Found 43 results for heteronym in A Centenary Pessoa.
214 The Advent of the Heteronyms A CENTENARY PESSOA LETTER TO ADOLF CASAIS MONTEIRO, 13 JANUARY 1935 [...] I will move on to your question1 about the genesis of my heteronyms. I will attempt to answer it fully. I begin with the psychiatric part. The origin of my heteronym lies in the deep streak of hysteria which exists in me. I do not know whether I am simply a hysteric
and Campos are poetic creations is to forget too much. Like all creation, those poets were born of play. Art is play – and other things. But without play there is no art. The authenticity of the heteronyms depends on their poetic coherence, their verisimilitude. They were necessary creations, otherwise Pessoa would not have devoted his life to living and making them; what matters now is not that they
Pessoa wrote again to Monteiro remarking: ‘Behind the involuntary masks of the poet, the thinker and whatever else, I am essentially a dramatist’. Caeiro, Reis, and Campos, Pessoa’s three main poetic heteronyms, had lives, histories, characters, styles and thoughts of their own; their poetic works therefore ‘must be considered distinct from that of their author’. And, indeed, the public persona known as ‘
. Whence come (and I am not talking about his undeniable readiness to pretend, to ‘play tricks’) the vacillations and contradictions we find when Pessoa refers to the nature and origin of his heteronyms; he claims either to have discovered them in a state of trance, so that he was simply acting as a medium when writing, for instance, the poems of Caeiro, or that he constructed them within himself;
1) ‘Portugal’ [working title for Mensagem] of which ‘Mar Portugês’ (Contemporânea) constitutes the second part; (2) ‘The Book of Disquietude’ (Bernardo Soares, but subsidiarily, since B.S. is not a heteronym but a literary persona); (3) ‘The Complete Poems of Alberto Caeiro’ (with the preface by Ricardo Reis, and, as a postface, the ‘Notes in Remembrance’ by Álvaro de Campos). Later, the following year,
of course, Milton, Byron, the Romantic poets – especially Shelley and Keats – Tennyson, Carlyle, and Browning (whose dramatic reconstructions in Men and Women may well have interested the inventor of heteronyms). Among American writers he enjoyed Poe and, later, came to admire Whitman (‘[...] he is the epitome of modern times. His power of expression is consummate, like Shakespeare’s’). The library which
he created some 72 dramatis personae in ‘the intimate theatre of the self’, some little more than a name, others vividly alive and themselves creative. The boy Pessoa practises signatures for his heteronyms. It was decided that Pessoa should return to Lisbon for university education. He sailed, alone, in August 1905, just turned seventeen. In Lisbon he stayed first with a great-aunt, and then with his