It is precisely about planes and aviation that discussions are taking place in the capital now. As for the serious breach of discipline committed by certain members of the navy, we should mention in passing, since we shall not touch on the subject again, that despite Victor's investigations the culprits were not found, for no one believed that the incident of the Joào de Lisboa could possibly have been the work of a simple caulker or riveter. Since it is evident to everyone that the clouds of war are gathering over the skies of Europe, the Portuguese government has decided, by way of ex ample, which is the best lesson of all, to show its citizens what they must do to protect themselves in the event of an air raid. The name of the enemy is not mentioned, but everyone assumes that it is the traditional enemy, that is, Castilian, which is now Red. The range of modern planes is still very limited, so we are not likely to be attacked by the French, and even less by the English, who in addition happen to be our allies. As for the Italians and Germans, they have given so many proofs of friendship, our nations linked by a common ideal, that we are confident they will help us one day rather than attempt to exterminate us. Therefore the government has announced in the newspapers and over the radio that on the twenty-seventh of this month, the eve of the tenth anniversary of the National Revolution, Lisbon will witness a spectacle without precedent, namely a mock air raid somewhere in the Baixa, more technically it will be a demonstration of an attack by air with the purpose of destroying the Rossio railroad station and blocking all points of access to the aforementioned station by filling the area with tear gas. First a reconnaissance plane flies over the Rossio and marks the target with a smoke signal. Certain critics say that the attack would be far more effective if the planes dropped their bombs without giving any warning, what perverted disregard for the laws of chivalry. The moment the smoke rises in the air, the defense artillery fires a shot and the appropriate sirens sound, an alarm that no one could possibly fail to hear. The police, the National Republican Guard, the Red Cross, and the fire brigade go into action immediately, the population is evacuated from those streets at greatest risk, while emergency squads rush to offer assistance and fire engines, their hoses at the ready, head for the areas where fire is most likely to break out. Meanwhile the rescue teams have been assembled, and among them is the well-known actor of stage and screen, Antonio Silva, who leads a group of volunteer firemen from Ajuda. The squadron of enemy bombers, a fleet of biplanes, can now finally advance, they are obliged to fly low because their open cockpits are exposed to the rain and wind, and then the defending machine guns and antiaircraft artillery go into action, but since this is only a mock air raid, no planes are shot down, they swoop and attack without fear of reprisal, they do not even have to make the pretense of dropping bombs, the bombs explode by themselves down here in the Praça dos Restauradores, whose patriotic name could not save it if this were a real air raid. Nor was there any salvation for an infantry division that was heading for the Rossio, it was wiped out to the last man, we cannot imagine what they hoped to accomplish at a location which the enemy had humanely warned us was to be heavily bombed. Let us hope that this lamentable episode, a shameful blot on our army's reputation, will not be hushed up and that the General Staff will be brought before the Council of War for collective and summary execution by firing squad. The emergency services are beginning to feel the strain, stretcher bearers, nurses, and doctors selflessly struggle in the line of fire, collecting corpses, saving the wounded, the latter daubed with Mercurochrome and tincture of iodine, swathed in bandages that later will be washed and reused when there are real wounds to deal with, even if it means waiting another thirty years. Despite this heroic defense, the enemy planes launch a fresh attack, incendiary bombs land on Rossio Station, which is now devoured by flames and reduced to a pile of rubble, but our hopes of a final victory have not been entirely dashed, because there on his pedestal, bareheaded, miraculously unharmed, the statue of the king, Dom Sebastiáo, remains standing. Elsewhere the bombardment has caused havoc, fresh ruins now cover the old ruins of the Convento do Carmo, columns of smoke emerge from the Teatro Nacional, the casualties increase, on all sides are houses in flame, mothers scream for their little ones, children cry for their mothers, and husbands and fathers are forgotten, war is hell. In the sky overhead, the pilots, satanic, drink to the success of their mission with glasses of Fundador brandy, which also restores warmth to their frozen limbs now that the heat of the battle is waning. They make notes, draw sketches, take photographs for their dispatches, then, dipping their wings in derision, off they fly in the direction of Badajoz. We were right when we surmised that they had come from across the river Caia. The city has been transformed into a sea of flame, thousands have lost their lives, another earthquake has befallen us. Then the antiaircraft artillery fires a final shot, the sirens sound once more, and the exercise is over. The people leave their shelters and return to their homes, there are no dead or wounded, the buildings are still standing, it was all one huge joke. This, at any rate, is the program for today's spectacle.
