Because of this wretched weather, day and night, which shows no sign of clearing and gives no respite to farmers and agriculturists, with flooding that is reckoned to be the worst in the last forty years, a fact confirmed by the records and testimonies of the elderly, Carnival will be memorable this year, memorable in itself but especially with these dreadful floods that have nothing to do with it but will be talked about for years to come. As we have already stated, Spanish refugees are pouring into Portugal. If they can raise their spirits, they will find plenty of diversions here which are sadly lacking in their own country, now more than ever before. Here we have every reason to feel self-satisfied. Consider the government's decision to go ahead with the plan to build a bridge over the Tagus, or the decree that will limit the use of state automobiles to official functions and services, or the aid given to the workers in the Douro with the distribution of five kilos of rice, five kilos of dried cod, and ten escudos per worker, and no one need be surprised at such lavish generosity, because cod is the cheapest commodity available. And within the next few days a government minister will make a speech announcing the establishment of a soup kitchen for the poor in each parish, and the same minister, returning from Beja, will assure journalists as follows, I have witnessed in Alentejo the importance of organizing private charities in order to combat the labor crisis, which translated into everyday Portuguese reads, Some alms, kind sir, for the sake of your dear ones in Purgatory. Best of all, however, because it emanated from a supreme authority subordinate only to that of Almighty God, was the speech by Cardinal Pacelli in which he praised Mussolini as the mighty defender of Rome's cultural heritage. Clearly this cardinal, so wise and likely to become even wiser, deserves to be Pope, may the Holy Spirit and the conclave not forget him when that blissful day comes. Even now, the Italian troops are on their way to bombard Ethiopia, and God's humble servant is already prophesying empire and emperor, Hail Caesar, Hail Mary.
But how different Carnival is here in Portugal. Yonder, in that land across the ocean discovered by Cabral, where the thrush sings and the Southern Cross shines, beneath that glorious sky, and where even when the sky is overcast there is plenty of heat, at Carnival schools parade, dancing sambas down the city's main boulevard, bedecked with glass beads that look like diamonds, sequins that glitter like precious stones, clothes that may not be made from silk or satin but cover bodies as if they were plumes and feathers, with parrots, birds of paradise, and peacocks swaying on their heads, and the samba, the samba, that tremor in one's soul. Even Ricardo Reis, serious by nature, often felt a repressed Dionysian turmoil stirring within. Only the fear of his own body prevented him from throwing himself into that wild frenzy, we never know how such things will end. In Lisbon there are no such risks, the sky remains as before, drizzling, but cheer up, not so wet as to spoil the parade which is about to descend the Avenida da Liberdade, flanked on either side by the familiar hordes of poor families from the nearby neighborhoods. True, chairs can be rented by those who can afford them, but there will be few customers. Daubed with multicolored figures, the floats creak, sway above people laughing and making faces. Masqueraders both ugly and pretty throw streamers into the crowd, and little bags of corn and beans, which can maim when they hit their target, and the crowd retaliates with diminished enthusiasm. Some open carriages go past, carrying a supply of umbrellas. Young ladies and their beaux wave from their carriages and throw confetti at each other. Merry pranks such as these are also played among the spectators, for example take this girl watching the procession and this youth creeping up behind her with a handful of confetti. He presses it to her lips, rubs vigorously, then takes advantage of her surprise to fondle her as best he can, the poor girl coughs and sputters while he goes off laughing, these are flirtations in the Portuguese tradition, some marriages even begin like this and turn out to be happy. Atomizers are used to squirt water at people's necks or in their faces. They are still called perfume sprayers, the name remaining from the days when one used them to inflict gentle violence in drawing rooms, later they descended to the streets, and you are fortunate if the water is not from some sewer, as has been known to happen. Though soon bored with this tawdry procession, Ricardo Reis stayed, he had nothing more important to do. Twice there was a drizzle and once a downpour, yet there are those who continue to sing the praises of the Portuguese climate, I'm not saying the climate isn't good, but it's not good for carnival parades. By late afternoon, the procession over, the sky cleared, but too late. The floats and carriages went on to their destination, there they will remain to dry out until