Ricardo Reis returns to the hotel. In many parts of the city the festivities go on, with fireworks, sparkling wine or genuine champagne, and wild abandon, as the newspapers never forget to say. Women of easy or not-so-easy virtue are also available, some quite open and direct, others observing certain rituals in the making of their advances. This man, however, is not adventuresome, he knows about such exploits only from the lips of others, and any experience he has had was a matter of walking in one door and out the other. A group of passing revelers call out in discordant chorus, Happy New Year old man, and he replies with a gesture, a raised hand. Why say anything, they are so much younger than I. He tramples through the rubbish on the street, avoiding the boxes. Broken glass crunches under his feet. They might as well have tossed out their old parents with the tailor's dummy, there is little difference, for after a certain age the head no longer governs the body and the legs do not know where they are taking us. In the end we are like small children, orphaned, because we cannot return to our dead mother, to the beginning, to the nothingness that was before the beginning. It is before death and not after that we enter nothingness, for from nothingness we came, emerging, and when dead we shall disperse, without consciousness yet still existing. All of us once possessed a father and mother, but we are the children of fortune and necessity, whatever that means. It is Ricardo Reis's thought, let him do the explaining.
Although it was already after twelve-thirty, Pimenta had still not gone to bed. He came downstairs to open the door and was surprised, So you came back early after all, you didn't do much celebrating. I was feeling tired, sleepy, and you know, this business of seeing in the New Year is no longer the same. That's true, the festivities are much livelier in Brazil. They made these polite exchanges as they went upstairs. On the landing Ricardo Reis wished him good-night, Until tomorrow, then tackled the second flight of stairs. In reply Pimenta said good-night, then switched off the lights on the landing, then the lights on all the other floors before finally turning in, confident of undisturbed sleep, because no new guests were likely to arrive at this hour. He could hear the footsteps of Ricardo Reis in the corridor. The place is so quiet, no lights from any of the bedrooms, either the occupants are asleep or the rooms are empty. At the end of the corridor the number plate two hundred and one glows dimly, and Ricardo Reis notices a ray of light coming from under the door. He must have forgotten to turn off the light, well, these things do happen. He inserted the key in the lock and opened the door, and there was a man sitting on the sofa. He recognized him at once, though they had not seen each other for many years. Nor did he think it strange that Fernando Pessoa should be sitting there waiting for him. He said Hello, not expecting a reply, absurdity does not always obey logic, but Pessoa did in fact reply, saying, Hello, and stretched out his hand, then they embraced. Well, how have you been, one of them asked, or both, not that it matters, the question is so meaningless. Ricardo Reis removed his raincoat, put down his hat, carefully rested his umbrella on the linoleum floor in the bathroom, taking the precaution of checking the damp silk, no longer really wet, because during the walk back to the hotel there had been no rain. He pulled up a chair, sat in front of his visitor, saw that Fernando Pessoa was casually dressed, which is the Portuguese way of saying that he was wearing neither overcoat nor raincoat nor any other form of protection against the inclement weather, not even a hat, all he wore was a black suit comprising a double-breasted jacket, vest, and trousers, a white shirt with black tie, and black shoes and socks, like someone attending a funeral, or an undertaker. They look at each other with affection, obviously happy to be reunited after years of separation, and it is Fernando Pessoa who speaks first, I believe you came to visit me, I wasn't there, but they told me when I got back. Ricardo Reis replied, I was sure I'd find you there, never imagining you could leave that place. Fernando Pessoa said, For the time being it's allowed, I have about eight months in which to wander around as I please. Why eight months, Ricardo Reis asked, and Fernando Pessoa explained, The usual period is nine months, the same length of time we spend in our mother's womb, I believe it's a question of symmetry, before we are born no one can see us yet they think about us every day, after we are dead they cannot see us any longer and every day they go on forgetting us a little more, and apart from exceptional cases it takes nine months to achieve total oblivion, now tell me, what brings you to Portugal. Ricardo Reis removed his wallet from his inside pocket and took out a folded piece of paper, which he offered to Fernando Pessoa, but the latter made a gesture of refusal, I can no longer read, you read it. Ricardo Reis obeyed, Fernando Pessoa has died Stop I am leaving for Glasgow Stop Alvaro de Campos. When I received this telegram, I decided to return, I felt it was almost an obligation. The tone of the communication is very interesting, unmistakably from Alvaro de Campos, even in those few words one detects a note of malign satisfaction, even amusement, Alvaro is like that. There was another reason, this one a matter of self-interest, in November a revolution erupted in Brazil, many died, many were arrested, and I feared that the situation might get worse, I couldn't make up my mind whether to leave or stay until this telegram arrived, that decided it. Reis, you seem destined to flee revolutions, in nineteen nineteen you went to Brazil because of a revolution that failed, now you are fleeing Brazil because of another that has probably failed as well. Strictly speaking, I did not flee Brazil, and perhaps I would be there still had you not died. I remember reading something about this revolution a few days before my death, I believe it was instigated by the Bolshevists. Yes, the Bolsheviks were responsible, a number of officers, some soldiers, those who weren't killed were arrested, and the whole thing blew over within two or three days. Were people frightened, They most certainly were, Here in Portugal, too, there have been several revolutions, I know, the news reached me in Brazil, Do you still believe in monarchism, I do, Without a king, One can be a monarchist without clamoring for a king, Is that how you feel, It is, A nice contradiction, No worse than some, To advocate by desire what you know you cannot advocate by reason, Exactly, you see I still remember you, Of course.
