of Portuguese Exploration and to its seaborne Empire that ended with the death of King Sebastian at Ksar-el-Kebir (in 1578). Pessoa brings the reader to the present as if he had woken up from a dream of the past, to fall in a dream of the future: he sees King Sebastian returning and still bent on accomplishing a Universal Empire, like King Arthur heading for Avalon to come back in England's hour of need.

The third Cycle, called "O Encoberto" ("The Hidden One"), is the most disturbing. It refers to Pessoa's vision of a future world of peace and the Fifth Empire. After the Age of Force, (Vis), and Taedium (Otium) will come Science (understanding) through a reawakening of "The Hidden One", or "King Sebastian". The Hidden One represents the fulfillment of the destiny of mankind, designed by God since before Time, and the accomplishment of Portugal.

One of the most famous quotes from ''Mensagem'' is the first line from ''O Infante'' (belonging to the second Part), which is ''Deus quer, o homem sonha, a obra nasce'' (which translates roughly to "God wills it, man dreams it, it is born"). That means 'Only by God's will man does', a full comprehension of man's subjection to God's wealth. Another well-known quote from ''Mensagem'' is the first line from ''Ulysses'', "O mito é o nada que é tudo" (a possible translation is "The myth is the nothing that is all"). This poem refers Ulysses, king of Ithaca, as Lisbon's founder (recalling an ancient Greek myth).

Literary essays

In 1912, Fernando Pessoa wrote a set of essays (later collected as ''The New Portuguese Poetry'') for the cultural journal ''A Águia'' (The Eagle), founded in Oporto, in December 1910, and run by the republican association Renascença Portuguesa. In the first years of the Portuguese Republic, this cultural association was started by republican intellectuals led by the writer and poet Teixeira de Pascoaes, philosopher Leonardo Coimbra and historian Jaime Cortesão, aiming for the renewal of Portuguese culture through the aesthetic movement called Saudosismo. Pessoa contributed to the journal ''A Águia'' with a series of papers: 'The new Portuguese Poetry Sociologically Considered' (nr. 4), 'Relapsing...' (nr. 5) and 'The Psychological Aspect of the new Portuguese Poetry' (nrs. 9,11 and 12). These writings were strongly encomiastic to saudosist literature, namely the poetry of Teixeira de Pascoaes and Mário Beirão. The articles disclose Pessoa as a connoisseur of modern European literature and an expert of recent literary trends. On the other hand, he does not care much for a methodology of analysis or problems in the history of ideas. He states his confidence that Portugal would soon produce a great poet - a super-Camões – pledged to make an important contribution for European culture, and indeed, for humanity.

Philosophical essays

The philosophical notes of young Fernando Pessoa, mostly written between 1905 and 1912, illustrate his debt to the history of Philosophy more through commentators than through a first-hand protracted reading of the Classics, ancient or modern. The issues he engages with pertain to every philosophical discipline and concern a large profusion of concepts, creating a vast semantic spectrum in texts whose length oscillates between half a dozen lines and half a dozen pages and whose density of analysis is extremely variable; simple paraphrasis, expression of assumptions and original speculation.

Pessoa sorted the philosophical systems thus:

# Relative Spiritualism and relative Materialism privilege "Spirit" or "Matter" as the main pole that organizes data around Experience. # Absolute Spiritualist and Absolute Materialist "deny all objective reality to one of the elements of Experience". # The materialistic Pantheism of Spinoza and the spiritualizing Pantheism of Malebranche, "admit that experience is a double manifestation of any thing that in its essence has no matter neither spirit". # Considering both elements as an illusory manifestation", of a transcendent and true and alone realities, there is Transcendentalism, inclined into matter with Schopenhauer, or into spirit, a position where Bergson could be emplaced. # A terminal system "the limited and summit of metaphysics" would not radicalize - as poles of experience one of the singled categories - matter, relative, absolute, real, illusory, spirit. Instead, matching all categories, it takes contradiction as "the essence of the universe" and defends that "an affirmation is so more true insofar the more contradiction involves". The transcendent must be conceived beyond categories. There ''is one only and eternal example of it. It is that cathedral of thought -the philosophy of Hegel.'' Such pantheist transcendentalism is used by Pessoa to define the project that "encompasses and exceeds all systems"; to characterize the new poetry of Saudosismo where the "typical contradiction of this system" occurs; to inquire of the particular social and political results of its adoption as the leading cultural paradigm; and, at last, he hints that metaphysics and religiosity strive "to find in everything a beyond".