Tuesday, their faded paint will be touched up, their festoons hung to dry, but the masqueraders, although drenched from head to foot, continue their merrymaking in the streets and squares, alleyways and crossroads. What cannot be committed out in the open they pursue under some staircase, where things can be done more quickly and cheaply. The flesh is weak, the wine helps, the day of ashes and oblivion doesn't come till Wednesday. Ricardo Reis feels slightly feverish, perhaps he has caught a cold watching the procession go past, perhaps melancholy can bring on a fever, nausea, delirium, but he is not that far gone yet. A hopelessly drunk old man in a mask came up to him, armed with a large wooden cutlass and club, striking the one against the other, making an uproar and ambiguously pleading, Punch me in the belly. He hurled himself on the poet, his bulging stomach padded with a cushion or a roll of cloth, and the crowd hooted with laughter at the sight of the gentleman in a hat and raincoat dodging an old clown dressed in a two-cornered hat, a silk jacket, breeches, and hose, Punch me in the belly. What the man really wanted was money for wine. When Ricardo Reis gave him some coins, the old drunk broke into a grotesque little dance, striking his cutlass against his club, before reeling off, followed by a trail of urchins, the acolytes of this expedition. In a little carriage resembling a pram sat an enormous man with his legs sticking out, his face painted, a baby's bonnet stuck on his head, a bib around his neck. He pretended to sob, or else was genuinely sobbing, until the ugly brute who was playing nanny pushed a feeding bottle filled with red wine into his mouth. This he sucked avidly, to the amusement and delight of the assembled crowd, from which a youth suddenly came running, quick as a flash, fondled the nanny's enormous false breasts, then scampered off, while the nanny yelled after him in a hoarse voice, unmistakably male, Come back here you son of a bitch, come and fondle this, and as he shouted he exposed something that caused all the women to avert their eyes once they had taken a good look. At what, Well, nothing too obscene, the nanny was wearing a dress that came down below the knee, and what protruded from under the dress he grabbed with both hands. Innocent horseplay, this is Carnival in Portugal. A man walks past in an overcoat. Unknown to him he has a sign stuck to his back, a paper dangling from a safety pin, Beast of burden for sale, no one has asked the price so far, even though they taunt him as they pass, Are you such a beast that you don't feel your burden. They amuse themselves teasing. Finally suspicious, he puts his hand behind his back, pulls away the sign, and tears it up in a rage. These same pranks are played on us year after year, and we always react as if it were something new. Ricardo Reis feels safe, knowing how difficult it is to stick a pin into a raincoat, but threats come from all sides. A broom attached to a cord suddenly descends from an upper story, knocking his hat to the ground, and he can hear the two girls who live above shrieking with laughter, Carnival time is fun time, they cry in unison, and the argument is so overwhelming that Ricardo Reis simply retrieves his hat, now covered with mud, and goes silently on his way. It is time he was getting back to the hotel. Fortunately there are the children, they walk about holding on to their mother, aunt, or grandmother, they show off their masks, enjoy being admired, for them there is no greater happiness than going around in disguise. They attend the matinees, fill the parquets and galleries of a bizarre world, utter bedlam, they trip in their long balloon-shaped skirts, their feet hurt, they twist their mouths and milk teeth to grip their pipe, their mustache and sideburns smear, there
is surely nothing nicer in this world than children. There they go, the little innocents, carrying their gauze satchels filled with paper streamers, their cheeks painted red or white, wearing pirate eye patches, we do not know if they are dressed as they wish or are simply playing a role devised by the adults who selected and paid for these rented costumes, these Dutch boys, rustics, washerwomen, mariners, fado singers, grand dames, serving maids, soldiers, fairies, army officers, flamenco dancers, poultry vendors, pierrots, train engineers, girls from Ovar in traditional costume, pages, scholars in cap and gown, peasant girls from Aveiro, policemen, harlequins, carpenters, pirates, cowboys, lion tamers, Cossack riders, florists, bears, Gypsies, sailors, shepherds, nurses, later they will be photographed and appear in tomorrow's newspapers. Some of the little masqueraders who visited the newspaper office obliged the photographer by removing the domino they wore over their costume, even the mysterious domino of Columbine, to show their faces so that their grandmothers might boast with ecstasy, That's my little granddaughter. With a pair of scissors she will lovingly cut out the photograph, it will go into her box of souvenirs, that green one there