Ricardo Reis has seen the bombardment of Urea and Praia Vermelha, but at such a distance that they might well have been mistaken for training maneuvers similar to this one, except that the next day the newspapers reported real deaths. He decides to go and take a look at the scene and the actors from the Santa Justa footbridge, keeping far enough from the center of operations to preserve the illusion of reality. But others had thought of it before him, and when Ricardo Reis arrived, there was no room on the bridge, so he started to walk down the Calçada do Carmo and found himself taking part in a pilgrimage. Had the pavement been broken and dusty, he would have thought himself on the road to Fatima, for these are all things of the spirit, airplanes,- airships, and visions. He was reminded, for some reason, of the flying machine, the giant bird of Padre Bartolomeu de Gusmão, perhaps by some association of ideas, going from today's mock exercise to the air raids on Praia Vermelha and Urea, and from them, since that was Brazil, to the flying priest and the Passarola that immortalized his name, even though Padre Bartolomeu himself never flew it, whatever people may have said or will say to the contrary. At the top of the steps that descend in two flights to the Rua do Primeiro de Dezembro, Ricardo Reis sees that a crowd has gathered in the Rossio. Surprised that the public is allowed to get so close to the bombs, he nevertheless allows himself to be swept along with the stream of avid spectators who press toward the theater of war. Entering the square, he finds that the crowd is much larger than it seemed before, and too packed for anyone to pass. But he has had time to master the wiles practiced in these parts, and says as he goes, Excuse me, please, I'm a doctor. Thanks to this strategy, a lie though it is the truth, he succeeds in reaching the front lines, where he can see everything. So far no airplanes have been sighted, but the police are nervous, in the cleared areas in front of the theater and the railroad station the commanding officers issue orders, an official State automobile passes, inside are the Minister of the Interior and members of his family, including women. Other members of the entourage follow in the car behind. They will watch the exercise from the windows of the Hotel Avenida Palace. Suddenly the warning shot is fired, the anguished sirens wail, the pigeons in the Rossio soar in a flock, flapping. Something has gone wrong with the plan, excessive haste, perhaps, on the part of novices, the enemy plane was supposed to drop a smoke signal first, then the sirens were to begin their mournful chorus and the antiaircraft guns their firing. What does it matter, the day will come when bombs fall ten thousand kilometers away and we know exactly what the future holds for us. Finally the plane appears, the multitude sways, they raise their arms, There she is, there she is. A cavernous roar, an explosion, and a dense cloud of smoke rises into the sky, there is great excitement, anxiety makes people's voices hoarse, the doctors put their stethoscopes to their ears, the nurses prepare their syringes, the stretcher bearers, in their impatience, drag the stretchers on the ground. In the distance now you can hear the hum of the engines of the flyi
ng fortresses. As the moment approaches, the more timid of the spectators begin to wonder if this is not in earnest after all, some hurriedly retreat and huddle in doorways to avoid being hit by shrapnel, but the majority stay put, and once it has been confirmed that the bombs are harmless, the crowd doubles. Shells explode, the soldiers slip on their gas masks, there are not enough masks for everyone, but the important thing is to give an impression of real warfare, we know immediately who will die and who will be saved from this attack with chemical weapons, because the time has not yet come for all to perish. There is smoke everywhere, the spectators cough and sneeze, behind the Teatro Nacional erupts a turbulent black volcano, the theater itself seems to be on fire. But it is difficult to take any of this seriously. The police drive back the people in front, they are in the way of the rescue teams, while the wounded, on stretchers, forget the dramatic role assigned them and giggle like idiots, perhaps the gas they inhaled was laughing gas. Even the stretcher bearers have to stop to wipe away tears of laughter. To cap it all, just as the imaginary peril reaches its climax, a municipal road sweeper arrives on the scene with his pushcart and broom and starts sweeping up the bits of paper strewn along the gutter. He lifts the litter with his shovel, empties it into his trash can, and moves on. Oblivious of the uproar, of the people running in every direction, he enters clouds of smoke and reemerges unscathed, he does not even look up to see the Spanish planes. Once is usually enough, twice is often too much, but history is indifferent to the fine points of literary composition, which explains why she now causes a postman to appear with his bag of mail, tranquilly crossing the square. How many people must be anxiously awaiting his arrival, a letter from Coimbra may come today, a message saying, Tomorrow I shall be in your arms. This postman, aware of his responsibilities, is not one to waste time on spectacles in the street. Ricardo Reis is the only man of learning in the crowd, the only one who can see a Lisbon road sweeper and a postman and think of that famous youth in Paris who sold his cakes in the street while the enraged mob stormed the Bastille. There is really no difference between us Portuguese and the civilized world, we too have our alienated heroes, self-absorbed poets, road sweepers who tirelessly sweep, and postmen who cross the square without remembering that the letter from Coimbra should be delivered to that gentleman over there. But there's no letter from Coimbra, he says as the road sweeper sweeps and the pastry seller cries out, Cheesecakes from Sintra.