Fernando Pessoa rose from the sofa, paced a little, then paused in front of the bedroom mirror before returning to the sitting room. It gives me an odd feeling to look in the mirror and not see myself there, Don't you see yourself, No, I know that I am looking at myself, but I see nothing, Yet you cast a shadow, It's all I possess. He sat down again and crossed his legs, Will you now settle for good in Portugal or will you go back to Brazil. I still haven't made up my mind, I brought only the bare necessities, perhaps I'll stay, open an office, build up a clientele, I might also go back to Rio, I don't know, for the moment I'm staying, but the more I think about it, I believe I came back here only because you died, it's as if I alone can fill the void you left behind. No living person can substitute for a dead one. None of us is truly alive or truly dead. Well said, an aphorism suitable for one of your odes. They both smiled. Ricardo Reis asked, Tell me, how did you know that I was staying at this hotel. When you are dead, replied Fernando Pessoa, you know everything, that's one of the advantages. And how did you get into my room, Just as anyone else gets in, Didn't you come through the air, didn't you pass through the walls, What a ridiculous idea, my good fellow, such things happen only in ghost stories, no, I came from the cemetery at Prazeres, and like any other mortal walked upstairs, opened that door, and sat on this sofa to await your arrival. And did no one express surprise upon seeing a stranger walk in, That is another privilege the dead enjoy, no one can see us unless we so desire, But I see you, Because I want you to see me, besides, if you think about it, who are you. The question was clearly rhetorical, expected no answer, and Ricardo Reis said nothing, had not even heard it. There was a long-drawn-out silence, opaque. The clock on the landing could be heard striking two, as if coming from another world. Pessoa rose to his feet, I must be getting back. So soon. My time is my own, I am free to come and go as I please, it's true that my grandmother is there but she no longer bothers
me. Stay a little longer, No, it's getting late and you should rest, When will I see you again, Do you wish me to return, Very much, we could converse, renew our friendship, don't forget that after sixteen years I feel like a stranger here. Remember that we can be together only for eight months, then my time runs out, Eight months, at the beginning, seems a lifetime, Whenever possible, I will come to see you, Wouldn't you like to fix a day, an hour, a place, Impossible, Very well, see you soon, Fernando, it was good seeing you again, And you, Ricardo, Should I wish you a Happy New Year, Go ahead, go ahead, it can't do me any harm, they're only words, as you well know. Happy New Year, Fernando, Happy New Year, Ricardo.
Fernando Pessoa opened the bedroom door and went out into the corridor, his footsteps inaudible. Two minutes later, the time it took to descend that steep flight of stairs, the front door banged, the buzzer having droned briefly. Ricardo Reis went to the window. Fernando Pessoa was already disappearing down the Rua do Alecrim. The tram rails shone, still running parallel.
