Year of the Death of Ricardo Reis

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As one has already seen in other times and other places, life has its vexations. When Ricardo Reis awoke late next morning, he sensed a presence in the room. Perhaps not quite loneliness, but silence, its half-brother. For several minutes he watched his courage desert him, it was like watching sand run through an hourglass, an overworked metaphor which nevertheless keeps recurring. One day, when we live two hundred years and ourselves become the hourglass observing the sand inside it, we will not need the metaphor, but life is too short to indulge in such thoughts, we were speaking of vexations. When Ricardo Reis went into the kitchen to light the heater and the range, he found that he had forgotten to buy matches, and since one lapse of memory tends to accompany another, he realized that he also was without a coffee strainer. It is indeed true that a man on his own is useless. The easiest and most immediate solution would be to knock on a neighbor's door, Please excuse me, senhora, I am the new tenant on the third floor, I only moved in yesterday, I was hoping to make myself some coffee, have a wash, shave, and I find I have no matches, I also am without a coffee strainer, but that is not important, I have tea, that at least I remembered, the main problem is hot water for a bath, if you could lend me a match, I'd be most grateful, forgive me for disturbing you. Since all men are brothers, or half-brothers, nothing could be more natural, he should not even have to go out into the cold stairway, they should come and ask him, Do you need any thing, I saw you moving in yesterday, everybody knows that moving is like this, if it is not the matches that are missing, the salt has been forgotten, if the soap turns up, the scrubbing brush has been lost, what are neighbors for. But Ricardo Reis did not go to seek help, and no one came to ask if he needed anything. He had no choice but to dress, put on his shoes, wrap a scarf around his neck to conceal the fact that he had not shaved, and pull his hat down over his eyes. He was irritated at his forgetfulness and even more so at having to go out in this sorry state looking for matches. First he went to the window to see what the weather was like. The sky was overcast, no sign of rain. Adamastor stands alone, it is still too early for the old men to come and watch the ships, at this hour they will be at home shaving with cold water, or perhaps their careworn wives are heating mugs of water, but only tepid, not hot, because the Portuguese male, second to none in virility, cannot bear to be pampered. Let us not forget that we are the direct descendants of those Lusitanian heroes who bathed in the frozen lakes of the Serra da Estrela, no sooner emerging than they were off to impregnate some Lusitanian maiden. From a coal merchant who runs a tavern in the lower part of the neighborhood Ricardo Reis bought matches, a half-dozen boxes lest the man find this early morning sale insufficient. In fact the coal merchant could not remember ever having made such a sale at one go, here it is still customary for people to ask their neighbors for a light. Invigorated by the cold air, comforted by his scarf and the absence of people on the street, Ricardo Reis walked up to get a view of the river and the mountains on the other side. From here the mountains looked squat, and the sun's reflection on the water appeared and disappeared as low clouds passed. He walked around the statue, trying to find the name of the sculptor. The date is engraved there, nineteen twenty-seven. Ricardo Reis has the kind of mind which is always searching for patterns of symmetry in the chaos, Eight years after my departure into exile, the statue of Adamastor was erected on this spot, and Adamastor had been standing here for eight years when I returned to the land of my ancestors, O fatherland, it was the voices of your illustrious past that summoned me. The old men appear on the sidewalk, their cleanshaven faces marked with wrinkles and alum, an umbrella over one arm. They have left their capes unbuttoned and wear no tie, but their shirts are buttoned to the neck, not because it is Sunday, a day of respect, but out of a sense of what is fitting and dignified, however shabby their attire. Suspicious of this loitering at the statue, the old men come face to face with Ricardo Reis, they are convinced that there is something odd about the fellow, Who is he, what is he doing, how does he earn his living. Before sitting down, they place a length of folded sackcloth on the damp bench, then with the measured gestures of those who refuse to be hurried they make themselves comfortable, clear their throats loudly. The fat one produces a newspaper from the inside pocket of his cape, O Século, the newspaper that organizes charity events. They always buy it on Sunday, the fat man one week, the thin man the next. Ricardo Reis circles the statue of Adamastor a second time, a third. The old men, he sees, are becoming impatient, his restless presence makes it difficult for them to digest the news, which the fat one reads aloud to assist his own understanding and for the benefit of the thin one, who can neither read nor write. He pauses over the difficult words, but there are not too many of them, because the journalists never forget that they are writing for the masses. Ricardo Reis went over to the railing, where he pretended to ignore the old men absorbed in their paper, their murmuring, the one reading, the other listening and commenting, In Luis Uceda's wallet there was found a colored portrait of Salazar. This country is plagued with unsolved crime. A man is found dead on the road to Sintra, they say he was strangled after being put to sleep with ether, that he had been abducted, kept without food, that the crime was vile, a word that immediately shows our disapproval of crime, and now we learn that the murdered man was carrying a portrait of the wise, all-paternal dictator, to quote that French writer, whose name, recorded for posterity, is Charles Oulmont. Later on the investigation will confirm that Luis Uceda was indeed a great admirer of the eminent statesman, and it will be revealed that embossed on the leather of the aforesaid wallet was further proof of Uceda's patriotism, namely the emblem of the Republic, the armillary sphere with its castles and heraldic shields and the following inscription, Buy Portuguese Products. Ricardo Reis discreetly withdraws, leaving the old men in peace. They were so absorbed in the mystery that they did not even notice his departure.

