And with a relentlessness that comes from the world's depths, with a persistence that strikes the keys metaphysically, the scales of a piano student keep playing over and over, up and down the physical backbone of my memory. It's the old streets with other people, the same streets that today are different; it's dead people speaking to me through the transparency of their absence; it's remorse for what I did or didn't do; it's the rippling of streams in the night, noises from below in the quiet building.I feel like screaming inside my head. I want to stop, to break, to smash this impossible phonograph record that keeps playing inside me, where it doesn't belong, an intangible torturer. I want my soul, a vehicle taken over by others, to let me off and go on without me. I'm going crazy from having to hear. And in the end it is I – in my odiously impressionable brain, in my thin skin, in my hypersensitive nerves – who am the keys played in scales, O horrible and personal piano of our memory.

And with a relentlessness that comes from the world's depths, with a persistence that strikes the keys metaphysically, the scales of a piano student keep playing over and over, up and down the physical backbone of my memory. It's the old streets with other people, the same streets that today are different; it's dead people speaking to me through the transparency of their absence; it's remorse for what I did or didn't do; it's the rippling of streams in the night, noises from below in the quiet building.I feel like screaming inside my head. I want to stop, to break, to smash this impossible phonograph record that keeps playing inside me, where it doesn't belong, an intangible torturer. I want my soul, a vehicle taken over by others, to let me off and go on without me. I'm going crazy from having to hear. And in the end it is I – in my odiously impressionable brain, in my thin skin, in my hypersensitive nerves – who am the keys played in scales, O horrible and personal piano of our memory.

Fernando Pessoa
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Isn't joyful or painful this pain in which I rejoice

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Again I see you, But me I don't see!, The magical mirror in which I saw myself has been broken, And only a piece of me I see in each fatal fragment - Only a piece of you and me!...

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Lord, may the pain be ours, And the weakness that it brings, But at least give us the strength, Of not showing it to anyone!

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To be great, be whole;Exclude nothing, exaggerate nothing that is not you.Be whole in everything. Put all you areInto the smallest thing you do.So, in each lake, the moon shines with splendorBecause it blooms up above.

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If after I die, people want to write my biography, there is nothing simpler. They only need two dates: the date of my birth and the date of my death. Between one and another, every day is mine.

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The Complete Work is essentially dramatic, thought it takes different forms - prose passages in this first volume, poems and philosophies in other volumes. It's the product of the temperament I've been blessed or cursed with - I'm not sure which. All I know is that the author of these lines (I'm not sure if also of these books) has never had just one personality, and has never thought or felt except dramatically - that is, through invented persons, or personalities, who are more capable than he of feeling what's to be felt.

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Time, which grays hair and wrinkles faces, also withers violent affections, and much more quickly.

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Success consists in being successful, not in having potential for success. Any wide piece of ground is the potential site of a palace, but there's no palace till it's built.

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