PART ONE: CHECK THAT YOU HAVE READ TO THE END.
Write a summary and reaction (either personal or analytical) to the end of the play (scenes 12 through 14).
PART TWO: CREATE A STUDY GUIDE FOR GALILEO BY BERTOLT BRECHT
I will assign you one scene. Your scene is ____.
1. You will write a summary of the scene. (You can use the summaries at the beginning of the scenes in King Lear as a guide.)
2. Write an analysis of the scene.
- Think about what is implied by the way it is written.
- Think about the ways the techniques – direct characterization, indirect characterization (in dialogue, in stage directions, in character descriptions), foil characters, verbal irony, etc.; action, interaction, physical and intellectual and emotional conflict, foreshadowing, dramatic irony, situational irony, etc.; images, objects, symbols, figurative language, etc.; – contribute to the themes and effect of the scene.
- Think about the relationship of the scene to the work as a whole.
3. “Important Quotation Explained”: Choose a quotation. Write down the quotation and a paragraph or so explaining the quotation’s significance.
II. Write a response to one of the poems from this week's packet. You can post your response here. Post before you go away for vacation. (I know I said post by Sunday, but that's when I had forgotten that this is an important weekend for many families. Enjoy your families before you go off to Big Time University and elsewhere.)
20 comments:
ATrotsky
“Countless Lives Inhabit Us”
In this poem, Ricardo Reis is discussing the idea of existence and self. The speaker states that “I am merely the place/ Where things are thought or felt.” In other words, our bodies are the vessels in which thoughts and feelings exist. The speaker goes on to state that we as individuals are only one among many. Although each individual is insignificant in relation to existence as a whole, we exist nevertheless. The speaker then states, “I silence them: I speak.” This statement shows that despite a human’s apparent insignificance, they have the ability to impact others. Finally, in the third stanza, the speaker states that opposing feelings within them make it difficult to differentiate what it is that makes him who he is. He claims that he has to ignore these feelings, because who he believes he is, is in fact who he is. This means that we have the power to be the person we want to be and we are not controlled by some external existential force.
I really enjoyed the ending of this poem, specifically the part of not allowing the “crossing urges of what I feel or do not feel” dictate who I am. I like to think that we know ourselves better than others, and we have the ability to control who we are. This poem reminded me a lot of “Invisible Man” by Ralph Ellison. Similarly, in IM the protagonist struggles with who he is but ultimately avoids the labels and expectations of others by literally living underground away from everyone else. He knows that he himself is aware of the person he is. It is undeniable that we know ourselves better than even our closest friends and family since we are the culmination of all of the thoughts and experiences of our own lives.
"Sometimes I Meditate"
Alvaro De Campos
This poem screams "existential crisis". While De Campos is not necessarily questioning his own existence, it seems that he is pondering the existence of the universe as a whole. De Campos appears to be in awe of existence itself and what it means to be existent. In the line, "Each thing-a corner lamppost, a stone a tree-Is an eye that stares at me from an inscrutable abyss" suggests that he feels insignificant to the vastness and diversity of the universe around him. Each "thing" in this universe affects the existence of another, each one making the other seem less significant. "The existence of consciousness and reality, whatever these may be-how to express the horror that all of this causes me? How to tell what it's like to feel this?"- These lines really left an impression on me. It gives the poem a Catch-22 effect in that without consciousness and reality, existence would not exist, but since they are both "things" their existence is affected by everything else that is happening. I found this poem to be very deep, so deep that it is difficult for me to explain my interpretation, yet so easy to relate to. Everyone questions their own existence at one point or another, but De Campos delves into his mind and explores the existence of the universe in its entirety. It seems that he feels like in order to understand himself he must also understand how he exists in relation to everything around him. He seems to have an urge to "become one" with the universe.
“The Child Who Thinks About Fairies and Believes in Them”
In this poem Alberto Caeiro explains his thoughts about childhood make-believe. First he refers to the child as a sick god. It is interesting because in the introduction it is explained that Caeiro does not believe in god because if there was a god he would present himself. Caeiro follows the child’s thinking process, but finds flaw in the aspect that thought is not a basis for existence. He follows the child’s thought process that he and things exist, but existence cannot be explained. The reason this child is a sick god and not merely a god is because he is creating existence based on thought. This thought ruins his rationality, but there is no god to begin with in Caeiro’s eyes, so the child is just foolish. The title also gives away a lot in this poem. It is long and therefore signifies that it is not only the fact that the child thinks about fairies, but that he believes they are real. These two aspects together are what makes him a sick god.
