54 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of death by suicide and mental illness.
Soares walks through the city, studying the architecture. He considers the differences between prose, poetry, and music. He thinks prose is the highest form of art. He muses on various authors he’s read, asserting that reading is no different from dreaming. Art can be “a substitute for […] living” (199) because it lets the artist imagine what he lacks. However, art can be disappointing if the artist is dissatisfied with his work. Soares often feels this way. Art can make him dissatisfied with life; or perhaps his expectations of life are too high.
Soares meditates on love. He examines the various relationships he’s had and how they’ve made him feel. Soares believes that love is exhausting because it requires too much sacrifice and attention.
Soares muses on morality and sin. He chooses several rules for life, although he believes it’s human to feel perpetually exhausted and lazy.
It rains all night. Soares lies in bed listening to the rain on the glass. He dreams of different colors and souls. He wishes he could fall fully asleep, but he remains conscious of the sounds in the street below. His soul is tired and heavy. He thinks about suicide again, still convinced it’s the wrong way to take action.
Soares feels unable to reconcile his internal and external worlds. He muses on history and various authors and thinkers. He feels frustrated with his art and reality. Even his memories can’t make him happy. At times, studying metaphysics and the sciences has occupied him, but it has brought him no true peace. All of his “theories about life” (218) are insufficient. He muses on the existence of God, deciding that God is in everything—particularly art. Life perhaps can’t offer happiness or peace of mind because the soul is always restless. He wonders at the illusions humans have created to keep misery at bay. He is often disgusted by religious and political systems and their attempts to spread alleged truths—none of which he trusts. The only way to God is through art.
Soares again declares that the best way to live is to create art. Through art, artists can communicate their feelings to others and make the abstract real: Art is inherently social, despite the isolation in which it is often produced.
Soares muses again on the existence and meaning of love, and how it relates to who he is. He references his mother’s death when he was an infant, wondering if this relates to his skepticism of love.
One day, Soares is overcome by isolation and boredom. Although he works, writes, dreams, desires, and suffers, he remains restless. He sometimes wonders if travel would change these sentiments, but he doubts it. The best ways to travel are by reading and dreaming. He sits in his apartment listening to someone play the piano in another unit. He’s overwhelmed by irritation and can’t stop thinking about his lost childhood.
Soares takes a walk. The city smells pleasing to him. His mind drifts back to thoughts of art, love, sleep, and dreaming. He can’t reconcile with the illusion of love, which is just a form of greed. No one can possess another person. People insist love is real, but the whole world is governed by insincerity. Everyone is in pursuit of happiness, but most people are lonely frauds and dreamers like himself.
Soares notices when a boy at the office returns to his hometown. He considers what such a journey would be like, reflecting on God and Fate.
Soares lies in bed, listening to the sound of the wind in the street. He can’t sleep. In the morning, he studies the sky, the light, and the clouds. He expects the day to be oppressive. He wonders at his own freedom. He believes freedom relates to the potential for solitude. People aren’t free if they can’t be alone. He muses on love as a form of enslavement.
Soares feels restless and tired for several days. Constantly dreaming, he wonders if he’s ever really awake. He feels confused by life when he must extricate himself from his dreams. He tries to write, but his work remains insufficient. He considers what it would be like to write a masterpiece. On another day, he feels more attached to his writing, delighted by his sentences. He feels jealous of people who can finish and publish their books but tries to make peace with how he commits his dreams to the page.
Soares muses on action, logic, and suffering. Suddenly he feels as if money is the only answer to his entrapment. He would be freer if he were more financially stable.
Soares is overcome by the absurdity of life. He takes a train and studies his surroundings and fellow passengers. He feels dazed and disillusioned. Traveling can be good, but he prefers traveling in his mind. Opening himself to new sensations is the best way to gain experience.
Back at the office, Soares devotes himself to his work. He encounters an unfamiliar man in the smoking room and tries imagining the man’s life. His daydreaming is a form of sympathy, but it can be immobilizing. He considers men of action versus those of inaction. More accomplished people are less sympathetic. Soares prefers to be an inactive dreamer. He can experience so many lives this way.
