560:"When my guardian angel (who resides in an internalized external space) is triumphant, the earth looks precious to me and I live in ecstasy; I am perfectly at ease because I am surrounded by a divine protection, my health is good, I feel within me the rush of a mighty rhythm, my dreams are of magically rich landscapes, and I forget about death, because whether it comes in a month or five years it will be done as it was decreed, not by the God of the philosophers but by the God of Abraham, Isaac, and Jacob. When the devil triumphs, I am appalled when I look at trees in bloom as they blindly repeat every spring what has been willed by the law of natural selection; the sea evokes in me a battlegound of monstrous, antediluvian crustaceans, I am oppressed by the randomness and absurdity of my individual existence, and I fell excluded from the world's rhythm, cast up from it, a piece of detritus, and then the terror: my life is over, I won't get another, only death now."
278:
loyally bound for half a century, the intensifying animus prescient to the start of World War II - prompted a fundamental change in Miłosz. Miłosz's misanthropy (he had theretofore thought of humans as "beasts") softened into a deep sympathy for individual people ("small souls") lost or forgotten within enormous political apparatuses. In 1938, he published in quick succession two articles, "Almost the Dusk of the Gods" and "The Lie of Today's Poetry," which argued that poets had scrubbed all the humanity from their art by refusing to reveal their inner life and by being too concerned with
20:
213:"Reading articles by young Marxists, one suspects that they really wish for this period to herald a future which sees the total demise of art and artistry. They are preoccupied solely with sniffing out betrayal and class desertion, and are so zealous in poking around to establish whether someone had written 'God' with a capital 'g'. In this great revisionist utopia, there will be nothing left to read except a few books by
302:(200,000 people at the beginning of the war up to 500,000 after its end), where Miłosz was living at the time, brought with it a rise in crime. Murder and rape were common in the city. During this period, Miłosz worked as a writer and editor within the newly reformed Writer's Union, but he felt a heightening desire to leave Poland for the west.
548:(specifically Catholic) worldviews. The brief school of Catastrophism relayed a particularly apocalyptic type of Pantheism which Miłosz later attributed to immaturity, especially in stark contrast with the subsequent homebound cataclysms of WWII Poland. In his later work, Miłosz reconciled these two schools of belief via
277:
It was also during this period of time that Miłosz met Janina (Janka) Dłuska who would become, in the near future, his wife (though she was married at the time). The confluence of these factors in 1938-1939 - his new and influential friendships, his growing affection for the woman to whom he would be
578:
Miłosz's poetry contains this type of historical burden, and Miłosz maintained over his whole body of work the need to engage with the particulars of historical context in order to properly sketch humanity. Miłosz often uses nature, broadly, in his poetry as a vehicle to describe his philosophies of
237:
to work for Polish Radio. He had little free time, but Miłosz was successful in his position, and he graduated from relative poverty into financially comfortable straits. The time-demand of his work frustrated his art, as did his opinion of Warsaw which he called "a
Babylon of depravity.". In 1938,
86:
Miłosz's work enjoyed wide recognition in Poland (both before and after his defection) despite governmental disavowal and state-sanctioned subversion of his writing. Miłosz's receipt of the Nobel Prize in 1980 marked the beginning of his wider international fame. Publishers issued reprints of his
324:
In 1949, Miłosz returned to Poland and found himself increasingly concerned with the political situation. Unable to conceal his reticence for the state of the Polish government, Miłosz was reassigned to Paris by the
Ministry of Foreign Affairs at the request of the Paris ambassador to prevent
555:
The duality of Miłosz's
Pantheistic-Christian ontology largely manifests in his depictions of the natural world which oscillate between treatment of the Earth as a source of beauty and instruction and flinching from it as a site of random violence and the assimilation of the individual into
204:
in 1936 garnered attention for the young Miłosz within Poland's literary circles, and Miłosz's name began to appear in notable public venues. As political tensions rose in the following months and years, Miłosz maintained his left-leaning sympathies but gradually found himself increasingly
293:
Over the course of World War II, Miłosz's poetry evolved toward "poetic directness," a new poetic ethic in which the poet which was sovereign of the expectations of the reader and committed to providing the reader wisdom as the poet saw it. Under this ethos, Miłosz produced
640:
Czaykowski, Bogdan. "Czesław Miłosz (30 June 1911-)." Twentieth-Century
Eastern European Writers: First Series, edited by Steven Serafin, vol. 215, Gale, 1999, pp. 236-249. Dictionary of Literary Biography Vol. 215. Gale Literature: Dictionary of Literary Biography,
321:, and he openly admired the spare quality of American diction, something he would subsequently adopt. In addition to excelling in his diplomatic position, Miłosz became actively involved in organizing and attending events related to the American arts community.
