The lights dim, the auditorium is in darkness, the loud knocks ascribed to Molière can be heard onstage, what terror they must strike in the hearts of the fishermen and their wives, perhaps they imagine them to be the last-minute hammerings of carpenters on the set. The curtain opens, a woman is lighting a fire, it is still night, from behind the scenery a man's voice can be heard, calling Mané Zé, Ah, Mané Zé, the play has started. The audience sighs, wavers, sometimes smiles, becomes excited as the first act ends with that great stampede of women, and when the lights go up, faces are animated, a good sign. There is shouting overhead, people calling from box to box, one could mistake those fishermen for the actors themselves, their way of speaking almost the same, whether better or worse depending on the measure of comparison. Reflecting on this, Ricardo Reis decides that the purpose of an is not imitation, that the author has made a serious error of judgment by writing the play in the dialect of Nazaré, or in what he supposed was the dialect of Nazaré, because reality does not tolerate its reflection, rather, it rejects it. Only a different reality, whatever it is, may be substituted for the reality one wishes to convey. The difference between them mutually demonstrates, explains, and measures them, reality as the invention it was, invention as the reality it will be. Ricardo Reis thinks these things with even greater confusion, it is difficult, after all, to think and clap one's hands at the same time. The audience applauds, and he joins in out of sympathy, for despite the use of dialect, grotesque as spoken by the actors, he is enjoying the play. Marcenda is not clapping, she cannot, but she is smiling. Most of the women remain seated, it's the men who need to stretch and exercise their legs, to pay a visit to the gents', to smoke a cigarette or cigar, exchange views with their friends, greet acquaintances, to see and be seen in the foyer. If they remain in their seats, it is generally for reasons of love and courtship. As they stand up, their eyes rove like those of hawks, they are the protagonists of their own drama, actors who perform during the intermission while the real actors back in their dressing rooms discard roles they will shortly resume. As he gets up, Ricardo Reis looks between the heads and sees that Doctor Sampaio is also getting up. Refusing with a nod, Marcenda remains seated. Her father, already on his feet, places his hand affectionately on her shoulder, then moves toward the aisle. Hurrying, Ricardo Reis reaches the foyer first. Shortly they will meet face to face, amid all these people who are walking up and down and conversing in an atmosphere soon thick with tobacco smoke. There are voices and commentaries, Palmira is splendid, In my opinion they've put far too many fishing nets on the stage, What a bunch of harpies, grappling with each other, you'd think they were in earnest, That's because you've never seen them, dear fellow, as I've seen them in Nazaré, there they fight like the Furies, At times it is difficult to make out what they're saying, Well that's how they talk there. Ricardo Reis moved among the groups, as attentive to their words as if he himself were the author of the play, while watching the movements of Doctor Sampaio from a distance, anxious that they should bump into each other as if by chance. Then he realized that Doctor Sampaio had spotted him, was heading his way, and was the first to speak, Good evening, how are you enjoying the play then. Ricardo Reis felt no need to say, What a surprise, what a coincidence, he immediately reciprocated the greeting, assured him that he was enjoying the play, and added, We are staying at the same hotel. Even so he ought to introduce himself, My name is Ricardo Reis. He hesitated, wondering whether he should add, I'm a doctor of medicine, I was living in Rio de Janeiro, I've been back in Lisbon less than a month. Doctor Sampaio barely listened, smiling, as if to say, If you knew Salvador as long as I have, you would realize that he has told me everything about you, and knowing him as well as I do, I guess he has told you about me and my daughter. Doctor Sampaio is undoubtedly shrewd, many years of experience as a notary bring certain advantages, We need hardly introduce ourselves, said Ricardo Reis. That's right. They went on almost immediately to discuss the play and the actors, treating each other with the utmost respect, Doctor Reis, Doctor Sampaio. A pleasant sense of equality is conferred upon them by their titles, and so they remained until the warning bell rang, when they returned to the auditorium together, and said, See you soon. Each went to his seat, Ricardo Reis, the first to sit down, kept watching, saw him speak to his daughter. She looked back, gave him a smile, he returned her smile, the second act was about to begin.