Whether because they themselves believe it or because someone took them in hand after they failed to respond to suggestions and hints, the newspapers inform us, as if it were a great prophecy, that over the ruins of the mighty states ours, the Portuguese state, will demonstrate its remarkable strength and the prudence and intelligence of the men who govern it. For fall those states shall, and their crash will be resounding. The proud nations who boast of their present supremacy are much deceived, because the day is fast approaching, the happiest day of all in the annals of this nation among nations, when the leaders of other states come to these Lusitanian shores to seek advice, assistance, wisdom, benevolence, oil for their lamp from our great Portuguese statesmen. Who are these rulers, starting with the next cabinet, which is already being formed. In supreme command is Oliveira Salazar, President of the Council and Minister of Finance, then, at a respectful distance and in the order in which the newspapers publish their photographs, Monteiro of Foreign Affairs, Pereira of Commerce, Machado of Colonies, Abranches of Public Works, Bettencourt of the Navy, Pacheco of Education, Rodrigues of justice, Sousa of War, Sousa of the Interior, the former is Passos de Sousa and the latter Paes de Sousa, write their names out in full so that petitions will reach them without delay. And we must not forget to mention Duque of Agriculture, without whose opinion not a grain of wheat would be produced in Europe or elsewhere. For the posts that remain, In Parentheses Lumbrales of Finance and Andrade of Corporations, because this new state of ours, although in its infancy, is corporate, which explains why an undersecretary is quite sufficient. The newspapers here also say that most of the country has reaped the abundant fruits of an exemplary administration keen on maintaining public order, and if such a statement smacks of self-praise, read that paper from Geneva, Switzerland, which at length and with greater authority, because it is in French, describes the abovementioned dictator of Portugal, calling us most fortunate to be led by this wise leader, and the author of the article is absolutely right, and we thank him with all our hearts. But please bear in mind that Pacheco is no less wise if tomorrow he should say, as say he will, that elementary education must be given its due and no more, because knowledge, if imparted too soon, serves no real purpose, and also that an education based on materialism and paganism, which stifle noble impulses, is much worse than the darkness of illiteracy, therefore Pacheco concludes that Salazar is the greatest educator of our century, if that is not too bold an assertion when we are only one-third of the way through it.
Do not think that these items all appeared on the same page of the same newspaper, for then they would be seen as linked, they would be given the mutually complementary and consequential meaning they appear to have. These are the reports, rather, of the last few weeks, juxtaposed here like dominoes, each half set against its equal unless it happens to be double, in which case it is placed crosswise. These are current events seen from a distance. Ricardo Reis reads the morning newspapers as he savors his coffee with milk and eats the delicious toast served at the Brangança Hotel, greasy and crisp, clearly a contradiction, the pleasure of an age long forgotten, which explains why combining the two adjectives might strike you as inappropriate. We already know the maid who brings in his breakfast, it is Lydia, who also makes the bed and cleans and tidies up the room. When speaking to Ricardo Reis, she addresses him always as doctor, whereas he calls her simply Lydia, nothing else, but being an educated man he never uses the familiar form when he requests of her, Do this, Bring me that. Unaccustomed to such politeness, she is flattered, because as a rule the guests treat her with the familiarity shown servants, believing that money bestows every right, although to be fair, there is another guest who treats her with the same consideration, that is Senhorita Marcenda, the daughter of Doctor Sampaio. Lydia must be about thirty years of age, a mature and well-developed young woman, dark-haired and unmistakably Portuguese, short rather than tall, if there is any point in mentioning the physical traits of an ordinary maid who so far has done nothing but scrub floors, serve breakfast, and on one occasion laugh as she watched a man on another man's back while this guest stood there smiling. Such a nice person, yet sad, he cannot be happy, although there are moments when his face lights up just like this gloomy room when the clouds allow the sun to come through. It is more moonlight than the light of day, a shadow of light. Because it caught Lydia's head at a favorable angle, Ricardo Reis noticed the birthmark at the side of one nostril. It becomes her, he thought, although later he could not say if he was referring to the birthmark or to her white apron, or to the starched cap on her head, or to the embroidered collar she wore around her neck. Yes, you may remove the tray.