422:, 1962-1969 — Miłosz moves to America in 1960 but continues to publish in Paris; maintains an overt affinity for the ideas of Weil, specifically with the idea that "contradiction is the lever of transcendence". This stage of poetry widely varies in form.
591:. Translators have noted that Miłosz's poetry in Polish relies on a cadenced polyphony that is lost when translated into English, as is Miłosz's ability to find and deploy forgotten Polish diction to the end of invoking a specific Polish history.
579:
history. Evolutionary nature proceeds by virtue of "necessity" which serves as a shorthand for "necessary violence," a type of the violence exacted by the Nazis and
Stalinists in WWII. This violence both manifests and extinguishes individuals.
298:, a cycle of twenty poems. These poems, in contrast to his earlier work, were all rhymed with eight lines of eleven syllables. Miłosz's concerns for the moral state of his country grew following the end of the war. The influx of refugees into
342:(a student of Miłosz and one of his preeminent English translators) proposed a rough division of Miłosz's work into five stages (Hass applied this division to both Miłosz's poetry and prose, though only the poetry is listed here)
569:
Miłosz's poetry treats history as one of the only practical mechanisms by which individual people or groups can materialize out of otherwise indiscernible and impersonal populations. In 1968, Miłosz insisted that,
82:
where he met many of the poets with whom he would later collaborate to translate his poetry into
English. He lived and worked in the U.S. until returning to Poland in 2000 before his eventual death in 2004.
455:, 1969-1987 — Continues to experiment with a broad array of forms. This writing features "ontological vertigo," or the refusal to resolve the existential questions that the writing introduces.
87:
prose works, but the public at-large tended to treat his poetry as a monolith until the mid-1980s when scholars, some of them students of Miłosz, published specific treatments of his poetry.
536:
Miłosz's poems perennially reflect the pain and destruction of his wartime experience, but they also orbit Miłosz's concern about the absence of moral law in his contemporary landscape.
484:
After his 1980 Nobel Prize, Miłosz continued to write until his death in 2004. Of the ten collections he wrote in Polish during this time, seven have been translated into
English.
574:". . . one can get at man only obliquely, only through the constant masquerade that is the extension of himself at a given moment, through his historical existence."
38:
writer.: Miłosz's transition from Polish-language texts to
English reflects his tumultuous political background. Miłosz passed, like Poland itself, through the
196:
Miłosz spent a year in Paris where he was introduced into several of the then-major
Parisian artistic cohorts. Following his return, he began work for the
317:. Miłosz felt an immanent unease and distaste for American excess and apparent spiritual bankruptcy. During this stay, Miłosz began a dedicated study of
55:
221:
Despite his disavowal of the mainstream Polish-communist movement, Miłosz was labeled a communist sympathizer (probably due to his engagement with
282:. Miłosz viewed art that was only interested in itself as unethical, negligent, and self-defeating, and he held that an artist had a fundamental,
1378:
165:
who worked for the French-Lithuanian delegation and who became a mentor to Miłosz over the next years until his death in 1939. Miłosz published
138:. These three poets have been subsequently labeled as the Catastrophist school of poets, defined by their surreal, dreamlike content and
611:
Baranczak, Stanislaw (1993). "Polish Poetry". In
Preminger, Alex; Brogan, T.V.F.; Warnke, Frank J.; Hardison, O.B.; Miner, Earl (eds.).
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389:, 1945-1962 — varied in style and content, and suffered from state censorship in Poland. Interested in the overlap between
177:") quality; this change in focus was likely a product of his continued friendship with Oscar Miłosz who was vocally anti-
641:
link.gale.com/apps/doc/TNRKGA958353770/DLBC?u=byuprovo&sid=bookmark-DLBC&xid=a6d536d3. Accessed 25 June 2024.
