'A tradition ofempire': FernandoPessoaand Germany ANTÓNIO SOUSA RIBEIRO Letusstart with whatisapparently themostobvious. Álvarode Campos's invective againstGermany in his'Ultimatum' of 1917 iswellknownand scarcely needsquotation: Tu, cultura alemã, Sparta podre comazeite decristismo evinagre denietzschização, colmeia delata, transbordamento imperialóide deservilismo engatado!1 In a fragment in themannerofa preface,probably written in 1919 or 1920, and attributed byRichardZenithto Thomas Crosse,Pessoa's maskforthe putativeauthorof a neverrealized Englishtranslation of 'Ultimatum', Campos's manifesto, qualifiedas 'quite the cleverest piece of literature called into being by the GreatWar',is specifically described, Originaland magnificent as itis',as 'notpro-German (being anti-everything, Allied and German)'.2 In fact,the satiric-apocalyptic references to theextensive rangeofEuropeannationsand rulerslisted byPessoa'sheteronym in hismanifesto allowforno exceptionand are extremely violentin tone.A fewparagraphs beforethepassagequoted above,the emperorWilhelmII, 'canhoto manetado braço esquerdo, Bismarck sem tampaa estorvar o lume',had alreadyreceivedhisshare of abuse.3 The veryimmoderatenatureof the rhetoricof Campos's manifesto could easilylead thereadersof'Ultimatum' - thoseof 1917 as wellas thoseoftoday- to understand thediatribeagainst'German culture'asjustanotherelementin an ultimately gratuitous and aleatory satiric game- thesamegamethatgenerates, forexample,theimageofa 'batente de portatipoK' foranAustria apostrophized asa 'mistura de subra ças'.4Summarized in threeshortlines- 'Spartapodrecom azeitede 1Álvarode Campos,'Ultimatum', Portugal Futurista, reprint edition(Lisbon: ContextoEditora, 1981), p. 30. TheSelected Prose ofFernando Pessoa,ed. and trans, byRichardZenith(NewYork:GrovePress, 2001),p. 70. ûPortugal futurista, p.30.Itshouldbenoted, asevidence that Campos isnottiring atrandom, that theKaiser's left arm, as many contemporary readers wouldcertainly be aware, wasindeed almost paralysed duetotheincompetence ofthedoctors that hadassisted athisbirth. 'Canhoto maneta do braçoesquerdo'thusconveys as a cruelparadox a caricature imageoftheKaiser's innate incapacity. 4 Portugal Futurista, p. 30. Zenithis right in pointing outthattheimageofthedoorjamb seemstoevoke Austria's subservience towards theGerman Kaiser, Selected Prose, p. 327.The 'K' couldalsobe an allusion totheinitials 'k.u.k,'('kaiserlich undköniglich', imperial androyal) that qualified theAustro-Hungarian Empire inallofficial references anddocuments andthat provided thesource for Robert Musil's pun'Kakanien' inThe ManWithout Qualities - oritcould simply bea random association derived from somesalescatalogue. 2O2 ANTÓNIO SOUSA RIBEIRO cristismo e vinagrede nietzschização, colmeiade lata,transbordamento imperialóide de servilismo engatado!'- Campos'sdiatribe rests, however, upon a numberof substantial assumptions the ambiguouscontoursof whichcouldnotbe adequately tracedbeforetherevelation ofthebulkof unpublished texts and fragments brought tolight overthelasttwenty-five years. In thosetexts and fragments, inparticular theonessituated within thecontextoftheFirst WorldWar,one can find,as I willshow,a much morepositive imageofGermany. This cannotcome as a surprise to us ifwe bear in mindhowmuchtheelementofcontradiction is a central component ofPessoa'saesthetics. Asthepoethimself repeatedly reminds us,onlythosewhorestrict themselves toopinionscanmaintain a constant position;thosewhothink, thinkalso through contradiction.5 The issue, however, is notsimply theomnipresence ofcontradiction in hiswritings and the consciousplaywithdifferent, oftenoppositeperspectives; as a matter offact,an adequate reconstruction of contextshowsthatthe characterization ofGermanculturein theshortlinesof 'Ultimatum' is also markedbyan elementofdisappointment, thatis,itsperspective is notapodictically negative, buthasas itscounterpoint a frustrated positive horizonofexpectation. In fact, thevisionof'Germany' expressed byÁlvarode Campossimply represents theextreme pole ofan amplespectrum ranging from utterly negativeviewsto a predominantseries of positiveevaluations.The analogy with Sparta,forexample,canbe easily understood inthelight of a passagesuchas thefollowing, written immediately after thewar, where PessoasignalsthatGermany's comparative advantage was: serna guerra o que era na paz,e na disciplina particular da vidaguerreira o que erana geralde todaa suavida- umanaçãoplenamente organizada, coerindo dinamicamente emvirtude deumaaplicação inteligente e estudada dos princípios deorganização. Unlike this passage, the 'Ultimatum'incorporates,however,the chargeofdecadence - 'Spartapodre' - a chargealso vividly present in theadjective'imperialóide'.Leavingaside otheraspectsofCampos's characterization, I willcentremyanalysison the richimplications of thisadjective.'Imperialóide',as a matterof fact,is notjust a wordof abuse. The diagnosisof decadence has nothingin commonwiththe motif ofthebetrayal ofthehumanistic legacyofGermanphilosophical and culturaltradition, a motifthatreverberates in the epoch in the 5Incidentally, exactly thesameview isexpressed alsoinan aphorism byKarlKraus, thegreat Viennese satirist with whom Pessoainsomeaspects presents striking, asyetalmost unexplored analogies. Fora first attempt at a comparison see my'Metamorphoses oftheFlâneur. From Ringstrasse to Rua dosDouradores', NewComparison, 21 (Spring1997), 65-77. Fernando Pessoa, Sobre Portugal: Introdução ao problema nacional,ed. byJoel Serrão (Lisbon: Ática, 1978),p.98. FERNANDO PESSOA AND GERMANY 203 anti-Germanism of, among others,GuerraJunqueiroor Teixeirade Pascoaes.7The depreciatory senseof'imperialóide'has tobe measured, instead, in relationto Pessoa'stheory ofimperialism and to thepositive notionofempireitimplies.In thiscontext, 'imperialóide'does notjust meanan impotent mimicry ofempire, itpointsalso tothebetrayal ofan original imperial...
Read full abstract