Works

''Selected English Poems '', ed. Tony Frazer, Exeter (UK): Shearsman Books, 2007. ISBN 1905700261

''A Centenary Pessoa'', tr. Keith Bosley & L. C. Taylor, foreword by Octavio Paz, Carcanet Press, 2006. ISBN 1857547241

''A Little Larger Than the Entire Universe: Selected Poems'', tr. Richard Zenith, Penguin Classics, 2006. ISBN 0-14-303955-5

''The Education of the Stoic'', tr. Richard Zenith, afterword by Antonio Tabucchi, Exact Change, 2004. ISBN 1878972405

''The Book of Disquiet'', tr. Richard Zenith, Penguin classics, 2003. ISBN 9780141183046

''The Selected Prose of Fernando Pessoa'', tr. Richard Zenith, Grove Press, 2002. ISBN 0-8021-3914-0

''Sheep's Vigil by a Fervent Person: A Translation of Alberto Caeiro'', tr. Eirin Moure, House of Anansi, 2001. ISBN 0887846602

''Selected Poems: with New Supplement '' tr. Jonathan Griffin, Penguin Classics; 2nd edition, 2000. ISBN 0141184337

''Fernando Pessoa & Co: Selected Poems'', tr. Richard Zenith, Grove Press, 1999. ISBN 0-8021-3627-3

''The Keeper of Sheep'', bilingual edition, tr. Edwin Honig & Susan M. Brown, Sheep Meadow, 1997. ISBN 1878818457

''Message'', tr. Jonathan Griffin, introduction by Helder Macedo, Menard Press, 1992. ISBN 190570027X

''The Book of Disquietude'', tr. Richard Zenith, Carcanet Press, 1991. ISBN 0-14-118304-7

''The Book of Disquiet'', tr. Iain Watson, Quartet Books, 1991. ISBN 0704301539

''The Book of Disquiet'', tr. Alfred Mac Adam, New York NY: Pantheon Books, 1991. ISBN 0679402349

''The Book of Disquiet'', tr. Margaret Jull Costa, London, New York NY: Serpent's Tail, 1991, ISBN 1852422041

''Fernando Pessoa: Self-Analysis and Thirty Other Poems'', tr. George Monteiro, Gavea-Brown Publications, 1989. ISBN 0943722144

''Always Astonished'', tr. Edwin Honig, San Francisco CA: City Lights Books, 1988. ISBN 9780872862289

''Selected Poems'', tr. Edwin Honig, Swallow Press, 1971. ISBN B000XU4FE4

''English Poems'', 2 vol. (vol. 1 part I – Antinous, part II – Inscriptions; vol. 2 part III – Epithalamium), Lisbon: Olisipo, 1921 (vol. 1, 20 pp.; vol. 2, 16 pp., 24 cm). Portugal: PURL.

''35 Sonnets'', Lisbon: Monteiro & Co., 1918 (20 pp., 20 cm). Portugal: PURL.

''Antinous: a poem'', Lisbon: Monteiro & Co., 1918 (16 p., 20 cm). Portugal: PURL.

The anarchist banker and other Portuguese stories Carcanet Press, 1996

See also

''Orpheu''

heteronym

Portuguese Poetry

Andrés Fischer Muñoz

''The Book Of Disquietude''

The Year of the Death of Ricardo Reis

References

Further reading

Books

Embodying Pessoa: corporeality, gender, sexuality / Klobucka, Anna and Mark Sabine, eds. 2007 (Portuguese edition 2010).

