Year of the Death of Ricardo Reis

Conspiracy, and the innocent saint of The May Revolution. If the Spanish women have Unamuno to thank for their sainthood, let our Portuguese women give thanks to Senhor Tome Vieira and Senhor Lopes Ribeiro, one day I should like to descend into hell and count for myself the holy women there. But about Miguel de Unamuno, whom we admired, no one speaks now, he is like an embarrassing wound one tries to conceal, and only his words, almost his last, spoken in reply to General Milan d'Astray, the one who shouted in that same city of Salamanca, Long live death, have been preserved for posterity. Doctor Reis will never learn what those words are, but life is too short for a man to learn everything, and so is his. Because those words were spoken, some of us reconsidered our decision. It was good that Unamuno lived long enough to see his mistake, although only to see it, because he did little to correct it, having little time left, and perhaps too he wished to preserve the tranquillity of his final days. And therefore all I ask is that you wait for our last word, or the next to last, if on that day our minds are still clear and yours is too. I am finished. Some of those present vigorously applaud this hope of salvation, but others protest, indignant at the malicious distortion of Unamuno's Nationalist doctrine, because it was only out of senility, with one foot in the grave, or pique or capriciousness, that Unamuno dared question the magnificent battle cry of the great patriot General Milan d'Astray, who only had wisdom to impart, none to receive. Ricardo Reis does not know what Unamuno will say to the General, he is too shy to ask, or afraid to penetrate the veil of the future, How much better to pass in silence, without anticipation, this is what he once wrote, this is what he tries to achieve each day. The old soldiers leave, discussing as they go the words of Unamuno, judging those words as they themselves would like to be judged, for everyone knows that the accused, in his eyes, is always absolved.

Ricardo Reis reads the news he has already read, the call by Unamuno, the rector of Salamanca, Let us save western civilization, I am here at your disposal O sons of Spain, and the five thousand pesetas paid out of his own pocket for Franco's army, and the exhorting of Azana to commit suicide, but he hasn't got to the holy women yet, not that we need to wait to know how he will express it. Only the other day we heard a simple Portuguese film producer say that on this side of the Pyrenees all women are saints. Ricardo Reis slowly turns the pages, distracts himself with the latest news, items that might as easily have come from there as from here, from this decade or any other, past, present, and future, weddings and baptisms for example, departures and arrivals. The problem is that we cannot choose the news we want to read, like John D. Rockefeller. He runs his eye down the classified advertisements, Apartment to let, he already has one. But wait, here is the steamer The Highland Brigade due to leave Lisbon for Pernambuco, Rio de Ja neiro, Santos, what news will she bring, persistent messenger, from Vigo. And it appears that all Galicia has united behind General Franco, he is after all a native son of that region. The reader, restless, turns the page and once again encounters the shield of Achilles, which he has not seen for a long time. It is the same display of pictures and captions, a prodigious mandala, a kaleidoscopic universe in which all movement, suspended, offers itself to our contemplation. At last it is possible to count the wrinkles on the face of God, more commonly known by the name of Freire the Engraver, here is his portrait with the implacable monocle, here the necktie he uses to strangle us, even though the physician says we are dying from some disease or bullet wound. Freire's wares are illustrated below, testifying to the infinite wisdom of their creator, who has lived an unblemished and honorable life and received three gold medals, the ultimate distinction conferred by the Deity, who does not however advertise in the Diario de Noticias. At one time, Ricardo Reis saw this advertisement as a labyrinth, now he sees it as a circle from which there is no escape or exit, like an endless desert without paths. He adds a small goatee to the portrait of Freire the Engraver and doubles the monocle into spectacles, but not even this makes Freire look like the Don Miguel de Unamuno who also became lost in a labyrinth, from which he managed to emerge, if we give credence to the Portuguese gentleman who stood up to address the assembly, only on the eve of his death, leaving us in doubt as to whether Unamuno held to those almost-last words or instead relapsed into his initial complacency if not complicity, concealing his rage, suppressing his defiance. The yes and no of Unamuno disturbs Ricardo Reis, he is divided between this present, which is common to both their lives, the two linked by news items in the press, and the obscure prophecy of the soldier-orator who, knowing the future, did not reveal everything. A shame Ricardo Reis did not have the courage to ask the man what Don Miguel said to the general, but then he realizes that he kept silent because it had been clearly hinted that he would not be in this world on the day of that repentance, You never learn what those words are, but life is too short for a man to learn everything, and so is yours. Ricardo Reis begins to see the direction the wheel of destiny is turning. Milan d'Astray, who was in Buenos Aires, passed through Rio de Janeiro on his way to Spain, the paths of men do not vary much, and now comes sailing across the Atlantic, glowing with excitement and eager for battle. Within the next few days he will disembark at Lisbon, the ship is the Almanzora, then proceed to Seville and from there to Tetuan, where he will replace Franco. Milan d'Astray approaches Salamanca and Miguel de Unamuno, he will shout, Long live death, and then the curtain falls. The Portuguese soldier-orator again asks leave to speak, his lips move, the black sun of the future shines, but the words are inaudible, we cannot even guess what he is saying.

