The Year of the Death of Ricardo Reis (Harvest in Translation) Page 5

  Let us say that it was because he slept so little the previous night that he slept so soundly now. Let us say that they are fallacies of doubtful depth, these interchanging moments of enchantment and temptation, of immobility and silence. Let us say that this is no story about deities and that we might have confidentially told Ricardo Reis, before he dozed off like any ordinary human being, What you are suffering from is a lack of sleep. There is, however, a sheet of paper on the table and on it is written, All I ask of the gods is that I should ask nothing of them. This page exists, the words occur twice, each word by itself and then together, and when they are read together they convey a meaning, no matter whether there are gods or not, or whether the person who wrote them has fallen asleep or not. Perhaps things are not as simple as we were inclined to show them at first. When Ricardo Reis awakens, the room is plunged in darkness, the last glimmer dispersed on the clouded windowpanes, in the mesh of the curtains. An enclosing heavy drape blocks one of the windows. There is not a sound to be heard in the hotel, now transformed into the palace of the Sleeping Beauty, where Beauty has withdrawn or never was. Everyone is asleep, Salvador, Pimenta, the Galician waiters, the guests, the Renaissance page, even the clock on the landing has stopped. Suddenly the distant sound of the buzzer at the entrance can be heard, no doubt the prince is coming to wake Beauty with a kiss, he is late, poor fellow, I came feeling so merry and left in despair, the lady gave me her promise then sent me away, it's a nursery rhyme rescued from the depths of memory. Children shrouded in mist are playing at the bottom of a wintry garden, singing with high, sad voices, they move forward and backward at a solemn pace, unknowingly rehearsing the pavane for the dead infants they will join upon growing up. Ricardo Reis pushes away the blanket, scolds himself for having fallen asleep without first undressing. He has always observed the code of civilized behavior, the discipline it requires, not even sixteen years in the languors of the Tropic of Capricorn succeeded in blunting the sharp edge of his dress and his verse, so that he can claim in all honesty that he has always tried to conduct himself as if he were being observed by the gods themselves. Getting up from the armchair, he goes to switch on the light, and, as if it were morning and he were awakening from some nocturnal dream, he looks at himself in the mirror and strokes his face. He should shave before dinner, at least change his clothes, he must not go to dinner with his clothes all crumpled. He needn't bother. He has not noticed how carelessly the other residents are dressed, their jackets like sacks, trousers bulging at the knees, ties with a permanent knot which are slipped on and off over the head, shirts badly cut, wrinkles, creases, the signs of age. And long, pointed shoes so that one has room to wiggle one's toes, although the result is otherwise, for in no other city in the world do calluses, corns, bunions, and growths, not to mention ingrown toenails, flourish in such abundance, an enigma for any podiatrist and one that requires closer study, which we leave to you. He decides not to shave after all, but puts on a clean shirt, chooses a tie to match his suit, combs his hair in the mirror, and parts it carefully. Although it is not yet time for dinner, he decides to go down, but before leaving, and without touching the sheet of paper, takes another look at what he wrote, looks with a certain impatience, as if finding a message left by one whom he dislikes or who once annoyed him beyond the bounds of tolerance and forgiveness. This Ricardo Reis is not the poet, but simply a hotel guest who, ready to leave his room, discovers a sheet of paper with one and a half stanzas written on it. Who could have left it here. Surely not the maid, not Lydia, this Lydia or any other, how aggravating. It never occurs to people that the one who finishes something is never the one who started it, even if both have the same name, for the name is the only thing that remains constant.

