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The Book of Disquiet

Book by Fernando Pessoa · 50 quotes · Life, Thinking, Soul

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The Book of Disquiet Quotes

“Freedom is the possibility of isolation. You are free if you can withdraw from people, not having to seek them out for the sake of money, company, love, glory or curiosity, none of which can thrive in silence and solitude. If you can't live alone, you were born a slave. You may have all the splendours of the mind and the soul, in which case you're a noble slave, or an intelligent servant, but you're not free. And you can't hold this up as your own tragedy, for your birth is a tragedy of Fate alone. Hapless you are, however, if life itself so oppresses you that you're forced to become a slave. Hapless you are if, having been born free, with the capacity to be isolated and self-sufficient, poverty should force you to live with others.”

“I weep over everything--the loss of the lap where I once lay, the death of the hand I was given, the arms to embrace me that I never found, the shoulder to lean on that I never had. And the day that breaks definitively, the grief that breaks in me like the naked truth of day, all that I dreamed or thought or forgot--all of this, like an amalgam of shadows, fictions and regrets, blends into the wake of the passing worlds and falls among the things of life like the skeleton of a bunch of grapes, filched by young boys and eaten on the street corner.”

“Anonymous > Quotes > Quotable Quote “I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don’t know where it will take me, because I don’t know anything. I could see this inn as a prison, for I’m compelled to wait in it; I could see it as a social centre, for it’s here that I meet others. But I’m neither impatient nor common. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlours, from where their songs and voices conveniently drift out here to me. I’m sitting at the door, feasting my eyes and ears on the colours and sounds of the landscape, and I softly sing – for myself alone – wispy songs I compose while waiting.”

“There are metaphors more real than the people who walk in the street. There are images tucked away in books that live more vividly than many men and women. There are phrases from literary works that have a positively human personality. There are passages from my own writing that chill me with fright, so distinctly do I feel them as people, so sharply outlined do they appear against the walls of my room, at night, in shadows... I've written sentences whose sound, read out loud or silently (impossible to hide their sound), can only be of something that acquired absolute exteriority and a full-fledged soul.”

“I feel closer ties and more intimate bonds with certain characters in books, with certain images I’ve seen in engravings, than with many supposedly real people, with that metaphysical absurdity known as “flesh and blood.” In fact “flesh and blood” describes them very well: they resemble cuts of meat laid out on the butcher’s marble slab, dead creatures bleeding as though still alive, the sirloin steaks and cutlets of Fate.”

“How good it feels to be completely alone! To be able to talk to ourselves out loud, to walk around without being looked at, to lean back in an undisturbed reverie! Every house becomes an open field, every room has the breadth of a farm. The usual sounds are all strange, as if they belonged to a nearby but independent universe. We are kings at last. This is what we all truly long to be, and the most plebeian among us perhaps more ardently than those full of false gold. For a moment we are the universe’s pensioners, recipients of a steady income, with no needs and no worries.”

“Pasmo sempre quando acabo qualquer coisa. Pasmo e desolo-me. O meu instinto de perfeição deveria inibir-me de acabar; deveria inibir-me até de dar começo. Mas distraio-me e faço. O que consigo é um produto, em mim, não de uma aplicação de vontade, mas de uma cedência dela. Começo porque não tenho força para pensar; acabo porque não tenho alma para suspender. Este livro é a minha cobardia.”

“To feel everything in every way; to be able to think with the emotions and feel with the mind; not to desire much except with the imagination; to suffer with haughtiness; to see clearly so as to write accurately; to know oneself through diplomacy and dissimulation; to become naturalized as a different person, with all the necessary documents; in short, to use all sensations but only on the inside, peeling them all down to God and then wrapping everything up again and putting it back in the shop window like the sales assistant I can see from here with the small tins of a new brand of shoe polish.”

“Most people are afflicted with an inability to say what they see or think. They say there’s nothing more difficult than to define a spiral in words; they claim it is necessary to use the unliterary hand, twirling it in a steadily upward direction, so that human eyes will perceive the abstract figure immanent in wire spring and a certain type of staircase. But if we remember that to say is to renew, we will have no trouble defining a spiral; it’s a circle that rises without ever closing. I realize that most people would never dare to define it this way, for they suppose that defining is to say what others want us to say rather than what’s required for the definition. I’ll say it more accurately: a spiral is a potential circle that winds round as it rises, without ever completing itself. But no, the definition is still abstract. I’ll resort to the concrete, and all will become clear: a spiral is a snake without a snake, vertically wound around nothing. All literature is an attempt to make life real. All of us know, even when we act on what we don’t know, life is absolutely unreal in its directly real form; the country, the city and our ideas are absolutely fictitious things, the offspring of our complex sensation of our own selves. Impressions are incommunicable unless we make them literary. Children are particularly literary, for they say what they feel not what someone has taught them to feel. Once I heard a child, who wished to say that he was on the verge of tears, say not ‘I feel like crying’, which is what an adult, i.e., an idiot, would say but rather, ’ I feel like tears.’ And this phrase -so literary it would seem affected in a well-known poet, if he could ever invent it - decisively refers to the warm presence of tears about to burst from eyelids that feel the liquid bitterness. ‘I feel like tears’! The small child aptly defined his spiral. To say! To know how to say! To know how to exist via the written voice and the intellectual image! This is all that matters in life; the rest is men and women, imagined loves and factitious vanities, the wiles of our digestion and forgetfulness, people squirming- like worms when a rock is lifted - under the huge abstract boulder of the meaningless blue sky.”

“I’ve always felt an almost physical loathing for secret things--intrigues, diplomacy, secret societies, occult sciences. What especially irks me are these last two things--the pretension certain men have that, through their understandings with Gods or Masters or Demiurges, they and they alone know the great secrets on which the world is founded. I can’t believe their claims, though I can believe someone else might. But is there any reason why all these people might not be crazy or deluded? The fact there are a lot of them proves nothing, for there are collective hallucinations. What really shocks me is how these wizards and masters of the invisible, when they write to communicate or intimate their mysteries, all write abominably. It offends my intelligence that a man can master the Devil without being able to master the Portuguese language. Why should dealing with demons be easier than dealing with grammar?”

“The buyers of useless things are wiser than is commonly supposed--they buy little dreams. They become children in the act of acquisition. When people with money succumb to the charms of those useless little objects, they possess them with the joy of a child gathering sea shells on the beach--the image that best expresses the child's happiness. He gathers shells on the beach! No two are ever alike for a child. He falls asleep with the two prettiest ones in his hand, and when they're lost or taken from him (A crime! They've made off with outward bits of his soul! They've stolen pieces of his dream!), he weeps like a God robbed of a just-created universe.”

“I make landscapes out of what I feel. I make holidays of my sensations. I can easily understand women who embroider out of sorrow or who crochet because life exists. My elderly aunt would play solitaire throughout the endless evening. These confessions of what I feel are my solitaire. I don't interpret them like those who read cards to tell the future. I don't probe them, because in solitaire the cards don't have any special significance. I unwind myself like a multicoloured skein, or I make string figures of myself, like those woven on spread fingers and passed from child to child. I only take care that my thumb not miss its loop. Then I turn over my hand and the figure changes. And I start over.”

“After I've slept many dreams, I go out to the street with my eyes wide open but still with the aura and assurance of my dreams. And I'm astonished by my automatism, which prevents others from really knowing me. For I go through daily life still holding the hand of my astral nursemaid; my steps are in perfect accord with the obscure designs of my sleeping mind. And I walk in the right direction; I don't stagger; I react well; I exist.”