The Year of the Death Of Ricardo Reis (12 page)

Doctor Sampaio and his daughter are due to arrive today, Salvador announced, as euphoric as if the good news would bring a reward. The lookout from the reception desk sees the train from Coimbra advancing from a distance through the afternoon haze, chug-chug, chug-chug. Quite paradoxical, because the ship that is anchored in port and gathering slime by the quay is the Hotel Brangança and it is the land that is coming here, sending smoke up the funnel. When the train arrives at Campolide, it goes underground before emerging from a black tunnel as it belches steam. There is still time to call Lydia and say, Go and make sure that everything is in order. The rooms of Doctor Sampaio and Senhorita Marcenda, as she is aware, are two hundred and four and two hundred and five. Lydia appeared not to notice that Doctor Ricardo Reis was standing there as she went bustling up to the second floor. How long are they staying, the doctor inquired. They usually stay for three days, tomorrow evening they will go to the theater, I have already reserved their seats. To the theater, which one. The Teatro Dona Maria. Ah. This interjection is not one of surprise, it has been inserted here to terminate a dialogue which we are unable or unwilling to continue. In fact, most people from the provinces, when they visit Lisbon, may Coimbra forgive me for putting it in the provinces, take the opportunity of going to the theater, perhaps a revue at the Parque Mayer or a film at the Apolo or the Avenida, while those with more refined tastes invariably go to the Teatro Dona Maria, also known as the Teatro Nacional. Ricardo Reis moved into the lounge, leafed through a newspaper, looked up the entertainment page, the theater guide, and saw advertised
Mar
by Alfredo Cortez. He decided then and there that he too would go to the theater. As a good Portuguese citizen he should support Portuguese artists. He almost asked Salvador to reserve him a seat by telephone, but changed his mind, deciding to tend to the matter himself next day.

There are still two hours to go before dinner. In the meantime the guests from Coimbra will arrive, unless their train is delayed. But why should I be interested, Ricardo Reis asks himself as he goes upstairs to his room. He tells himself that it is always agreeable to meet people from other parts, civilized people, besides there is the interesting clinical case presented by Marcenda. An unusual name, a name unknown to him, it resembles a murmuring, an echo, the bowing of a cello,
les sanglots longs de I'automne,
alabasters, balustrades, this morbid twilight poetry exasperates him, the things a name can provoke, Marcenda. He passes room two hundred and four, the door is open and inside Lydia is running a feather duster over the furniture. They look furtively at each other, she smiles, he does not. Shortly afterward he is back in his room and hears a gentle knocking on the door, it is Lydia, who steals in quietly and asks him, Are you annoyed with me. He barely replies, tight-lipped. Here in the light of day he does not know how to behave. She is only a chambermaid and he could lecherously stroke her hips now, but he feels much too awkward to make such a gesture. Earlier perhaps, but not after they have already been together, have lain in the same bed, a kind of consecration, mine, ours. If I can, I'll join you tonight, Lydia said, and he made no reply. That she should warn him beforehand seemed inopportune, with the girl with the paralyzed hand so near, sleeping and unaware of the nocturnal secrets of this corridor and of the room at the far end. But he was incapable of saying, Don't come. Lydia left, and he stretched out on the sofa to rest. Three nights of sexual activity after a long period of abstinence, and at his age, no wonder he can scarcely keep his eyes open. He knits his brow, asks himself, without finding the answer, whether he should pay Lydia, give her some little present, a pair of stockings, a cheap ring, something suitable for someone of her class. He must resolve this uncertainty, weighing the motives and reasons for and against. This is not like that business of whether or not to kiss her on the lips, circumstances made that decision for him, the so-called flame of passion, he himself did not know how it had happened, his kissing her as if she were the most beautiful woman in the world. Perhaps this will turn out to be just as easy, as they lie in each other's arms he will say, I'd like to give you a little memento, and she will find it quite natural. She is probably wondering even now why it has taken him so long.