  The manager Salvador was at his post, stationary, beaming his perennial smile. Ricardo Reis greeted him and walked on, but Salvador pursued him, wanting to know if the doctor would like to have a drink before dinner, an apéritif. No, thank you, this was another habit Ricardo Reis had not acquired, perhaps in years to come, first the taste, then the need, but not just yet. Salvador lingered for a moment in the doorway to see if the guest might change his mind or make some other request, but Ricardo Reis had already opened one of the newspapers. That entire day he had spent in ignorance of what was happening in the world. Not that he was an assiduous reader by nature, on the contrary, he found those large pages and verbose articles tiresome, but here, having nothing better to do and in order to avoid being fussed over by Salvador, he made the paper with all its news from abroad serve as a shield against this more immediate and encroaching world. The news of the distant world can be read as insignificant dispatches whose use and destination are questionable. The Spanish Government has resigned, the dissolution of Parliament has been decreed, says one headline. The Negus, in a telegram to the League of Nations, claims that the Italians are using asphyxiating gases. How typical of newspapers, all they can talk about is what has already happened and nearly always when it is much too late to rectify mistakes, prevent shortages, or avert disasters. A worthwhile paper should tell you, on the first day of January in the year nineteen fourteen, that war will break out on the twenty-fourth of July, then we would have almost seven months at our disposal to ward off the threat. Perhaps that would be enough time. Better still if a list were published of those about to die. The millions of men and women who, as they drink their morning coffee, come upon the announcement of their own deaths, their destinies sealed and shortly to be fulfilled, the day, hour, and place, their names printed in full. What would they have done, what would Fernando Pessoa have done if he had read two months beforehand, The author of Mensagem will die on the thirtieth of next November from hepatitis. Perhaps he would have consulted a doctor and stopped drinking, or else he would have started drinking twice as much in order to die sooner. Ricardo Reis lowers the newspaper to look at himself in the mirror, a reflection that is twice deceiving because it shows a deep space then shows that the space is a mere surface where nothing actually happens, only the illusion, external and silent, of persons and things, a tree overhanging a lake, a face seeking itself, a face undisturbed, unaltered, not even touched, by the images of tree and lake and face. The mirror, this one and all others, is independent of man. Before it we are like a conscript departing for the nineteen-fourteen war. Admiring his uniform in the mirror, he sees something more than himself, not knowing that he will never see himself again in this mirror. We are vanity and cannot endure, but the mirror endures, the same, because it rejects us. Ricardo Reis averts his eyes, changes position, leaves, he the one rejecting, turning his back on the mirror. Perhaps, then, he too is a mirror.

  The clock on the landing struck eight, and the last echo had scarcely died away when an invisible gong rang out in muted tones. It can only be heard in the immediate vicinity, the guests on the upper floors certainly cannot hear it. But one must bear in mind the weight of tradition, it is not just a matter of pretending that wine bottles are encased in wickerwork when wicker is no longer available. Ricardo Reis folds the newspaper, goes to his room to wash his hands and tidy up. Returning immediately, he sits at the table where he has eaten from his very first day here and waits. Anyone watching him, following those rapid footsteps, would think that he must be either famished or in a great hurry, had an early lunch and eaten little or else bought a ticket for the theater. But we know otherwise, he didn't have an early lunch, we also know that he is not going to the theater or the cinema, and in weather such as this, becoming steadily worse, only a fool or an eccentric would dream of going for a walk. Why, then, the sudden haste, if people are only just arriving for dinner, the thin man in mourning, the placid fat man with the excellent digestion, those others whom I did not see last night. The mute children and their parents are missing, perhaps they were only passing through. As of tomorrow I shall not enter the dining room before half past eight. Here I am as ridiculous as any bumpkin newly arrived in the city and staying for the first time in a hotel. He ate his soup slowly,
idly playing with his spoon, then toyed with the fish on his plate, pecked at it, not feeling the least bit hungry. As the waiter was serving the main course, the maître d' guided three men to the table where, the evening before, the girl with the paralyzed hand and her father had dined. So she won't be coming, they've left, he thought, or are dining out. Only then did he admit what he already knew but had pretended not to, that he had really come down early to see the girl whose left hand is paralyzed and who strokes it as if it were a little lap dog, even though it does nothing for her, or perhaps for that reason. Why. The question is a pretense, in the first place because certain questions are posed simply to call attention to the absence of any reply, in the second place because there is something both true and false about the possibility that his interest does not require any deeper explanation. He cut short his dinner and ordered coffee and a brandy. He would wait in the lounge, one way of killing time until he could ask the manager Salvador who those people were. That father and daughter, you know I believe I've seen them before, elsewhere, perhaps in Rio de Janeiro, certainly not in Portugal, that is obvious because sixteen years ago the girl would have been a mere child. Ricardo Reis spins and weaves this web of overtures, so much inquiring to discover so little. Meanwhile Salvador is attending to other guests, one who is leaving early tomorrow morning and wishes to settle his bill, another who complains that he cannot sleep when the window shade starts banging. Salvador attends to all the guests with tact and solicitude, with his discolored teeth and smooth mustache. The thin man dressed in mourning came into the lounge to consult a newspaper and left almost immediately. The fat man appeared at the door biting a toothpick, hesitated when confronted with a blank stare from Ricardo Reis, then quickly withdrew, his shoulders drooping from lack of courage. Some retreats are like this, moments of extreme moral weakness which are difficult to explain, especially to oneself.