NNimon
"Sometimes I Meditate"
I love how Alavaro do Campos talks about the confusion of existence. It's funny because the speaker meditates/thinks so long about existence, but his last line seems to negate all the thinking by saying, "How tell what it's like to feel this?" He thinks about existence, and how things exist, and the existence of "to exist," but the true wondering is how it feels to exist. Can a person really feel existence? That seems to be his question. What is it like to feel that there "exists a way for beings to exist?" It isn't about wondering for the speaker; it's about feeling.
JArnold
"The Child Who Thinks About Fairies and Believes In Them"
In this poem, the speaker compares the innocence and imagination of a child to that of a god. The similarity between the two things is the seeming ability to not need to ask questions. A child simply believes in fairies, and therefore acknowledges their existence. Alberto Caeiro compares the child to a sick god. He uses the word "sick" because the child's one flaw is that he affirms the existence of what doesn't exist. All the good things the child is able to do are explained in the second half of the poem. They all talk about existence. Basically the speaker says that while the child believes in something make-believe, he understands the concept of something being. The speaker ends with saying, "What he doesn't know is that thought is not a point". I had a difficult time interpreting this line. The only thing I could understand this to mean is that the child thinks about existence in every way possible, but that thinking about what exists is not enough. In other words, perhaps the thought of existence doesn't exist, and existence is only made real when it "occupies a point" that is more than just a thought.
Meghan C.
I really enjoyed the Ricardo Reis poem, “Countless Lives Inhabit Us.” It displays the theme of unsure existence, but it also showed that although Reis didn’t know the purpose of existence, he knew how to control it. The most prominent verse is, “I have more than just one soul./ There are more I’s than I myself./ I exist, nevertheless,/ Indifferent to them all./ I silence them: I speak.” The line “I silence them: I speak” shows a great reign of control from the author to his “other souls.” This is also seen in the last two lines, “Ignore them. They dictate nothing/ To the I I know: I write.” These lines add a dramatic tone to this poem. In such a relatable poem about insecurities, uncertainty, and existential anxiety, reading over coming words of empowerment is almost thrilling. Everyone has been in a situation where they have had no control over what happens; whether it’s a fight with a friend or parent, sometimes you just can’t gain control. In this poem, Reis overcomes the countless lives that are inhabiting him and gains control, and power over himself.
Annie Raether was born in 1987 in Fitzwilliam, New Hampshire. Growing up as an only child, Raether once filled her time with playing pretend, fairytales and tea parties. As Raether grew up, she began to obsess with poetry. She refused to read any prose in school, and wouldn't watch television or go to the theatre. She wasn't intolerant of others in her passionate blindness, she simply couldn’t imagine existing without poetry. Raether later became a little less extreme, and in college branched out into reading biographies of poets. One day she came across a curious poet, named Charles Olson. Olson fascinated Raether, and so one winter, during her Spring Break, she decided to visit the town of Gloucester, where Olson had worked, to find more information, and hopefully more poetry. While perusing a bookstore on the quaint Main Street, Raether saw a girl looking angrily at the store next door. It turned out the girl needed socks, and the store, Paaaaaallllazzzollaaa’s, was closed. The two struck up a conversation, and upon hearing of Raether’s search for Olson, the girl immediately recommended that Raether contact a Mr. James Cook, who had recently given a lecture on Olson at the Historical Museum. Thrilled, Raether continued on her journey. Eventually, after meeting Mr. Cook and discussing all of the poetry they’d ever read, Cook gave Raether a copy of the poems he had given to his AP students as an assignment. Of course, having heard of Pessoa long, long ago, Raether pulled up her own website, to share with Cook her very opinionated thoughts on one of Campos’ poems, “I Study Myself But Can’t Perceive”. It went a little something like this:
Lisbon, August, 1913.