Portuguese Writers (Dictionary of Literary Biography) / Rector, Mónica. 2004

Atlantic Poets: Fernando Pessoa's turn in Anglo-American Modernism Santos, Maria Irene Ramalho Sousa 2003

Genius: A Mosaic of One Hundred Exemplary Creative Minds / Bloom, Harold. 2002

Spanish and Portuguese literatures and their times: The Iberian peninsula / Moss, Joyce. 2002

Stevens, Dana Shawn, "A local habitation and a name heteronymy and nationalism in Fernando Pessoa", PhD Dissertation, University of California, Berkeley. 2001

Modernism's Gambit: Poetry Problems and Chess Stratagemes in Fernando Pessoa and Jorge Luis Borges / Peña, Karen Patricia. 2000

Fernando Pessoa and nineteenth-century Anglo-American literature Monteiro, George 2000

Pessoa's Alberto Caeiro / (Issue of Portuguese Literary and Cultural Studies, University of Massachusetts Dartmouth). 2000

Dreams of dreams: and, The last three days of Fernando Pessoa / Tabucchi, Antonio. 1999

The presence of Pessoa: English, American, and Southern African literary responses Monteiro, George 1998

An Introduction to Fernando Pessoa: Modernism and the Paradoxes of Authorship Sadlier, Darlene 1998

Modern art in Portugal: 1910-1940 : the artist contemporaries of Fernando Pessoa / Serra, Joao. 1998

A Centenary Pessoa / Pessoa, Fernando. 1997

Fernando Pessoa: photographic documentation and caption / Lancastre, Maria Jose de. 1997

Fernando Pessoa: Voices of a Nomadic Soul / Kotowicz, Zbigniew. 1996

The Western Canon / Bloom, Harold. 1994

The Continuing Presence of Walt Whitman: the Life after the Life / Martin, Robert. 1992

Fernando Pessoa: the Bilingual Portuguese Poet Terlinden-Villepin, Anne 1990

Three Persons on One: A Centenary Tribute to Fernando Pessoa / McGuirk, Bernard. 1988

Modern Spanish and Portuguese literatures / Marshall J Schneider. 1988

Fernando Pessoa, a Galaxy of Poets / Carvalho, Maria Helena Rodrigues de. 1985

Fernando Pessoa's The Mad Fiddler: A Critical Study / Terlinden-Villepin, Anne. 1984

The Man Who Never Was: Essays on Fernando Pessoa / Monteiro, George. 1982

Fernando Pessoa: the genesis of the heteronyms / Green, J. C. R. 1982

Spatial Imagery of Enclosure in the Poetry of Fernando Pessoa / Guyer, Leland Robert. 1979

The Role of the Other in the Poetry of Fernando Pessoa / Jones, Marilyn Scarantino. 1974

Selected Poems of Fernando Pessoa / Rickard, Peter. 1972

Studies in modern Portuguese literature / Faria, Almeida. 1971

Three Twentieth-Century Portuguese Poets / Parker M., John. 1960

Articles

Riccardi, Mattia, "Dionysus or Apollo? The heteronym Antonio Mora as moment of Nietzsche's reception by Pessoa" in Portuguese Studies 23 (1), 109, 2007.

Suarez, Jose, "Fernando Pessoa's acknowledged involvement with the occult" in Hispania 90 (2): 245-252, May 2007.