Soares muses on notions of faith, death, and beauty. He prides himself on dreaming. Then again, the banality of life often overcomes him. He takes walks, reports to the office, and overhears various conversations. He detests other people’s happiness and wishes modern society weren’t so obsessed with action. Activity seems to preclude happiness. He prefers wasting time, imagining other people’s lives, and making characters of them.
Soares wakes up one cold day and decides he is a failure. He reflects on his “bohemian” life, his solitude, and his dreams, unable to quell his despair. The weather grows progressively colder. Soares studies the signs of autumn throughout the city. He writes about the leaves, clouds, birds, and river. These musings deliver him from his stasis. He remembers again the importance of dreaming. If he didn’t dream, he wouldn’t survive. Although art is useless, it is beautiful.
Soares’s positive feelings shift once more. He is again overcome by anxiety. He feels unable to settle on any one truth.
Months pass, and Soares doesn’t write a word. Life feels empty and useless. Soares’s body pains him. His days are boring and tedious. He feels plagued by others’ perceptions of him. One day, he walks to the river and studies the water and sky. He feels connected to the landscape. Then he decides the landscape doesn’t exist.
Days pass, and Soares struggles to return to his writing. He can’t sleep but continues to dream. In one dream, he muses on the possibility of loving a woman and writes an ode to her. Then he remembers how oppressive love and relationships are. Hours pass, and he loses track of time. Months go by. Finally it’s spring. Soares walks through the city, studying the lonely streets as the weather changes. He notices the trees, trains, people, and sky.
Soares’s existential musings on life in the city throughout Chapters 226-353 further the novel’s theme of The Alienating Nature of Modern Urban Life. As a loner seemingly by choice, Soares enjoys spending his time alone—walking through the city, daydreaming, and writing his book. He holds that “Freedom is the possibility of isolation” and that “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” (243). Soares prides himself on his aloneness, because his isolation is his key to spiritual liberation and enlightenment. “If you can’t live alone,” he avers, “you were born a slave” (243). Equating solitude with freedom and sociality with enslavement, Soares highlights one of his most consistent positions: that true freedom is intellectual freedom. Because people crave and depend on social connectedness, he argues, they adopt the beliefs, habits, and postures of those around them in order to fit in. Only by not needing other people can he preserve his intellectual independence.
Soares’s solitude begets repeated musings on love, companionship, and relationships. Throughout Chapters 226-353, Soares depicts himself in a near constant state of seclusion and inactivity. He argues that these conditions are necessary for the protection of his active dream life and artistic productivity. Soares’s isolation leads him to think and write about the futility, absurdity, and irritation of societal notions of love: On a few occasions “when circumstances mischievously led me to suppose that I loved and to verify that the other person truly loved me,” Soares asserts that “my first reaction was of bewildered confusion” (202). His theories on love are in conversation with the philosophies of both Jean-Paul Sartre and Friedrich Nietzsche. While Sartre argued in Being and Nothingness that love could be a key to unlocking the inner self (though it was just as likely to be an illusion or a trap), Nietzsche in The Gay Science and other writings underscored the absurdity of romance, deeming it an impediment to personal freedom and a societal ploy. Nietzsche’s philosophies especially align with those central to The Book of Disquiet—in that both Nietzsche and Soares stress the impossibility of possessing another person. Soares’s meandering romantic meditations enact the contradictory nature of love itself—and reveal how the experience might simultaneously free and ensnare the individual.
Because Soares feels incapable of fostering relationships or taking action, he leans into his fictional worlds—a habit that reiterates the novel’s theme of The Imagination as a Source of Meaning. To Soares, life is nothing more than an ongoing dream of his own making. Dreaming is a form of artistic creation he relies on for his survival. Instead of interacting with others, he uses “Other people’s lives” to fuel his dreams, “where I live the life that seems to suit each one” (218). Imagining others’ interior worlds and inhabiting their circumstances grants Soares a semblance of control he doesn’t feel in his waking life. He may be powerless to change his own circumstances, to make connections, to leave Lisbon, or even to finish his own book—but he is free to travel and to experience new sensations in his mind. Dreams are a form of escape, transportation, and exploration. Pessoa thus implies that the human consciousness is the gateway to true experience.



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