It is said in the short biography of Campos that when he returns to Lisbon that he "deplores life's ordinariness" and also his own ordinariness. He "hates life's redundancy", and has even become disenchanted with travel. This is clearly reflected in his poem, and it's not difficult to see what the he's getting at, saying "I'm so addicted to feeling that/I lose myself if I'm distracted." and also "Nor have I ever ascertained/If I REALLY feel what I feel." Campos' struggle with existence is obvious, but not in a panicked fashion. He’s so calm, it’s like he doesn’t even care about what he’s saying. The poem feels like a conversation, but is also a speech and a run-on thought. His words even get Dr. Suess-esque in the final stanza, talking themselves in paradoxical circles. However, Campos, while said to be most closely reflective of Pessoa, doesn’t do with language what Pessoa wants. This is because it is impossible. Having read pretty much every poem ever, I know exactly what Campos is saying. Existence is frightening, because it’s so questionable. It’s terrifying to think that, if we let ourselves become too distracted with contemplating why we’re here, that we’ll miss the journey! Because we drink, because we breather, this, the things around us, is what is real, What matters. Or is it? Campos certainly gets his point across, but fails to do so in any kind of substantial manner. He doesn’t even answer any questions. It’s lame, and Pessoa should stick to his other alter-egos. They’re much more insightful than he.
in case anyone missed my terribly clever idea to attempt to create my own alter-ego, you should know that Annie Raether (at least the one i blogged about), does not exist. Also, her opinions on Campos' poem are not necessarily my opinions. sorry if this ruins the fact that you felt clever for recognizing my feeble attempts at doing what Pessoa has done so well here, but i also hope it clears up things for anyone who was...confused.
“Sometimes I Meditate”
It seems to me that Fernando Pessoa doesn’t put down “truth” directly in his poems. Rather, he conveys truth through his poems and through the characterization of his “heteronyms.” In fact, that is what most of his poems seem to be: elaborate characterizations. His own personal ideas and beliefs are embodied by these words paired with an invented, flawed human persona.
In “Sometimes I Meditate” Pessoa subtly pokes fun at his heteronym’s excursions into deep thought. From lines 8 to 16 this heteronym sinks into an endless cycle of abstractions. He starts out simply contemplating the fact of existence, then the way of existence, the way of the existence of existence, etc. He quite literally has to cut himself off in the middle of the poem: “Whatever these may be - .” Although it is hard to tell because this poem is a translation and I am not at all aware of Portuguese literary styles, Pessoa seems deliberately to draw on clichés: “Ah, that things exist!” This line is somewhat typical and mocks typical human thought patterns. It is very clearly influenced by Whitman but also mocks Whitman. So what is Pessoa himself really trying to say? First of all, it is impossible to contemplate existence and find anything concrete – we will inevitably drift into abstraction. Secondly (I think), when we try to contemplate these “big picture” ideas we fail to create any real new ideas, instead we fall into the same counter-productive pattern of thinking. The heteronym acknowledges the futility of his own thinking and the pain it causes: “How express the horror that all of this causes me?” The only truth we come upon is the unknowable complexity of our universe.
But then, this idea of Pessoa making fun of his heteronyms leads me to ask if he is also making fun of his heteronym’s final conclusion (that the universe is irreducibly complex and this complexity causes “pain” and “horror”) and even his heteronym’s process of “meditation.” He could be just shunning excessive thought entirely as the wrong way to know the universe. Our packet mentions that Pessoa is closest to his heteronym Campos, a “Sensationist.”
A few lines in “Sometimes I Meditate” do stand out to me as actually being strikingly original. Lines 4 through 6 for instance: “And the whole universe is a sea of faces with eyes bugging out at me. / Each thing – a corner lamppost, a stone, a tree – / Is an eye that stares at me from an inscrutable abyss.” I don’t think Pessoa is simply making fun of his heteronym here. He seems to say (this time directly) that when we think about things too deeply we distance ourselves from them and they start to seem unfathomable and hostile. We are overwhelmed by the “inscrutable abyss” we perceive. Although Pessoa doesn’t really say it anywhere within this poem, I think he would provide that the remedy is to experience universe intimately through sensation and direct interaction. We can never really “know” the universe completely, but by “experiencing” the universe it becomes less overwhelming, and we can be at peace with it.