Nothing of consequence occurred that morning. There was a little trouble with an awkward heater that had not been used for weeks, he wasted match after match before getting the flame to stay on. Nor need we dwell on his melancholy repast, a cup of tea and three small sponge cakes left over from the previous evening's supper. Nor his bath amid a cloud of steam in the deep tub which was somewhat stained. He meticulously shaved, once, twice, as if in preparation for a secret rendezvous with some woman, her identity concealed by a high collar and a veil. How he would love to inhale the scent of her soap, of her lingering eau de Cologne, until that fused with more pungent and natural smells, the compelling smell of human flesh, which quivering nostrils take in and which leaves the breast panting, as if after a vigorous chase. The minds of poets, too, rove in this earthly fashion, stroking the bodies of women, even distant women, what is written here is a thing of the moment and of the imagination only, that mistress of great power and generosity. Ricardo Reis is ready to leave. He has no one waiting for him, and he is not going to eleven o'clock Mass to offer holy water to the Eternal Incognita. The sensible thing would be to stay at home until lunchtime. He has papers to arrange, books waiting to be read, and decisions to make, what kind of future does he want, what kind of job, where can he find the motivation to live and work, the reason. He had not intended to go out this morning, but now he must, it would be absurd to get undressed again, to admit that he got dressed to go out without being aware of what he was doing. This often happens, we take the first two steps because we are daydreaming or distracted and then have no choice but to take the third step, even when we know that it is wrong or ridiculous. Man, in the final analysis, is an irrational creature. Ricardo Reis returned to his room, thought perhaps he should make the bed before going out, he must not allow himself to become lax in his habits, but it was hardly worth the effort, he was not expecting visitors, so he settled in the chair where Fernando Pessoa had spent the night, crossed his legs as he had seen him do, clasped his hands on his knee, and tried to imagine himself dead, to contemplate the empty bed with the lifeless eyes of a statue. But there was a vein throbbing in his left temple, and the left eyelid twitched. I am alive, he murmured, then in a loud, sonorous voice he repeated, I am alive, and since there was no one there to contradict him, he was convinced. He put on his hat and went out. The old men had been joined by children playing hopscotch, jumping from chalked square to chalked square, each with its own number. This game has been given so many names, some call it monkey, others airplane, heaven and hell, roulette, also glory, but the most apt name of all would be the game of man, because that is what it looks like, the straight body, the extended arms, the upper circle forming the head or brain. The man lies on the paving stones looking up at the clouds while the children hop over him unaware of their cruelty, they will learn what it means when their time comes. Also present are some soldiers, who have arrived too early, because it is in the midafternoon that the housemaids take a stroll here if the weather is fair, otherwise their mistresses will say, Look, Maria, it is raining cats and dogs, you'd better stay in today, do a little ironing, I'll give you an extra hour on your day off, which is a whole two weeks away, a detail worth adding for those who never experienced such privileges firsthand or know nothing about the past and its customs. Ricardo Reis leaned over the upper railing. The sky had cleared a little, toward the straits there was a great strip of blue. If any steamships are due today from Rio de Janeiro, they will enter port in ideal conditions. Trusting in the signs of better weather, he started walking along the Calhariz, and descended as far as Camoes, where he felt a sudden longing to visit the Hotel Brangança, like those timid students who have graduated and are no longer obliged to attend a school which they detested on so many occasions but who continue paying visits to their former teachers and classmates, until everyone grows weary of this pilgrimage, as useless as all pilgrimages, and the institution itself begins to ignore them. What would he do at the hotel, greet Salvador and Pimenta, So you haven't forgotten us, Doctor, Have a word with Lydia. Poor girl, so nervous, deliberately summoned to the reception desk out of malice, Come here, Doctor Reis wants to have a word with you. There was no particular reason for paying you a visit, I simply wished to thank you all for treating me so well and for giving me such excellent instruction on both the primary and secondary levels, if I failed to learn more, only my stupidity is to blame. On