Memorial del convento

by José Saramago

En Memorial del convento José Saramago realiza una incursión en la narrativa histórica. El volumen recorre un periodo de aproximadamente 30 años en la historia de Portugal durante la época de la Inquisición. El planteamiento registra no sólo el hecho histórico, sino que reconstruye la vida popular de la época, en un recorrido por los diferentes pueblos de los alrededores de Lisboa.

El rey D. Joâo V necesitaba herederos y, como doña Maria Ana no los concebía, él promete levantar un convento en Mafra a cambio de tener herederos. Simultáneamente, asistimos a la vida cotidiana del pueblo a través de la visión de un soldado que perdió la mano izquierda en la guerra contra los españoles. En un auto de la Inquisición, Baltasar conoce a Blimunda, una mujer con poderes mágicos que ve dentro de las personas, y cuya madre fue desterrada a Angola por tener poderes semejantes. Desafiando los rigores de la religión, ambos se casan mediante un ritual de sangre. Baltasar se convierte en ayudante del padre Bartolomeu, que, bajo la protección del rey, trabajaba en inventar una máquina para volar. La máquina de volar simboliza dos ideales: los cultos, representados por el propio padre Bartolomeu, y los populares, personificados en Blimunda y Baltasar.

Una narración directa, sin concesiones, vigorosa y rica. Saramago da al lenguaje de esta novela el tono de las narraciones históricas y realiza con él verdaderos malabarismos sintácticos.

Genres: Fiction, Historical Fiction, Classics, Portugal, Portuguese Literature, Romance, Nobel Prize

364 pages, Kindle Edition

First published January 1, 1982

About the author

José de Sousa Saramago (16 November 1922 – 18 June 2010) was a Portuguese novelist and recipient of the 1998 Nobel Prize in Literature, for his "parables sustained by imagination, compassion and irony [with which he] continually enables us once again to apprehend an elusory reality." His works, some of which have been seen as allegories, commonly present subversive perspectives on historic events, emphasizing the theopoetic. In 2003 Harold Bloom described Saramago as "the most gifted novelist alive in the world today."

https://en.wikipedia.org/wiki/Jos%C3%...

Reviews

[Vit Babenco · Rating 5 out of 5]

The tale is mesmerizing and it casted its spell on me immediately…

The ear has to be educated if one wishes to appreciate musical sounds, just as the eyes must learn to distinguish the value of words.

Baltasar and Blimunda, written in the genre of magical realism combined with an acute social drama, is like the magic music and it is full of miraculous mysticism of words and deeds.

Today’s bread does not eliminate yesterday’s hunger, much less that of tomorrow.

Baltasar and Blimunda is about the insatiable hunger of great love and the avid thirst for knowledge.

What you see here are the sails, which cleave the wind and move as required, this is the rudder, which steers the machine, not at random but under the skilled control of the pilot, this is the main body of the machine, which assumes the shape of a seashell from prow to stern, with bellows attached just in case the wind should drop, as frequently occurs at sea, and these are the wings, which are essential for balancing the machine in flight, I shall say nothing about these globes, for they are my secret, I need only tell you that without their contents the machine would not be capable of flying…

The unknown beckons.

[Henry Avila · Rating 4 out of 5]

King John V ( the Magnanimous ) of Portugal is a frustrated man, to continue the royal dynasty children are obviously needed, ( set back in the year of our Lord, 1711) married two years to the devout Austrian Princess Maria Ana, and yet no babies. At twenty -one, the good-looking monarch feels a little insulted, because of his failures, but the House of Braganza will eventually rule for almost 300 years this small, still wealthy land then and besides other women have proven it's not his fault. So when a Franciscan (St. Francis) friar promises that God will grant the King his wish, through their prayers, if a convent, (monastery) is built for that religious order, John the Fifth agrees readily as soon as the Queen gives birth... happily, it occurs later in the year just a daughter though, but next time a glorious son...The vast Portuguese Empire in Asia, Africa and South America is very rich, money keeps flowing into the royal treasury, they are the envy of the rest of Europe, the all-powerful king can do anything he wants. Mafra, a small town about 17 miles outside Lisbon is chosen for the project's site, at the lower end of the totem pole is an ex, disabled soldier by the name of Baltasar Mateus, nicknamed "Seven Suns". He fought for his Royal Highness against arch enemy Spain, leaving his left hand somewhere in that country, but the authorities have short memories, the patriot has no value to them now. He meets a young woman in magnificent Lisbon, by the name of Blimunda, not the most romantic enjoyable event, her disturbed mother found guilty of heresy, is being exiled to Angola, in Africa, but first a public flogging, seen by thousands of curious people, she will never return home, it's the time of the Inquisition . Baltasar has been trying hopelessly, to get a government pension in the city, with the help of Padre Bartolomeu Lourenco a historical figure, known as the "Flying Man" because he was building a fantastic flying machine, the young King is strangely supporting this bold endeavor . The former soldier had become friends with the brilliant, yet unstable priest, the two, Baltasar and Blimunda helped assemble the flying machine for the padre... Still rulers don't like to give money away, no pension so the new couple decide to go back to Mafra, Baltasar home town, his good parents and sister live there and greet him with tears in their eyes, after so many long years apart. Imagine, 45,000 workers employed in this massive project, building an enormous monastery which is constantly gets bigger and bigger, the King is like a kid in a candy shop, never mind the expense he can't help himself, a fabulous palace for the royals also will be erected, even a poor, one -handed man can get a paying job here. By the way, the intelligent Blimunda has a dark secret she can see inside the bodies of people, with X -ray eyes and check their health, if found out by the notorious Inquisition she'll be inevitably burned at the stake, as a witch. A superior novel , for anyone who likes historical fiction, very well written a gem. The sumptuous National Palace is still standing.

[Valeriu Gherghel · Rating 4 out of 5]

Am citit acest roman încă de cînd a fost tradus sub titlul modificat de un cenzor vigilent Memorialul de la Mafra. Nu sună rău, dar nu e titlul original.

Englezii au fost și mai inventivi, au înlocuit titlul cu totul și au propus Baltasar and Blimunda. N-au rezolvat mare lucru, au obținut un titlu exotic, în tradiția englezească, inaugurată de Dichens: Oliver Twist, David Copperfield, ca să nu-l mai amintesc pe Daniel Defoe. Un nume propriu nu sugerează nimic despre subiectul / topicul romanului, nu trădează „intenția autorului”, și, în opinia lui Umberto Eco, este titlul perfect. Dar: Baltasar and Blimunda nu e titlul lui Saramago, e un tertip negustoresc.

Primul lucru care m-a frapat acum 30 de ani a fost ironia corozivă a prozatorului. Nu scapă nimeni, nici imaturul rege Dom João V, nici patul monarhic invadat de păduchi, unde numitul João al V-lea își exercită viguros (și riguros) datoria conjugală sub plapuma de fulgi adusă din Austria de pioasa lui soție, regina Maria Ana. Femeia nu se împacă deloc cu proverbialele „geruri” din Portugalia, nici măcar augustul ei soț nu reușește s-o încălzească, are întotdeauna mîinile reci și sufletul înghețat. Cu ironie și sarcasm sînt descriși, de asemenea, episcopii unei inchiziții întîrziate (sîntem, totuși, la începutul secolului al XVIII-lea), nobilii din cercul regal, consilierii.

