Ricardo Reis crossed the Bairro Alto, descending by the Rua do Norte, and when he reached the Rua de Camoes he felt as if he were trapped in a labyrinth that always led him back to the same spot, to this bronze statue ennobled and armed with a sword, another D'Artagnan. Decorated with a crown of laurels for having rescued the queen's diamonds at the eleventh hour from the machinations of the cardinal, whom, however, with a change of times and politics he will end up serving, this musketeer standing here, who is dead and cannot reenlist, ought to be told that he is used, in turn or at random, by heads of state and even by cardinals, when it serves their interests. The hours have passed quickly during these explorations on foot, and it is time for lunch. This man appears to have nothing else to do, he sleeps, eats, strolls, and composes poetry line by line with much effort, agonizing over rhyme and meter. It is nothing compared to the endless dueling of the musketeer D'Artagnan, and the Lusiads run to more than eight thousand lines, yet Ricardo Reis too is a poet, not that he boasts of that on the hotel register, but one day people will remember him not as a doctor, just as they do not think of Alvaro de Campos as a naval engineer, or of Fernando Pessoa as a foreign correspondent. Our profession may earn us our living but not fame, which is more likely to come from having once written Nel mezzo del cammin di nostra vita or Menina e moga me levaram da casa de metis pais or En un lugar de la Mancha, of which I do not wish to remember the name, so as not to fall once again into the temptation of saying, however appropriately, As armas e os barões assinalados, may we be forgiven these borrowings, Arma virumque cano. Man must always make an effort, so that he may deserve to be called man, but he is much less master of his own person and destiny than he imagines. Time, not his time, will make him prosper or decline, sometimes for different merits, or because they are judged differently. What will you be when you discover it is night and you find yourself at the end of the road.
It was almost nightfall before the Rúa do'Sáculo was clear of paupers. Ricardo Reis had lunched in the meantime, browsed in two bookshops, lingered at the door of the Tivoli debating whether or not he wanted to see the film I Lave All Women starring Jan Kiepura. In the end, he decided to see the film some other time and return to the hotel by taxi, because his legs were giving him trouble after all that walking. When it started raining, he retreated to a nearby café, read the evening newspapers, agreed to have his shoes shined, clearly a waste of polish on streets like these, where a shower can cause a flood without any warning, but the bootblack insisted that an ounce of prevention was better than a pound of cure, A shoe when it's polished keeps out the rain, sir, and the man was right, because when Ricardo Reis removed his shoes once back in his room, his feet were warm and dry. Just what one needs to keep healthy, warm feet and a cool head. Universities may not recognize this wisdom based on experience, but one has nothing to lose by observing the precept. The hotel is so peaceful, no banging doors, no sounds of voices, the buzzer silent. Salvador is not at the reception desk, most unusual, and Pimenta, who went to look for the key, moves as swiftly and ethereally as a sprite. Obviously he has not had to carry any luggage since early that morning, lucky for him. When Ricardo Reis went down to dinner, it was almost nine o'clock, the dining room, just as he had intended, was empty, the waiters chatting in a corner, but when Salvador appeared, the staff busied themselves, for that is what we must always do when our immediate superior suddenly enters. It is enough, for example, to shift our weight to the right leg if before it was resting on the left, that's all that's required, sometimes even less. Are you serving dinner, the guest asked hesitantly. But of course, that was what they were there for. Salvador told the good doctor that on New Year's Eve they generally had few customers, and the few they had generally dined out, the traditional réveillon or révelion, what was the word. Once, they used to celebrate the festivities in the hotel, but the owners found it a costly business, the practice was discontinued, such a lot of work involved, not to mention the damage caused by the boisterousness of the guests, you know how things happen, one drink follows another, people start quarreling, and then all the noise, bedlam, and the complaints of those in no mood for merrymaking, because there are always such people. We finally stopped having the révelion, but I must confess I'm sorry, it was such a jolly occasion and the hotel enjoyed the reputation of having class and moving with the times. Now, as you can see, it's completely deserted. Well, at least you can get to bed early, Ricardo Reis consoled him, but Salvador assured him that he always waited up to hear the bells ring in the New Year at midnight, a family tradition. They always ate twelve raisins, one for each chime, to bring luck during the next year, a popular custom widely observed abroad. You're talking about rich countries, but do you really believe such a custom will bring you good fortune. I do not know, but perhaps my year would have been even worse had I not eaten those raisins. It is with such arguments that the man who has no God seeks gods, while he who has abandoned his gods invents God. One day we shall rid ourselves of both God and gods.
