Frases de Czesław Miłosz

Czesław Miłosz photo
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Czesław Miłosz

Data de nascimento: 30. Junho 1911
Data de falecimento: 14. Agosto 2004
Outros nomes: چسلاو میلوش, Milosh Cheslav, 米禾舒

Czesław Miłosz foi um poeta, romancista e ensaísta de língua polonesa.

Milosz nasceu em família de ascendência polonêsa na Lituânia, quando o país ainda pertencia ao Império Russo. Cresceu em Vilna, onde cumpriu parte dos estudos, outra parte na Polônia. Viveu em Paris , período em que absorveu as ideias estéticas e políticas dos círculos de vanguarda. Para ele, escrever sempre foi um ato político. Suas primeiras obras prevêem a iminência de um cataclismo internacional e o torna líder da escola catastrofista de poesia polonesa.Durante a Segunda Guerra Mundial, Milosz passou à clandestinidade e combateu as forças de ocupação nazistas em Varsóvia: publicou poemas de resistência, como Canção Invencível. Após o conflito, foi adido cultural do novo governo comunista da Polônia, mas, em 1951, desiludido com o regime, desertou para Paris. Em 1953, publicou A Mente Cativa, uma coletânea de ensaios sobre a submissão dos intelectuais poloneses ao comunismo. Em 1960, o poeta emigrou para os Estados Unidos, onde continuou ponderando sobre a fragilidade, crueldade e a corruptibilidade humana.Em reconhecimento por seu pensamento humanista sobre a liberdade, a consciência e o "poder do totalitarismo sobre corpos e mentes", foi laureado com o Nobel de Literatura de 1980.

Citações Czesław Miłosz

„Somos feitos assim, metade contemplação desinteressada e metade apetite.“

—  Czesław Miłosz

że jesteśmy tak ulepieni, w połowie z bezinteresownej kontemplacji, iw połowie z apetytu.
Czesław Miłosz citado em "Moje spotkania z Czesławem Miłoszem‎" - Página 207, de Ryszard Matuszewski - Publicado por Wydawn. Literackie, 2004, ISBN 8308036287, 9788308036280 - 239 páginas

„Only if we assume that a poet constantly strives to liberate himself from borrowed styles in search for reality, is he dangerous. In a room where people unanimously maintain a conspiracy of silence, one word of truth sounds like a pistol shot.“

—  Czeslaw Milosz

Nobel lecture (8 December 1980)
Contexto: Only if we assume that a poet constantly strives to liberate himself from borrowed styles in search for 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.

„I still think too much about the mothers
And ask what is man born of woman.“

—  Czeslaw Milosz

"Preparation," trans. Czesław Miłosz and Robert Hass
Unattainable Earth (1986)
Contexto: I still think too much about the mothers
And ask what is man born of woman.
He curls himself up and protects his head
While he is kicked by heavy boots; on fire and running,
He burns with bright flame; a bulldozer sweeps him into a clay pit.
Her child. Embracing a teddy bear. Conceived in ecstasy.

„Was I born to become
a ritual mourner?“

—  Czeslaw Milosz

"In Warsaw" (1945), trans. Czesŀaw Miŀosz, Robert Hass and Madeline Levine
Rescue (1945)
Contexto: How can I live in this country
Where the foot knocks against
The unburied bones of kin?
I hear voices, see smiles. I cannot
Write anything; five hands
Seize my pen and order me to write
The story of their lives and deaths.
Was I born to become
a ritual mourner?
I want to sing of festivities,
The greenwood into which Shakespeare
Often took me. Leave
To poets a moment of happiness,
Otherwise your world will perish.

„Never has there been a close study of how necessary to a man are the experiences which we clumsily call aesthetic.“

—  Czeslaw Milosz, livro The Captive Mind

The Captive Mind (1953)
Contexto: Never has there been a close study of how necessary to a man are the experiences which we clumsily call aesthetic. Such experiences are associated with works of art for only an insignificant number of individuals. The majority find pleasure of an aesthetic nature in the mere fact of their existence within the stream of life. In the cities, the eye meets colorful store displays, the diversity of human types. Looking at passers-by, one can guess from their faces the story of their lives. This movement of the imagination when a man is walking through a crowd has an erotic tinge; his emotions are very close to physiological sensations.