La un auto-da-fé sîngeros, printre spectatori, o întîlnim prima dată pe Blimunda, care și-a însoțit (de departe) mama acuzată de vrăjitorie și pedepsită la exil în Angola. Blimunda a moștenit ceva din însușirile ei magice, poate privi prin oameni și le poate fura „voințele”. Întîlnirea dintre Baltasar Șapte-Sori și Blimunda e prescrisă și inevitabilă: la sfîrșitul ceremoniei, pornesc împreună spre casă, casa din Lisabona a Blimundei, fiindcă fostul soldat Baltasar s-a născut în Mafra.

Ce urmează știți deja. Baltasar îl cunoaște pe părintele Bartolomeu Lourenço, un eretic (încă) nedovedit, obsedat de înălțimi și de libertate. După planul ingenios al părintelui Bartolomeu, vor construi o mașină zburătoare, Passarola (Păsăroiul), și se vor înălța extaziați în văzduh, deasupra nebuniei și răutății omenești. Blimunda mi-a amintit de Margareta a lui Goethe, femeia care întruchipează „eternul feminin” și îl poate salva pe bărbat în cele mai cumplite încercări. Așa se întîmplă și aici. Cînd Baltasar, urcat din nebăgare de seamă în vehicului zburător, dispare, Blimunda îl va căuta statornic, vreme de nouă ani (ca Isis pe Osiris, o altă aluzie literară): „Mii de leghe a străbătut Blimunda, aproape întotdeauna desculţă. Talpa picioarelor i s-a îngroşat, crăpată ca o scoarţă de plută”.

Memorialul mănăstirii e prima capodoperă a lui Saramago. Cînd s-a tipărit, autorul împlinise deja 60 de ani. Saramago va fi un exemplu de fecunditate tîrzie. Roberto Bolaño n-a avut norocul lui, a murit la 50 de ani. În 1982, Saramago încă nu renunțase cu totul la majuscule, virgule, paragrafe. Mai tîrziu a renunțat la ele, dar n-a renunțat și la umor.

P. S. N-am să înțeleg niciodată prin ce e mai poetic și mai potrivit termenul „mînăstire” decît mai firescul „mănăstire”. A scrie termenul cu î mi se pare un moft gratuit...

[Luís · Rating 4 out of 5]

This fiction work is based on an indisputable fact: the reign of John V, King of Portugal, in 1681, which decided on the construction of the Convent of Mafra. This convent was to have a structure similar to that of the Escorial (located on the outskirts of Madrid), built by order of Philip II, King of Spain.
Father Bartolomeu Lourenço was inspired by a Brazilian priest who pioneered aeronautics.
So, historical data source. Saramago traces the wars, epidemics, and religious festivals of the past. It shows the church's collaboration with the monarchy to exploit the people's colonialism and blindness of those who govern and obey. Therefore, the reader cannot ignore prejudices, ideological lies, and abuses of power. This book does not date; we can easily tie it to the contemporary world because very little has changed. The emphasis was constantly on applying the good recipes of the past, which had already proved their worth.

[Josh · Rating 5 out of 5]

(5.0+) Before I explain my feelings about Saramago's Baltasar and Blimunda, let me share a couple visuals from the late 17th & 18th Century that are highlighted within the text:



The passarola of Father Bartholomeu de Gusmao



An auto de fe of the Portugeuse Inquisition

Saramago's masterpiece.
343 pages.

Perhaps, the longest 343 pages I've ever tried to read, but very fulfilling in the end; a 5 star like no other that I've rated, 'Baltasar and Blimunda' is historical fiction at its base, but a satirical fairy tale concerning the hypocritical piety in early Modern Europe at its crux.

The language and prose is not only shockingly comical (speaking of the queen as merely a receptacle for reproduction), but philosophical, brutal and beautiful. Also, with his usual 'non-quotation' dialogue, it makes it a bit dense and a slow read, but if you like Saramago, you know what to expect.

In some parts, it feels slightly tedious due to the language, but in actuality it's the reader who needs to have patience; it will work itself out. The character development is superb and nothing is left to wonder, which, for this tale, is perfect. The ending is surprising, but fits.

I can easily see how nobel committee members would award him the prize from this work alone.

[Mark André · Rating 4 out of 5]

A strange book. Who was the hero? What was the story about? How dissatisfying was the end? The author describes three worlds: the opulent wealth and privilege of the king and his nobles, the manifest power and splendor of the church, and the dirty, stinky subsistence living of everyone else.

[Agnieszka · Rating 4 out of 5]

Baltasar and Blimunda revolves around the construction of the monumental monastery in Mafra, an effect of slyness of the Franciscans and vanity of the king of Portugal, Joao V. Thousands labouring workers to satisfy the morbid ambitions of monks and pamper bloated ego of the king remind us of builders pyramids in antiquity. Is it the ancient Egypt or the Catholic Portugal pride of kings and hypocrisy of clergy seems to be unchanged for centuries. Marriage of the altar and the throne always looked the same and the little people as ever were losers. People would kneel before the king, the bishop, the altar, the procession, the image of a saint. They would kneel so often that actually did not get up from their knees at all.




Saramago is wonderfully ironic and blasphemous. And equally ruthless towards monarchy and clergy. He's irreverent when with wry humour is stigmatizing their sanctimony, greed, lecherousness and stupidity, he's sarcastic describing endless ceremonials, the institution of the saints and indulgences, and, what a heresy!, doubting in the divine order of the world.

Meanwhile in the background unfolds unusual story, love of the crippled soldier Baltasar and daughter of woman condemned for witchcraft, Blimunda and their relationship with Padre Bartolemeu Lourenço who dreams of building passarola, the flying machine. To deny the law of gravity, soar where angels tread, look into the face of God ? Indeed, rather dangerous chimera in the time of the Inquisition.





Baltasar and Blimunda , alternately brutally realistic and wonderfully magical, you can hear echo of magical realism here is a remarkable tale. Saramago’s style is quite distinguishable, extremely long, complex sentences, often without punctuation, with two narrators all at once. It requires a lot of concentration but it’s highly original and rewarding reading.

Saramago perfectly balanced insatiable hunger for knowledge and questioning the established order of the world with power of love and man's character to create a powerful and visionary story of the human determination to pursue their dreams, overcome own limitations and rise above dreariness in times when life did not mean too much and people were burning like torches.

4.5/5

[MihaElla · Rating 5 out of 5]

I have always thought that one must be full of a creative madness to write the way it is composed this novel. It is a sheer original, brilliant and spellbound novel.
I was tightly and irrevocably encapsulated by the read from page one. And for sure it didn’t have anything to do with the full moon phenomenon which was happening just this very last weekend…by the time I actually finished it.

