These 70 writers are actually all the same person - Ilan Stavans

TED-Ed
29 Feb 202404:52

Summary

TLDR这段视频剧本讲述了葡萄牙作家费尔南多·佩索阿的独特文学世界。佩索阿不仅仅使用笔名,而是创造了多个“异名”——他通过这些虚构的人物身份进行创作,每个人物都有自己的生活背景、性格特点和文学风格。这些异名之间甚至会互相交流、批评对方的作品。佩索阿将自己描述为在自己意识中漫游的“游牧者”,通过这种方式,他探索了身份的多重性和文学的无限可能。他的大量作品——包括诗歌、信件、散文和文学评论——大部分是在他去世后从他遗留的几乎30,000页手稿中发现的,其中《不安之书》尤为著名,被认为是“一个从未存在过的人的自传”。

Takeaways

  • 📚费尔南多·佩索阿是一个神秘的作家,他创造了数十个化名,这些化名代表了不同的作者,他们有着不同的背景、信仰和写作风格。
  • 🔍佩索阿使用了他所称的“异名”来写作,不是作为自己,而是作为他所创造的其他人物。
  • 🎨他为这些异名构建了详细的生平、独特的怪癖以及各自独有的文学声音。
  • 📖佩索阿的异名有时会相互交流,甚至批评彼此的作品。
  • 🤔佩索阿将自己描述为“通过[自己的]意识漫游的游牧者”,“一种媒介”,在他的异名之间“分裂”。
  • 🇵🇹出生于1888年的里斯本,佩索阿从大约六岁开始就以不同的人物身份写作。
  • 🌍在他的继父将家庭搬到南非后,佩索阿学会了新的语言,并在高中时期采用了几个英文异名。
  • 💼佩索阿建立了艺术和文学期刊以及一家出版社,尽管这些公共事业未能成功,但他在私下里进行了最伟大的实验。
  • 📝他使用三个异名最为频繁:牧羊人诗人阿尔贝托·卡埃罗、倾向于古典诗人史诗风格的医生里卡多·雷斯以及双性恋海军工程师兼游民阿尔瓦罗·德坎波斯。
  • 📚佩索阿一生中出版了诗歌、信件、散文和文学批评——一些以异名之名,其他则以自己的名义。
  • 🔍佩索阿去世后,人们从他的箱子里发现了近30,000页的未发表作品,其中包括1982年最终组装的《不安之书》。

Q & A

  • 费尔南多·佩索阿是谁?

    -费尔南多·佩索阿是一位葡萄牙诗人,以其创造性地使用“异名”(不同于笔名的虚构人物身份)进行写作而闻名,这些异名具有独立的个性、风格和观点。

  • 异名(heteronyms)和笔名(pen names)有什么区别?

    -笔名通常是作者用来隐藏真实身份的假名,而异名是佩索阿创造出来的完全独立的虚构人物,具有自己的生平、性格和文学风格。

  • 佩索阿的异名之间有什么相互关系?

    -佩索阿的异名不仅各自独立,有时还会相互交互,甚至批评对方的作品,展现了一种复杂的内在对话。

  • 佩索阿为什么会使用异名?

    -佩索阿使用异名是为了进行艺术性的实验,通过不同的身份探索多样的文学风格和哲学思想,同时反映他对自我认同和现实的深刻思考。

  • 佩索阿最著名的三个异名是谁?

    -佩索阿最著名的三个异名是阿尔贝托·卡埃罗(Alberto Caeiro),一个以简单直白的语言描述世界的牧羊人诗人;里卡多·雷伊斯(Ricardo Reis),一个喜欢古典诗风的医生;以及阿尔瓦罗·德坎波斯(Álvaro de Campos),一个热爱生活奇迹和苦难的双性恋海军工程师和流浪者。

  • 佩索阿在他的一生中公开发表了多少作品?

    -在他的一生中,佩索阿发表了一些诗歌、信件、散文和文学评论,但只出版了少数几本书,其中只有一本是葡萄牙语诗集《信息》。

  • 《不安之书》(The Book of Disquiet)是什么?

    -《不安之书》是佩索阿花费二十年时间开发的作品,它被认为是他的半异名伯纳多·苏亚雷斯的虚构日记,探讨了自我认同和现实逃避的主题。

  • 佩索阿的《不安之书》如何定义自我?

    -在《不安之书》中,佩索阿通过其半异名伯纳多·苏亚雷斯的视角,挑战了自我作为单一可靠单位的观念,而是将身份视为不定的、由各部分不断变化的总和。

  • 佩索阿的作品为什么在他去世后才被充分认识?

    -佩索阿去世后,在他留下的近30,000页未发表手稿中,才逐渐揭示了他创作的全貌,这些手稿包含了他生前未能出版的广泛作品。

  • 佩索阿如何描述自己与异名之间的关系?