Ricardo Reis is anxious to discuss these matters with Fernando Pessoa, but Fernando Pessoa does not appear. Time drags like a sluggish wave, it is a sphere of molten glass on whose surface myriad glints catch one's eye and engage one's attention, while inside glows the crimson, disquieting core. Days and nights succeed each other in oppressive heat that both descends from the sky and rises from the earth. It is late afternoon before the two old men appear on the Alto de Santa Catarina, they cannot take the burning sun which surrounds the sparse shadows of the palm trees, the glare on the river is too much for their tired eyes, the shimmering air leaves them gasping for breath. Lisbon opens her spigots but there is not a drop of running water, her inhabitants have become caged birds with open beaks and drooping wings. As the city sinks into torpor, the rumor circulates that the Spanish Civil War is nearing its end, which is probable if we bear in mind that the troops of Queipo de Llano are already at the gates of Badajoz, with the divisions of the Civil Guard, which is their Foreign Legion, eager for combat. Woe to him who opposes these soldiers, so great is their desire to kill. Don Miguel sets off from home for the university, taking advantage of the fringe of shade that skirts the buildings along the route. The sun bakes the stones of Salamanca, but the worthy ancient can feel a military breeze in his face, in his contented soul he returns the greetings of his countrymen, the salutes he receives from the soldiers at headquarters or in the street, every one of them the reincarnation of El Cid Campeador, who in his day also said, Let us save western civilization. Ricardo Reis, leaving his apartment early one morning before the sun became too hot, also took advantage of the fringes of shade while waiting for a taxi to appear and take him, panting, up the Calcada da Estrela as far as Prazeres. The visitor does not need to ask the way, he has not forgotten the location or the number, four thousand three hundred and seventy-one, not the number of a door, so there is no point in knocking or inquiring, Is anyone home. If the presence of the living is not in itself enough to dislodge the secrets of the dead, these words serve no purpose. Ricardo Reis reached the railing, placed his hand on the warm stone, the sun, though still not high, has been hitting this spot since dawn. From a nearby path comes the sound of a brush sweeping, it is a widow cutting across at the far end of the road, her face hidden behind a crepe veil. There is no other sign of life. Ricardo Reis descends as far as the bend, where he pauses to look at the river, the mouth of the sea, a most appropriate word, because it is here that the sea comes to quench its unassuageable thirst, sucking lips pressed to the land. Such an image, such a metaphor would be out of place in the austere structure of an ode, but it occurs to us in the early morning, when the mind submits to feeling.

Ricardo Reis does not turn around. He knows that Fernando Pessoa is standing beside him, this time invisible, perhaps forbidden to show himself in the flesh within the precincts of the graveyard, otherwise the place would be too crowded, the streets congested with the dead, the thought makes one want to smile. The voice of Fernando Pessoa asks, What brings you here at this early hour, my dear Reis, is the view from the Alto de Santa Catarina, where Adamastor stands, not enough for you. Ricardo Reis replies without replying, From here we can watch a Spanish general sailing to join the Civil War, are you aware that civil war has broken out in Spain. Go on. They tell me that this general, whose name is Milan d'Astray, is destined to meet Miguel de Unamuno one day, and he will exclaim, Long live death, to which there will be a reply. Go on. I would like to know the reply given by Don Miguel. How can I tell you before he gives it. It might interest you to know that the rector of Salamanca has sided with the army, which intends to overthrow the government and the regime. That is of no interest to me whatsoever. I once thought that loss of freedom might be natural and right in flourishing societies, now I do not know what to think, I was counting on you, you have let me down. The most I can do is to offer a hypothesis. What hypothesis. That your rector of Salamanca will reply by saying that there are circumstances in which to remain silent is to lie, I hear a morbid cry, Long live death, a barbarous and repugnant paradox, General Milan d'Astray is crippled, no insult intended, Cervantes was also crippled, unfortunately today in Spain there are far too many