the sidewalk in front of the Igreja dos Mártires Ricardo Reis can smell balsam in the air, the precious exhalation of the devout women praying within. The Mass has just begun for those chosen souls who belong to a superior world. Here you can recognize, if you have a good nose, souls of worth and distinction. From the pleasant aroma one knows that the canopy over the altars is decked with pompons and tassels covered with talcum powder and that the chandler has added to the lavish candles a generous amount of patchouli. Once heated, fused, and fired with the quantum satis of incense, this ingredient inebriates the soul beyond resistance, it enraptures the senses, then the body grows weak, the face blank, ecstasy at last, Ricardo Reis doesn't know what he's missing, believing, as he does, only in dead religions, the religions of ancient Greece and Rome, for he invokes both in his poems, asking that there be gods rather than one God. He descends to the heart of the city, a familiar itinerary, the place as tranquil as a Sunday in the provinces. Not until later, after lunch, will the people of the surrounding neighborhoods come to gaze in the shop windows. They go through the week waiting for this day, entire families, the children carried in arms or led by the hand, exhausted by evening, their heels blistered because of a tight shoe, then they ask for a rice cake, and if their father is in a good mood and wishes to make a public show of his prosperity, the whole family ends up at a milk bar, large drinks all around so they can economize on the dinner. The man who goes hungry on a full belly will come to no great harm, besides he can always eat tomorrow. When it is time, Ricardo Reis goes to lunch, on this occasion to the Chave de Ouro, for a steak, to get rid of the sickening taste of all that sugar, and with so many hours to go before nightfall he buys a ticket for a movie, he will see The Volga Boatmen, a French film with Pierre Blanchard, what Volga can they possibly have invented in France. Films, like poetry, are the art of illusion, by adjusting a mirror you can transform a bog into the ocean. As he left the theater, it looked like rain, so he decided to take a taxi, and a good thing, because no sooner did he enter the apartment and hang up his hat and coat than he heard two raps coming from the iron knocker on the front door. Strange, for Fernando Pessoa to appear in daytime making such a din, a neighbor might come to her window and ask, Who's there, then start screaming her head off, Help, a spirit from the other world. If she can identify them so readily, then she must be familiar with them. He opened the window and looked out. It was Lydia, on the point of opening her umbrella as the first drops fell, what brought her here. A moment earlier he had been thinking that there was nothing more wretched than a solitary life, and now he felt annoyed that this woman was disturbing him, even though he could, if he wished, take advantage of the situation, a little erotic combat might steady his nerves and calm his thoughts. Going to the staircase to pull the wire cord, he saw that Lydia was already coming up, eager and on her guard. If there is a contradiction between these two states of mind, she had resolved it. He drew back into the doorway, cool, reserved, to the degree that being taken unawares could justify. I wasn't expecting you, how are things, these were his words as she entered, the door closing behind her. It is amazing, to have such neighbors, now we know neither their name nor what they look like. Lydia stepped forward to receive his embrace, and he obliged, meaning only to oblige her, but the next moment he was pressing her to him, kissing her neck. He still finds it awkward to kiss her on the lips, as if she were his equal, unless they are in bed together, the supreme moment approaching and he forgets everything, but she does not as much as dare, she allows him to kiss her to his heart's content, and the rest. But not today. I only came to see if you have settled in, an expression she has picked up in the hotel trade, I only hope no one notices that I've slipped out, besides I wanted to see what the apartment looks like. He tried to lead her into the bedroom, but she broke free, I mustn't, I mustn't, her voice faltered, but her mind was made up. In other words she would have liked nothing better than to lie on that bed and receive this man, to feel his head on her shoulders, to stroke the hair on his head, but behind the reception desk at the Hotel Brangança Salvador is asking, Where the devil is Lydia. She hurries through the entire apartment as if she can hear his voice, her experienced eye sees what is needed, there are no scrubbing brushes, buckets, mops or dusters, no marbled soap, no household soap, bleach, pumice stones, no brooms or hard brushes, no toilet paper. Men are as careless as children, they sail across the world in