Adverse genres in Fernando Pessoa by Pessoa, Fernando; Jackson, Kenneth David

By Pessoa, Fernando; Jackson, Kenneth David

Poet, short-story author, feverish inventor--Fernando Pessoa used to be essentially the most cutting edge figures shaping ecu modernism. recognized for a repertoire of works penned by means of a number of invented authors--which he termed heteronyms--the Portuguese author gleefully subverted the suggestion of what it capability to be an writer. Adverse Genres in Fernando Pessoa offers an advent to the fiction and the "profusion of selves" that populates the enigmatic author's uniquely imagined oeuvre.

To advisor readers during the eclectic paintings formed by means of Pessoa's heteronyms, ok. David Jackson advances the assumption of "adverse genres" revealing style clashes to be basic to the author's paradoxical and contradictory corpus. during the invented "coterie of authors," Pessoa inverted the standard relationships among shape and content material, authorship and textual content. In an encouraged, paradoxical, and from time to time absurd blending of cultural referents, Pessoa chosen genres from the ecu culture (Ricardo Reis's Horatian odes, Álvaro de Campos's worship of Walt Whitman, Alberto Caeiro's pastoral and metaphysical verse, and Bernardo Soares's philosophical diary), into which he inserted incongruent modern rules. through developing a number of layers of authorial anomaly Pessoa breathes the power of modernism into conventional ancient genres, extending their expressive diversity.

Through examinations of "A Very unique Dinner," the "Cancioneiro," love letters to Ophelia Queirós, "The event of the Anarchist Banker," Pessoa's choice of quatrains derived from Portuguese renowned verse, the ebook of Disquietude, and the most important poetic heteronyms, Jackson enters the orbit of the artist who exchanged an ordinary existence for a global of the mind's eye

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In an undated essay, “Os Heterónimos e os Graus de Lirismo” (Heteronyms and the Degrees of Lyricism),63 Pessoa provides a blueprint for the invention of adverse genres based on his work as a dramaturge who distinguishes among emotions, thoughts, and representation. His theory of adverse genres separates literary genres— lyric, elegiac, epic, dramatic—from the style of expressive content usually associated with them: “Aristotle divided poetry into lyric, elegiac, epic and dramatic. As all well-considered classifications, this one is useful and clear; as all classifications, it is false.

Alberto Caeiro equates poetic language with the unpremeditated reality of Nature itself by combining Oriental concepts with a philosophy of immanence. Ricardo Reis practices the stylistic anachronism of Horatian odes to disguise the nihilism and despair of his attempt to salvage artistic beauty from the ravages of inexorable fate. The heraldry of Portuguese heroes across time transforms history into iconography and chronology into the mysterious course of unfathomable events. The factless autobiography of a clerk as artist amounts to a philosophical search for being in the form of a diary.

In the conclusion, having surveyed diverse writings, readers finally enter Pessoa’s labyrinth, made up of multiple paths and mirrors, guarded by the minotaur that embodies his reformulation of genres. The success of Pessoa’s adverse genres after 1914, the date of his growing status as the consummate modernist of European literature, seems comparable to the splitting of the literary atom, for he anticipated the concerns of an entire age to come, INTRODUCTION: DECEIVING THE MESSENGER 27 while in his works he marshaled the panoply of avant-garde tools of the time.

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