What a better start of the novel than by writing of this early 18th century Lisbon royal atmosphere:
≪ Dom Joao, the 5th monarch so named on the royal list, will pay a visit this night to the bedchamber of the Queen, Dona Maria Ana Josefa, who arrived more than two years ago from Austria to provide heirs for the Portuguese crown, and so far has shown no signs of becoming pregnant. Already there are rumors at court, both within and without the royal palace, that the Queen is barren, an insinuation that is carefully guarded from hostile ears and tongues and confided only to intimates. That anyone should blame the King is unthinkable, first because infertility is an evil that befalls not men but women, who for that very reason are often disowned and second, because there is material evidence, should such a thing be necessary, in the horde of bastards produced by the royal semen, who populate the kingdom and even at this moment are forming a procession in the square. Moreover, it is not the King but the Queen who spends all her time in prayer, beseeching a child from heaven, for two good reasons. The first reason is that a king, especially a king of Portugal, does not ask for something that he alone can provide, and the second reason is that a woman is essentially a vessel made to be filled, a natural supplicant, whether she pleads in novenas or in occasional prayers. But neither the perseverance of the King who, unless there is some canonical or physiological impediment, vigorously performs his royal duty twice weekly, nor the patience and humility of the Queen, who, besides praying, subjects herself to total immobility after her husband’s withdrawal, so that their generative secretions may fertilize undisturbed, her scant from a lack of incentive and time, and because of her deep moral scruples, the King’s prodigious, as one might expect from a man who is not yet 22-years of age, neither the one factor nor the other has succeeded so far in causing Dona Maria Ana’s womb to become swollen. Yet God is almighty…. ≫

What I am very sure (as much as a human being can be) that I’m going to remember in a couple of years from this reading is the purely amazing, earthy but also celestial love affair between the two main protagonists -[*unfortunately the 3rd main personage Padre Bartolomeu Lourenco de Gusmao who colored something like a one quarter of the book died far too soon to make a further strong impression…but I’ve missed him even so, he was an extremely brilliant mind for his living times] - Baltasar and Blimunda – two vagabonds, he a former soldier from a war that left him a disabled man without his left hand, and she, a clairvoyant, a girl with supernatural powers, who can see into things and people if fasting was done, two people who are full of eccentricities and have, from time to time, conversations about transcendental things…

The story gravitates around the creation and building of a Flying machine (the so-called beloved Passarola), enterprise which eventually comes to a successful fruition and, which is going to lead to some dramatic consequences for this trinity of airship inventors, and, on a larger scale, on the construction and erecting of the convent of Mafra, a highly ambitious and hard-labouring project which affects eventually the overall population of the country, because events are always interconnected and no one can escape from the eye of the Church (with the high supervision of the Holy Office of the Inquisition) and the State (as per the King’s decrees..).

≪…for it is a well-known fact that the ear has to be educated if one wishes to appreciate musical sounds, just as the eyes must learn to distinguish the value of words and the way in which they are combined when one is reading a text, and the hearing must be trained for one to comprehend speech, These weighty words moderate my frivolous remarks, for it is a common failing among men to say what they believe others wish to hear them say, without sticking to the truth, however, for men to be able to stick to the truth, they must first acknowledge their errors, And commit them, That is a question I couldn’t answer with a simple yes or no, but I do believe in the necessity of error.≫

≪…we never ask ourselves whether there might not be some wisdom in madness, even while recognizing that we are all a little mad. These are ways of keeping firmly on this side of madness, and just imagine, what would happen if madmen demanded to be treated as if they were equals with the sane, who are only a little mad, on the pretext that they themselves still possess a little wisdom, so as to safeguard, for example, their own existence…>>

I’ve found thoroughly absorbing the whole exuberance of the baroque narrative, blended with cascading discourses and meditations on human existence, religion, criss-crossed questions between intellect and faith on life’s governing, all flavoured by a comedy, erudite, sometimes surreal writing style of counting the stories that make up for people’s lives… In the end, Always as something, never as everything, and never as nothing. For, after all, we can escape from everything, but not from ourselves.

My first encounter with the Portuguese Jose Saramago, winner of the Nobel prize for literature in 1998, proved to be a perfect match, reading-wise. Enjoyed myself way too much and above of what I can further add here in. Basically, I fully agree with the author’s statement saying that: ≪the world has been blissfully mad ever since it was conceived. ≫

[KamRun · Rating 3 out of 5]

شاید خداوند یکی باشد، شاید سه تا، شاید هم چهارتا، کسی چه می‌داند؟ تفاوت بین این اعتقادات مشخص نیست. شاید خداوند تنها سرباز زنده از یک ارتش صدهزار نفری باشد. بنابراین بطور همزمان می‌تواند سرباز، افسر و هم فرمانده باشد

بالتازار و بلیموندا در نگاه نخست شاید رمانی قصه‌گونه و عاشقانه بنظر برسد، اما این اثر، یکی از انتقادی‌ترین و روشن‌گرانه ترین آثار ساراماگوست که در این امر حتی از اثر معروفش، کوری هم پیشی می‌گیرد. داستان با روایتی فرعی، صحنه‌ای در قصر پادشاه پرتغال آغاز می‌شود: دون خوان پنجم پس از سال‌ها هنوز وارثی ندارد و برای حل مشکل نازایی همسرش، به امید معجزه و به توصیه‌ی راهبان فرانسیسکن دست به دامان نذر بنای عبادتگاه بزرگی می‌شود. پس از نقل این ماجراها، روایت اصلی آغاز می‌شود: بالتازار، سرباز پیاده نظام ارتش پرتغال در جنگ با اسپانیا دست چپ خود را از دست داده و رو به سوی لیسبون، سرگردانِ جاده‌هاست. او در مراسم اعلام مجازات دادگاه تفتیش عقاید، بطور اتفاقی با بلیموندای چشم برزخی، دختر یکی از متهمان به جادگری رودررو می‌شود و رابطه‌ای عاشقانه میان آن دو شکل می‌گیرد. بالتازار بعد از آشنایی پدر بارتلومو، کشیش دانشمند دربار، درگیر ایده‌ی عجیب ساخت ماشین پرنده‌ی او می‌شود. باقی داستان شرح اتفاقاتی‌ست که بالتازار و بلیموندا در طی سالیان طولانی تا پایان عمر پشت سر می‌گذارند
مانند عنوان دوگانه‌ی کتاب، داستان هم سرشار از تقابل‌های دوگانه‌ست که از صفحات نخستین تا پایان داستان خود را به رخ خواننده می‌کشند: نخست با قرار گرفتن دو زندگی در روبروی هم: پادشاهی که قدرت خود را از کلیسا به عنوان نماینده‌ی خدا بر زمین دریافت می‌کند، ولی خودش مریض احوال و همسرش نازاست. آن‌ها روزها غرق در جلال و شکوه اند و شب‌ها همنشین اجباری ساس‌ها. در مقابل، بالتازار و بلیموندا از طبقه‌ی فرودست جامعه، روزها غرق در عرق و چرک کار هستند و شب‌ در آغوش عاشقانه‌ی یکدیگر در آرامش. بنظر می‌رسد که ساراماگو تلاش داشته به نوعی عالم قدسی را در برابر دنیای مادی قرار دهد و خواننده را به قضاوتی ضمنی وادارد. اما برای اثبات این ادعا، به شواهد بیشتری نیاز است، بهتر است با داستان جلو برویم
از میانه‌ی داستان و پس از زمینه‌سازی و معرفی مختصر شخصیت‌ها و سرگذشتشان، بالتازاز و بلیموندا تصمیم می‌گیرند کشیش بارتلومو را در ساخت ماشین پرنده یاری کنند. به گفته‌ی کشیش، آن‌ها برای پرواز، بجز اسکلت فلزی ماشین، به نور خورشید، کهربا و اتر به عنوان ماده‌ی اصلی جهت غلبه بر جاذبه نیاز دارند. کشیش مدت‌ها در جستجوی اتر، اکسیر موجود در ستارگان، به کشورهای همسایه سفر می‌کند و با پاسخی عجیب باز می‌گردد: ماشین پرنده برای پرواز به اراده‌های انسانی احتیاج دارد. تضاد اصلی داستان، یکبار دیگر در اینجا بطور ضمنی بیان شده است. کشیش دانشمند اراده‌ی انسانی را عامل پرواز می‌داند، در مقابل کلیسا که ایمان و روح را لازمه‌ی این امر می‌داند. استفاده پیاپی از عبارات کتاب‌مقدسی در دیالوگ کشیش هم در این قسمت بسیار برجسته و قابل توجه است