search of a route to India, and then find they do not have, so help me, the most basic thing, what could that be, I don't know, perhaps the color of life itself. Here, all one sees is dust, fluff, threads, sometimes gray hairs, which generations go on shedding. As their sight fails, the old no longer notice. Even spiderwebs age, weighed down by dust. One day the spider dies, suspended in its aerial tomb, its body dries up, its claws shrivel, and the remains of the flies are reduced almost to nothing. No creature escapes its destiny, no creature endures to give seed, this is the solemn truth. Lydia tells him she will come to do some cleaning on Friday, she will bring what is needed, Friday is her free day. But won't you be visiting your mother. I'll send her a message, then see what can be done, I'll telephone a store nearby. You will need money to buy things. I'll use my own money and you can pay me back. What an idea, take this, it should be enough. Holy Jesus, a hundred escudos is a small fortune. I'll expect you on Friday, then, but I feel bad that you're coming to do the cleaning. You can't live in this place the way it is now. Later, I'll give you a little present, I don't want any presents, just treat me as if I were the charwoman. Everyone should be paid a fair wage, My wage is to be treated kindly. These words certainly deserve a kiss, and Ricardo Reis gives her one, this time on the lips. His hand is already on the doorknob, there appears to be nothing more to say, the contract has been signed and sealed, but without any warning Lydia blurts out, as if unable to contain herself, Senhorita Marcenda arrives tomorrow, they telephoned from Coimbra, would you like me to give her your new address. With equal haste Ricardo Reis replies, almost as if he has rehearsed this, No, please don't, pretend you don't know where I am living. Happy to be the only person entrusted with his secret, Lydia leaves, completely deceived. Descending the stairs quickly and noticing that a door on the second floor has been left ajar, because sooner or later the other tenants in the building will have to have their curiosity satisfied, she calls up for all to hear, See you on Friday, Doctor, when I come to do the cleaning, as if saying to the neighbor, Listen carefully, dear, I'm the new tenant's charwoman, so don't you go imagining things, and she greets the woman most politely, Good evening, senhora. But the woman barely replies, gives her a mistrusting look. Charwomen are not usually so bright and breezy, they tend to be surly, dragging their leg, which has stiffened up with rheumatism or varicose veins. The neighbor watches Lydia with a sour, hostile expression, Who is this little madam, while on the landing above, Ricardo Reis has already closed the door, conscious of his duplicity and turning it over in his mind. Had he been a faithful and honest man, he would have said to Lydia, I already gave Marcenda my address in a letter I sent her poste restante lest her father become suspicious. And he would have added, baring his heart, From now on I will be staying indoors, leaving the apartment only to have my meals and then coming straight back, and I will watch the clock at all hours, for as long as Marcenda remains in Lisbon. Tomorrow, Monday, she will certainly not come, the train gets in too late, but she might come on Tuesday, Wednesday, Thursday, or Friday. Not Friday, Lydia will be here doing the cleaning. Well, but what does that matter, the chambermaid and the girl from a good family, each in her own place, there is no danger of getting them mixed up, besides Marcenda never stays long in Lisbon, she only comes to consult the specialist, of course there is also that business of her father. Fine, but what do you expect will happen if she comes to your apartment. I don't expect anything, I only wish that she would. Do you really believe that a young woman like Marcenda, with her strict upbringing and the rigorous moral code upheld by her father, a man of the legal profession, would visit a bachelor in his own home, unaccompanied, do you think such things happen in real life. One day I asked her why she wanted to see me, and she replied that she didn't know, I find that the most hopeful reply of all. The one doesn't know, the other pleads ignorance. So it would appear, it's like Adam and Eve in the garden of Eden, not that she is Eve or I Adam. As you know, Adam was only a little older than Eve, a difference of several hours or days, I don't remember precisely. Adam is all men, Eve is all women, equal, different, and essential, and each one of us is the first man and the first woman. Fortunately, though, if I am not mistaken, woman continues to be more Eve than man Adam. Do you base this on your own experience. No, I say this because for all of us it should be so. What you would have liked, Fernando, is to go back to the beginning. My name is not Fernando. Ah.