De Castro, Mariana, "Oscar Wilde, Fernando Pessoa, and the art of lying" in Portuguese Studies 22 (2): 219-+ 2006

Beyer, Bethany, "Borges and Pessoa: Authorial voices and esoteric reflections", M.A. Dissertation, Brigham Young University., 2006

Ribeiro, A. S., "A tradition of empire: Fernando Pessoa and Germany" in Portuguese Studies 21: 201-209 2005

Hale, Michelle, "Ironic multiplicity: Fernando's "pessoas" suspended in Kierkegaardian irony", M. A. Dissertation, Brigham Young University., 2004

McNeill, Pods, "The aesthetic of fragmentation and the use of personae in the poetry of Fernando Pessoa and W.B. Yeats" in Portuguese Studies 19: 110-121 2003

Muldoon P., "In the hall of mirrors: 'Autopsychography' by Fernando Pessoa" in New England Review 23 (4), Fal 2002, pp. 38–52

Bloom, Harold, "Fernando Pessoa", in Genius: a mosaic of one hundred exemplary creative minds: Pub. New York: Warner Books., 2002

Steiner, George, "A man of many parts" in The Observer, Sunday, 3 June 2001.

Wallace, James, "Camões, Pessoa, Bloom and the poetry of heteronomy as solution for the anxiety of influence", M.A. Dissertation, Brigham Young University, 2000.

Bamforth, I., "An Introduction to Fernando Pessoa: Modernism and the paradoxes of authorship" in Parnassus 24 (1), 1999, pp. 286–303.

Bamforth, I., "The presence of Pessoa: English, American and Southern African literary responses" Parnassus 24 (1), 1999, pp. 286–303.

Hicks, J., "The Fascist imaginary in Pessoa and Pirandello" in Centennial Review 42 (2): 309-332 SPR 1998

Mahr, G., "Pessoa, life narrative, and the dissociative process" in Biography 21 (1) Winter 1998, pp. 25–35.

Haberly, David T., "Fernando Pessoa: Overview" in Reference Guide to World Literature, second ed., edited by Lesley Henderson, St. James Press, 1995.

Lopes J. M., "Cubism and intersectionism in Fernando Pessoa's 'Chuva Obliqua" in Texte(15-16),1994, pp. 63–95.

Zenith, Richard, "Pessoa, Fernando and the Theater of his Self" in Performing Arts Journal(44), May 1993, pp. 47–49.

Anderson, R. N., "The Static Drama of Pessoa, Fernando" in Hispanofila (104): 89-97 January 1992

Severino, Alexandrino E., "Was Pessoa Ever in South Africa?" in Hispania, Volume 74, Number 3, September 1991

Brown, S.M., "The Whitman Pessoa Connection" in Walt Whitman Quarterly Review 9 (1): 1-14 SUM 1991.

Eberstadt, Fernanda, "Proud of His Obscurity", in The New York Times Book Review, Vol 96, September 1, 1991, p. 26.

Dyer, Geoff, "Heteronyms" in The New Statesman, Vol. 4, December 6, 1991, p. 46.

Monteiro, George, "The Song of the Reaper-Pessoa and Wordsworth" in Portuguese Studies 5, 1989, pp. 71–80.

Cruz, Anne J., "Masked Rhetoric: Contextuality in Fernando Pessoa's Poems", in Romance Notes, Vol. XXIX, No. 1, Fall, 1988, pp. 55–60.

Hollander, John, "Quadrophenia", in New Republic, September 7, 1987, pp. 33–6.

Rosenthal, David H., "Unpredictable Passions", in The New York Times Book Review, December 13, 1987, p. 32.

Guyer, Leland, "Fernando Pessoa and the Cubist Perspective", in Hispania, Vol. 70, No. 1, March 1987, pp. 73–78.

Bunyan, D, "The South-African Pessoa: Fernando 20th Century Portuguese Poet", in English in Africa 14 (1), May 1987, pp. 67–105.

Seabra, J.A., "Pessoa, Fernando Portuguese Modernist Poet", in Europe 62 (660): 41-53 1984

Severino, Alexandrino E., "Pessoa, Fernando - A Modern Lusiad", in Hispania 67 (1): 52-60 1984

Howes, R. W., "Pessoa, Fernando, Poet, Publisher, and Translator", in British Library Journal 9 (2): 161-170 1983

Sousa, Ronald W., "The Structure of Pessoa's Mensagem", in Bulletin of Hispanic Studies, Vol. LIX, No. 1, January 1982, pp. 58–66.