All three of them met during the next intermission. Even though they knew all about each other, they still had to be introduced, Ricardo Reis, Marcenda Sampaio. It was inevitable, the moment they both awaited, they shook hands, right hand with right hand, her left hand hanging limp, trying to fade from sight, shy, as if nonexistent. Marcenda's eyes shone brightly, she was clearly moved by the sufferings of Maria Bern, perhaps there was a deep reason in her personal life for accompanying, word for word, that final speech made by the wife of Lavagante, If there is a hell, it can be no worse than this, Virgin Mother of the Seven Sorrows. Marcenda would have made this speech in the dialect of Coimbra, but speaking in a different dialect in no way changes these feelings which cannot be explained in words, I fully understand why you do not touch this arm, you who share the same hotel corridor, man of my curiosity, I am she who hailed you with a lifeless hand, don't ask me why, I haven't even asked myself that question, I simply hailed you, one day I will learn what prompted that gesture, or perhaps not, now you will withdraw rather than give me the impression that you are being indiscreet, inquisitive, taking advantage, as one would say, go, I will know where to find you, or you me, for you have not come here by chance. Ricardo Reis did not remain in the foyer but wandered in the aisles behind the boxes on the grand tier and peered up at the boxes overhead to get a closer look at the fishermen. But the warning bell started ringing, this second intermission was shorter, and when he reached the auditorium the lights were already beginning to dim. During the whole of the third act he divided his attention between the stage and Marcenda, who never once looked behind her. But she had slightly altered the position of her body so that he could see a little more of her face, a mere glimpse, and from, time to time she drew back her hair on the left side with her right hand, very slowly, as if on purpose. What does this girl want, who is she, because people are not always what they seem. He saw her dry her cheeks as Lianor confesses that she stole the key of the life jacket so that Lavagante would die, and again when Maria Bern and Rosa, the one beginning, the other concluding, declare that this was an act of love and that love, being a noble sentiment, turns to torment when it is frustrated, and finally in the brief closing scene when Lavagante and Maria Bern are about to be united in the flesh. Suddenly the lights went up, the curtain fell to wild applause, and Marcenda was still drying her tears, now with a handkerchief. She was not alone, weeping women could be seen everywhere in the auditorium. Nervously smiling, the actors, such sensitive souls, acknowledged the ovation, made gestures as if returning it to the upper boxes occupied by the real heroes of these tales of love and adventure at sea. All inhibitions forgotten, the audience looked up in their direction, this is the communion of art, and applauded the intrepid fishermen and their courageous womenfolk. Even Ricardo Reis is clapping. Here in this theater one sees how easily understanding can be created between different classes and professions, between the rich, the poor, and those in-between, let us savor this rare spectacle of fraternity. The fishermen are now being coaxed to join the actors on the stage, the dragging of chairs can be heard once more. The performance is not over yet, the audience sits down. Now comes the climax, such merriment, such animation, such rejoicing, as the fishing community of Nazaré comes down the center aisle and climbs onto the stage. There they dance and sing the traditional airs of their region along with the actors, a night to be recorded forever in the annals of the Casa de Garrett. The leader of the group embraces the actor Robles Monteiro, the oldest of the fishwives receives a kiss from the actress Palmira Bastos, they all talk at once, utter bedlam, each speaking in his own dialect bu
t managing to understand the others nonetheless, then there is more singing and dancing. The younger actresses demonstrate the traditional folk dance of Minho until the ushers finally start pushing us gently toward the exits. A dinner is to be served on stage, a communal love festival for the actors and their muses, corks will pop from the bottles of that sparkling wine which stings one's nostrils, the good women of Nazaré will be in fits of laughter once their heads start spinning, unaccustomed as they are to sparkling wine. Tomorrow, when the bus departs in the presence of journalists, photographers, and leaders of the corporations, the fishermen will give loud cheers for the New State and the Fatherland. One cannot be certain if they were paid to do so, but let us assume it is a spontaneous expression of gratitude at having been promised that port they so earnestly desire. If Paris was worth a mass, perhaps a few cheers will gain them salvation.