in the shape of a little trunk, which will break open when it falls onto the pebbles on the quayside. Today we laugh, but the time will come when we will want to weep. It is almost night, Ricardo Reis is dragging his feet, it could be weariness, melancholy, that fever he suspected. Feeling a sudden chill in his back, he is tempted to hail a taxi, but the hotel is now near, In ten minutes I'll be tucked in bed, I'll skip dinner, he murmured to himself, and at this very moment there appeared a group of pretend-mourners approaching from the Rua do Carmo, the men all dressed as women, with the exception of the four pallbearers, who bore on their shoulders the coffin, on top of which lay a man representing a corpse, jaw bound and hands clasped. Now that the rain had stopped, they were venturing out into the street with their mummery. Ah my beloved husband whom I shall see no more, one of the louts, swathed in crepe, cried out in falsetto. Several others played the part of little orphans, Ah dear Papa whom we so greatly miss. Their cronies circled them begging alms from the bystanders for the funeral expenses, The poor man died three days ago and the corpse is beginning to smell something awful. Which was true, someone must have cracked open a bottle of hydrogen sulfide, corpses do not normally smell like rotten eggs but this was the nearest thing they could find. Ricardo Reis gave them a few coins, just as well he was carrying small change, and was about to proceed up the Chiado when he was struck by a strange figure in the procession, despite its being the most logical of all, namely Death, for this was a funeral even if only a mock one. The man was clad in close-fitting black fabric, probably tricot, and over this material were traced out all his bones from head to foot. The craze for fancy costumes often reaches extremes. Ricardo Reis began to shiver again, but this time he knew why, Could it be Fernando Pessoa, that's absurd, he murmured, he would never do such a thing, and even if he were so inclined, he would never keep company with such rabble. Before a mirror, yes, he might stand, that is certainly possible, and dressed thus he might be able to see himself. Muttering this or merely thinking it, Ricardo Reis approached the man to take a closer look, he had the height, the build of Fernando Pessoa, and although he looked slimmer, it might have been because of the close-fitting costume he was wearing. The fellow gave him a quick glance and moved to the back of the procession. Ricardo Reis pursued him, saw him ascend the Calçada do Sacramento, a terrifying sight, nothing but bones in the fading light, as if the man had painted himself with phosphorescent paint, and as he rushed away he appeared to leave a luminous trail. He crossed the Largo do Carmo, turned and ran past the gloomy and deserted Rua da Oliveira, but Ricardo Reis could see him distinctly, neither near nor far, a walking skeleton, a skeleton like the one he had studied in the Faculty of Medicine, the heel bone, the tibia and fibula, femur, ilium, spinal column, rib cage, the shoulder blades like wings incapable of growing, the cervicals supporting the cranium, pallid and lunar. Those who encountered him called out, Hey, Death, hey scarecrow, but the masquerader neither replied nor looked back, he rushed straight on, at a rapid pace, climbed the Escadinhas do Duque two steps at a time, an agile fellow, surely not Fernando Pessoa, who despite his British upbringing was never one for physical exertion. Nor is Ricardo Reis, who could be excused as a product of Jesuit teaching. But the skeleton halted at the top of the stairs, looked down as if to give him time to catch up, then crossed the square to enter the Travessa da Queimada. Where is wretched Death leading me, and I, why am I following him. Then, for the first time, he wondered if the masquerader was in fact a man. It could be a woman, or neither woman nor man, simply Death. It's a man, he thought, on seeing the figure enter a tavern to be greeted with cheers and applause, Look at the masquerade, look at Death. Watching carefully, he saw the skeleton drinking a glass of wine at the bar, head thrown back. Its chest was flat, this was no woman. The masquerader came toward him, and Ricardo Reis had no time to retreat, he broke into a run but the other caught up with him on the corner. The teeth were real, the gums moist with saliva, but the voice was not that of a man, it was that of a woman, or something in between, Tell me, you gawping idiot, who do you think you're following, are you a queer by any chance, or just in a hurry to die. No sir, from a distance I thought I recognized you as a friend of mine, but from your voice I can see I'm mistaken. How do you know I'm not shamming, and the voice now sounded quite different. Please excuse me, said Ricardo Reis, and the masquerader replied in a voice now resembling that of Fernando Pessoa, Go to hell you shit, and he turned away and disappeared into the gathering night. As the little girls with the broom said, Carnival time is fun time. It was raining again.