„The pressure of an all-powerful totalitarian state creates an emotional tension in its citizens that determines their acts.“

—  Czeslaw Milosz, livro The Captive Mind

The Captive Mind (1953)
Contexto: The pressure of an all-powerful totalitarian state creates an emotional tension in its citizens that determines their acts. When people are divided into "loyalists" and "criminals" a premium is placed on every type of conformist, coward, and hireling; whereas among the "criminals" one finds a singularly high percentage of people who are direct, sincere, and true to themselves.

„A real "wasteland" is much more terrible than any imaginary one.“

—  Czeslaw Milosz, livro The Captive Mind

The Captive Mind (1953)
Contexto: Whoever saw, as many did, a whole city reduced to rubble — kilometers of streets on which there remained no trace of life, not even a cat, not even a homeless dog — emerged with a rather ironic attitude toward descriptions of the hell of the big city by contemporary poets, descriptions of the hell in their own souls. A real "wasteland" is much more terrible than any imaginary one. Whoever has not dwelt in the midst of horror and dread cannot know how strongly a witness and participant protests against himself, against his own neglect and egoism. Destruction and suffering are the school of social thought.

„The feeling of a prisoner who touches a wall
And knows that beyond it valleys spread,
Oaks stand in summer splendor, a jay flies
And a kingfisher changes a river to a marvel.“

—  Czeslaw Milosz

"An Appeal" (1954), trans. Czesław Miłosz and Robert Hass
From the Rising of the Sun (1974)
Contexto: Tell me, as you would in the middle of the night
When we face only night, the ticking of a watch,
the whistle of an express train, tell me
Whether you really think that this world
Is your home? That your internal planet
That revolves, red-hot, propelled by the current
Of your warm blood, is really in harmony
With what surrounds you? Probably you know very well
The bitter protest, every day, every hour,
The scream that wells up, stifled by a smile,
The feeling of a prisoner who touches a wall
And knows that beyond it valleys spread,
Oaks stand in summer splendor, a jay flies
And a kingfisher changes a river to a marvel.

„We have come by easy stages to a lack of a common system of thought that could unite the peasant cutting his hay, the student poring over formal logic, and the mechanic working in an automobile factory.“

—  Czeslaw Milosz, livro The Captive Mind

The Captive Mind (1953)
Contexto: As long as a society's best minds were occupied by theological questions, it was possible to speak of a given religion as the way of thinking of the whole social organism. All the matters which most actively concerned the people were referred to it and discussed in its terms. But that belongs to a dying era. We have come by easy stages to a lack of a common system of thought that could unite the peasant cutting his hay, the student poring over formal logic, and the mechanic working in an automobile factory. Out of this lack arises the painful sense of detachment or abstraction that oppresses the "creators of culture."

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„I hear voices, see smiles. I cannot
Write anything“

—  Czeslaw Milosz

"In Warsaw" (1945), trans. Czesŀaw Miŀosz, Robert Hass and Madeline Levine
Rescue (1945)
Contexto: How can I live in this country
Where the foot knocks against
The unburied bones of kin?
I hear voices, see smiles. I cannot
Write anything; five hands
Seize my pen and order me to write
The story of their lives and deaths.
Was I born to become
a ritual mourner?
I want to sing of festivities,
The greenwood into which Shakespeare
Often took me. Leave
To poets a moment of happiness,
Otherwise your world will perish.

„There were no words
In any human tongue
To be left for mankind,
Mankind who live on.“

—  Czeslaw Milosz

Rescue (1945)
Contexto: Someone will read as moral
That the people of Rome or Warsaw
Haggle, laugh, make love
As they pass by martyrs' pyres.
Someone else will read
Of the passing of things human,
Of the oblivion
Born before the flames have died. But that day I thought only
Of the loneliness of the dying,
Of how, when Giordano
Climbed to his burning
There were no words
In any human tongue
To be left for mankind,
Mankind who live on.