Ricardo Reis did not go out to dine. He had some tea and cakes on the large table in the living room surrounded by seven empty chairs. Under a chandelier with seven branches and two bulbs he ate three small sponge cakes, leaving one on his plate. He counted again and saw that the numbers four and six were missing. He soon found the four, the corners of the rectangular room, but for six he had to get up and look around, which resulted in eight, the empty chairs. Finally he decided that he himself would be six, he could be any number if he was truly innumerable. With a smile that expressed both irony and sorrow he shook his head and went into the bedroom muttering to himself, I believe I'm going mad. From the street below came the incessant murmur of rain running down the gutters to the low-lying neighborhoods of Boavista and Conde Barão. Searching among the pile of books that were waiting to be sorted, he fished out The God of the Labyrinth, sat in the chair where Fernando Pessoa had sat, took one of the blankets from the bed to cover his knees, and started afresh on the opening page. The body discovered by the first chess player occupied the squares of the King and Queen and their two followers, its arms outstretched in the direction of the enemy camp. He continued to read, but even before reaching the place where he had left off last time, he began to feel drowsy. He lay down, read two more pages with effort, fell asleep between the thirty-seventh and thirty-eighth move, just as the second chess player was pondering the fate of the Bishop. He didn't remember turning off the light, but it was off when he awoke in the middle of the night, he must have got up and turned it off after all. These are things we do automatically, our body, acting on its own, avoids inconvenience whenever possible, that is why we sleep on the eve of battle or execution, and why ultimately we die when we can no longer bear the harsh light of existence.

Since he had forgotten to close the shutters, the gray light of an overcast morning filled the room. He had a long day before him, a long week, more than anything he wanted to stay in bed, under these warm blankets, let his beard grow, turn into moss, until someone came and knocked at the door, Who's there, It's Marcenda, One moment, he would cry out in excitement, within seconds make himself presentable, shaved, his hair combed, fresh from his bath, smartly dressed in clean clothes, ready to receive the expected visitor, Do come in, what a pleasant surprise. Not once but twice they came to knock at his door, first the milkman, to find out if the gentleman wished milk to be delivered every morning, then the baker, to find out if he required bread every day. Yes, he replied to both of them. In that case, sir, put the milk jug out on the doormat each evening, In that case, sir, hang the bread bag from the doorknob the night before. But who told you I had moved in here, The woman on the second floor, I see, and how would you like to be paid, Either weekly or monthly, Shall we say weekly then, That will be fine, Doctor. Ricardo Reis did not ask how they knew he was a doctor, there was no point in asking, but we heard Lydia address him as doctor when she left, and the woman downstairs was there and heard it. Provided with milk, tea, and fresh bread, Ricardo Reis enjoyed a wholesome breakfast. He had no butter or marmalade, but such bread is best savored on its own. Had Queen Marie Antoinette been served bread like this, she would not have needed to subsist on brioches. Now all that's wanting is a newspaper, but even that will soon be delivered. In his bedroom Ricardo Reis hears the cry of the newsvendor, O Século, O Notícias. He rushes to open the window, and the newspaper comes flying through the air, folded like a secret missive, moist from the ink which the weather has not allowed to dry. Greasy black smudges stain his fingers. Now each morning this carrier pigeon will tap on the windowpanes until they are opened from within. The newsvendor's cry can be heard from the far end of the street, and if the window is slow in opening, which nearly always happens, the paper is thrown up into the air, revolving like a discus, it strikes once, comes back, is thrown a second time. Ricardo Reis has already opened the window wide and received into his arms this winged messenger that brings him the world's news. He leans over the sill to say, Many thanks, Senhor Manuel, and the newsvendor replies, Until tomorrow, Doctor. But this comes later, when an arrangement is reached, the payment this time will be monthly, as usual when dealing with reliable customers, it saves a person the effort of collecting three cents every day, a paltry sum.