    -佩索阿描述自己作为一个在自己意识中游荡的“游牧者”,一个被他的异名分割和影响的“中介”,甚至认为自己比他的异名更不真实、更无实质、更不个人化。

Outlines

00:00

📚费尔南多·佩索阿及其异名

1935年11月30日,在葡萄牙里斯本的一个公寓里,一只装满文稿的箱子揭示了一个神秘的故事,这些文稿来自许多不同背景、信仰和风格的作家,但它们实际上都是出自一个人之手——费尔南多·佩索阿。佩索阿通过创造“异名”(完全不同于笔名的概念),以完全不同的身份进行创作,这些身份各自拥有独特的生活经历、性格特点和文学声音。他们甚至会相互交流和批评。佩索阿用这种方式探索了身份、创造力和文学的界限,将自己描述为一个在自我意识中游荡的“游牧者”,被他的异名所影响,感到自己比他们更不真实、更不具体。他从六岁开始就以不同的人格写作,一生中创作了大量的作品,包括诗歌、信件、散文和文学评论,既有以异名身份创作的,也有以自己的名字发表的。但直到他去世后,人们才逐渐发现他留下的近30,000页未发表的手稿,其中《不安之书》被认为是他的代表作之一,展现了他对身份、现实与文学逃避的深刻思考。

Mindmap

Keywords

💡异名

指佩索亚创造的不同笔名和人格。他通过这些人格表达不同的文学风格和情感。这是理解佩索亚多产和实验性创作的核心。

💡多重人格

佩索亚将自己看成多个人格或灵魂的集合。这反映在他的创作中,每个异名有独特的风格和观点。

💡文学实验

佩索亚通过异名进行大量文学实验,探索不同的写作视角和风格。这种实验性创作是他的典型特征。

Highlights

佩索亚创造了许多文字人格表达自我

佩索亚的文字人格有独特的人生和文学风格

佩索亚的文字人格之间有时候互相批评

佩索亚把自己描述为媒介,被文字人格所影响

佩索亚6岁时就开始创作不同文字人格的文字

佩索亚在南非学到新语言,创作更多文字人格

佩索亚返回里斯本,继续文字人格实验

佩索亚创作了大量未发表作品,身后才被发现

佩索亚一生发表的作品获得些许认可

佩索亚探索自我认同的流动性

佩索亚文字人格否定自我存在的稳定性

佩索亚将自我比喻为隐藏的交响乐团

佩索亚留下近3万页遗稿,结集出版

佩索亚半成文字人格描写自我为虚无

佩索亚通过文字探索内心,逃离现实

Transcripts

play00:07

On November 30th, 1935, dozens of writers passed away.

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They came from different backgrounds, espoused divergent beliefs,

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and wrote in a variety of styles.

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Yet all of their work was stashed in a single trunk

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in an apartment in Lisbon, Portugal.

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So, what mysterious string tied all these writers together?

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Well, the trunk belonged to one enigmatic author, Fernando Pessoa,

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who was, in fact, all of them.

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Some authors use pseudonyms and pen names

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to protect their identities or bolster their artistic personas.

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But Pessoa used what he called “heteronyms” to write not as himself

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but as other people he invented,

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giving way to generative, artistic experimentation.

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He fleshed out their imagined lives, devised their distinct quirks,

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and cultivated their unique literary voices.

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Sometimes Pessoa's heteronyms interacted with each other,

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even criticizing one another's work.

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Pessoa described himself as a “nomadic wanderer through [his own] consciousness,”

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“a kind of medium,” “divided” among his heteronyms.

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“But,” he wrote, “I’m less real than the others,

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less substantial, less personal, and easily influenced by them all.”

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Born in Lisbon in 1888, Pessoa began writing as different people

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when he was around six years old,

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authoring letters as an imaginary Frenchman, Chevalier de Pas.

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When Pessoa’s stepfather moved their family to South Africa,

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Pessoa picked up new languages.

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He adopted several English-language heteronyms in high school

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and published booklets of poems featured by the British press.

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In 1905, Pessoa returned to Lisbon for good.

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He gained a reputation for his formal dress, affinity for the occult,

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and for being cordial and charming while always keeping people at arm’s length.

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Pessoa established art and literary journals and a publishing house.

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But while these public ventures failed to take off

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and Pessoa amassed debt and relocated frequently,

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his greatest experiments were unfolding in private.

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Scrawling in various languages on envelopes, book jackets and loose papers,

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Pessoa crafted a dreamy love letter as Maria José,

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a teenager with a spinal disorder who was infatuated with a metalworker;

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he scribbled detective stories as Horace James Faber;

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and analyzed astrological charts as Raphael Baldaya.

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He used three heteronyms most frequently.

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Alberto Caeiro was a shepherd-poet who used simple diction

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to describe the world as he saw it.

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Ricardo Reis, a doctor, favored the epic style of Classical poets.

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And Álvaro de Campos, a bisexual naval engineer and nomad,

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wrote poetry extolling the wonder and hardship of daily life.

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Using de Campos, Pessoa said he could channel all the emotions

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he denied himself.

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And at one point, de Campos claimed it was Pessoa who didn’t truly exist.

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During his lifetime,

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Pessoa published poems, letters, essays, and literary criticism—

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some as heteronyms, others under his own name.

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He also produced a handful of books, just one in Portuguese—

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a poetry collection about Portugal’s mythic history called “Message.”

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He gained local recognition,

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but the full scope of his creative endeavours only revealed itself

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when Pessoa died a year after the book’s release.

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From among almost 30,000 pages of unpublished work stashed in his trunk,

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critics eventually assembled “The Book of Disquiet” in 1982,

play03:43

which Pessoa spent two decades developing.

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It declares itself, in typically cryptic fashion,

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“the autobiography of someone who never existed.”

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Pessoa wrote it as the fictional diary of his so-called semi-heteronym,

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Bernardo Soares,

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whose personality he described as a “mere mutilation” of his own.

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Often frustrated by life’s demands,

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the book’s narrator explores how delving inwards through literature

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helps him escape reality’s confines.

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He continuously challenges conceptions of the self as a singular, reliable unit—

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instead grappling with identity as indefinite,

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each person a shifting sum of their parts.

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“My soul is a hidden orchestra,” the first entry reads.

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“I do not know what instruments, what violins and harps,

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drums and tambours sound and clash inside me.

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I know myself only as a symphony.”

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