1244:. Cambridge, Massachusetts ; London, England: The Belknap Press of Harvard University Press. p. 534.
313:
without paying royalties, and the two began a friendship. Following his travel to London, Miłosz was sent to
394:
154:
should be foremost of social and political import rather than self-consciously formal and preoccupied with
200:(Wilno) Broadcast Station as a full time commentator and reporter on literary affairs. The publication of
1312:
Franaszek, Andrzej (2017). Parker (ed. and trans.), Aleksandra; Parker (ed. and trans.), Michael (eds.).
102:. The wartime violence of the early and mid 20th century in Poland, particularly the extreme violence of
43:
279:
247:
243:
19:
859:
Miłosz, Czesław (20 January 1936). "List do obrońców kultury (Letters to the Defenders of Culture)".
233:
elements within the Wilno station, and he felt compelled to leave his position. In 1937, he moved to
27:
271:
90:
Miłosz's writing (specifically his poetry) evolved over the course of his career from the political
318:
251:
206:
123:
1278:
267:
115:
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for five weeks where he met T.S. Eliot who gave Miłosz permission to publish his translation of
349:, 1933-1939 — defined by a soft surrealism and less intense apocalyptic tone than his peers in
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in 1936. This second collection adopted a much more mystical (what scholars would later call "
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which he encountered as part of his enduring affinity for the writings of Simone Weil.
181:. Oscar believed that the decadence of the early 20th century and its over-emphasis on
39:
118:
where he studied from 1930-1934. In 1931 he helped found the short-lived poetry group
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314:
263:
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75:
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In 1945, Miłosz applied for and received a diplomatic appointment. He travelled to
205:
disenchanted with the Polish-Communist movement. Among his complaints was a rising
186:
162:
106:, deeply and irrevocably imprinted on Miłosz, especially in his earliest writings.
103:
47:
549:
398:
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230:
95:
748:, edited by Edward Możejko, The University of Alberta Press, 1988, pp. 30-87.
588:
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and takes issue with the idea of historical necessity. Strongly influenced by
259:
155:
139:
91:
150:. The young Miłosz held and often vocalized strong opinions that the work of
374:, 1939-1945 — stripped-down writing which defers to a necessary politicism.
178:
174:
99:
59:
299:
258:
scaffolding of his aesthetic framework as well as initiated an interest in
283:
169:
in 1933, his first major collection, followed by the much less political
114:
Miłosz became actively involved with literature as a law student at the
1316:. Cambridge, Massachusetts: Belknap Press of Harvard University Press.
544:
Much of Miłosz's poetry demonstrates a tension between Pantheistic and
226:
197:
306:
239:
234:
143:
71:
63:
35:
1354:. Cambridge, Mass. London: Harvard university press. p. 209.
1157:. Berkeley, Calif: University of California Press. p. 38-39.
746:
Between Anxiety and Hope: The Poetry and Writing of Czesław Miłosz
147:
126:
for "brushwood") alongside likeminded left-leaning poets, such as
67:
18:
192:
Following his graduation in 1934 and the informal dissolution of
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222:
254:. His friendship with these three reaffirmed and deepened the
161:
In 1931, Miłosz briefly visited Paris where he met his cousin
185:
had moved contemporary writing away from the metaphysics and
587:
The form of Miłosz's poetry can be described, generally, as
916:
914:
66:. During this final period, Miłosz worked as a diplomat in
1058:. London, New York: Oxford University Press. p. 134.
94:
of the Catastrophists into writing broadly interested in
1242:
Cosmic connections: poetry in the age of disenchantment
1120:. Knoxville: University of Tennessee Press. p. 7.
1033:(1st ed.). New York: Ecco Press. p. 172-213.
70:, where he eventually defected and received asylum in
613:
The New Princeton Encyclopedia of Poetry and Poetics
1083:(1st ed.). New York: Ecco Press. p. 208.
325:Miłosz's potential defection to the United States.
1333:The poet's work: an introduction to Czeslaw Milosz
1153:Fiut, Aleksander; Robertson, Theodosia S. (1990).