Now, it is a question of waiting. On this first day, he can pass the time reading the newspapers, the evening editions too, he can reread, analyze, ponder, then work on his odes, or resume his reading of the labyrinth and its god, contemplate the sky from his window, and listen to the woman who lives on the second floor gossiping on the stairs with the woman from the fourth floor. He realizes that he will be hearing those shrill voices a great deal. And he will sleep, dozing and waking up, and leave the apartment only to have lunch, a hasty lunch at a nearby eating house on the Rua do Calhariz, then return to the newspapers he has already read, to his lukewarm odes, to the six hypotheses about the outcome of the forty-ninth move, and pass before the mirror, turning back to see if the person who passed is still there. He will decide that this silence is unbearable without a note of music, that one of these days he must buy a gramophone. To see which model will suit him best he looks through the advertisements for specific makes, Belmont, Philips, RCA, Philco, Pilot, Stewart-Warner. He takes notes, writes superheterodyne, understanding only the super in it and not even that with any certainty. Poor solitary creature, he is flabbergasted when confronted with an advertisement that promises women the perfect bosom within three to five weeks using the Parisian method, Exuber, which combines those three fundamental desiderata, Bust Raffermer, Bust Developer, and Bust Reducer. This Franglais is translated into concrete results under the supervision of Madame Hélène Duroy of the Rue de Miromesnil, which is in Paris, of course, where ravishing women firm up, develop, and reduce their busts, successively or all at the same time. Ricardo Reis examines other startling advertisements, for the restorative tonic Banacao, a wine with nutritional ingredients, for the Jowett automobile, for Pargil mouthwash, for a soap called Silver Night, for Evel wine, for the works of Mercedes Blasco, for Selva, for Saltratos Rodel, for those everpresent Letters of a Portuguese Nun, for the books of Blasco Ibanez, for Tek toothbrushes, for the pain killer Veramon, for Noiva hair dye, for Desodorol, which is rubbed into the armpits, then he returns with a sigh to the news items he has already digested, Alexander Glazunov, the composer of Stenka Razin, has died, Salazar, the all-paternal dictator, has installed canteens in the National Foundation to keep the workers happy, Germany swears that she will not withdraw her troops from the Rhineland, recent storms caused havoc in the Ribatejo, a state of war has been declared in Brazil and hundreds of people have been arrested, a quote from Hitler, Either we triumph over our destiny or we perish, and military forces were dispatched to the province of Badajoz, where thousands of workers have invaded rural estates. In the House of Commons several speakers declare that the Reich must be granted equal rights, there are new and interesting developments in the Uceda case, they have started filming The May Revolution, which tells the story of a refugee who arrives in Portugal to foment revolt, not this one, another one, and he is won over to the Nationalist cause by the daughter of the landlady at the boardinghouse where he is staying incognito. This last item Ricardo Reis read once, twice, three times, in an effort to rid himself of a faint echo buzzing deep inside his memory, but all three times his memory failed him, and it was only when he moved on to another news story, the general strike in La Coruña, that this tenuous thought became clear and defined. It was nothing distant, it was Conspiracy, that book, that Marilia, that story of another conversion to Nationalism and its ideals, apparently the tale has its most effective propagandists among the women, with such magnificent results that literature and the seventh art pay tribute to these angels of chastity and self-sacrifice who seek out the wayward if not lost souls of men. No one can resist them when they place a hand upon a shoulder or cast a chaste glance beneath a suspended tear. They don't need to issue writs, interrogate, become inscrutable like the deputy chief of police, or hover vigilantly like Victor. This feminine influence surpasses the abovementioned techniques of making firm, developing, and reducing, although it might be more correct to say that this influence initially derives from these three, as much in the literary sense as in the biological, for it includes impassioned outbursts, exaggerated metaphors, and wild associations of ideas. Holy women, angels of mercy, Portuguese nuns, daughters of Mary and pious sisters, be they in convents or in brothels, in palaces or in hovels, the daughters of some boardinghouse landlady or of a senator, what astral and telepathic messages must they exchange among themselves, so that from such varied circumstances and conditions there should result so concerted an effect, which is nothing more or less than the redemption of a man in danger of losing his soul. As the supreme reward, these women offer him sisterly friendship, or sometimes their love, even their bodies and all the other advantages a beloved spouse can provide, and this sustains a man's hope in the happiness that will come, if it comes at all, in the wake of the good angel descended from the altars on high, for ultimately, let us confess it, this is nothing other than a secondary manifestation of the Marian cult. Marília and the daughter of the landlady, both incarnations of the Most Holy Virgin, cast pitying glances and place their healing hands on physical and moral sores, working the miracle of health and political conversion. Humanity will take a great step forward when such women begin to rule. Ricardo Reis smiled as he thought these sad irreverences. There is something disagreeable about watching a man smile to himself, particularly if he is smiling into his mirror, a good thing there is a closed door between him and the rest of the world. Then he asked himself, And Marcenda, what kind of woman is Marcenda. The question is beside the point, a mere mental game for one who has no one to talk to. First he must see if she has the courage to visit him in his apartment, then she will have to explain, however reluctant, however inarticulate, why she came to this enclosed and lonely place like an enormous spiderweb at the center of which lurks a wounded tarantula.