He spent the night in a fever, slept badly. Before stretching out on the bed, exhausted, he took two aspirins and put the thermometer under his armpit. His temperature was over a hundred, it was to be expected, influenza, he thought to himself. He fell asleep, woke up, dreamed of vast plains bathed in sunlight, flowing rivers meandering among trees, ships that solemnly drifted with the current, remote, alien, himself sailing in all of them, multiplied, divided, waving to himself like someone saying farewell or eager for an encounter. The ships entered a lagoon or estuary, tranquil, still water, they did not stir, there could have been ten of them, or twenty, or more, without sail or oar, within calling distance, but the sailors were all speaking at the same time. Since they were saying the same words they could not hear one another, and finally the ships began to sink, the chorus of voices died away. Dreaming, Ricardo Reis tried to capture those final words, thought that he had succeeded, but as the last ship went to the bottom, the syllables, disconnected, gurgling in the water, came to the surface. Sonorous yet meaningless, the drowned words carried no farewell, pledge, or testament, and even if they had, there was no longer anyone to hear them. Asleep or awake, he debated, had the masquerader really been Fernando Pessoa. First he decided yes, then rejected what was obvious for the sake of what was profound. The next time they met, he would ask. But would he receive a truthful answer. Reis, surely you cannot be serious, can you imagine me going around disguised as Death the way they did in medieval times, a dead man does not cut capers, he is sober, prudent, aware of his condition, discreet, he loathes the absolute nakedness to which he is reduced as a skeleton, therefore when he appears, either he appears as I do now, wearing the smart suit he was dressed in for burial, or, when he wants to give someone a fright, he wraps himself in his shroud, which is a thing that I as a man of some breeding and refinement would never do, I trust you will agree. I needn't have bothered asking him, Ricardo Reis muttered. He switched on the light, opened The God of the Labyrinth, read a page and a half, saw that it dealt with two men playing chess but could not tell whether they were playing or conversing. The letters became blurred and he laid the book aside. He was back in his apartment in Rio de Janeiro, from his window he could see planes in the distance dropping bombs over Urea and Praia Vermelha, smoke rising in great black coils, but no sound could be heard,
perhaps he had grown deaf or had never possessed any sense of hearing and was therefore unable to imagine, even with the aid of sight, the roar of grenades, the discordant chatter of gunfire, the cries of the wounded. He woke up bathed in sweat. The hotel was submerged in the deep silence of night, the guests all fast asleep, even the Spanish refugees, should anyone suddenly rouse them and ask, Where are you, they would reply, I'm in Madrid, I'm in Caceres, deceived by the comfort of their beds. At the top of the building Lydia is probably asleep. Some nights she descends, others she does not, their meetings are now arranged beforehand, it is with the utmost circumspection that she comes to his room in the middle of the night. The excitement of the first weeks has waned, as is only natural, nothing fades more rapidly than passion, yes passion, even in these ill-matched liaisons passion has some role. It is wise to allay suspicions, if there are any, to stop harmful gossip, if any is circulating, to avoid public scandal at all costs, let us hope Pimenta went no further than malicious insinuations. True, there could be other reasons for the waning, biological for instance, such as Lydia menstruating, or as the English put it having her period, or to quote a popular saying, The Redcoats have reached the straits, that irrigation canal of the female body, its crimson discharge. He woke, then woke a second time. The light, ashen, cold, dull, as yet more night than day, filtered through the lowered blinds, the windowpanes, the curtains, it traced out the heavy drapes not properly closed, it covered the polished surfaces of the furniture with the most subtle opalescence. The frozen room dawned like a gray landscape, and the hibernating animals, cautious Sybarites, were pleased, for there has been no news of any having died in their sleep. Ricardo Reis took his temperature once more. Still feverish, he started coughing, I've caught a bad flu this time and no doubt about it. The day, so slow in coming, suddenly arrived like a door thrown open, the murmur of the hotel