Voices, footsteps can be heard in the corridor, Pimenta saying, Many thanks, sir, then two doors being closed. The travelers have arrived. He was almost asleep, now he stares up at the ceiling, examining the cracks in the plaster meticulously, as if tracing them with his fingertips. He imagines that he has the palm of God's hand overhead and is reading there the lines of life, of a life that narrows, is interrupted and revived, becomes more and more tenuous, a besieged heart solitary behind those walls. The right hand of Ricardo Reis, resting on the sofa, opens upward and reveals its own lines. Those two spots on the ceiling are like eyes. Who can tell who is reading us as we sit reading, oblivious of ourselves. Day turned to night some time ago, perhaps it is already time for dinner, but Ricardo Reis does not wish to be the first to go down. If I didn't hear them leaving their rooms, he thinks to himself, perhaps I slept without knowing it, and woke without realizing that I slept, I thought I was only dozing and I slept for a century. He sits up, uneasy, looks at his watch, it is already after eight-thirty, and at this very moment a man's voice can be heard in the corridor saying, Marcenda, I'm waiting for you. A door opens and there are vague sounds, footsteps moving away, then silence. Ricardo Reis rises, goes to the washbasin to freshen up, to comb his hair. The hair at his temples looks even whiter today, he ought to use one of those lotions or dyes that progressively restore the natural color to one's hair, Nhympha do Mondego, for example, a popular and reliable preparation that can be used to achieve the original tone without going any further, or it may be applied until the hair becomes as black as a raven's wing, if so desired. He is discouraged, however, by the idea of having to examine his hair each day, to check whether it is time to apply more lotion, mix more dye in a bowl,
Crown me with roses, I ask no more.
He changes his trousers and jacket, he must remember to tell Lydia they need pressing, and leaves his room with the incongruous and disagreeable presentiment that he will give this order without the neutrality of tone that an order should have when it is given by someone who naturally commands to someone who must naturally obey, if obeying and commanding are indeed natural. To put it more clearly, what Lydia will she be now, the one who heats the iron, folding the trousers on the ironing board to get a crease, inserting her left hand into the sleeve of the jacket near the shoulder so as to follow the line with the hot iron and restore its shape, no doubt remembering the body that wears these garments. If I can, I'll join you tonight, she said, and now brings down the iron nervously, alone in the laundry room. This is the suit Doctor Ricardo Reis will wear to the theater, if only I could accompany him. What a ninny, what's got into you, she dries two tears that will inevitably appear, they are tomorrow's tears. Ricardo Reis is still here, making his way down to the dining room, he has not told Lydia yet that he needs the suit she has just pressed, and she still does not know that she will weep.

Nearly all the tables are occupied. Ricardo Reis pauses at the entrance. The maître d' comes to guide him to his table, there's really no need, it's where he always sits, but what would life be like without these and other rituals, kneel when you pray, uncover your head when the flag is carried past, sit down, unfold your napkin on your knees, if you look around to see who is sitting near you, do it discreetly, nod to anyone you know. Which Ricardo Reis does. That couple, this guest sitting on his own, these people here. He also knows Doctor Sampaio and his daughter Marcenda, but they do not recognize him, the lawyer looks at him with a vacant expression, perhaps he is searching his memory, but he does not lean toward his daughter and whisper in her ear, Aren't you going to greet Doctor Ricardo Reis who has just arrived. It is she who glances at him a little later, looking over the waiter's sleeve as he serves her, the faintest tremor on her pale face, the faintest blush, an indication of recognition. She remembers, Ricardo Reis thought to himself, and in an excessively loud voice asked Ramón what there was for dinner. This might explain why Doctor Sampaio looked at him, but no, two seconds earlier Marcenda said to her father, That gentleman over there, he was staying in the hotel the last time we were here. As they rose from the table, Doctor Sampaio gave him a little nod, and Marcenda at her father's side not even that, restrained and discreet as befits a dutiful daughter. Ricardo Reis rose ever so slightly from his chair in acknowledgment, one has to be endowed with a sixth sense to measure these subtle gestures and greetings, and their reciprocation must be carefully balanced. Everything has been so perfect on this occasion that it augurs well for a blossoming friendship. Father and daughter have already withdrawn, no doubt they are making their way into the lounge, but no, they retire to their rooms. Later Doctor Sampaio will probably take a stroll despite the rainy weather, because Marcenda goes to bed early, she finds these train journeys exhausting. When Ricardo Reis enters the lounge, all he will see are a few taciturn guests, some reading newspapers, others yawning, while the radio quietly grinds out Portuguese songs from popular revues, strident and grating even though barely audible. In this light, or because of these somber faces, the mirror resembles an aquarium, and when Ricardo Reis crosses the lounge on the far side and comes back by the same route in order not to turn around and make a beeline for the doorway, he sees himself in the greenish abyss as if he were walking on the ocean floor amid wreckage and drowned corpses. He must leave this place at once, reach the surface, breathe again. He goes up to his chilly room. Why should these minor irritations depress him so, if that is what is troubling him, after all they are simply two people who live in Coimbra and come to Lisbon once a month. This doctor is not looking for patients, this poet has plenty of muses to inspire him, this man is not seeking a wife, he did not return to Portugal with that intention, and consider the difference in their ages. It is not Ricardo Reis who thinks these thoughts, nor one of those innumerable beings who exist within him, it is perhaps thought thinking itself while he looks on in amazement as a thread unwinds, leading him down unknown paths and corridors, at the end of which there waits a girl dressed in white, who cannot even hold a bouquet of flowers, because her right arm will be in his as they return from the altar treading the solemn red carpet to the strains of the wedding march. Ricardo Reis, as you can see, has already taken up the reins of thought, already controls and guides it, makes use of it to mock himself. The orchestra and red carpet are flights of fancy, and now, so that this poet's tale may have a happy ending, he accomplishes the clinical miracle of placing a bouquet of flowers in Marcenda's left arm and having it remain there without any assistance. The altar and priest can now disappear, the music cease, the wedding guests vanish in smoke and dust. The bridegroom withdraws, his services no longer required, the doctor has cured the patient, the rest must have been the work of the poet. These romantic episodes cannot be fitted into an Alcaic ode, which goes to prove, if any proof is needed, that what is written is often confused with what, having been experienced, gave birth to it, therefore one does not ask the poet what he thought or felt. It is precisely to avoid having to reveal these things that he composes verses.