556:irrelevancy. Of this contradiction, Miłosz wrote,
30:was a Polish-American literary figure who won the
1182:. New York: Farrar, Straus, Giroux. p. 246.
744:Bereś, Stanisław. "Czesław Miłosz's Apocalypse."
1352:The Music of What Happens: Poems, Poets, Critics
1264:
1155:The eternal moment: the poetry of Czeslaw Milosz
1140:
1103:
810:
798:
732:
709:. Garden City, New York: Doubleday. p. 40.
211:
353:as well as a contradictory personal identity.
54:(during which Miłosz wrote and edited for the
1335:. Cambridge, Mass: Harvard University Press.
1118:Czesław Miłosz and the insufficiency of lyric
16:Polish-American Nobel laureate for literature
8:
1081:Twentieth century pleasures: prose on poetry
1031:Twentieth century pleasures: prose on poetry
764:Twentieth Century Pleasures: Prose on Poetry
651:
649:
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189:awareness necessary for truly great poetry.
606:
604:
707:Native Realm: A Search for Self-Definition
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78:to work as a visiting lecturerer at the
1331:Nathan, Leonard; Quinn, Arthur (1991).
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1227:
692:
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286:obligation to engage directly with the
1207:. Doubleday & Company. p. 4.
636:
634:
632:
209:trend against art. In 1939, he wrote,
34:and is considered the greatest modern
766:. New York: Ecco Press. p. 177.
7:
1277:Foundation, Poetry (11 July 2024).
142:anxieties regarding the future of
80:University of California, Berkeley
14:
32:1980 Nobel Prize in Literature
1:
420:Late France, Early California
262:(who he began to translate),
907:. Kraków: Znak. p. 218.
615:(3rd ed.). Princeton.
74:. In 1960, he moved to the
1395:
540:Pantheism and Christianity
50:occupation of Poland, the
167:Poem About Congealed Time
1379:Poetry by Czesław Miłosz
1240:Taylor, Charles (2024).
1203:Miłosz, Czesław (1968).
1178:Miłosz, Czesław (1984).
1056:First and last notebooks
903:Miłosz, Czesław (2003).
705:Miłosz, Czeslaw (1968).
1350:Vendler, Helen (1988).
905:Przygody młodego umysłu
525:Selected and Last Poems
395:dialectical materialism
1116:Davie, Donald (1986).
576:
562:
296:The World: Naive Poems
219:
24:
23:Miłosz working in 1986
1265:Nathan and Quinn 1991
1141:Nathan and Quinn 1991
1104:Nathan and Quinn 1991
1079:Hass, Robert (1984).
1054:Weil, Simone (1970).
1029:Hass, Robert (1984).
811:Nathan and Quinn 1991
799:Nathan and Quinn 1991
762:Hass, Robert (1987).
733:Nathan and Quinn 1991
572:
558:
116:University of Vilnius
44:Polish-Lithuanian War
22:
661:poetryfoundation.org
519:Orpheus and Eurydice
433:Bobo's Metamorphosis
412:A Treatise on Poetry
1314:Miłosz: a biography
1230:, pp. 211–212.
466:Where the Sun Rises
445:City Without a Name
358:Poem on Frozen Time
319:American Literature
1298:, p. 210-211.
983:, p. 249-251.
971:, p. 245-246.
959:, p. 226-227.
893:, p. 168-169.
881:, p. 162-167.
683:, p. 281-356.
489:Unattainable Earth
338:In 1984, the poet
280:art for art's sake
268:Emanuel Swedenborg
25:
1283:Poetry Foundation
1143:, pp. 42–43.
1106:, pp. 14–15.
813:, pp. 10–16.
248:Bolesław Miciński
229:radio guests) by
207:anti-intellectual
56:Polish resistance
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136:Jerzy Putrament
132:Teodor Bujnicki
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52:Warsaw Uprising
42:, the post-war
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1017:Franaszek 2017
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1005:Franaszek 2017
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993:Franaszek 2017
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933:Franaszek 2017
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847:Franaszek 2017
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825:, p. 140.
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787:Franaszek 2017
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460:Selected Poems
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311:The Waste Land
272:Joachim Boehme
128:Jerzy Zagórski
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40:Russian Empire
28:Czesław Miłosz
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