در هلند با داشنمندان با تجربه و شیمی‌دان صحبت کردم و از مصاحبت با آن‌ها لذت بردم، همان کسانی که با استفاده از نوعی سیم‌پیچی در قرقره، خورشیدی نورانی ایجاد می‌کنند، همان کسانی که زندگی شگفت‌آوری دارند و در پایان عمر، چیزی جز یک تشک کاهی برایشان باقی نمی‌ماند. همان کسانی که برای روشن نگاه داشتن چراغ زندگی دیگران خودشان می‌سوزند. من خوب می‌دانم آن چیست (اکسیری که قدرت پرواز دارد): چیزی به همین آسانی که خداوند می‌گوید روشنایی بشود و می‌شود (اشاره به آیات نخستین کتاب مقدس در سِفر پیدایش دارد که خداوند اراده می‌کند و فعل صورت می‌پذیرد. این آیات مبنای مفاهیم الاهیاتی درباب اراده‌ی خدا هستند)، این ماده پیش از آنکه به آسمان‌ها برود تا ستارگان را در جای خود نگه دارد و باعث رضایت خداوند بشود (اشاره به آیات نخستین سفر پیدایش که خدا در هر مرحله از خلقت از آفرینش خود خشنود شد)، در درون مردان و زنان زندگی می‌کند: نه روح، که اراده‌ی زندگان (انکار موکد ماورا) به دنیای مادی بازمی‌گردد

با پیشرفت داستان، شخصیت مستعد کشیش اندک اندک دچار تغییر می‌شود و ایمان مذهبی او به تردید و نوعی ندانم‌گرایی سوق پیدا می‌کند

بلیموندا: پدر ما را دعا کنید
کشیش: نمی‌توانم! نمی‌دانم به نام چه خدایی این کار را باید انجام بدهم. شما را به نام خودتان دعای خیر می‌کنم، همین اندازه هم کافی‌ست. ای کاش تمام دعاها اینگونه بودند

پس از تکمیل فرآیند ساخت ماشین و پرواز آن، تقابل به نقطه‌ی اوج می‌رسد و قدرت دینی کلیسا و خرافات در مقابل علم و اراده‌ی انسانی قد علم می‌کند و مجریان دادگاه تفتیش عقاید به قصد دستگیری و محاکمه‌ی کشیش در پی آنها می‌افتند. کشمکش‌ها ادامه پیدا می‌کند تا در پایان، بالتازار و کشیش مزد خود را از کلیسا دریافت می‌کنند: پدر بارتلومو به جنون می‌رسد و بالتازار در آتش جهل سوزانده می‌شود

اندیشه‌ی اومانیستی ساراماگو به طور عیانی در این اثر قابل مشاهده است. از دیدگاه او این اراده‌ی انسان است که در زمان تیرگی‌ها به دادش می‌رسد و راه‌گشاست. برای نیل به این مقصود، انسان فقط به آگاهی از این قدرت درونی خود نیاز دارد

بالتازار گفت چه ابرهای سیاه و بزرگی. بلیموندا گفت: کاش تو هم می‌توانستی ابر درون خودت را ببینی. در آن حال متوجه می‌شدی که این ابرهای سیاه سیاه در مقایسه با آن بزرگ نیست. ابر آسمانی در مقابل ابر درون آدمی هیچ است

پیش‌زمینه‌ی نیل به این آگاهی، احساس نیاز درونی‌ست. در قسمتی از داستان کشیش به بالتازار می‌گوید به محض اینکه کسی احساس نیاز کند، طرح‌ها در ذهنش شکل می‌گیرد و راه حل‌های فراوان به مغزش هجوم می‌آورد. بدون داشتن نیاز، راه حلی هم ارائه نمی‌شود. کلیسا در این‌جا هم نقطه‌ی مقابل چنین تفکری قرار گرفته و با پاسخ‌های نسیه و وعده‌های افیونی، نیاز را به تزویر فرو می‌نشاند و قوه‌ی خلاقه را زنجیر می‌کند. چنان که در قرون وسطی با وجود جهش‌های چشم‌گیر فلسفی و انتزاعی، علوم تجربی بشدت مورد شک و تکفیر قرار می‌گرفتند. زیرا آنچه کلیسا ادعایش را داشت، علم به اجرایش درمی‌آورد. این کلیساست که همیشه ادعای آسمانی بودن دارد و باور دارد روزی به آسمان‌ها ربوده می‌شود، اما می‌بینیم که این برای کلیسا در حد رویا باقی می‌ماند و بالتازار و بلیموندا و کشیش دانشمند است که قدرت پرواز را پیدا می‌کنند، آن هم نه بوسیله‌ی ایمان و باور دینی، که با قدرت علم و اراده‌ی انسانی

ساراماگو مانند دیگر آثارش، در اینجا هم به جهل، دگم‌های مذهبی و اخلاق تصنعی حاکم بر جامعه می‌تازد و در مقابل به تحسین عقل و اراده‌ی انسانی، علم و هنر می‌پردازد. هنگام صحبت از شکوه کلیسا و معجزات قدیسان و مسائل این چنینی، روایت لحنی طنزآلود به خود می‌گیرد

خداوندی که آن بالا در آسمان، عمر افراد را اندازه می‌گیرد و زمانی برای مرگ آن‌ها معین می‌کند، اجرای عدالت در مورد فقیر و غنی را از یاد نمی‌برد. به همین دلیل همزمان با مرگ فرزند اسپنس (رعیت)، در خانواده‌های ثروتمند هم دنبال وزنه‌ای گشت تا آن را در کفه‌ی دیگر ترازوی مرگ قرار دهد. بدین ترتیب شاهزاده هم در همان سن و سال، دار فانی را وداع گفت

و در قسمت‌هایی که از دانشمندان و هنرمندان صحبت می‌کند لحن به شدت حماسی می‌شود

نوای کلاویکورد از شکاف شومینه و پنجره‌ها در شب لیسبون پخش می‌شد. سربازان پرتغالی و آلمانی، ان را می‌شنیدند و درک می‌کردند. دریانوردانی که بر عرشه کشتی‌هایشان خفته بودند در خواب به آن گوش می‌دادند، ولگردهای ساحل ریبیرا گوش جان را به آن سپرده بودند. مردان مذهبی و راهبه‌های هزار عبادتگاه به آن توجه می‌کردند و می‌گفتند که آن صدای فرشتگان آسمانی خداوند است. مجروحان جنگی با شنیدن آن احساس میکردند دیگر نیازی به اعتراف ندارند و به راحتی می‌میرند