The night passed and Lydia did not descend from the attic, Doctor Sampaio came back late, Fernando Pessoa is God knows where, then it was day, Lydia took away the suit for pressing, and Marcenda left with her father to keep their appointment with the specialist. She's gone for physiotherapy, says Salvador, who like most people cannot pronounce the word properly. For the first time Ricardo Reis finds it odd that a disabled girl should come to Lisbon when she lives in Coimbra, a city with such a wide range of specialists, for a course of treatment that can be administered just as easily there as here. Ultraviolet rays for example, unless applied with a certain frequency, provide little benefit. Ricardo Reis turns these doubts over in his mind as he goes down the Chiado on his way to the box office at the Teatro Nacional, but he was distracted at the sight of so many people wearing signs of mourning, a number of women in veils and the men even more conspicuous in their black suits and grave expressions, some even with mourning bands on their hats. George V of England, our oldest ally, was being buried. Despite the official mourning, there is a performance this evening, no disrespect intended, life must go on. The man in the box office sold him a seat in the stalls, and informed him, The fishermen will be in the audience tonight. What fishermen, asked Ricardo Reis before realizing that he had committed an unforgivable blunder. The box-office attendant frowned and altered his tone of voice, snapped, The fishermen from Nazaré, obviously. What others did he expect, there would be little sense in bringing fishermen from Caparica or from Póvoa. The journey and lodgings of the fishermen from Nazaré had been paid so that they might participate in this cultural event. Because they had inspired the play, it was only right that they should be represented, both the men and the women. Let's go to Lisbon, let's go and see the sea there, what gimmicks will be used to produce waves breaking over the stage, and what will Dona Palmira Bastos be like in the role of Ti Gertrudes, and Dona Amélia as Maria Bern, and Dona Lalande as Rosa, and Amarante in the role of Lavagante, how well will they imitate our lives. And since we are going, let's take this opportunity to ask the government, for the sake of the suffering souls in Purgatory, to build us the little port of refuge we have been in such need of since the first boat was launched from our shore, whenever that was. Ricardo Reis whiled away the afternoon in cafés, went to inspect the work being carried out on the Teatro Eden. Any day now they will remove the hoardings, the Chave de Ouro is almost ready to be inaugurated, and both natives and foreigners can see that Lisbon is progressing so rapidly that it will soon be able to compete with the great cities of Europe, and rightly so as the capital of a great empire. He did not dine in the hotel, only went back to change his clothes. His jacket, trousers, waistcoat too had been put neatly on a hanger, beautifully pressed, the work of loving hands, pardon the hyperbole, for how can there be love in the nocturnal coupling of a hotel guest and a chambermaid, he a poet, she by chance named Lydia, a different Lydia, although still fortunate, because the Lydia in his poems never heard his moans and sighs, she only sat on a riverbank listening to someone confide,
I suffer■, Lydia, from the fear of destiny.
He ate a steak at the Restaurante Martinho, the one in the Rossio, and watched a keenly contested game of billiards, the chipped ball of Indian ivory rolling smoothly over the green baize. Since it was almost time for the performance to begin, he left, making a discreet approach and entering the theater, flanked by two large family groups. He had no wish to be seen until he himself chose the moment, heaven knows what emotional strategy he was pursuing, and crossed the foyer without pausing, one day it will be called a hallway or vestibule, unless some other term is borrowed from some other foreign language to say the same thing. At the entrance to the auditorium he was met by an usher, who led him down the left-hand aisle to the seventh row, It's that seat there, beside the lady. Don't let your imagination run riot, the man said lady, not girl, an usher in the Teatro Nacional can be relied upon to speak with decorum and the utmost clarity, his masters are the great dramatists of the classical and modern repertoire. Marcenda is sitting three rows ahead and to the right, too far to be near, and not even aware of my presence, she is sitting on her father's right, and just as well, for when she speaks to him and turns her head a little, Ricardo Reis can see her in profile. Is it because she is wearing her hair down that her face seems longer. She raises her right hand to the level of her chin, to clarify some word she has uttered or is about to utter, perhaps she is discussing the specialist who is treating her, perhaps the play they are about to see. Who is this Alfredo Cortez, her father cannot tell her much, he saw
The Gladiators
on his own two years ago and was not impressed, but this play caught his attention because of its traditional theme. It won't be long now before we discover what the play is like. This conversation, assuming it ever took place, was interrupted by the dragging of chairs overhead, by a loud whispering that made all the heads turn around and look upward. The fishermen from Nazaré have arrived and are getting into their seats in the boxes on the upper tier. They sit tall in order to see and be seen, both the men and the women are dressed in their own fashion, they are probably barefoot, one cannot see from down here. Some people in the audience applaud, others condescendingly join in. Irritated, Ricardo Reis clenches his fists, snobbish affectation in one who does not have blue blood, we might say, but this is not the case, it is simply a question of decorum, Ricardo Reis finds the outburst of applause vulgar, to say the very least.