A few days later, Ricardo Reis narrated what he had seen, described the airplanes, the smoke, the deafening noise of the antiaircraft artillery, the volleys of the machine guns, and Lydia listened attentively, sorry to have missed the fun. She laughed, Oh how funny, the business with the road sweeper, when suddenly she remembered that she also had something to tell, Do you know who escaped. She did not wait for Ricardo Reis to answer but went on, Manuel Guedes, the sailor I mentioned the other day, do you remember. Yes, I remember, but where did he escape. As he was being taken before the tribunal, and Lydia laughed with gusto. Ricardo Reis simply smiled. This country is going to the dogs, ships that launch themselves prematurely, prisoners who escape, and road sweepers, but what can one expect from a road sweeper. But Lydia was very pleased that Manuel Guedes had managed to escape.
Invisible, the cicadas sing in the palm trees on the Alto de Santa Catarina. Adamastor is deafened by their strident chorus, which scarcely merits the sweet name of music, but the question of music depends a great deal on who is listening. The enamored giant would not have heard them as he paced the shore waiting for the procuress Doris to arrive and arrange the much desired encounter, for the sea was singing then and the beloved voice of Thetis hovered over the waters, as is usually said of the spirit of God. But it is the male cicada that sings, rubbing his wings furiously to produce this obsessive, relentless sound, like a marble cutter's screech upon striking some harder vein inside the stone. It is stifling hot. In Fatima the sun had been a burning ember, but then for days the sky was overcast, it even drizzled. In the lowlands, the flood has finally subsided, all that remains of that vast inland sea are small pools of scummy water which the sun is gradually drying up. In the morning, when the air is still fresh, the old men bring their umbrellas, but the heat now has grown oppressive, so the umbrellas serve as parasols, which leads us to conclude that the usefulness of an object is more important than the names we give it, yet in the final analysis, like it or not, we always come back to words. The ships enter and leave with their flags, smokestacks, antlike sailors, deafening sirens. A sailor, after hearing that din so often during storms at sea, ends up learning to speak on equal terms with the deity of the deep. These two old men have never been to sea, but their blood does not chill when they hear that mighty roar, mighty though muffled by distance, it is deeper down that they quake, as if there were ships sailing through the channels of their veins, ships lost in the darkness of their bodies, amid the gigantic bones of the world. As the heat becomes sultry, the old men retrace their steps, it is time for lunch and those time-honored hours of siesta in the shade of their own homes. When the heat abates, they will return to the Alto to sit on the same bench, but with their umbrellas open, because the protection of the trees, as we know, is unreliable, the sun only has to descend a little and the shade of the palm trees is gone. These old men will die without learning that palm trees are not trees, incredible, that people can be so ignorant. But, as in the case of umbrella and parasol, it is of no importance that a palm tree is not a tree, what matters is the shade it gives, and if we were to ask that gentleman, the doctor who comes here every afternoon, whether a palm tree is a tree or not, he would have to go home to consult his encyclopedia of botany, unless he left it behind in Brazil. Most likely all he knows about the vegetable world is the skimp imagery with which he adorns his poems, flowers in general, a few laurels because they date from mythological times, some trees bearing no name but tree, vines and sunflowers, the rushes that tremble in the current, the ivy of oblivion, the lilies, and the roses, the roses. The old men converse freely with Ricardo Reis, but when he leaves his apartment it does not cross his mind to ask them, Did you know that a palm tree is not a tree. And because they are so sure of what they think they know, it will never occur to them to ask him, Doctor, is the palm tree a tree. One day they will go their separate ways and the fundamental question of whether the palm tree is a tree because it resembles a tree, or whether this passing shadow we cast on the ground is life because it resembles life, will remain unanswered.