ساراماگو هنر - در اینجا موسیقی - را در کنار عقل، عامل رهایی‌بخش می‌داند و در دیالوگی ابین کشیش و موسیقی‌دان ایتالیایی این جمله از کشیش شنیده می‌شود: کسی چه می‌داند، شاید انسان با کمک موسیقی هم بتواند پرواز کند
او در توصیفی انتقادی از جامعه‌ی آن روزگار، اجتماعی را توصیف می‌کند که در ظاهر ارزش‌های مذهبی بر آن حکم‌فرماست و از اخلاقیات تصنعی پیروی می‌کنند. در این جامعه زنان را در تمام ایام سال بجز اعیاد مذهبی پشت چهارچوب در و پنجره و پستوی خانه زندانی کرده‌اند. ناقص بودن عقل و حاکمیت احساس بر اراده‌ی زنان، تفکر رایج چنینی جامعه‌ای است. اما در اینجا هم مانند رمان کوری، تنها فرد حقیقتا بینای داستان بلیموندا است، یک زن. بر اساس روایات کتاب‌مقدسی، این نخستین زن بود که فریب مار را خورد و مرد را هم به گناه کشید. بر اساس سوءفهم از این بخش کتاب‌مقدس، کلیسا برای مدت‌ها زنان را علت ورود گناه به زمین و عامل به گناه کشیدن مردان می‌دانست. زن شوریده‌ی داستان چنین تفکری را به چالش می‌کشد

کشیش‌ها برایش پیغام فرستاند و او را دعوت به اعتراف کردند. بلیموندا به آنها پاسخ داد که قول داده است تنها زمانی لب به اعتراف بگشاید که خودش را گناهکار احساس کند. پاسخی فاجعه‌آمیزتر از این برای کشیش‌ها وجود نداشت. هنگامی که بلیموندا در این مورد با زنان دیگر صحبت می‌کرد، آن‌ها را به فکر فرو می‌برد. اگر این موضوع واقعا به زنان دیگر تفهیم می‌شد، همه به این نتیجه می‌رسیدند که لازم است همه چیز دوباره و از نو شروع شود

اندیشه‌ی ساراماگو در قسمت‌هایی از داستان بشدت با جریان اومانیسم دینی مسیحی قرابت پیدا می‌کند. کشیش برای آماده‌سازی موعظه‌ی خود از عبارتی کتاب‌مقدسی استفاده می‌کند که ساراماگو برای تاکید بیشتر، آن را عینا و به زبان لاتین نقل کرده است: اِت ایگو این ایلو* . این عبارت که از نسخه‌ی ولگت انجیل یوحنا 6: 57 گرفته شده است، بطور ضمنی یعنی من (مرجع خدا) در تو(مرجع انسان) ساکن می‌شوم. کشیش می‌گوید اگر خدا در انسان جا می‌گیرد، پس او یا تقریبا خداست، یا قطعا خداست و به این نتیجه می‌رسد که بله، من قطعا خدا هستم. چنین تفکری بیان دیگری از اومانیسم دینی مسیحی‌ست. دیتریش بونهافر از رهبران فکری این جریان، در جایی می‌گوید: زیرا خدا خود در مسیح به عنوانی انسانی با و برای دیگران تجلی یافته است. مسیح تنها الگوی مسیحیان است که بر اساس تعالیم کتاب مقدس انسانی "با" و "برای" دیگران بود. مسیح قدیس وار زندگی نکرد، که اگر چنین بود دوست مجرمین و گناهکاران لقب نمی گرفت. در واقع خدا به طرزی متناقض نما نه در یک انسان مذهبی، بلکه در، به وسیله و همچون یک انسان، نه در یک کاهن، بلکه فقط در یک انسان، نه در امر قدسی بلکه خیلی ساده به صورت انسان آشکار شده است

* انجیل یوحنا 6: 57
چنانكه پدرِ زنده مرا فرستاد و من به پدر زنده هستم، همچنين كسي كه مرا بخورد او نيز به من زنده مي‌شود (ترجمه تحت‌اللفظی)
qui manducat meam carnem et bibit meum sanguinem in me manet et ego in illo (VLC)
As the living Father hath sent me, and I live by the Father: so he that eateth me, even he shall live by me (KJV)

[☘Misericordia☘ ⚡ϟ⚡⛈⚡☁ ❇️❤❣ · Rating 5 out of 5]

A majestic and oppressive view of Medieval Spain Portugal (as 300 people have told me, LOL!), Inquisition, Christianity, wars and day-to-day distasteful minutiae.

Q:
Men are angels born without wings, nothing could be nicer than to be born without wings and to make them grow. (c)
Q:
Em rei seria defeito a modéstia. (c)
Q:
Vai ajustando nos buracos apropriados da cimalha as figuras dos profetas e dos santos, e por cada uma fez vénia o camarista, afasta as dobras preciosas do veludo, aí está uma estátua oferecida na palma da mão, um profeta de barriga para baixo, um santo que trocou os pés pela cabeça, mas nestas involuntárias irreverências ninguém repara, tanto mais que logo el-rei reconstitui a ordem e a solenidade que convêm às coisas sagradas, endireitando e pondo em seu lugar as vigilantes entidades. (c)
Q:
Fique D. Maria Ana em paz, adormecida, invisível sob a montanha de penas, enquanto os percevejos
começam a sair das fendas, dos refegos, e se deixam cair do alto dossel, assim tornando mais rápida a viagem. (c)
Q:
Não é vulgar em reis um temperamento assim, mas Portugal sempre foi bem servido deles.
Bem servido de milagres, igualmente. (c)
Q:
Então Blimunda disse, Vem. Desprendeu-se a vontade de Baltasar
Sete-Sóis, mas não subiu para as estrelas, se à terra pertencia e a Blimunda. (c)
Q:
...Já aqui estive, já aqui passei, e dava com rostos que reconhecia, Não se lembra de mim, chamavam-me Voadora, Ah, bem me lembro, então achou o homem que procurava, O meu homem, Sim esse, Não achei, Ai pobrezinha, Ele não terá aparecido por aqui depois de eu ter passado, Não, não apareceu, nem nunca ouvi falar dele por estes arredores, Então cá vou, até um dia, Boa viagem, Se o encontrar.
Encontrou-o. Seis vezes passara por Lisboa, esta era a sétima. Vinha do Sul, dos lados de Pegões. Atravessou o rio, quase noite na última barca que aproveitava a maré. Não comia há quase vinte e quatro horas. Trazia algum alimento no alforge, mas, de cada vez que ia levá-lo à boca, parecia que sobre a sua mão outra mão se pousava e uma voz lhe dizia, Não comas, que o tempo é chegado. (c)

[diario_de_um_leitor_pjv · Rating 5 out of 5]

Tentei ler três vezes. A última foi em 2003. Em todas elas não passei da página 30.
Este ano, ano de centenário decidi tentar uma quarta.
E que leitura foi! Que maravilha. Obrigado José Saramago por este livro. Blimunda quero tanto te abraçar...