Michael M
“I Study Myself but Can’t Perceive”
In this poem, Fernando Pessoa takes on the persona of Alvaro de Campos. Campos says in this poem that he is unsure of his identity and doesn’t know if the him he thinks he is is the real him. (Confusing I know). In the poem, the speaker starts out by saying that, “I’m so addicted to feeling that I lose myself if I’m distracted from the sensations I receive.” However, the speaker is unsure if he really feels these things because he is uncertain of his identity and these feelings define who he is. The speaker states that, “Nor have I ascertained if I really feel what I feel.” As well as, “Is the I I feel the I that’s real?” These two lines show that the speaker seems to resent that his life is defined by these feelings. When he says lines such as, “I’ve never discovered how to resist these hapless sensations I conceive” he seems to be disappointed that he feels these emotions. It is almost as if he wants to desperately escape these feelings because they have become so ingrained in him that he no longer feels like himself when he experiences them. In other words, his life has become so simplified and full of the same feelings that he no longer feels like he is living his life. He is just a person that has his life control his feelings and identity and because of that, he feels that he doesn’t really exist. He claims that he exists in the “liquor I drink” and the “air I breathe” and because his existence is based on feelings such as these, he doubts his own existence.
Brian Hand
"The Tobacco Shop"
To me, Alvaro de Campos is the best of Pessoa's three poetic heteronyms because his poetry contains the most emotional variation and displays the most poetic and philosophical struggles. In "The Tobacco Shop," The speaker's (who we will assume is male) struggle is defined by his shifts from complete opposite desires, that is, alternatively wanting to be everything and nothing.
His principal desire to feel and be everything is reminiscent of Walt Whitman's credo "I am large, I contain multitudes." In "The Tobacco Shop," the speaker expresses a similar desire: "But I think of being so many things!" When his quest to be everything inevitably fails, he falls to an identity crisis of the opposite pole; he believes in nothingness: "No, I don't believe in me." This battle exists throughout the poem; he proclaims he has "lived, studied, loved, and even begged," but then retracts: "it's possible to do all of this without ever having done any of it." I like to think that this battle is the driving force behind the poem. The isolation and belief in nothingness leads the speaker to the notion that the world is for actors (I mean people who act with conviction, not people playing dramatic roles) and not thinkers: "The world is for those born to conquer it..."
The final three stanzas illustrate the speaker's ultimate dealing with these two instinctive impulses. He resolves to simultaneously hold both of these desires within himself by secretly acknowledging that everything will "eventually die" while vowing to write "verses in which [he] say[s] the opposite." He can finally hold seemingly conflicting ideas through his poetry. The final line highlights both his poetic thought and his blank existential thought "I get up from the chair. I go to the window."
A Randazza
“Countless lives inhabit us”
I think I was most drawn to this poem by Ricardo Reis because I was thinking of a blog post that I wrote for King Lear:
“It seems through all the play the two different sides of Lear “take turns” in a way when coming to the surface. Specifically seen when Lear becomes angry then calms himself down then becomes angry again.”-- Basically King Lear had more than one “I” like Fernando Pessoa, but his stormy mind got in the way of creatively expressing it…
I really enjoy the fact the Fernando Pessoa (Ricardo Reis) was so bold as to proclaim that he has multiple people, or “urges” if you will, existing inside of him and that he believes he is “merely the place/Where things are thought or felt” (line 4-5). I don’t exactly find him to be crazy - like most people probably did/do. I believe he found a creative outlet from which he can explore those different urges yet keep some control over their expression: “I silence them: I speak” (line 10). And though those internal urges may “struggle” Reis is able to “ignore them” and follow through with writing to the true person he feels that he is -- unlike King Lear who went crazy…Maybe because he couldn’t create those other people…or animal I guess…
Courtland K
Alberto Caeiro
"The Child Who Thinks About Fairies and Believes in Them"
I love the word "sick" in literature. We encountered the idea last year when reading our monster book and "Lord of the Flies," and in Caeiro's poem, it presents this sense of ambiguous wrongness that can be interpreted as almost anything. "Acts like a sick god..." What a line. It took me a few times reading the poem to start to understand what Caeiro was talking about, but so far I think that he is referring to a god as a creator, and so the child is acting like a god because he is creating fairies in his mind. And although this child has a pretty firm grasp on existence and that "to exist is to occupy a point," he still believes in these fairies because he knows that they exists and so they occupy a point in his mind. But, as the narrator explains, "What he doesn't know is that thought is not a point."