Ricardo Reis has got into the habit of rising late. He has learned to suppress any desire to eat in the morning. The opulent trays Lydia used to bring to his room at the Hotel Brangança now seem to belong to someone else's past. He sleeps late, wakes up and goes back to sleep again, he studies his own sleeping, and after numerous attempts has succeeded in fixing his mind on a single dream, always the same dream, about one who dreams that he does not wish to conceal one dream with another, like erasing telltale footprints, It is simple, all you have to do is drag the branch of a tree behind you, leaving only scattered leaves and pieces of twig, which soon wither and merge with the dust. When he gets up, it is time for lunch. Washing, shaving, dressing are mechanical acts in which the mind barely participates. This face covered with lather is a mask that could fit any man's face, and when the razor little by little reveals what is underneath, Ricardo Reis is intrigued by what he sees, and disturbed, as if afraid that some evil might emerge. He examines himself carefully in the mirror, comparing this face with the different, unknown face he once had. He tells himself that as long as he shaves every day, sees every day these eyes, this mouth, this nose, this chin, these pale cheeks, these crumpled, absurd appendages called ears, that such a change is impossible, and yet he feels certain he spent years in some place without mirrors, because today he looks and does not recognize himself. Often, going out to lunch, he encounters the old men coming down the street, they greet him, Good afternoon, Doctor, and he replies, Good afternoon, though he does not know their names, th
ey might as well be trees or palms. When he feels inclined, he goes to a movie, but usually he returns to his apartment after lunch. The park is deserted in the fierce glare of the sun, the river's shimmering gleam dazzles the eyes, and Adamastor, embedded in rock, is about to send forth a mighty cry, enraged at the face the sculptor gave him, aggrieved for reasons we have known ever since Camoes's epic. Like the old men, Ricardo Reis takes refuge in the shade of his dwelling, where little by little the former mustiness has returned. Lydia opens all the windows when she comes, but it doesn't help, the smell seems to emanate from the furniture, from the very walls, the contest is definitely unequal, and Lydia comes less frequently these days. Toward evening, with the first breeze, Ricardo Reis goes and sits on a bench in the park, neither too close nor too far from the old men. Giving them his morning newspaper when he is done with it is his only act of charity. He does not offer them food, they have not asked for any, although they have not asked for these printed sheets of news either, you can decide which act of generosity would be the greater if both were made. If we asked Ricardo Reis what he does at home, alone all that time, he would simply shrug, perhaps he has forgotten that he did some reading, wrote a little poetry, wandered down corridors, spent some time at the rear of the building looking into the courtyard below, the clotheslines, white sheets, towels, and the hen coops, and the cats sleeping on the walls in the shade. There are no dogs, but, then, there are no possessions that need guarding. Then he went back to his reading, to his poetry, writing, rewriting, or tearing up when the poem was not worth keeping. Then he waited for the heat to abate, for the first breeze of the evening. As he was going downstairs, the neighbor on the second floor appeared on the landing. Time had softened the malicious gossip, there was no longer the same interest, the entire building had been restored to harmony and amiable coexistence. Well now, is your husband feeling better, he inquired, and the neighbor replied, Thanks to you, Doctor, your help was an act of providence, a miracle. That is what we are all seeking, acts of providence and miracles, and is it not a miracle to have a doctor living next door who can come to our assistance when we have a pain in the tummy. Has he emptied his bowels. He got rid of the whole load, thanks be to God, Doctor. Such is life, the hand that writes the prescription for the laxative also writes the sublime or at least acceptable line, You have sun if there is sun, flowers if there are flowers, and good fortune if fortune smiles.
The Collected Novels of José Saramago Page 76