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I.
Goethe
Name: Earth-Spirit
Pessoa
Name: Nameless (Inominvel) /
Existence (Existncia) / Voice that
speaks into the darkness (Voz
que fala na treva) the word
esprito only appears here.
The Nameless is a character
which describes itself more than
the Being that transcends
Creator and creature. This Being
no
one
comprehends.
Everything is only a moment in
its eternity.
Obs.: Two important authors not translated to English: Erich Trunz and
Albrecht Schne.
Obs.: The relation between the Macrocosms-Sign and The Earth-Spirit.
Question N 2 Is the verses 1.111-1.112 on Goethes Faust related to
the concepts of Apollonian and Dionysian forces Like Albrecht Schne
asserts that these verses remind the operetta Hercules choice, by
Wieland, where Arete (allegory of virtue) X Kakia (incarnation of a
voluptuous indolence)?
Question N 3 Can the striving be associated to the failure of
congregating between Faust and the Earth-Spirit, and therefore related
do the concept of will in Schopenhauer? Is Faust arguing his slavery,
whether condemned to his striving (Streben), as condemned to the
persistence (Beharren) in pursue external pleasures? (v. 1.708-1.711).
I.
II.
The birthday book was to remember the birthdays of all your relatives
and friends. So for each day of the year there would be a little poem, a
flower, in this particular birthday book, and then a place to write the
names of people who were born on that day. So one can see that
already as a small child he wanted to attribute real existence to his
invented characters.
the world, The horror of knowing, The failure of pleasure (joy) and love,
The fear of death. This edition left many blank verses and
misunderstandings, caused by the difficult of reading Pessoa
manuscripts. However, this edition was the foreground to the two next
editions, more complete and critical, already made with elements of
genetic critic.
(LIST)
Among these two mentioned editions, the most reliable is the edition of
Teresa Sobral Cunha, published in 1988. Unlike the first edition, this
edition is not organized by themes, but in acts and interacts. This
organization is very contested by Pessoa scholars since, even though
the poet has planned in one of his lists the organization of Faust in acts,
he never indicated which fragment belong to each act. Therefore,
Teresa Sobral organization is a sort of attempt to link the editorial
projects to fragments found in the ark of Fernando Pessoa, ark which
contains more than 25,000 documents, small roles, mostly manuscripts
and few of these typewritten. In the reading Sobral Cunha, the title was
also modified from The First Fausto to Fausto: Subjective Tragedy.
(FRAGMENTS OF THE FIRST FAUSTO: Dramatic Poem)
(FRAGMENTS OF FAUSTO: Subjective Tragedy)
According to the collation of these two editions, one of the aspects that
appears in both of them is the relation between the themes and
Goethes Faust. Although the German play contains a much larger
structure, the division well defined in two parts, the idea of World
Theater the themes that are being treated in Fernando Pessoa poem
demonstrate a correlation to themes addressed in the German tragedy.
So, my lecture today will seek to address aspects of this theme in
correlation.
And continues
The more deeply I think, more
Deeply I misunderstand myself.
To know is the unconsciousness of ignoring,
crisis
of
3 [] 4.O nico, de quem Deus, o Deus Criador das Coisas, apenas uma
manifestao, uma Iluso. Toda a criao fico e iluso. Assim como a Matria
uma Iluso, provadamente, para o Pensamento; o Pensamento uma iluso para a
Intuio; a Intuio uma iluso para a Ideia Pura; a Ideia Pura uma Iluso para o Ser.
E o Ser essencialmente Iluso e Falsidade. Deus a Mentira Suprema.5. As foras
que negam so aquelas que partem de alm do nico. Fora do nico, para a nossa
Inteligncia, no h nada. []. PESSOA, Fernando. Textos Filosficos . Vol. I.
Fernando Pessoa. (Estabelecidos e prefaciados por Antnio de Pina Coelho.) Lisboa:
tica, 1968 (imp. 1993).