Czesław Miłosz Quotes

Misfortune simply is. And when you wall it off, you do not have a clear conscience, because perhaps you are supposed to dedicate all your efforts and all your attention to it. And all you can say in your own defense is 'I want to live.

The world deprived of clear-cut outlines, of the up and the down, of good and evil, succumbs to a peculiar nihilization, that is, it loses its colors, so that grayness covers not only things of this earth and of space, but also the very flow of time, its minutes, days and years. Abstract considerations will be of little help, even if they are intended to bring relief. Poetry is quite different. By its very nature it says: All those theories are untrue. Since poetry deals with the singular, not hte general, it can't - if it is good poetry - look at things of this earth other than as colorful, variegated, and exciting, and so, it cannot reduce life, with all its pain, horror, suffering, and ecstasy, to a unified tonality of boredom or complaint. By necessity poetry is therefore on the side of being and against nothingness.

If only the stars contained me.
If only everything kept happening in such a way
That the so-called world opposed the so-called flesh.

We and the flowers throw shadows on the earth.
What has no shadow has no strength to live

TAKO MALO

Tako malo sam rekao,
Kratki dani.

Kratki dani,
Kratke noći,
Kratke godine.

Tako malo sam rekao,
Ne stigoh.

Moje srce se umorilo
Od ushićenja,
Očajanja,
Gorljivosti,
Nade.

Čeljust levijatana
Zatvarala se u meni.

Nag ležah na obalama
Bezljudnih ostrva.

Povuče me u ponor sa sobom
Beli kit sveta.

I sad ne znam
Šta je bilo istinsko.

(U Berkliju, 1969.)

Love means to learn to look at yourself the way one looks at distant things for you are only one thing among many.

To be a man and live among men is miraculous, even if we know the vile deeds and crimes that people are capable of. Every day we build together an enormous beehive with our thoughts, discoveries, inventions, works, lives. Even that analogy is hardly accurate; it is too static, since our collective work is constantly changing and displaying itself in various colors, subject to time or history. Again, this is an insufficient description, because it ignores the most important thing: that this collective creation is given life by the most private, hidden fuel of all individual aspirations and decisions. The oddity of man's exceptional calling rests principally on his being a comical being, forever immature, so that a group of children with their easy mood swings from laughter to crying is the best illustration of his lack of dignity. A few years pass, and suddenly they are adults, taking control and supposedly prepared to make pronouncements on public matters and even to take upon themselves the duties of father and mother, although it would be good if they first had an entire life of their own to prepare for this.

I said so little.
Days were short.

Short days.
Short nights.
Short years.

I said so little.
I couldn't keep up.

My heart grew weary
From joy,
Despair,
Ardor,
Hope.

The jaws of Leviathan
Were closing upon me.

Naked, I lay on the shores
Of desert islands.

The white whale of the world
Hauled me down to its pit.

And now I don't know
What in all that was real.

Destruction and suffering are the school of social thought.

Earth, what have I to do with thee?
With your meadows where dumb beasts
Grazed before the deluge without lifting their heads?
What have I to do with your implacable births?
So why this gracious melancholia?
Is it because anger is no use?

When someone is honestly 55 percent right, that’s very good and there’s no use wrangling. And if someone is 60 percent right, it’s wonderful, it’s great luck, and let him thank God.

But what’s to be said about 75 percent right? Wise people say this is suspicious. Well, and what about 100 percent right? Whoever says he’s 100 percent right is a fanatic, a thug, and the worst kind of rascal.

Vulgarized knowledge characteristically gives birth to a feeling that everything is understandable and explained. It is like a system of bridges built over chasms. One can travel boldly ahead over these bridges, ignoring the chasms. It is forbidden to look down into them; but that, alas, does not alter the fact that they exist.

Not to know. Not to remember.
With this one hope:
That beyond the River Lethe, there is memory, healed.

"Man tends to regard the order he lives in as natural. The houses he passes on his way to work seem more like rocks rising out of the earth than like products of human hands. He considers the work he does in his office or factory as essential to the har­monious functioning of the world. The clothes he wears are exactly what they should be, and he laughs at the idea that he might equally well be wearing a Roman toga or medieval armor. He respects and envies a minister of state or a bank director, and regards the possession of a considerable amount of money the main guarantee of peace and security. He cannot believe that one day a rider may appear on a street he knows well, where cats sleep and chil­dren play, and start catching passers-by with his lasso. He is accustomed to satisfying those of his physio­logical needs which are considered private as dis­creetly as possible, without realizing that such a pattern of behavior is not common to all human so­cieties. In a word, he behaves a little like Charlie Chaplin in The Gold Rush, bustling about in a shack poised precariously on the edge of a cliff.
His first stroll along a street littered with glass from bomb-shattered windows shakes his faith in the "naturalness" of his world. The wind scatters papers from hastily evacuated offices, papers labeled "Con­fidential" or "Top Secret" that evoke visions of safes, keys, conferences, couriers, and secretaries. Now the wind blows them through the street for anyone to read; yet no one does, for each man is more urgently concerned with finding a loaf of bread. Strangely enough, the world goes on even though the offices and secret files have lost all meaning. Farther down the street, he stops before a house split in half by a bomb, the privacy of people's homes-the family smells, the warmth of the beehive life, the furniture preserving the memory of loves and hatreds-cut open to public view. The house itself, no longer a rock, but a scaffolding of plaster, concrete, and brick;

The real, by which I mean God, continues to remain unfathomable.