My presence here, on this tribune, should be an argument for all those who praise life’s God-given, marvelously complex unpredictability. In my school years I used to read volumes of a series then published in Poland—“The Library of the Nobel Laureates.” I remember the shape of the letters and the color of the paper. I imagined then that Nobel laureates were writers, namely persons who write thick works in prose, and even when I learned that there were also poets among them, for a long time I could not get rid of that notion. And certainly, when, in 1930, I published my first poems in our university review, Alma Mater Vilnensis, I did not aspire to the title of a writer. Also much later, by choosing solitude and giving myself to a strange occupation, that is, to writing poems in Polish while living in France or America, I tried to maintain a certain ideal image of a poet, who, if he wants fame, he wants to be famous only in the village or the town of his birth.
One of the Nobel laureates whom I read in childhood influenced to a large extent, I believe, my notions of poetry. That was Selma Lagerlöf. Her Wonderful Adventures of Nils, a book I loved, places the hero in a double role. He is the one who flies above the earth and looks at it from above but at the same time sees it in every detail. This double vision may be a metaphor of the poet’s vocation. I found a similar metaphor in a Latin ode of a seventeenth-century poet, Maciej Sarbiewski, who was once known all over Europe under the pen-name of Casimire. He taught poetics at my university. In that ode he describes his voyage—on the back of Pegasus—from Vilno to Antwerp, where he is going to visit his poet friends. Like Nils Holgersson he beholds under him rivers, lakes, forests, that is, a map, both distant and yet concrete. Hence, two attributes of the poet: avidity of the eye and the desire to describe that which he sees. Yet whoever considers writing poetry as “to see and describe” should be aware that he engages in a quarrel with modernity, fascinated as it is with innumerable theories of a specific poetic language.
Every poet depends upon generations who wrote in his native tongue; he inherits styles and forms elaborated by those who lived before him. At the same time, though, he feels that those old means of expression are not adequate to his own experience. When adapting himself, he hears an internal voice that warns him against mask and disguise. But when rebelling, he falls in turn into dependence upon his contemporaries, various movements of the avant-garde. Alas, it is enough for him to publish his first volume of poems to find himself entrapped. For hardly has the print dried, when that work, which seemed to him the most personal, appears to be enmeshed in the style of another. The only way to counter an obscure remorse is to continue searching and to publish a new book, but then everything repeats itself, so there is no end to that chase. And it may happen that leaving behind books as if they were dry snake skins, in a constant escape forward from what has been done in the past, he receives the Nobel Prize.
What is this enigmatic impulse that does not allow one to settle down in the achieved, the finished? I think it is a quest for reality. I give to this word its naïve and solemn meaning, a meaning having nothing to do with philosophical debates of the last few centuries. It is the Earth as seen by Nils from the back of the gander and by the author of the Latin ode from the back of Pegasus. Undoubtedly, that Earth is and her riches cannot be exhausted by any description. To make such an assertion means to reject in advance a question we often hear today, “What is reality?,” for it is the same as the question of Pontius Pilate: “What is truth?” If among pairs of opposites which we use every day the opposition of life and death has such an importance, no less importance should be ascribed to the oppositions of truth and falsehood, of reality and illusion.
Simone Weil, to whose writings I am profoundly indebted, says: “Distance is the soul of beauty.” Yet sometimes keeping distance is nearly impossible. I am “a child of Europe,” as the title of one of my poems admits, but that is a bitter, sarcastic admission. I am also the author of an autobiographical book which in the French translation bears the title Une autre Europe. Undoubtedly, there exist two Europes, and it happens that we, inhabitants of the second one, were destined to descend into “the heart of darkness” of the twentieth century. I wouldn’t know how to speak about poetry in general. I must speak of poetry in its encounter with peculiar circumstances of time and place. Today, from a perspective, we are able to distinguish outlines of the events which by their death-bearing range surpassed all natural disasters known to us, but poetry, mine and my contemporaries’, whether of inherited or avant-garde style, was not prepared to cope with those catastrophes. Like blind men we groped our way and were exposed to all the temptations the mind deluded itself with in our time.
It is not easy to distinguish reality from illusion, especially when one lives in a period of the great upheaval that began a couple of centuries ago on a small western peninsula of the Euro-Asiatic continent, only to encompass the whole planet during one man’s lifetime with the uniform worship of science and technology. And it was particularly difficult to oppose multiple intellectual temptations in those areas of Europe where degenerate ideas of dominion over men, akin to the ideas of dominion over Nature, led to paroxysms of revolution and war at the expense of millions of human beings destroyed physically or spiritually. And yet perhaps our most precious acquisition is not an understanding of those ideas, which we touched in their most tangible shape, but respect and gratitude for certain things which protect people from internal disintegration and from yielding to tyranny.
