Wisława Szymborska
Wisława Szymborska (Polish pronunciation: [vʲisˈwava ʂɨmˈbɔrska], born July 2, 1923 in Kórnik, Poland) is a Polish poet, essayist, and translator. She was awarded the 1996 Nobel Prize in Literature. In Poland, her books reach sales rivaling prominent prose authors—although she once remarked in a poem entitled "Some like poetry" [Niektórzy lubią poezję] that no more than two out of a thousand people care for the art.
Szymborska frequently employs literary devices such as irony, paradox, contradiction, and understatement, to illuminate philosophical themes and obsessions. Szymborska's compact poems often conjure large existential puzzles, touching on issues of ethical import, and reflecting on the condition of people both as individuals and as members of human society. Szymborska's style is succinct and marked by introspection and wit.
Szymborska's reputation rests on a relatively small body of work: she has not published more than 250 poems to date. She is often described as modest to the point of shyness[citation needed]. She has long been cherished by Polish literary contemporaries (including Czesław Miłosz) and her poetry has been set to music by Zbigniew Preisner. Szymborska became better known internationally after she was awarded the 1996 Nobel Prize. Szymborska's work has been translated into many European languages, as well as into Arabic, Hebrew, Japanese and Chinese.
In 1931, Szymborska's family moved to Kraków. She has been linked with this city, where she studied, worked.
When World War II broke out in 1939, she continued her education in underground lessons. From 1943, she worked as a railroad employee and managed to avoid being deported to Germany as a forced labourer. It was during this time that her career as an artist began with illustrations for an English-language textbook. She also began writing stories and occasional poems.
Beginning in 1945, Szymborska took up studies of Polish language and literature before switching to sociology at the Jagiellonian University in Kraków. There she soon became involved in the local writing scene, and met and was influenced by Czesław Miłosz. In March 1945, she published her first poem Szukam słowa ("I seek the word") in the daily paper Dziennik Polski; her poems continued to be published in various newspapers and periodicals for a number of years. In 1948 she quit her studies without a degree, due to her poor financial circumstances; the same year, she married poet Adam Włodek, whom she divorced in 1954. At that time, she was working as a secretary for an educational biweekly magazine as well as an illustrator.
During Stalinism in Poland in 1953 she participated in the defamation of Catholic priests from Kraków who were groundlessly condemned by the ruling Communists to death.[1] Her first book was to be published in 1949, but did not pass censorship as it "did not meet socialist requirements." Like many other intellectuals in post-war Poland, however, Szymborska remained loyal to the PRL official ideology early in her career, signing political petitions and praising Stalin, Lenin and the realities of socialism. This attitude is seen in her debut collection Dlatego żyjemy ("That is what we are living for"), containing the poems Lenin and Młodzieży budującej Nową Hutę ("For the Youth that Builds Nowa Huta"), about the construction of a Stalinist industrial town near Kraków. She also became a member of the ruling Polish United Workers' Party.
Like many Polish intellectuals initially close to the official party line, Szymborska gradually grew estranged from socialist ideology and renounced her earlier political work. Although she did not officially leave the party until 1966, she began to establish contacts with dissidents. As early as 1957, she befriended Jerzy Giedroyc, the editor of the influential Paris-based emigré journal Kultura, to which she also contributed. In 1964 s
“I prefer the absurdity of writing poemsto the absurdity of not writing poems.”
“Musi być do wyboru,Zmieniać się, żeby tylko nic się nie zmieniło.To łatwe, niemożliwe, trudne, warte próby.Oczy ma, jeśli trzeba, raz modre, raz szare,Czarne, wesołe, bez powodu pełne łezŚpi z nim jak pierwsza z brzegu, jedyna na świecie.Urodzi mu czworo dzieci, żadnych dzieci, jedno.Naiwna, ale najlepiej doradzi.Słaba, ale udźwignie.Nie ma głowy na karku, to będzie ją miała.Czyta Jaspersa i pisma kobiece.Nie wie po co ta śrubka i zbuduje most.Młoda, jak zwykle młoda, ciągle jeszcze młoda.Trzyma w rękach wróbelka ze złamanym skrzydłem,własne pieniądze na podróż daleką i długą,tasak do mięsa, kompres i kieliszek czystej.Dokąd tak biegnie, czy nie jest zmęczona.Ależ nie, tylko trochę, bardzo, nic nie szkodzi.Albo go kocha albo się uparła.Na dobre, na niedobre i na litość boską.”
“in painted quiet and concentration”
“Inspiration is not the exclusive privilege of poets or artists. There is, there has been, there will always be a certain group of people whom inspiration visits. It's made up of all those who've consciously chosen their calling and do their job with love and imagination…Difficulties and setbacks never quell their curiosity. A swarm of new questions emerges from every problem that they solve. Whatever inspiration is, it's born from a continuous 'I don't know.”
“When I pronounce the word Future,the first syllable already belongs to the past.When I pronounce the word Silence,I destroy it.”