Severino, Alexandrino E., "Fernando Pessoa's Legacy: The Presença and After", in World Literature Today, Vol. 53, No. 1, Winter, 1979, pp. 5–9.

Jennings, Hubert D., "In Search of Fernando Pessoa" in Contrast 47 - South African Quarterly, Volume 12 No. 3, June 1979.

Wood, Michael, "Mod and Great" in The New York Review of Books, Vol. XIX, No. 4, September 21, 1972, pp. 19–22.

Sheets, Jane M., "Fernando Pessoa as Anti-Poet: Alberto Caeiro", in Bulletin of Hispanic Studies, Vol. XLVI, No. 1, January 1969, pp. 39–47.

External links

Pessoa's Museum, Lisbon, Portugal (Fernando Pessoa House)

Pessoa's private library (online digital library at Pessoa's Museum)

Pessoa's Biography at Shearsman Books

Tribute to Fernando Pessoa

''Message'' the only Portuguese book published by Pessoa

The Magical World of Fernando Pessoa by Gary Lachman

Fernando Pessoa at Astrotheme

Arquivo Pessoa

Poets.org Biography

Poems of Fernando Pessoa

Portraits of Fernando Pessoa

Category:1888 births Category:1935 deaths Category:Deaths from cirrhosis Category:People from Lisbon Category:Portuguese poets Category:Portuguese essayists Category:Portuguese agnostics Category:University of Lisbon alumni

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name	''Álvaro de Campos''
birth date	October 15, 1890
birth place	Tavira, Portugal
death date	November 30, 1935
death place	Lisbon, Portugal
occupation	Poet, ship engineer
language	Portuguese, English
nationality	Portuguese
influences	Marinetti, Walt Whitman, Fernando Pessoa, ''Alberto Caeiro''
influenced	Almada Negreiros }}

Álvaro de Campos was one of Fernando Pessoa's various heteronyms, widely known by his powerful and wraithful writing style. Campos' works may be split in three phases: the decadentist phase, the futuristic phase and the decadent (sad) phase. He chose Marinetti and Whitman as masters, showing some similitarities with their works, mainly in the second phase: hymns like "''Ode Triunfal''" and "''Ode Marítima''" praise the power of the rising technology, the strength of the machines, the dark side of the industrial civilization, and an enigmatic love for the machines. The first phase (marked by the poem «Opiário» shared some of its pessimism with Pessoa's friend Mário de Sá-Carneiro, one of his co-workers in ''Orpheu'' magazine. In the last phase, Pessoa drops the mask, and reveals through Campos all the emptiness and nostalgy that grew during his last years of life. He lived in Barrow-in-Furness, Cumbria, England for a time where he studied Ship Engineering (of which Pessoa wrote a poem about) and later, in 1922, he lived in Newcastle-on-Tyne (currently Newcastle upon Tyne).

''I always want to be the thing I feel kinship with...'' ''To feel everything in every way,'' ''To hold all opinions,'' ''To be sincere contradicting oneself every minute...''

Critical overview

''I'm nothing.'' ''I'll always be nothing.'' ''I can't want to be something.'' ''I have in me all the dreams of the world nevertheless.''

"The Tobacco Shop"

Álvaro de Campos is undoubtedly Pessoa's greatest heteronym. 'Campos,' as Zenith notes, 'was the most substantial of Pessoa's heteronyms and the one closest to his true heart and person...he was in many ways a larger-than-life version of his creator.' Of the three heteronyms he is the one who feels the strongest; his motto was 'to feel everything in every way.' 'The best way to travel,' he wrote, 'is to feel.'

Campos manifests two contrary impulses: on the one hand: a feverish desire to be everything and everyone, declaring that 'in every corner of my soul stands an altar to a different god.' The second impulse is toward a state of isolation and a sense of nothingness.