Precisely for that reason some ways of life, some institutions became a target for the fury of evil forces, above all, the bonds between people that exist organically, as if by themselves, sustained by family, religion, neighborhood, common heritage. In other words, all that disorderly, illogical humanity, so often branded as ridiculous because of its parochial attachments and loyalties. In many countries traditional bonds of civitas have been subject to a gradual erosion, and their inhabitants become disinherited without realizing it. It is not the same, however, in those areas where suddenly, in a situation of utter peril, a protective, life-giving value of such bonds reveals itself. That is the case of my native land. And I feel this is a proper place to mention gifts received by myself and by my friends in our part of Europe and to pronounce words of blessing.
It is good to be born in a small country where Nature was on a human scale, where various languages and religions cohabited for centuries. I have in mind Lithuania, a country of myths and of poetry. My family in the sixteenth century already spoke Polish, just as many families in Finland spoke Swedish and in Ireland English; so I am a Polish, not a Lithuanian, poet. But the landscapes and perhaps the spirits of Lithuania have never abandoned me. It is good in childhood to hear words of Latin liturgy, to translate Ovid in high school, to receive a good training in Roman Catholic dogmatics and apologetics. It is a blessing if one receives from fate school and university studies in such a city as Vilno. A bizarre city of baroque architecture transplanted to northern forests and of history fixed in every stone, a city of forty Roman Catholic churches and of numerous synagogues. In those days the Jews called it a Jerusalem of the North. Only when teaching in America did I fully realize how much I had absorbed from the thick walls of our ancient university, from formulas of Roman law learned by heart, from history and literature of old Poland, both of which surprise young Americans by their specific features: an indulgent anarchy, a humor disarming fierce quarrels, a sense of organic community, a mistrust of any centralized authority.
A poet who grew up in such a world should have been a seeker for reality through contemplation. A patriarchal order should have been dear to him, a sound of bells, an isolation from pressures and the persistent demands of his fellow men, silence of a cloister cell. If books were to linger on a table, then they should be those which deal with the most incomprehensible quality of God-created things, namely being, the esse. But suddenly all this is negated by the demoniac doings of history, which acquires the traits of a bloodthirsty deity.
The Earth which the poet viewed in his flight calls with a cry, indeed, out of the abyss and doesn’t allow itself to be viewed from above. An insoluble contradiction appears, a terribly real one, giving no peace of mind either day or night, whatever we call it: it is the contradiction between being and action, or, on another level, a contradiction between art and solidarity with one’s fellow men. Reality calls for a name, for words, but it is unbearable, and if it is touched, if it draws very close, the poet’s mouth cannot even utter a complaint of Job: all art proves to be nothing compared with action. Yet to embrace reality in such a manner that it is preserved in all its old tangle of good and evil, of despair and hope, is possible only thanks to a distance, only by soaring above it—but this in turn seems then a moral treason.
Such was the contradiction at the very core of conflicts engendered by the twentieth century and discovered by poets of an Earth polluted by the crime of genocide. What are the thoughts of one of them, who wrote a certain number of poems that remain as a memorial, as a testimony? He thinks that they were born out of a painful contradiction and that he would prefer to have been able to resolve it while leaving them unwritten.
A patron saint of all poets in exile, who visit their towns and provinces only in remembrance, is always Dante. But how the number of Florences increased! The exile of a poet is today a simple function of a relatively recent discovery: that whoever wields power is also able to control language and not only with the prohibitions of censorship but also by changing the meaning of words. A peculiar phenomenon makes its appearance: the language of a captive community acquires certain durable habits; whole zones of reality cease to exist simply because they have no name. There is, it seems, a hidden link between theories of literature as écriture, of speech feeding on itself, and the growth of the totalitarian state. In any case, there is no reason why the state should not tolerate an activity that consists of creating “experimental” poems and prose, if these are conceived as autonomous systems of reference, enclosed within their own boundaries. Only if we assume that a poet constantly strives to liberate himself from borrowed styles in search of reality is he dangerous. In a room where people unanimously maintain a conspiracy of silence, one word of truth sounds like a pistol shot. And, alas, a temptation to pronounce it, similar to an acute itching, becomes an obsession which doesn’t allow one to think of anything else. That is why a poet chooses internal or external exile. It is not certain, however, that he is motivated exclusively by his concern with actuality. He may also desire to free himself from it and elsewhere, in other countries, on other shores, to recover, at least for short moments, his true vocation—which is to contemplate Being.
Copyright © 1980 The Nobel Foundation.