  Half an hour later the affable Salvador is able to inform him, No, you must have mistaken them for someone else, as far as I know they have never visited Brazil, they've been coming here for the last three years, we have often chatted and they would almost certainly have told me about such a voyage. Ah, so I was mistaken, but you say they have been coming here for the last three years. That's right, they are from Coimbra, they live there, the father is Doctor Sampaio, a lawyer. And the girl. She has an unusual name, she is called Marcenda, would you believe it, but they belong to an aristocratic family, the mother died some years ago. What is wrong with her hand. I believe her whole arm is paralyzed, that's why they come to stay here in the hotel for three days every month, so that she can be examined by a specialist. Ah, every month for three days. Yes, three days every month, Doctor Sampaio always warns me in advance so that I can keep the same two rooms free. Has there been any improvement during the last three years. If you want my frank opinion, Doctor, I don't think so. What a pity, the girl is so young. That's true, Doctor, perhaps you could offer them some advice next time, if you are still here. It's most likely I shall be here, but in any event I am not specialized in that field, I practice general medicine, I did some research into tropical diseases but nothing that would be helpful in a case like hers. Never mind, but it's very true that money doesn't bring happiness, the father so rich and the daughter a cripple, no one has ever seen her smile. You say she's called Marcenda. Yes, sir. A strange name, I've never come across it before. Nor I. Until tomorrow, Senhor Salvador, Until tomorrow, Doctor.

  Upon entering his room, Ricardo Reis sees that the bed has been prepared, the bedspread and sheet neatly tucked back at an angle, discreetly, not that unsightly clutter of bedclothes tossed aside every which way. Here there is merely a suggestion, should he wish to lie down, his bed is ready. Not just yet, first he must read the one and a half stanzas he left on the sheet of paper, examine them critically, look for the door that this key, if key it is, can open, and imagine other doors beyond, doors locked and without a key. In the end, after much persistence he found something, it had been left there out of weariness, his or someone else's, but whose, and so the poem ended, Neither tranquil nor troubled, I wish to lift my being high above this place where men know pleasure and pain, the pause in the middle, the spondee, should be changed. Good fortune is a burden that oppresses the happy man, because it is no more than a particular state of mind. He then went to bed and fell asleep at once.