[David · Rating 5 out of 5]

Memorial del convento

I often thought that books can inspire you to travel. But these last two books by Saramago, "El año de la muerte de Ricardo Reis" and "Memorial del convento" have given me a different feeling. After traveling to Portugal last year, both books have become even more real after seeing many of the places visited. Both books have painted different periods of history in Portugal, the early twentieth century in Ricardo Reis; the early eighteenth century in Memorial. Both are amazing tales of the human spirit and I read both in Spanish (apologies for not reading in Portuguese...it does take awhile to master another language).

A special thanks to João Carlos for sending me the top twenty five Portuguese Books. Memorial do Convento rings in at number eight and I can see why.

In its heart, this is a love story between Baltazar and Blimunda (also the title in English). Baltazar is a soldier who lost his left hand after the war, returns to Lisbon where he meets Blimunda, who just had her mother sent away to Angola. This is the time of the Inquisition (auto de fé) and crowds are needed to see the latest victims (two women are also burned to death). Both have lost something and their love begins immediately. Blimunda has the ability to see inside a person and needs to eat bread before opening her eyes every morning. Is she a witch? A non-believer?

They become inseparable. They are given nicknames, Baltazar is Seven Suns because he can see clearly; Blimunda is Seven Moons because she she can see in the dark. " During the night the sun and moon embrace, while the stars turn slowly in the sky. The Moon, from where you came; the Sun, to where you are going. ("Tú eres Sietesoles porque ves a las claras, tú serás Sietelunas porque ves a oscuras, y así, Blimunda, que hasta entonces sólo se llamaba, como su madre, de Jesús, acabó siendo Sietelunas, y bien bautizada estaba, que el bautismo fue de cura, no un apodo cualquiera. Durmieron aquella noche los soles y las lunas abrazados, mientras giraban las estrellas lentamente en el cielo, Luna dónde estàs, Sol, adónde vas." (P. 107) You can't get more beautiful than this.

Wrapped around this couple are two other stories: the building of the Convent at Mafra and the concept of the passarola, one of the earliest flying machines. The spectacular convent was built by King João V when the queen bore him a daughter. Baltazar gets work at the convent and Saramago spares nothing describing the brutal job for thousands to build this massive project. It made many employees and yet the hardships were many. Under Saramago's acute and often sarcastic eyes I have to admit that I took on a new respect for many of the landmarks that I saw in Europe. The king utters, "Give to Caesar what is from God and give to God what is from Caesar and after we will tally the money, some for me, some for God" (Di al César lo que es de Dios, y a Dios lo que es del César, después haremos las cuentas y partiremos el dinero, un chavo para ti, otro para mí, en verdad os digo y diré, Y Yo, vuestro rey, de Portugal. p.190). Or when the German architect addresses the wealth of the king, he notes the endless money entering the mouth and leaving "...eso es lo qué pasa en Portugal, que es un saco sin fondo, le entera el dinero por la boca y le sale por el culo... (p. 349) Perhaps less of a beautiful sight.

The passarola was designed by the brilliant Brazilian priest Bartolomeu Lourenço de Gusmão. This fabulous work of ingenuity is featured as a drawing by Saramago on the cover - a strange bird like contraption that also becomes the heart of the story. Add to the mix, the Italian composer Domenico Scarlatti and this wonderful play with music, science and art intertwine in one of the most enchanting parts of the book. The priest's religious comparison pokes fun at the holy trinity, now Baltazar, Blimunda and Bartolomeu himself (the three B's), "El cura se acercó a ellos y se abrazó también, súbitamente perturbado por una analogía, así lo había dicho el italiano, Dios él mismo, Baltasar su hijo, Blimundo el Espíritu Santo, y estaban los tres en el cielo, Sólo hay un Dios, gritó, por el viento le arrebató las palabras de la boca." (p. 239)

Saramago has fun with us with his commentary and off the cuff remarks throughout the book is what elevates this book. There are very serious sides throughout. The plight of a woman, especially towards the queen, the horror to be the queen, for the grief to be a woman, "for the shame, this life that is; and for the death that comes" (por el horror de ser reina, por el dolor de ser mujer, por las dos penas juntos, por esta vida que se va, por esa muerte que viene. p. 135) or when the teen princess on route to wed her Spanish prince is rebuked by her mother, the queen, "Oh mother, how good it is to be born!" "To be born is to die," the queen responds. And with a dash, "How good to have those philosophical debates on long journey." (Oh, madre, qué es nacer, Nacer es morir, María Bárbara. Lo mejor de los viajes largos son estos filosóficos debates.(p.388)

Royalty, religion and the plight of the common worker are always at odds and yet, Saramago doesn't entrench us, he just makes us aware of the issues. Through the dark period of the inquisition, the new wealth brought in from the colonies enabled this period of tremendous economic growth in Portugal. This are changing. But at the heart are people and this fantastical story is about the lovers, a flying machine, a convent and music. His language (yes in Spanish) is some of the best I have read. Easy, long, poetic, reflective verses makes this book hum along at a leisure pace. Truly one of my most enjoyable reads in a very long time.

[Joana Gonçalves · Rating 5 out of 5]

Bem, cá vamos nós.
Este foi o primeiro livro de Saramago que li e não será, certamente, o último. Apaixonei-me pela escrita deste tão conceituado autor, verdade seja dita. Como se costuma dizer: "primeiro estranha-se, depois entranha-se" e eu tive de adotar os meus métodos para que isso acontecesse. A minha própria mãe presenciou alguns momentos embaraçosos de leituras e releituras em voz alta de diálogos confusos... Mas sobrevivi e adorei a experiência.

Começamos pelo Baltasar e pela Blimunda? A mim, parece-me bem... Adorei a relação destes dois. Um amor ingénuo, puro e cativante que traz ao de cima o melhor dos corações humanos. Se sofri com o final? Oh meus caros, eu tenho um grave problema com personagens fictícias e quando já me tinha conformado com o desfecho da história, o narrador decide lançar a "bomba" nos dois últimos parágrafos. Não soltei nem uma, nem duas nem mesmo três lágrimas... foram aos pares como se elas tivessem sofrido e não se quisessem abandonar umas às outras num momento tão (...) emotivo.
Blimunda e Baltasar, Sete-Luas e Sete-Sóis ficarão para sempre guardados na minha memória.

Quanto ao aspecto crítico da obra... Adorei ler a partir da perspectiva deste narrador tão perspicaz e inteligente. O notório tom sarcástico e ironia propositada em algumas passagens textuais não me seguraram umas boas e agradáveis gargalhadas. A descrição não podia ser mais ousada e adequada ao contexto social da época e o mais interessante, a meu ver, foi sem dúvida o relevo dado aos que vivem na sombra deste Portugal entorpecido da primeira metade do século XVIII. Um povo que vive na penúria, que luta por um país cujo rei usa e abusa do poder lhe fora concedido para satisfazer o seu "pequenino" ego.

Uma grande vénia a este senhor... Muita pena tenho eu de só agora dar valor a este fantástico escritor português! Palmas!

[Vladislav Radak · Rating 5 out of 5]

Za svoj prvi prikaz knjige na ovom sajtu sam izabrao, po mom mišljenju, najznačajnije literarno delo dvadesetog veka, u neku ruku skrajnuto, iako ovenčano nagradama, stilski i strukturalno za koplje prevazilazi maestralni „Sto godina samoće“ Saramagove velike zvezde vodilje Markesa (iako to nikada nije javno priznao).