Of the first of these impulses: Campos is possessed of the Whitmanian desire to 'contain multitudes'. Critics have noted how 'Whitman's influence is apparent in part in the sheer vitality of these poems, in the zest for experience which they express.' Indeed Campos has in many respects outdone his precursor in 'containing multitudes': it seems that the entire cosmos is not enough for him to 'contain'. After chanting all the places, all the ports, all the sights he's seen.... 'Of all this,' he remarks, 'which is so much, is nothing next to what I want.'

Campos' poems represent the apotheosis of Pessoan anguish. His poems reflect an existentially anguished search for meaning. His poems are at once nostalgic, self-ironic; here despair, terror, the self questioning of the poet are laid bare. The poems as a critic remarks, evoke an 'atmosphere of unreality' this state is created 'by insistence on denial, negativity, absence, loss.'

One of the poet's constant preoccupations is that of identity: he does not know who he is. The problem, it seems, is not that he doesn't know what to be; on the contrary: he wants to be too much, everything; short of achieving this he despairs. Unlike Caeiro, who asks nothing of life, he asks too much. In his poetic meditation 'Tobacco Shop' he asks:

''How should I know what I'll be, I who don't know what I am?'' ''Be what I think? But I think of being so many things!''

Campos can be manic-depressive, exultant, violent, dynamic; he quests for nowhere and everywhere at once. His is an agonized doubt at the wasting of life—at life, everything. For a critic he is 'par excellence the poet appalled by the emptiness of his own existence, lethargic, lacking in will-power, seeking inspiration, or at all events finding it, in semi-conscious states, in the twilight world between waking and sleeping, in dreams and in drunkenness'.

References

External links

Fernando Pessoa: Collected Poems of Álvaro de Campos, Vol. 2: 1928–1935 at Shearsman Books

Álvaro de Campos at MultiPessoa

Category:Portuguese poets Category:Portuguese essayists Category:English people of Portuguese descent Category:People from Barrow-in-Furness Category:1890 births Category:1935 deaths Category:Fictional poets

pt:Álvaro de Campos

name	At First Sight
director	Irwin Winkler
producer	Rob CowanIrwin Winkler
writer	Oliver Sacks (essay)Steve Levitt (screenplay)
starring	Mira SorvinoVal KilmerKelly McGillisSteven WeberNathan LaneBruce Davison
music	Mark Isham
cinematography	Ivan MuñizJohn Seale
editing	Julie Monroe
distributor	Metro-Goldwyn-Mayer
released	January 15, 1999
runtime	128 minutes
country
budget	$60,000,000
gross	$22,365,133 }}

''At First Sight'' is a 1999 American film starring Val Kilmer and Mira Sorvino, based on the essay ''To See and Not to See'' in neurologist Oliver Sacks' book ''An Anthropologist on Mars'' and inspired by the true life story of Shirl Jennings.

Plot

Amy Benic (Mira Sorvino) takes a break from working as an architect at a spa in Pinecrest, a small town outside New York City. Virgil Adamson (Val Kilmer) is a masseur at the spa and gives Amy a massage. Amy breaks down and cries, later falling asleep as Virgil leaves the room. When she wakes up, she runs after him to compliment the massage, only to realize that Virgil is blind. Virgil asks her out, and the two eventually fall in love and begin a relationship.

Virgil lives alone, though his over-protective sister, Jennie (Kelly McGillis), who lives next door, takes care of him. During an intimate session with Amy, Virgil reveals that he went blind when he was three and that the last thing he saw was something fluffy. Amy describes the horizon to Virgil as something that you "can see but can never reach".

While researching Virgil's condition, Amy learns of Doctor Charles Aaron, a specialist in eye treatment who suggests to Virgil that, with surgery, he could restore his sight. Virgil refuses. To understand Virgil's reaction Amy seeks out Jennie, who reveals that their father left the family years ago after putting Virgil through several kinds of treatment to restore his sight.