  Ricardo Reis had told the manager, I would like breakfast brought up to my room at nine-thirty. Not that he intended to sleep so late, but he wished to avoid having to jump out of bed half-awake, struggling to slip his arms into the sleeves of his dressing gown, groping for his slippers, and feeling panic that he wasn't moving quickly enough to satisfy whoever was standing outside his door, arms laden with a huge tray bearing coffee and milk, toast, a sugar bowl, perhaps some cherry preserve or marmalade, a slice of dark grainy quince paste, a sponge cake, brioches with a fine crust, crunchy biscuits, or slices of French toast, those scrumptious luxuries served in hotels. We shall soon learn if the Brangança goes in for such extravagance, because Ricardo Reis is about to sample his first breakfast. It would be nine-thirty on the dot, Salvador promised him, and did not promise in vain, for here at nine-thirty on the dot Lydia is knocking on the door. The observant reader will say that this is impossible, she has both her arms occupied, but we would be in a sorry state if we had to hire only servants who possess three arms or more. This maid, without spilling a drop of milk, manages to knock gently with her knuckles, while the hand belonging to those knuckles continues to support the tray. One must see this to believe it, as she calls out, Your breakfast, Doctor, which is what she was instructed to say, and although a woman of humble origins, she has not forgotten her instructions. If Lydia were not a maid, there is every indication that she would make an excellent tightrope walker, juggler, or magician, for she has talent enough for any of those professions. What is incongruous about her is that, being a maid, she should be called Lydia and not Maria. Ricardo Reis is already dressed and presentable, he has shaved and his dressing gown is tied at the waist. He even left the window ajar to air the room, for he detests nocturnal odors, those exhalations of the body from which not even poets are exempt. The maid finally entered, Good morning, Doctor, and proceeded to put down the tray, less lavish in its offerings than he had imagined. Nevertheless, the Brangança deserves an honorable mention, and it is no wonder that some of its guests would never dream of staying at any other hotel when they visit Lisbon. Ricardo Reis returns the greeting, then dismisses her, No, many thanks, that will be all, the standard reply to the question every good maid asks, Can I get you anything else, sir. If the answer is no, she must withdraw politely, backing away if at all possible, for to turn your back would be to show disrespect to one who pays your wages and gives you a living. But Lydia, who has been instructed to be especially attentive to the doctor's needs, goes on to say, I don't know if you have noticed, Doctor, but the Cais do Sodré is under water. Trust a man not to notice, the water could be forcing its way under his door and he wouldn't see it, having slept soundly all night. He woke up as if he had only been dreaming about the rain. And even in a dream he would not dream that there has been so much rain that the Cais do Sodré is flooded. The water comes up to the knees of a man who finds himself obliged to cross from one side to the other, barefoot, his clothes hitched up, carrying an elderly woman on his back through the flood, she much lighter than the sack of beans carried from the cart to the warehouse. Here at the bottom of the Rua do Alecrim the old woman opens her purse and finds a coin, with which she pays Saint Christopher, who has already gone paddling back into the water, for on the other side there is already someone else making frantic gestures. The second person is young and sturdy enough to cross on his own, but, being smartly dressed, he has no desire to get his clothes dirty, for this water is more like mud than water. If only he could see how silly he looks riding piggyback with his clothes all crumpled, his shins exposed, revealing green garters over white long underwear. Some are laughing n
ow at the spectacle, in the Hotel Brangança, on the second floor, a middle-aged guest is grinning, and behind him, unless our eyes are deceiving us, stands a woman also grinning, yes, a woman, without a shadow of doubt, but our eyes do not always see right, because this one appears to be a maid. It is hard to believe that that is really her station, unless there has been some dangerous subversion of social class and ranking, a thing greatly to be feared, we hasten to add, yet there are occasions, and if it is true that occasion can turn a man into a thief, it can also cause a revolution such as the one we are witnessing. Lydia, daring to look out of the window, stands behind Ricardo Reis and laughs, as if she were his equal, at a scene they both find amusing. These are fleeting moments of a golden age, born suddenly and dying at once, which explains why happiness soon grows weary. The moment has already passed, Ricardo Reis has closed the window, Lydia, once more simply a maid, backs toward the door. Everything must now be done in haste because the slices of toast are getting cold and no longer look quite so appetizing. I shall ring for you to come and remove the tray, Ricardo Reis tells her, and this happens about half an hour later. Lydia quietly enters and quietly withdraws, her burden not as heavy, while Ricardo Reis pretends to be absorbed as he sits in his room leafing through the pages of The God of the Labyrinth without actually reading.