Today is the last day of the fixed term no one has agreed upon. Ricardo Reis looks at the clock, it's just after four. The window is closed, the few clouds in the sky are high. If Marcenda fails to come, she will not have the simple excuse so common of late, I dearly wanted to come but the rain was so heavy, and although my father was out, no doubt on one of his amorous pursuits, the manager Salvador would almost certainly have asked me, Surely you are not going out, Senhorita Marcenda, in this weather. Ricardo Reis looks at his watch, it is half past four. Mar cenda has not come and will not come. The light indoors is fast disappearing, the furniture hides behind quivering shadows, one can now understand the suffering of Adamastor. The suspense grows almost unbearable, when suddenly there are two raps from the front door knocker. The building seems to tremble from top to bottom as if an earthquake were rocking the foundations. Ricardo Reis does not rush to the window, so he has no idea who will appear when he goes out onto the landing to pull the wire cord. He hears the woman upstairs open her door and say, Oh, I'm sorry, I thought it was for me, a familiar phrase handed down through generations of nosy women. It is Marcenda. Leaning over the banister, Ricardo Reis sees her. Halfway up the first flight of stairs, she looks up, anxious to make sure that the person she seeks really lives here, and she is smiling, it is a smile that has a future, unlike those reflected in a mirror, that is the difference. Ricardo Reis backs toward the door, Marcenda is climbing the last flight of stairs, only now does he notice that the light in the stairwell is off, that he is about to receive her almost in darkness, and while he vacillates, on another level of thought he wonders with surprise, How is it possible for her smile to be so radiant. When she stands before me, what should I say, I cannot ask, How have you been, nor exclaim in an even more plebeian fashion, Fancy seeing you here, nor sigh romantically, I had almost given up hope, I felt so desperate, why did you take so long. She walks in, I close the door, neither of us has said a word. Ricardo Reis takes her right hand, only to guide her into the domestic labyrinth. Into his bedroom would be improper, into the dining room would be absurd, in which of the chairs around that long table would they sit, side by side or facing, and how many would be seated there, he being innumerable, and she is certainly more than one, so let it be the study, Marcenda on one sofa, I on another. They have entered now, the ceiling light is on, also the lamp on the desk. Marcenda looks around at the heavy furniture, the two bookcases with their handful of books, the green blotting paper, then Ricardo Reis tells her, I am going to kiss you. She is silent. Slowly she supports her left elbow with her right hand, is it a protest, a plea for mercy, a surrender. She places her arm across her body like a barrier. Ricardo Reis takes a step forward, but she does not move. When he is almost touching, Marcenda releases her elbow, allows her right hand to drop, it hangs as dead as her other hand, whatever life is within her is divided between her throbbing heart and her trembling knees as she watches this man draw near. She feels a sob forming in her throat, their lips touch, Is this a kiss, she wonders. But it is only the beginning of a kiss. His mouth presses against hers, his lips open hers, this is the body's destiny, to be opened. The arms of Ricardo Reis now are around her waist and shoulders, and for the first time her bosom is in contact with a man's chest. The kiss, she realizes, is not over yet, it is inconceivable that it could ever end and the world return to its primeval innocence, she also realizes that she must do something other than stand there with her arms down. Her right hand moves up to the shoulders of Ricardo Reis, her left hand, dead or asleep, dreams, recalls the movements it once made, fingers entwining fingers, crossing behind the man's neck. She repays Ricardo Reis kiss for kiss, her hands in his hands, I knew it when I decided to come, I knew it when I left the hotel, I knew it when I climbed those stairs and saw him leaning over the banister, I knew that he would kiss me. Her right hand leaves his shoulder, slips down, weary, her left hand was never there. This is the moment when the body recoils, almost staggers, when the kiss has reached the point where it is no longer enough. Let us separate them before the rising force compels us to proceed to the next stage, a renewed explosion of kisses, precipitate, short-lived, eager, lips no longer satisfied with lips yet constantly returning to them. Anyone with any experience knows this sequence, but not Marcenda, who is being kissed and embraced by a man for