Ricardo Reis dined with a single waiter in attendance, the maître d' decorously positioned at the end of the dining room, and Salvador installed himself behind the reception desk to while away the hours until it was time for his révelion intime. Nothing is known of Pimenta's whereabouts, and as for the chambermaids, either they have disappeared upstairs into the attics, if there are attics, where they will toast one another's health on the stroke of midnight with intoxicating homemade liquors served with biscuits, or else they have gone home, leaving an emergency staff, as in hospitals. The kitchen already looks like an abandoned fortress. But this is mere speculation, guests are generally not interested in knowing how a hotel functions behind the scenes, all they want is a comfortable room and meals at regular intervals. For dessert Ricardo Reis did not expect to be served a large slice of cake specially baked for the festivities of Epiphany or Dia de Reis. These are thoughtful little courtesies which make a friend of every customer. The waiter smiled and quipped, Dia de Reis, you pay, Doctor. Agreed, Ramón, for that was the waiter's name, I'll pay on the Dia dos Reis, but the pun was lost on Ramón. It is still not ten o'clock, time is dragging, the old year lingers on. Ricardo Reis looks at the table where two days before he watched Doctor Sampaio and his daughter Marcenda and felt himself being enshrouded by a gray cloud. If they were present now, they might converse together, the only guests on this night which marks an ending and a new beginning, what could be more appropriate. He visualizes again the girl's pitiful gesture as she took hold of her lifeless hand and placed it on the table, that tiny hand she so dearly cherished while the other, strong and healthy, helped its sister but had its own, independent existence. It could not always assist. For example, shaking the hand of others when formally introduced, Marcenda Sampaio, Ricardo Reis, the doctor's hand would grip that of the girl from Coimbra, right hand with right hand, but while his left hand, should it so desire, could hover close to witness the encounter, hers, dangling at her side, might just as well not be present. Ricardo Reis feels the tears come to his eyes. There are still some people who speak ill of doctors, convinced that because doctors are accustomed to illness and misfortune they have hearts of stone, but look at this doctor, he belies any such criticism, perhaps because he is also a poet, though somewhat skeptical in outlook, as we have seen. Ricardo Reis is engrossed in these thoughts, some of them perhaps too difficult to unravel for anyone who like ourselves is on the outside, but Ramón, who sees much, inquires, Do you wish anything else, Doctor, a tactful way of saying, though expecting the negative, that the doctor does. We are so apt at understanding that sometimes half a word suffices. Ricardo Reis rises to his feet, says Good-night to Ramón, wishes him a Happy New Year, and as he passes the reception desk slowly repeats the greeting and the wish to Salvador. The sentiment is the same, its expression more deliberate, after all Salvador is the manager. As Ricardo Reis goes slowly upstairs, he looks worn-out, like one of those caricatures or cartoons in a magazine of the period, the Old Year covered with wh
ite hair and wrinkles, his hourglass emptied, disappearing into the deep shadows of the past, while the New Year advances in a ray of light, as chubby as those infants nourished on powdered milk, reciting a nursery rhyme that invites us to the dance of the hours, I am the year nineteen thirty-six, come rejoice with me. Ricardo Reis enters his room and sits down. The bed has been prepared, fresh water stands in the carafe should he feel thirsty during the night, his slippers wait on the bedside mat. Someone is watching over me, a guardian angel, my heartfelt thanks. On the street there is the clatter of tin cans as revelers pass. Eleven o'clock has struck already, and at that moment Ricardo Reis jumps to his feet, almost in anger, What am I doing here, everyone else is out celebrating, having a good time with their families on the streets, in dance halls, theaters, cinemas, nightclubs, I should at least go to the Rossio to see the clock at Central Station, the eye of time, those Cyclopes who hurl not thunderbolts but minutes and seconds, every bit as cruel as thunderbolts and which we must all endure, until finally they shatter me along with the planks of the ship, but not like this, sitting here watching the clock, crouched in a chair. Having finished this soliloquy, he put on his raincoat and hat, grabbed his umbrella, suddenly eager, a man transformed by having made up his mind. Salvador had gone home to his family, so it was Pimenta who asked, You're going out, Doctor. Yes, I will take a little stroll, and he started downstairs. Pimenta pursued him to the landing, When you come back, Doctor, ring the bell twice, one short ring followed by a longer one, then I'll know it's you. Will you still be up. I'll turn in after midnight, but don't worry about me, sir, you come back whenever you like. Happy New Year, Pimenta. A very prosperous New Year, Doctor, the phrases one reads on greeting cards. They said nothing more, but when Ricardo Reis reached the bottom of the stairs he remembered that one normally tips the hotel staff at this time of the year, they rely on such tips. Forget it, I have been here only three days. The Italian page is asleep, his lamp extinguished.