After waking up with Amy one morning, Virgil decides he will give the operation a try. It is a success, but after Virgil regains sight for the first time, he becomes confused and disoriented, unable to perceive light and distance. Dr. Aaron suggests that he should visit Phil Webster (Nathan Lane), a visual physiotherapist. Webster in turn suggests that Virgil needs to learn everything from scratch himself, through experience.

Virgil and Amy begin living in New York City, with Virgil finding his feet with his new-found sight. The pair begin drifting apart, as Virgil finds it hard to decipher the look on Amy's face at times. Amy finds herself constantly having to explain basic things to Virgil. While at a party, Virgil sees Amy kiss her ex-husband for his birthday. While trying to leave the party, Virgil walks into a glass pane due to his poor perception.

Virgil's father sees him on television and arranges a reunion; Virgil goes to his father's workplace, but decides at the last minute that he cannot face him yet.

On one of the regular consultation visits with Webster, he brings Virgil to a strip club. They engage in a deep conversation, where Webster notes that instead of just "seeing", Virgil should instead "look"; there are a lot of things that sight alone cannot solve. Virgil confesses that he and Amy are drifting away, but insists that Amy is the most important thing in his life.

Upon returning from a work trip to Atlanta, where she and her ex-husband shared a sensual moment, Amy decides to save the relationship. She finds Virgil in a park looking for "the horizon" in the city.

Virgil's sight begins deteriorating. He begins experiencing vision blackouts. After consulting with Dr. Aaron, Virgil realizes that he is losing his sight. He decides to look for his father. Virgil reveals to him that he is going blind again, and asks him why he left. His father tells him that he felt he was a failure when he did not find a way to help his son regain sight. Virgil states that he should not have left because his mother and sister suffered greatly after his father walked away.

Virgil looks for Amy, who tells him about her plans to travel with him to places like Egypt and Europe. Withholding the fact that he is turning blind, Virgil tells her there is one thing he really wants to see, and brings her to a New York Rangers game.

At the game, Virgil realizes that the fluffy stuff he last remembers seeing was cotton candy. As he buys some, he suffers a lengthened vision blackout and admits to Amy that he is going blind. Back home, Virgil and Amy argue. He asks if she wants to spend her life with him if he is going to be blind forever. Amy hesitates, and Virgil decides to return home.

Virgil is welcomed by Jennie and eases into his old way of life. While losing his sight, Virgil spends his remaining time with sight to look at as many things as possible, going through magazines and pictorial books in the library. He stays up to watch the sunset, seeing the horizon for the first and last time.

After he has been blind for some time, Virgil is at a park with a guide dog. He takes a seat, finishes a sandwich, and tosses the wrapping into a bin. Amy has found him and says, "You missed." Virgil takes a moment then realizes it is Amy. She sits down and they reconnect; then she reveals that she finished a significant sculpture that he broke during their argument. Amy apologizes to Virgil for trying to change him and moving too fast, which led to their problems together. Virgil puts his hands on Amy's face and touches it tenderly. She asks if he wants to take a walk and 'see what they see'. They leave the park together.

Cast

Mira Sorvino as Amy Benic

Val Kilmer as Virgil Adamson

Kelly McGillis as Jennie Adamson

Steven Weber as Duncan Allanbrook

Bruce Davison as Dr. Charles Aaron

Nathan Lane as Phil Webster

Drena De Niro as Caroline

Reception

The film currently holds a "rotten" rating on the movie review site Rottentomatoes, with 36% of people giving it a positive review. The film and its plot are mentioned in the ''Friends'' episode, "''The One with Rachel's Big Kiss''", the character of Chandler Bing describes it as "a tutti-frutti love story where he [Val Kilmer] played a blind guy."

References

External links

Category:1999 films Category:1990s drama films Category:American romantic drama films Category:Films based on non-fiction books Category:Films directed by Irwin Winkler Category:Films_about_blind_people

de:Auf den ersten Blick es:A primera vista fr:Premier regard it:A prima vista pt:At First Sight