I think that Caeiro may be saying that a lot of existential theories are flawed, and that according to some of their points, fairies certainly exist. This is why this child, who knows so much about existence, capable of believing in fairies, and is thus creating them, like a god. However, he is not a true god because he did not actually create the fairies. He is sick because he created the fairies, but they exist on for him, inside of his head, and is not capable of creating them for everyone else to see. He is also sick because he does not know that he created the fairies; he simply believes that they exist, and unconscious creation is not godlike behavior.
I find it interesting that Caeiro used gods in an existential poem because I don't think that the two topics are normally combined. By acting like a God, the child would be giving he creations purpose, and thus his fairies would not simply "exist...by existing...and cannot be explained." But they do because they are "occupying a point," and so to the sick god they do exist. His not knowing that "thought is not a point" is just part of his sickness, because "he is a god nonetheless," and so really is a creator.
C Rideout
"Countless Lives Inhabit Us"
In Reis' poem, he speaks of the conflicting beings within our existence of self. The confusion of different thoughts, and the ability to control the many sides of ourselves, is a huge theme in this poem. Alex T. used the word "vessels" to describe how humans, as Reis implies, are just carriers of thoughts and ideas. "Countless lives" have had similar thoughts and ideas. The notion that our bodies exist to carry these emotions, ones that many others have shared before, can be depressing to some. But Reis approaches this fear rationally. The tone of the poem is very calm. "I silence them: I speak" he says in the second stanza. Reis is commenting here on the many other I's that exist, and how his indifference to them allows him to exist without questioning. He can speak without doubting the purpose of it. In the third stanza, he says a similar phrase. "They dictate nothing to the I I know: I write." This phrase also implies his control of his fears/questions about existence, and the "crossing urges" of his selves. However, as the second stanza dealt with a more universal method of communication (speaking and silence) this last stanza deals with Reis (and Pessoa's) use of art when investigating the many selves within us. Reis is stating that poetry helps him to conquer and control the conflicting lives within him.
Esperanza Delictica met Allie when they were in sophomore year at Gloucester High School. They became very good friends and, as they were both poets, shared their work on many occasions. Although she enjoyed their time together, Esperanza disliked Allie’s poetic style. She thought her poems were far too romantic and flowery. The lines were much too long and wordy. Esperanza in her own work strove to cast aside her ridiculously romantic name and to write poetry that reflects life as it actually is. She wrote things from a much more urban perspective as she never identified with nature as Allie did. Although Esperanza viewed herself as hardened, experienced and jaded, there still in her work appears a slight amount of romance. Whereas Allie often captured a scene or a feeling, Esperanza was much more interested in storytelling.
Singin’ in the Rain
By Esperanza Delictica
Singin’ in the rain
It says
In dripping spray paint
The teenage thug
Wrote it
When no one was looking
He used to watch
Gene Kelley
On the old tv set
With the rabbit ears
On the Saturdays
his grandma
Remembered her name
She’s dead now
Cheap silk flowers
On the weedy dirt
The teenage thug
Ran away last
Week
When he was so
Feed up with the shit
He couldn’t stand it
His baggy pants
Make his twelve
Year old body
Look like a rag doll
He’s cold
He thinks
He might
Disappear
When no one’s
Watching
Blink out
Like an old light bulb
So he writes
Mornings with her
On the wall
When he thought
Things might be ok
I don’t really want to put an explication in here because I think it’s better without it but its part of the assignment so…I imitated Pessoa’s use of heteronyms by creating one of my own. Esperanza has a writing style similar to the style that I wish I had but don’t because that is not who I am as a poet. With Esperanza, I was striving to make her poems more ambiguous like Alex R’s poetry but I’m not that skilled a poet so I couldn’t. Esperanza also rebels against my romanticism which is something I often do. In certain ways, she is like my de Campos in that she says the things that I can’t say. This is a bit different though because Pessoa had de Campos say the things he was afraid to say. Like Pessoa, my heteronym is a reflection of myself but has slightly different views than I do or some of my views exaggerated. The idea for this poem came when I saw graffiti on a wall in Boston that said "Singin' in the Rain" on the way back from Galileo. I instantly wondered why someone had written it. The romanticism that Esperanza resists so much comes up in the fact that she decided to write the story of a lost boy remembering his grandmother rather than some kids who wrote this graffiti on the wall because they were bored.
(Sorry for the swearing, it was Esperanza's fault)
Lucy Fox
9 by Caeiro
---Thoughts are sensations. "I think with my eyes and my ears and with my hands and my feet and with my nose and mouth." The senses are what creates thought.