“-A Word On Statistics-Out of every hundred people, those who always know better:fifty-two.Unsure of every step:almost all the rest. Ready to help,if it doesn't take long:forty-nine. Always good,because they cannot be otherwise:fourwell, maybe five. Able to admire without envy:eighteen. Led to errorby youth (which passes):sixty, plus or minus. Those not to be messed with:four-and-forty. Living in constant fearof someone or something:seventy-seven. Capable of happiness:twenty-some-odd at most. Harmless alone,turning savage in crowds:more than half, for sure. Cruelwhen forced by circumstances:it's better not to know,not even approximately. Wise in hindsight:not many morethan wise in foresight. Getting nothing out of life except things:thirty(though I would like to be wrong). Balled up in painand without a flashlight in the dark:eighty-three, sooner or later. Those who are just:quite a few, thirty-five. But if it takes effort to understand:three. Worthy of empathy:ninety-nine. Mortal:one hundred out of one hundreda figure that has never varied yet.”
“شكراً لك يا قلبي/ لأنني استيقظتُ من جديد/ ولو أنّ اليوم هو الأحد/ يوم الراحة/ إلا أن تحت الضلوع/ تتواصل الحركة المعتادة لما قبل العيد”
“Ningún día se repite,ni dos noches son iguales,ni dos besos parecidosni dos citas similares.”
“Whatever inspiration is, it's born from a continuous "I don't know."...That is why I value that little phrase "I don't know" so highly. It's small, but it flies on mighty wings. It expands our lives to include spaces within us as well as the outer expanses in which our tiny Earth hangs suspended...Poets, if they're genuine, must always keep repeating "I don't know.”
“Cierta gente huyendo de otra gente.En cierto país bajo el soly bajo ciertas nubes.”
“The world, whatever we might think about it terrified by its vastness and by our helplessness in the face of it, embittered by its indifference to individual suffering—of people, animals, and perhaps also plants, for how can we be sure that plants are free of suffering; whatever we might think about its spaces pierced by the radiation of stars, stars around which we now have begun to discover planets, already dead? still dead?—we don’t know; whatever we might think about this immense theater, to which we may have a ticket, but it is valid for a ridiculously brief time, limited by two decisive dates; whatever else we might think about this world—it is amazing.”
“No day copies yesterday,no two nights will teach what bliss isin precisely the same way,with precisely the same kisses.”
“there were doorknobs and doorbellswhere one touch had covered anotherbeforehand.suitcases checked and standing side by side.one night, perhaps, the same dreamgrown hazy by morning.every beginningis only a sequel, after all,and the book of eventsis always open halfway through.”
“At the very beginning of my creative life I loved humanity. I wanted to do something good for mankind. Soon I understood that it isn’t possible to save mankind.”
“A che serve qui chiedersisotto quante stelle nasce l'uomo,e sotto quante dopo un attimo muore.”
“One more comment from the heart: I’m old fashioned and think that reading books is the most glorious pastime that humankind has yet devised. Homo Ludens dances, sings, produces meaningful gestures, strikes poses, dresses up, revels and performs elaborate rituals. I don’t wish to diminish the significance of these distractions-without them human life would pass in unimaginable monotony and possibly dispersion and defeat. But these are group activities above which drifts a more or less perceptible whiff of collective gymnastics. Homo Ludens with a book is free. At least as free as he’s capable of being. He himself makes up the rules of the game, which are subject only to his own curiosity. He’s permitted to read intelligent books, from which he will benefit, as well as stupid ones, from which he may also learn something. He can stop before finishing one book, if he wishes, while starting another at the end and working his way back to the beginning. He may laugh in the wrong places or stop short at words he’ll keep for a life time. And finally, he’s free-and no other hobby can promise this-to eavesdrop on Montaigne’s arguments or take a quick dip in the Mesozoic.”
“When it comes, you’ll be dreamingthat you don’t need to breathe;that breathless silence isthe music of the darkand it’s part of the rhythmto vanish like a spark.”
“We have a soul at times.No one’s got it non-stop,for keeps.Day after day,year after yearmay pass without it.Sometimesit will settle for awhileonly in childhood’s fears and raptures.Sometimes only in astonishmentthat we are old.It rarely lends a handin uphill tasks,like moving furniture,or lifting luggage,or going miles in shoes that pinch.It usually steps outwhenever meat needs choppingor forms have to be filled.For every thousand conversationsit participates in one,if even that,since it prefers silence.Just when our body goes from ache to pain,it slips off-duty.It’s picky:it doesn’t like seeing us in crowds,our hustling for a dubious advantageand creaky machinations make it sick.Joy and sorrowaren’t two different feelings for it.It attends usonly when the two are joined.We can count on itwhen we’re sure of nothingand curious about everything.Among the material objectsit favors clocks with pendulumsand mirrors, which keep on workingeven when no one is looking.It won’t say where it comes fromor when it’s taking off again,though it’s clearly expecting such questions.We need itbut apparentlyit needs usfor some reason too.”
“The joy of writing.The power of preserving.Revenge of a mortal hand.”