Ricardo Reis made no attempt to avert a second meeting as he left the theater. On the sidewalk he asked Marcenda if she had enjoyed the play. She confided that the third act had moved her deeply and brought tears to her eyes. Yes, I saw you weeping, he told her, and there the conversation ended. Having hailed a taxi, Doctor Sampaio suggested that Ricardo Reis might care to join them if he intended going straight back to the hotel. Thanking them, he declined. Until tomorrow then, Good-night, Pleased to meet you. The taxi drove off. He would have liked to accompany them, but realized it would be awkward, they would all feel ill at ease, be silent, finding another topic of conversation would not be easy, not to mention the delicate question of the seating arrangement, since there would not be room enough for three on the back seat, and Doctor Sampaio would not wish to travel in front leaving his daughter alone with a stranger. Yes, a stranger, and in propitious darkness, for even if there was not the slightest physical contact between them, the darkness would draw them together with hands of velvet, and they would be drawn together even more closely by their thoughts, which gradually would become secrets difficult to conceal. Nor would it be right to have Ricardo Reis sit beside the driver, you cannot offer someone a lift and then ask him to sit in front, facing the meter. Also, at the end of the ride it is inevitable that the person beside the driver will feel obliged to pay. The host, sitting in the back, cannot find his wallet but insists he will pay, saying, Leave this to me, telling the driver not to accept any money from the man in front, I'm paying the fare. The taxi driver patiently waits for them to make up their mind, this is an argument he has heard a thousand times, taxi drivers have to put up with such absurdities. With no other pleasures or obligations in store, Ricardo Reis walks back to his hotel. The night is cold and damp, but it is not raining. Now he feels like going for a stroll, he descends the entire Rua Augusta, crosses the Terreiro do Paço to take those steps leading down to the quayside where the dark polluted waters turn to spray only to fall back into the river from whence they came. There is no one else at the quayside, yet other men are watching the night, the flickering lights on the opposite embankment, the mooring lamps of the anchored ships. This one man, physically present, is watching today, but there are in addition the innumerable beings he claims to be, the others he has been each time he came here and who remember having been here, even though he does not remember. Eyes accustomed to the dark see much farther. In the distance are gray outlines of ships belonging to the squadron which has left the safety of the harbor. Although still rough, the weather is no longer too rough for the ships, a sailor's life is one of sacrifice. Seen from this distance, a number of ships appear to have the same dimensions, these must be the torpedo boats named after rivers. Ricardo Reis does not recall all of the luggage porter's litany, there was the Tagus, now sailing the Tagus, and the Vouga, and the Dao, which is nearest of all, as the man told him. Here then is the Tagus, here are the rivers that flow through my village, all flowing to the sea which receives water from all the rivers and then restores it. If only this regression were eternal, but alas, it will last only as long as the sun, mortal like all of us. Glorious is the death of those men who died with the setting sun, they did not see the first day but they will see the last.
This cold weather is not good for philosophical musings. His feet are freezing. A policeman paused warily to keep an eye on him. The man contemplating the water didn't strike him as a scoundrel or tramp but might be thinking of throwing himself into the river. At the thought of all the trouble this would cause, having to raise the alarm, fishing out the corpse, writing up a formal report of the incident, the policeman decided to approach him, not quite knowing what to say but hoping that his presence would be sufficient to discourage the would-be suicide, to persuade him to postpone this act of madness. Ricardo Reis heard footsteps, felt the coldness of the flagstones penetrate his feet. He must buy boots with thick soles. It was time to get back to the hotel before he caught a chill. He said, Good evening, officer. The policeman, reassured, asked, Is there anything wrong. No, nothing, it is the most natural thing in the world for a man to stroll along the quay, even at night, to watch the river and the ships. This is the Tagus which does not flow through my village, because the Tagus that flows through my village is called the Douro, but the fact that it does not have the same name does not mean that the river that flows through my village is any less beautiful. The policeman went off in the direction of the Rua da Alfândega, reflecting on the madness of certain people who appeared in the middle of the night. Whatever possessed this man to think he could enjoy a view of the river in such weather, if he were obliged like me to patrol the docks night after night he would soon find it tiresome. Ricardo Reis continued along the Rua do Arsenal and within ten minutes arrived at the hotel. Pimenta appeared on the landing with a bunch of keys, looked down, and withdrew, not waiting, as he usually did, for the guest to come upstairs, why should this be. Asking himself this natural question, Ricardo Reis began to worry. Perhaps he already knows about Lydia, he is bound to find out sooner or later, a hotel is like a glass house. Pimenta, who never leaves the place and knows every nook and cranny, must suspect something. Good evening, Pimenta, he said with exaggerated warmth, and the other replied with no apparent reserve, no trace of hostility. Perhaps I'm mistaken, Ricardo Reis thought, and when Pimenta handed him his key, he was about to continue on but turned back and opened his wallet, This is for you, Pimenta, and handed him a twenty-escudo note. He gave no explanation and Pimenta asked no questions.
The Year of the Death of Ricardo Reis (Harvest in Translation) Page 11