„Masculinity and femininity, elapsed, met in him
And every shame, every grief, every love.“

—  Czeslaw Milosz

"City of My Youth" (1984)
Contexto: Masculinity and femininity, elapsed, met in him
And every shame, every grief, every love.
If ever we accede to enlightenment,
He thought, it is in one compassionate moment
When what separated them from me vanishes
And a shower of drops from a bunch of lilacs
Pours on my face, and hers, and his, at the same time.

„How it should be in Heaven I know, for I was there.
By its river. Listening to its birds.“

—  Czeslaw Milosz

"How It Should Be in Heaven" (1986), trans. Czesŀaw Miŀosz and Robert Hass
New Poems (1985-1987)
Contexto: How it should be in Heaven I know, for I was there.
By its river. Listening to its birds.
In its season: in summer, shortly after sunrise.
I would get up and run to my thousand works
And the garden was superterrestrial, owned by imagination.

„There was a time when only wise books were read
helping us to bear our pain and misery.“

—  Czeslaw Milosz

"Ars Poetica?"
Contexto: There was a time when only wise books were read
helping us to bear our pain and misery.
This, after all, is not quite the same
as leafing through a thousand works fresh from psychiatric clinics. And yet the world is different from what it seems to be
and we are other than how we see ourselves in our ravings.

„They pushed their reasoning rather far.“

—  Czeslaw Milosz, livro The Captive Mind

The Captive Mind (1953)
Contexto: I have known many Christians — Poles, Frenchman, Spaniards — who were strict Stalinists in the field of politics but who retained certain inner reservations, believing God would make corrections once the bloody sentences of the all-mighties of History were carried out. They pushed their reasoning rather far. They argue that history develops according to immutable laws that exist by the will of God; one of these laws is the class struggle; the twentieth century marks the victory of the proletariat, which is led in its struggle by the Communist Party; Stalin, the leader of the Communist Party, fulfills the law of history or in other words acts by the will of God, therefore one must obey him. Mankind can be renewed only on the Russian pattern; that is why no Christian can oppose the one — cruel, it is true — idea which will create a new kind of man over the entire planet. Such reasoning is often used by clerics who are party tools. "Christ is a new man. The new man is a Soviet man. Therefore Christ is a Soviet man!" said Justinian Marina, the Rumanian patriarch.

„Under various names, I have praised only you, rivers!“

—  Czeslaw Milosz

"Rivers" (1980), trans. Renata Gorczynski and Robert Hass
Hymn of the Pearl (1981)
Contexto: Under various names, I have praised only you, rivers!
You are milk and honey and love and death and dance.
From a spring in hidden grottoes, seeping from mossy rocks,
Where a goddess pours live water from a pitcher,
At clear streams in the meadow, where rills murmur underground,
Your race and my race begin, and amazement, and quick passage.

„No other end of the world will there be.“

—  Czeslaw Milosz

"A Song On the End of the World"
Contexto: Only a white-haired old man, who would be a prophet
Yet is not a prophet, for he's much too busy,
Repeats while he binds his tomatoes:
No other end of the world will there be,
No other end of the world will there be.

„We are a poor people, much afflicted.“

—  Czeslaw Milosz

"It Was Winter" (1964), trans. Czesław Miłosz, Robert Hass, Robert Pinsky and Renata Gorczynski
Bobo's Metamorphosis (1965)
Contexto: We are a poor people, much afflicted.
We camped under various stars,
Where you dip water with a cup from a muddy river
And slice your bread with a pocketknife.
This is a place accepted, not chosen.

„Someone will read as moral
That the people of Rome or Warsaw
Haggle, laugh, make love
As they pass by martyrs' pyres.“

—  Czeslaw Milosz

Rescue (1945)
Contexto: Someone will read as moral
That the people of Rome or Warsaw
Haggle, laugh, make love
As they pass by martyrs' pyres.
Someone else will read
Of the passing of things human,
Of the oblivion
Born before the flames have died. But that day I thought only
Of the loneliness of the dying,
Of how, when Giordano
Climbed to his burning
There were no words
In any human tongue
To be left for mankind,
Mankind who live on.

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