Despite the well-known ambiguities inherent in Fernando Pessoa’s creative personality, we can identify some significant topics that remain throughout his work. One of these aspects is a diverse but constant need to present and describe the contrast between his position in regard to knowledge and the perspectives of the vast majority of his contemporaries, in particular those he criticizes or who are not qualified to understand his proposals. In this paper, I analyse one of the fundamental contrasts, using a text from Pessoa from 1932. I will present some notes concerning the opposition between the artist disconnected from the predominant meta-narratives and those who could have been potential readers if they were not hindered by some kind of ideological barrier. Unable to command the necessary attention from the reader regarding his potential scientific theses, Pessoa refuses to develop theses of a scientific nature and chooses instead to present a global vision of his work, seeing it as a plural form of conversion of scientific investigations into works of art.