The pavement was wet, slippery, the tram lines gleamed all the way up the Rua do Alecrim to the right. Who knows what star or kite holds them at that point, where, as the textbook informs us, parallel lines meet at infinity, an infinity that must be truly vast to accommodate so many things, dimensions, lines straight and curved and intersecting, the trams that go up these tracks and the passengers inside the trams, the light in the eyes of every passenger, the echo of words, the inaudible friction of thoughts. A whistling up at a window as if giving a signal, Well then, are you coming down or not. It's still early, a voice replies, whether of a man or woman it does not matter, we shall encounter it again at infinity. Ricardo Reis descended the Chiado and the Rua do Carmo, a huge crowd going with him, some in groups, entire families, although for the most part they were solitary men with no one waiting for them at home or who preferred to be outdoors to watch the passing of the old year. Perhaps it will truly pass, perhaps over their heads and ours will soar a line of light, a frontier, then we shall say that time and space are one and the same thing. There were also women who for an hour were interrupting their wretched prowling, calling a halt, wanting to be present should there be any proclamation of a new life, anxious to know what their share will be, whether it will be really new or the same as before. Around the Teatro Nacional the Rossio was crowded, there was a sudden downpour, umbrellas opened like the gleaming carapaces of insects or as if this were an army advancing under the protection of shields, about to assault an impassive citadel. Ricardo Reis mingled with the crowd, less dense than it had appeared from a distance, and pushed his way through. Meanwhile the shower has passed, the umbrellas close like a flock of birds shaking their wings as they settle down for the night. Everyone has his nose in the air, his eyes fixed on the yellow dial of the clock. From the Rua do Primeiro de Dezembro a group of boys come running, beating on the lids of pots and pans, tang, tang, while others keep up a shrill whistling. They march around the square in front of the station before settling under the portico of the theater, blowing their whistles all the while and banging on their tin lids, and this uproar combines with that of the wooden rattles resounding throughout the square, ra-ra-ra-ra, four minutes to go before midnight. Ah, the fickleness of mankind, so niggardly with the little time they have to live, always complaining that their lives are short, leaving behind only the hushed hiss of effervescence, yet they are impatient for these minutes to pass, such is the strength of hope. Already there are cries of anticipation, and the din reaches a crescendo as the deep voice of anchored ships can be heard from the direction of the river, dinosaurs bellowing with that prehistoric rumble that makes one's stomach churn. Sirens rend the air with piercing screams like those of animals being slaughtered, the frantic hooting of cars nearby is deafening, the little bells of the trams tinkle for all they are worth, which is not much, until finally the minute hand covers the hour hand, it is midnight, the happiness of freedom. For one brief moment time has released mankind, has allowed them to live their own lives, time stands aside and looks on, ironic, benevolent, as people embrace one another, friends and strangers, men and women kissing at random. These are the best kisses of all, kisses without any future. The clamor of the sirens now fills the air, the pigeons stir nervously on the pediment of the theater, some flutter in a daze, but in less than a minute the noise abates, a few last gasps, the ships on the river seem to be disappearing into the mist, out to sea. Speaking of this, there is Dom Sebastiâo in his niche on the façade, a little boy masked for some future carnival. Since he has not been placed elsewhere, but here, we shall have to reconsider the importance and paths of Sebastianism, with or without mist. It is clear that the Awaited One will arrive by train, subject to delays. There are still groups in the Rossio, but the excitement is over, people are clearing the pavements, they know what will happen next. From the upper stories rubbish comes hurtling down, it is the custom, not so noticeable here because few people inhabit these buildings, which are mainly offices. All the way down the Rua do Ouro the ground is strewn with litter. From windows people are still chucking out rags, empty boxes, cans, leftovers, fish bones wrapped in newspapers, it all scatters on the pavement. A chamberpot full of live embers bursts into sparks in every direction, and pedestrians seek protection under balconies, pressing themselves against the buildings and shouting up at the windows. But their protests are not taken seriously, the custom is widely observed, so let each man protect himself as best he can, for this is a night for celebrating and for whatever amusements one can devise. All the junk, things no longer in use and not worth selling, is thrown out, having been stored for the occasion, these are amulets to ensure prosperity throughout the New Year. At least now there will be some empty space to receive any good that may come our way, so let us hope that we are not forgotten. A voice called from an upper story, Look out, something's coming, considerate of them to warn us, a large bundle came hurtling through the air, describing a curve, almost hitting the tram cables, how careless, it could have caused a serious accident. It was a tailor's dummy, the kind set on three legs and suitable for either a man's jacket or a woman's dress, the black padding ripped open, the frame worm-eaten. Lying there crushed by the impact, it no longer resembled a human body with the head missing and no legs. A passing youth pushed it into the gutter with his foot. Tomorrow the garbage truck will come and clear all this away, the scraps and peelings, the dirty rags, the pots of no use either to the tinker or the metal scavenger, a roasting pan without its bottom, a broken picture frame, felt flowers reduced to tatters. Soon the tramps will be rummaging through the debris and surely find something they can put to use. What has lost its value for one can profit another.
The Year of the Death of Ricardo Reis (Harvest in Translation) Page 7