Takođe treba napomenuti da sam ovaj prevod čitao u izdanju sada već nepostojeće kuće „Lingua Franca“ u prevodu detaljnog i posvećenog Dejana Tijaga Stankovića koji je svoj život posvetio portugalskom jeziku. Lagunino izdanje ne mogu da komentarišem jer ga nisam i nikad neću imati u rukama.

Uvodna greška svakog opisa jeste da je ovo istorijski roman, što samo govori o površnosti većine čitalaca. U pitanju je ljubavni roman i to još najlepše i najkompleksnije ljubavne priče (kako sam autor potvrđuje u intervju za Paris Review iz ’98 godine). U nemogućnosti da se bilo koje Saramagovo delo opiše, da se predstavi publici, leži dokaz njegovog genija. Baltazar i Blimunda (kako glasi originalni naziv ovog dela) je sam vrh njegovog virtuoza, od svojevrsnog stila, koji je i u mom pisanju napravio snažan zaokret, do suptilnog razvoja likova, brišići granicu između tragedije i komedije, sve to uvijajući u istoriske i društvene činjenice koje ovde služe samo kao potpora priči kao najsvetlijem primeru magičnog realizma. Ne smemo ni izostaviti iz vida da je Saramago predvodnik evropskog skepticizma u modernoj literaturi, dajući nasleđenom latinoameričkom realizmu dozu ironije, skoro gađenja prema nasilnom evropskom napretku, probadajući ga višeslojnim prikazima kontradikornosti.

Za razliku od Sto godina koji je roman o tragičnoj repetativnosti sudbine latinske Amerike (Istorija je groblje elita, učeniče…), Sedam Sunaca je roman o odnosu potlačenih i vladajućih, vernika i nevernika, napredku i sanjalačkoj viziji civilizacije koja je sve vreme leti na plamenu „običnog para“ koji svoju ljubav duguje posvećeošću, žrtvovanjem i razumu. „Tek kada sam napisao roman“, reći će Saramago deceniju kasnije “shvatio sam da sam napisao ljubavnu priču, a da ni jednom u romanu nisam izgovorio reč ljubav“.

[StefanP · Rating 5 out of 5]

Lisabon zaudara, zaudara na trulež, a miris tamjana daje nekakav smisao ovome smradu kvarnosti ljudskih tijela, jer duša je miomirisna.

Saramagov stil pisanja miluje oči i dušu poput kakvog delfina koji miluje more. Poslije ove knjige osjećam sve veću potrebu da ga čitam. U početku je bilo teško čitati ga i mislio sam da zadugo neću završiti knjigu, a onda malo po malo počeo je da otvara vrata u neka prostranstva, koja su surova, ali istovremeno i lijepa, a koja takođe daju neke poglede na određene stvari. Jednostavno, počeo je da me zadivljuje. Saramago je nekada ironičan, a nekada i tragičan. Što će reći ironično-tragičan. Istančanost kojom je predstavio dva glavna lika, koja se nalaze u oreolu hijerarhije, zatim njihove patnje za vrijeme inkvizicije u poslije ratnom periodu, njihovo učestovanje u izgradnji leteće mašine koja je i glavna ideja romana i njihov pokušaj segregacije iz svega toga je upečatljiva. Njegova proza na jedan uredan, kulturan, drzak i filozofski način prikazuje situaciju u Portugalu, rekavši da je to zemlja budućnosti, ali i da je to jedan prostački narod s obzirom na vremenski period u kojem se priča odvija. Kada samo pomislim da je dao naziv knjige Sedam Sunaca i Sedam luna i vratim se na na priču iste, prosto da ne povjerujem kakvu veliku insinuaciju je napravio!

[Ana · Rating 5 out of 5]

Relido pela terceira ou quarta vez.

Continuou a deslumbrar-me, a maravilhar-me e a afectar-me como se da primeira leitura se tratasse. É uma obra-prima, é do Mestre e é sempre um regresso a casa, do mais aconchegante possível!

NOTA - é obviamente mais do que um 10/10

Vídeo com a opinião completa no cantinho do costume (a partir do minuto 09:42):
https://www.youtube.com/watch?v=g9nKf...

[Katia N · Rating 3 out of 5]

It is my first Saramago and I am generally impressed. I loved the hypnotic, almost Homeric writing style. And I enjoyed the fable. Some episodes within this novel such as the flight were breathtaking. However, the main subject matter was not totally mine. I did not have particular interest in the main plot or the characters related to Portuguese royalty. So rating is more me than Saramago. I am sure we would get alone with him doing more fabulist plot in other books.

[Graciela · Rating 5 out of 5]

I picked up this book while traveling through Portugal this fall. Last summer, I read my first Saramango book, Blindness, and loved it. Walking along the riverfront in Lisbon, I ran into the José Saramango Foundation where there was an exhibit on his work and that of the famous Brazilian author Jorge Amado. It was as though I were a kid in a candy store! There were thousands of Saramango books in the library, and the bookshop carried many of his major works; unfortunately, it only had one in english. I asked the attendant which was her favorite and she said, without hesitation, “Memorial do Convento” ( the original title for Baltasar and Blimunda). This was, per her knowledge, what made Saramango famous in Portugal. I picked up a Spanish translation, as my knowledge of Portuguese is nonexistent.
The Memorial do Convento is a wonderful portrait of eighteenth century Portugal. As in the typical Saramango style, there is a mixture of reality, history, fantasy, humor, and endless descriptions of contextual facts and surroundings. For those new to Saramango, there will be the initial uphill battle of deciphering and decoding sentences four or five pages long, a lack of paragraph indentation and periods, and a plethora of commas separating dialogues, questions, and answers, of one to various characters– Saramango leaves it up to the reader to identify the speaker. Sometimes, one has to finish a pages-long sentence and re-read it to finally grasp the idea, all this being a surprisingly addictive exercise of the mind.
I must confess, though, that I found his complex style frustrating initially; I blamed the translations (so far I have read Blindness in French and this one in Spanish) and often doubted my capacity to understand what I read. After finally overcoming these frustrations, I must confess that I am now totally hooked on this style. How can I go back to reading orthodox literature with beautiful, easy, and predictable punctuation; long pauses to rest the mind between paragraphs and take a breath between numbered chapters as opposed to this breathless marathon of words, flight of ideas, numerous characters and circumstances dancing around endlessly between commas, and the constant demand to figure out who said what or whether it happens now, it already happened, it will never happen, or is it only a dream?!!!! Without a doubt, I will choose the latter –a thousand times over.
After reading this book, I feel as though I had lived in Portugal in the 1700’s. Saramango’s treatment of five distinct but intertwined themes, including history, personal relationships, socio-economic struggle, religion and persecution, and magic is impeccable. The love story is real, poetic, passionate, romantic, transcendental, and even eternal; a beautiful tool for linking the unbelievable, the ugly, the cruel, the unjust, the hopeful, the scientific, the despicable, the surreal, and the downright mad. A book that will definitively leave you thinking and thirsty for more...

[Cristina | Books, less beer & a baby Gaspar · Rating 4 out of 5]

4.5 stars

Alguém me deveria ter dado um par de estalos e obrigado a ler este livro no secundário... que história de amor belíssima! Cheio de crítica e realismo mágico, ficção histórica e humor, cada vez gosto mais de ler Saramago <3

(Não adianta alongar-me na opinião, visto que é uma das leituras do secundário e haverá bem mais completas, mas irei recomendar vivamente a leitura deste livro!)