---Sensations are real, and so thoughts are real: "To think a flower is to see and smell it"
---Sensation is truth and knowing of truth "And to eat a fruit is to know its meaning"
---Finding truth and reality in sensation is simple and gratifying because it is always there :"And I lie down in the grass/and clsoe my warm eyes,/Then I feel my whole body lying down in reality,/I know the truth, and I'm happy."
Caeiro's theory about reality, truth, and physical sensation, their relationship, is really quite simple. He creates this simplicity with uncomplicated language, and by using almost childish syntax and punctuation (or lack thereof). He lists "my eyes and my ears and with my hands and feet and with my nose and mouth" creating an easygoing tone without commas or complicated punctuation or diction. He states very straightforwardly: To think a flower is to see and smell it,/and to eat a fruit is to know its meaning.” The explanation is not muddled in metaphor and simile. As Pessoa says about Caeiro, “Out of this sentiment, or rather, absence of sentiment, he makes poetry.”Caeiro seems to believe that, at least from looking at his poetry, all that exists, exists, and that is the end of it. This is what is real and can be felt by the senses, and therefore, that is truth and that is reality.
"I Study Myself But Can't Perceive"
Alvaro de Campos
The idea in all of the poems by the heteronyms of Fernando Pessoa address the ridiculousness of existence through a ridiculous medium. The poem by Alvaro de Campos 'I Study Myself But Can't Perceive" feels closest in subject matter to "Countless Lives Inhabit Us" written by Ricardo Reis. Both poems reveal a lot of Pessoa's meaning in creating different people to express everything within him, but while Reis' poem reads more like a solution or an answer to the feeling of multiplicity, de Campos' poem is still in the thick of confusion, unwilling and unready to make any conclusions about the strangeness of the feeling of existence.
The honesty of "I Study Myself But Can't Perceive" is something that immediately compelled me to the poem. It reminded me in so many ways of all of the grappling that the varsity team did when trying to explain their thoughts about existential crises and reminded me in particular of the obsession that a lot of people on the team started to develop with truth in fiction, multiplicity of truth, and so on. I have no doubt that "I Study Myself But Can't Perceive" is an honest poem, or, a poem based in truthfulness. I also do not doubt that it is fiction. As Alex R put it rather excellently, "he conveys truth through the characterization of his heteronyms." What I mean to say is that Pessoa probably felt very deeply the things that he wrote in "I Study Myself But Can't Perceive" but also he has as much to say in the content of the poem as he does in the fact that Alvaro de Campos is writing it.
That said. The poem itself.. The confusion of what a person can be if all they ever feel is what they receive through the sensations, I love that. It really is confusing. I also like the feeling of addiction and obsession in this poem. When he says he's addicted to feeling, and being unable to resist sensations, that's what I think is how people really feel - as opposed to utter calmness of "Countless Lives Inhabit Us," this poem is confused and frustrated, and that feels true. I find the line "Even with feelings I'm a bit of an atheist." so compelling because it's such a clear indication of what the speaker believes to be divine, or at least it means that de Campos believes their is a certain divinity to being the vessel that every sensation finds itself in.
I Placidly Wait
For What I Don't Know
This poem addresses the peaceful pain of the constant expectations that come with existence. In different ways, all people persevere by creating a purpose, by believing that as they age and form a presence they are working, compiling, towards Something. This poem represents a part of the writer's self that is aware of the absurdity of propelling towards nothing, but is content with the idea of the falling action of silence.
Countless lives Inhabit Us
In this poem, Ricardo Reis writes of the complexity of them human mind, body, and soul. He writes that there is a lot more to someone than the surface. We think and feel, but have little control over when and what to think and feel. We exist but have little control over our existence. What we do have control over is speech, and action. We can filter in and out what we want to say and write and what we don't want to. We can suppress urges, or act on a whim.
Ricardo Reis expresses how thoughts and feelings are not who we are, "they dictate nothing," he writes "I silence them." We have the ability to be filter what is right and wrong. In the third stanza he writes: "The crossing urges of what I feel or do not feel struggle in who I am, but I ignore them." What we actually say or do is what makes us who we are. It is what seperates humans from other animals.
Ricardo Reis reaches into the deeper realms of the human intellect in this poem. It's brilliant. It actually made me think about something I never thought of before.
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