La saudade de la inocencia y la inmediatez en Fernando Pessoa

Abstract

Friederick, the filmmaker of Wim Wenders' Lisbon Story (1994), fears, in quite a Kantian fashion, that human gaze takes away the authenticity and the purity of the portrayed object, betraying it; in the same way, the poet Fernando Pessoa fears that reason betrays life. Hence, Friederick stops from watching, as well as Pessoa stops thinking. Among Pessoa's heteronomous, Alberto Caeiro stands out for the cessation of judgement -for thought is unnatural- and, as Nietzsche, for his mysticism of the sensible, expressed through poetry which exalts immediacy and disqualifies consciousness, seeking constantly to follow nature uncritically, longing for the innocence, the immediacy.