[Susana · Rating 5 out of 5]

Este livro é maravilhoso, só tenho pena de ter demorado tantos anos a relê-lo!

[Nikos Tsentemeidis · Rating 2 out of 5]

Παραδόξως για τον αγαπημένο Σαραμάγκου, κάτι δεν πήγε καλά από την αρχή.

[Miriam Cihodariu · Rating 5 out of 5]

I love almost everything related to the European Middle Ages and this novel was one of the best I've ever encountered on the topic. It helped me explore more about Portuguese culture, as well, and intrigued to go even deeper into it.

I loved the story of Father Lourenço Bartolomeu, the real historical figure who invented a flying machine in the early 1700s, and the way it blends into the lives of the other main characters. I loved the mysticism blended with the vulgar and the realism of Portuguese social life of the late medieval period.

I also loved the fact that the cornerstone of the novel is a love story between two very working class characters. Their worldview is touching and extremely interesting, insofar as it reveals what the Portuguese peasant thought of the world.

The brief glimpses of aristocratic life are meaningfully similar, but less humanized. Blimunda's touches of the supernatural bring emotion, and the fact that they don't necessarily turn her into a pillar of wisdom is endearing. It's also interesting that the book offers insight into a passionate romance between two people in their late 40s and 50s. Baltasar and Blimunda is overall out of the ordinary and a beautiful, beautiful book. I will probably reread it in 10 years or so.

[Sónia Carvalho · Rating 5 out of 5]

Saramago mistura factos históricos com ficção e conta-nos o passado com os olhos no presente. Adoro a forma como intervém frequentemente na história que está a narrar e fala connosco. A história de amor de Blimunda e Sete-Sóis é bonita, carnal e eterna...

"Mas é um constante sol para esta mulher, não por sempre brilhar, mas por existir tanto, escondido de nuvens, tapado de eclipses, mas vivo, Santo Deus, e abre-lhe os braços, quem, abre-os ele a ela, abre-os ela a ele, ambos, são o escândalo da vila de Mafra, agarrarem-se assim um ao outro na praça pública, e com idade de sobra, talvez seja porque nunca tiveram filhos, talvez porque se vejam mais novos do que são, pobres cegos, ou porventura serão estes os únicos seres humanos que como são se vêem, é esse o modo mais difícil de ver, agora que eles estão juntos até os nossos olhos foram capazes de perceber que se tornaram belos" ❤

[Evripidis Gousiaris · Rating 5 out of 5]

Γοητευτικός με τον δικό του ξεχωριστό τρόπο! Εξαιρετικό.

[Jose Garrido · Rating 5 out of 5]

Releitura
Oficialmente esta foi a segunda leitura, mas tenho a certeza de que foram mais.
Continua a ser um deslumbramento.
Seguramente um dos melhores romances históricos que se editaram neste país.
O romance histórico fascina-me. Quando a ficção ‘vai para o futuro’, científica, dizem-na, na ausência de melhor designação, a liberdade do autor é total. Inventa o que lhe trouxer o engenho e a arte e não tem satisfações a dar, nem limites.
O romance histórico é mais complexo. O autor é obrigado a umas certas baias, as do enquadramento (ambiental) e também de uns tantos factos verificáveis, sem o respeito dos quais, os leitores gritarão: anacronismo ou falsidade.
Isso fascina-me.
Que mix tão rico escolheu JS para esta obra-prima: a riqueza Joanina já a definhar, uma Inquisição que foi instrumental para a Restauração, mas que já começa a cansar, o padre visionário que imaginou e construiu a Passarola e os dois personagens maiores, Baltasar e Blimunda, ambos astrais, sete-sóis e sete-luas.
Sublime. Muito bom. Já deveria ter relido/trelido mais cedo, mas a TBR é sempre tão longa…

[Moureco · Rating 5 out of 5]

Tentei ler isto com 16 anos e achei que era perfeitamente ilegível, um assassinato completo da língua portuguesa. Li-o aos 30, numas férias nos Biscoitos, ilha Terceira. Como foi possível passar mais de uma década sem que eu tivesse tentado de novo ler este livro? Blimunda é a personagem favorita de qualquer leitor, de todas as personagens de todos os escritores que o leitor tenha conhecido. A prosa de Saramago chega a ser poética: 'Dormiram nessa noite os sois e as luas abraçados, enquanto as estrelas rodavam lentamente no céu. Lua aonde estás, sol aonde vais', sobre o amor de Baltasar e Blimunda. E tanto, tanto mais... este livro é tanto mais...

[Estela Ladeiro · Rating 5 out of 5]

Há tanto que andava a adiar a leitura deste livro,...e nem sei bem porquê, gostei de todos os outros livros que li de José Saramago, mas este, mesmo sem saber muito do seu conteúdo, deduzi que seria mais "pesado e chato"...
E não é que adorei?!!
A escrita é cativante, a linguagem tem o poder especial de tudo iluminar... e aquela tão indicada crítica sobre a sua pontuação(ou falta dela), torna-se para mim, aquela velha máxima de o que é estranho de início, bem rápido se entranha.
Este livro está repleto daquelas boas e marcantes frases que encaixam tão bem nos valores e discernimento da vida.
"Porque, enfim, podemos fugir de tudo, não de nós próprios."

Depois vem aquela bem mordaz ironia e sarcasmo com que critica vários temas da sociedade daquele tempo, que se encaixam, por vezes, não bem, nos dias de hoje.
Adorei aquela sua arte de transformar vários provérbios populares...
"É para todos, a chuva, quando cai"
"Fazer o bem olhando a quem"...

O contexto histórico primorosamente entrelaçado com a ficção, onde os personagens históricos estão entre os peculiares e fantásticos personagens inventados e onde até uma história de amor acontece...bem visto, ao estilo de Saramago, e sem qualquer toque de novela mexicana, apenas bonita nos detalhes simples...da luz do sol ao brilho misterioso da lua, do nascer ao amadurecer, até ao final de uma vida.

Tudo isto e muito mais, fazem deste livro uma "viagem" magnífica..

Um memorial literário que contém a nossa história e muito mais, e que vale a pena conhecer!

[N · Rating 5 out of 5]

One of the most original and startling epic love stories, and one of the most whimsical and most tragic.

Star-crossed and mismatched, set among a time of horror and wonder, Baltasar and Blimunda will break your heart- Baltasar's a brave, bearded man with a missing hand; and Blimunda is stubborn, strong-willed and ever faithful. I liked this novel very much.

[Martina · Rating 5 out of 5]

“João Francisco Mateus deixou um quintal e uma casa velha. Tinha um cerrado no alto da Vela. Levou anos a limpá-la de pedras até que a enxada pudesse cavar em terra fofa. Não valeu a pena, as pedras já estão lá outra vez, afinal para quem vem um homem a este mundo.” (pág. 305)

[José Simões · Rating 5 out of 5]

Mafra tem um monumento nacional e a língua portuguesa tem este monumento literário. Das descrições às personagens, passando pela narrativa, tudo é perfeito aqui. E, no fim, apetece abraçar Saramago e agradecer-lhe por isto, por ter escrito um livro que fica a viver em nós, por muito tempo que passe.