the first time in her life and suddenly finds that the longer a kiss lasts, the greater the need to repeat it, a crescendo of need that seems to have no end. Her escape lies elsewhere, in this sob in the throat, which neither swells nor finds release, a faint voice that pleads, Let me go, then adds, moved by who knows what scruples, as if afraid of having given offense, Let me sit down. Ricardo Reis leads her to the sofa, does not know what to do next, what to say, whether he should make a declaration of love or simply ask her forgiveness, whether he should kneel at her feet or remain silent, waiting for her to speak. All this strikes him as false, the only true thing was when he said, I'm going to kiss you, and did. Marcenda is seated, her left hand resting in her lap in full view, like a witness. Ricardo Reis is also seated, and they look at each other, conscious of their bodies, as if each were a great whispering shell. Marcenda tells him, Perhaps I shouldn't say this, but I knew you would kiss me. Ricardo Reis leans forward, raises her right hand to his lips, and finally speaks, I don't know whether I kissed you out of love or despair. She replies, No one has ever kissed me before, therefore I cannot tell the difference between love and despair. But at least you must know what you felt. I felt your kiss as the sea feels the wave, if these words have any meaning. I have been waiting for you all these days, asking myself what would happen if you came, I never thought that things would turn out like this, but when you walked in here, I realized that to kiss you was the only thing I could do, when I said a moment ago that I could not tell whether I had kissed you out of love or despair, if I knew then what I meant, I no longer do. So you feel no despair after all, and no love for me. Every man feels love for the woman he kisses, even if the kiss is one of despair. What reasons do you have for despair. Only one, this sense of emptiness. How can a man who has the use of both hands complain. I am not complaining, I am simply saying that a man has to experience despair before saying to a woman, as I've just said to you, I am going to kiss you. You might have said it out of love. Had it been love, I'd have kissed you without telling you beforehand. So you do not love me. I'm extremely fond of you. But that is not why we kissed each other, Well, no. What are we going to do now, after what has happened, here I am in the apartment of a man with whom I've conversed three times in my whole life, I came here to see you, to speak with you and be kissed, I don't want to think about the rest. Someday we may have to think about it, Someday perhaps, but not today. I'll get you a cup of tea, I have some cakes. Let me help you, but then I must go, my father might return to the hotel and ask where I am. Make yourself comfortable, why don't you take off your jacket. I'm fine like this.

After they drank their tea in the kitchen, Ricardo Reis showed her around the apartment, they took only a glimpse at the bedroom, then returned to the study, where Marcenda asked him, Have you started seeing patients. Not yet, I might try setting up a practice, even if only for a few hours a day, it's a question of readjusting myself. It will be a start. That's what we all need, a start. Have the police given you any more trouble, No, and now they do not even know where I am living, If they want to, they can find out. And what about your arm. You need only look at it, I no longer hope for a cure, my father, Your father, My father thinks I should go to Fatima, he says that if I have faith, there might be a miracle,- as there have been for others. When one starts to believe in miracles, there is no longer hope. I suspect that his amorous pursuits are coming to an end, they've been going on for some time. Tell me, Marcenda, what do you believe in, At this very moment, Yes, At this very moment I believe only in the kiss you gave me. We could have another, No, Why not, Because I'm not sure that I would feel the same thing, and now I must be off, we leave early tomorrow morning. At the door, she stretched out her hand, Write to me and I'll write to you, Until next month, If my father still wishes to return, If you don't come, I'll go to Coimbra. Let me go, Ricardo, before I start asking you for another kiss. Marcenda, please stay, No. She descended the stairs rapidly without once looking up. The front door slammed. When Ricardo Reis went into the bedroom, he heard footsteps above him, then a window open. It is the neighbor on the fourth floor, she wants to see for herself what sort of woman has been visiting the new tenant, wants to see if she sways her hips, either I'm much mistaken or there is something fishy going on, and to think that this building was so peaceful and respectable.