Álvaro de Campos

“His conception of the universe is, however, instinctive, not intellectual; it can't be criticized as a concept, because there’s none there, and it can't be criticized as temperament, because temperament can't be criticized.”

“Do I believe a thing has limits!? Of course! Nothing exists that doesn’t have limits. Existence means there’s always something else, and so everything has limits. Why is it so hard to conceive that a thing is a thing, and that it isn’t always being some other thing that’s beyond it?”At that moment I felt in my bones not that I was talking to a man, but to another universe. I tried one last time, from another angle, which I felt compelled to consider legitimate.“Look, Caeiro... think about numbers... Where do they end? Take any number — say 34. Past it we have 35, 36, 37, 38 — there can be no end to it. There is no number so big that there is no number larger...““But that’s just numbers,” protested my master Caeiro.And then, looking at me out of his formidable, childlike eyes:“What is 34 in Reality, anyway?”

“But what you’re calling poetry is what everything is. It’s not even poetry — it’s seeing. These materialists are blind. You told me they say space is infinite. Where do they see that in space?”And I, disconcerted: “But don’t you think of space as infinite? Can’t you conceive of space as infinite?”“I don’t conceive of anything as being infinite. How could I conceive of anything as being infinite?”“But, man,” I said, “Imagine space. Beyond that space is more space, and beyond that more, and then more, and more... It never ends...““Why?” asked my master Caeiro.”

“and the idea of nothingness — the most terrifying of all ideas, when thought of with feeling — has, in my dear master’s work and in my memories of him, something as high and luminous as sunlight upon snowy, unscalable peaks.”

“Superior poets say what they really feel. Mediocre poets say what they decide to feel. Inferior poets say what they think they should feel.”

“I consider a dream like I consider a shadow,” answered Caeiro, with his usual divine, unexpected promptitude. “A shadow is real, but it’s less real than a rock. A dream is real — if it weren’t, it wouldn’t be a dream — but less real than a thing. That’s what being real is like.”

“It’s stupid, but it’s human, and that’s how it is.”

“The Amorous Shepherd is a fruitless interlude, but those few poems are among the world’s greatest love poems, because they’re love poems about love, not about being poems. The poet loves because he loves, not because love exists.”

“I suddenly asked my master Caeiro, “Are you at peace with yourself?” and he answered, “No, I’m at peace.” It was like the voice of the earth, which is everything and no one.”

“he woman Caeiro fell in love with. I have no idea who she was, and I intend to never find out, not even out of curiosity. There are things of which the soul refuses to lose its ignorance.I’m perfectly aware no one’s obliged to reciprocate love, and great poets have nothing to do with being great lovers. But there’s a transcendent spite...Let her remain anonymous even to God!”

“in exceptional circumstances — exceptional in that all circumstances in life are exceptional, especially those which are nothing in themselves and come to be everything in their results.”

“Nothing: a landscape, a glass of wine, a little loveless love, and the vague sadness caused by our understanding nothing and having lost the little we're given.”

“the Great Vaccination — the vaccination against the stupidity of the intelligentsia.”

“When I’m depressed, I read Caeiro — he’s my fresh air. I become very calm, content, faithful — yes, I find faith in God, and in the soul’s transcendent living smallness, after reading the poems by that ungodly anti-humanist who goes unsurpassed on earth.”

“It’s the poet we love in Caeiro, not the philosopher. What we really get from these poems is a childlike sense of life, with all the direct materiality of the child’s mind, and all the vital spirituality of hope and increase that exist in the body and soul of nescient childhood. Caeiro’s work is a dawn that wakes us up and quickens us; a more that material, more than anti-spiritual dawn. It’s an abstract effect, pure vacuum, nothingness.”