merging with that of the city. This was Monday, Carnival, another day, in what room or grave will the skeleton of Bairro Alto be waking up or still be sleeping, perhaps he has not even undressed but went to bed in his costume, he too sleeps alone, poor fellow. Any living woman would run screaming in terror if such a bony arm were to embrace her under the sheets, even if it were her lover's, We count for nothing, we are less than futile. As these lines came to mind, Ricardo Reis recited them in a murmur, then thought to himself, I must get up, a cold or flu only requires precaution, little if any medication. But he continued to doze. Opening his eyes, he repeated, I must get up. He had to wash, shave, he detested the white hairs on his face, but it was much later than he imagined, he had not looked at the clock. Someone was knocking at his door, it was Lydia bringing his breakfast. Pulling his dressing gown around his shoulders, his slippers coming off, still half asleep, he went to open the door. Seeing that he still hadn't washed, hadn't combed his hair, Lydia thought at first that he must have turned in late, perhaps he went to a dance hall chasing after women. Would you like me to come back later, she asked. As he staggered back to bed, seized by a sudden longing to be treated and nursed like a child, he replied, I am ill, which was not what she had asked. She put the tray on the table and approached the bed, and quite spontaneously put her hand on his forehead, You have a fever. Not a doctor for nothing, Ricardo Reis did not need to be told this, but hearing her say it made him feel sorry for himself. He placed a hand over Lydia's and closed his eyes, If there are only these two tears, I will be able to keep them back, he thought, holding Lydia's work-roughened, almost coarse hand, so different from the hands of Chloe, Neaera, and that other Lydia, and from the tapered fingers, manicured nails, and soft palms of Marcenda. From Marcenda's one living hand, I should say, because her left hand is anticipated death. It must be influenza, but I'm getting up, Oh no, you mustn't, you will end up with pneumonia, I'm the doctor here, Lydia, I know what I have to do, there is no need for me to stay in bed playing the invalid when all I heed is someone who will go to the pharmacist to fetch two or three medicines. Don't you worry, I'll go, or send Pimenta, but you mustn't get out of bed, eat your breakfast before it gets cold, then I can tidy up and air your room. With these words she eased Ricardo Reis into a sitting position, adjusted his pillow, brought the tray, poured some milk into his coffee, added sugar, cut the slices of toast in half, handed him the marmalade, blushing with happiness, a woman can feel happy just watching the man she loves prostrate on a bed of suffering. She looks at him with such a gleam in her eyes, or could it be worry and concern, that she herself appears to be feverish, one more example of the common phenomenon whereby different causes can produce the same effect. Ricardo Reis allowed himself to be tucked in, pampered, stroked gently by Lydia's fingers as if she were anointing him, whether the first anointing or the last it is difficult to say. Finishing his coffee, he felt deliciously languid. Open the closet for me, there is a black suitcase at the back on the right, bring it here, many thanks. From the suitcase he extracted a prescription pad with a printed heading, Ricardo Reis, general practitioner, Rua do Ouvidor, Rio de Janeiro. When he first bought this pad, he could not have imagined that he would be using it so far away, such is life, without any stability, or with the kind of stability that always has some surprise in store. He scribbled a few lines and instructed, You mustn't go to the pharmacy unless you are asked, give this prescription to Senhor Salvador, any orders should come from him. Bearing the prescription and the tray, she left, but not before kissing him on the forehead, such impudence, a mere servant, a hotel chambermaid, would you believe it, but perhaps she has the natural right, although no other, which he won't deny her, because this is a situation in extremis. Ricardo Reis smiled, made a vague gesture, and turned to the wall. He fell asleep at once, unconcerned about his gray scraggly hair, his sprouting beard, his skin damp and sallow after a night of fever. A man can be more ill than this and still enjoy his moment of happiness, whatever it may be, even just to imagine that he is a desert island over which a migrating bird now flies, brought and carried by the inconstant wind.
The Year of the Death of Ricardo Reis (Harvest in Translation) Page 16