Three days went by and Fernando Pessoa did not reappear. Ricardo Reis did not ask himself the obvious question, Could it have been a dream, he knew that Fernando Pessoa, with enough flesh and bone to embrace and be embraced, had been in this very room on New Year's Eve and had promised to return. He believed him, but was beginning to lose patience at the delay. His life now seemed suspended, expectant, problematic. Meticulously he scanned the newspapers for signs, threads, outlines of a whole, the features of a Portuguese face, not simply to evoke an image of the country but to clothe his own portrait with a new substance, to be able to raise his hands to his face and recognize himself, to be able to place one hand upon another and clasp them together, It is I and I am here. On the last page he came across a large advertisement, two columns wide. In the top right-hand corner was depicted Freire the Engraver, in monocle and cravat, an old-fashioned sketch. Underneath, down to the bottom of the page, a cascade of other drawings advertised his workshops, the only ones that could justly claim to offer a comprehensive range of goods, with explanatory and superfluous captions, as if proving that a picture is as good or better than any description in words, except that no picture can show the excellent quality of the products of a firm established fifty-two years ago by a master engraver, a man of unblemished character and reputation, who studied in the major capitals of Europe and whose children after him have learned the skills and techniques of his trade. Unique in Portugal, he has been awarded three gold medals, has installed in his factory sixteen machines worked by electricity, one worth sixty contos, and these machines can do almost everything except speak, good Lord. A whole world is portrayed here, and since we were not born in time to see the fields of Troy or the shield of Achilles that reflected all heaven and earth, let us admire this Portuguese shield here in Lisbon, depicting the nation's latest wonders, number plates for buildings and hotels, for rooms, cupboards, and umbrella stands, strops for razor blades, whetstones for knives, scissors, pens with gold nibs, presses and scales, glass plates with chains in polished brass, machines for punching checks, seals made of metal and rubber, enameled letters, stamps for labeling clothing, sealing wax, numbered disks for lines at banks, business firms, and cafés, irons with which to brand cattle and wooden boxes, penknives, municipal registration plates for automobiles and bicycles, rings, medals for every type of sport, badges
for the caps worn by the employees in milk bars, cafés, and casinos. Look at this one for the Leitaria Nivea, not for the Leitaria Alentejana, since the employees of the latter do not wear caps with badges. And lockers, and those pennants in enameled metal that are placed above the doors of institutes and foundations, and soldering irons, electric lanterns, knives with four blades as well as other types, emblems, puncheons, printing frames, molds for biscuits, toilet soaps, rubber soles, monograms and coats of arms in gold, metal for every imaginable purpose, cigarette lighters, rollers for inking type, stone and ink for taking fingerprints, escutcheons for Portuguese and foreign consulates, yet more plaques for doctors, for lawyers, for registry offices where births and deaths are recorded for the parish council, Midwife, Notary Public, those that say No Entry, and rings for pigeons, and padlocks, etc., etc., etc., and another three etc.'s, to abridge and treat the rest as having been said. Let us not forget that these are the only workshops offering a comprehensive inventory, you can even have made to order ornamental iron gates for family tombs, but enough, period. Compared with this, what are the achievements of the divine blacksmith Hephaestus, he who chiseled and embossed the entire universe on the shield of Achilles but forgot to save a little space on which to engrave the heel of the illustrious warrior pierced by the quivering arrow of Paris. Even the gods forget about death, but no wonder, if they are immortal. Or was this an act of charity on the part of Hephaestus, a cloud cast over the transitory eyes of men, for whom it is enough, in order to be happy, to know neither where nor when nor how. Freire, however, is the more rigorous god and engraver, specifying everything, his advertisement is a labyrinth, a skein, a web. Studying it, Ricardo Reis allowed his coffee with milk to get cold, the butter to congeal on his toast. Please note, esteemed clients, our establishment has no branches anywhere, beware of those who call themselves agents and representatives, they are out to deceive the public with counterfeit tags for marking barrels and counterfeit branding irons for cattle. When Lydia arrived to collect the tray, she was worried, You haven't eaten anything, Doctor, didn't you like it. He protested that he had, but reading the newspaper he became distracted. Should I order some fresh toast, reheat your coffee. There's no need, I'm fine, besides he did not feel hungry, and saying this he got to his feet and placed a reassuring hand on her arm. He could feel the silky texture of her sleeve, the warmth of her skin. Lydia lowered her eyes, moved sideways, but his hand accompanied her and they remained like this for a few seconds. Finally Ricardo Reis released her arm and she gathered up the tray. The crockery shook as if the epicenter of an earthquake were located in room two hundred and one or, to be more precise, in the heart of this maid. Now she departs, she will not regain her composure in a hurry, she will go into the pantry and deposit the tray, her hand resting where that other hand rested, a delicate gesture unlikely in someone of so lowly a profession. That is what those who allow themselves to be guided by preconceived ideas must be thinking, perhaps even Ricardo Reis, who at this moment is bitterly upbraiding himself for having given in to foolish weakness, What an incredible thing I've done, and with a maid. It is his good fortune that he does not have to carry a tray laden with crockery, otherwise he would learn that even the hands of a hotel guest can tremble. Labyrinths are like this, streets, crossroads, and blind alleys. There are those who claim that the surest way of getting out of them is always to make the same turn, but that, as we know, is contrary to human nature.
The Year of the Death of Ricardo Reis (Harvest in Translation) Page 8