It’s the poet we love in Caeiro, not the philosopher. What we really get from these poems is a childlike sense of life, with all the direct materiality of the child’s mind, and all the vital spirituality of hope and increase that exist in the body and soul of nescient childhood. Caeiro’s work is a dawn that wakes us up and quickens us; a more that material, more than anti-spiritual dawn. It’s an abstract effect, pure vacuum, nothingness.

I consider a dream like I consider a shadow,” answered Caeiro, with his usual divine, unexpected promptitude. “A shadow is real, but it’s less real than a rock. A dream is real — if it weren’t, it wouldn’t be a dream — but less real than a thing. That’s what being real is like.

The Amorous Shepherd is a fruitless interlude, but those few poems are among the world’s greatest love poems, because they’re love poems about love, not about being poems. The poet loves because he loves, not because love exists.

When I’m depressed, I read Caeiro — he’s my fresh air. I become very calm, content, faithful — yes, I find faith in God, and in the soul’s transcendent living smallness, after reading the poems by that ungodly anti-humanist who goes unsurpassed on earth.

Superior poets say what they really feel. Mediocre poets say what they decide to feel. Inferior poets say what they think they should feel.

I suddenly asked my master Caeiro, “Are you at peace with yourself?” and he answered, “No, I’m at peace.” It was like the voice of the earth, which is everything and no one.

and the idea of nothingness — the most terrifying of all ideas, when thought of with feeling — has, in my dear master’s work and in my memories of him, something as high and luminous as sunlight upon snowy, unscalable peaks.

It’s stupid, but it’s human, and that’s how it is.

He possesses the minimum sensibility necessary for his intelligence not to be merely mathematical, the minimum a human being needs so that it can be proven with a thermometer that he's not dead.