Not because he was a believer in the transcendental. I did not really know whether he was a believe

And Wislawa Szymborksa died at the age of 88 years last week, some twenty years after he wrote the verse. I think he would not mind if we say that the departure did not feel like a stripped. In Wielka Liczba ('Large Amount') he wrote that among the billions of people who pass through the history, life just 'stretched along the claw marks us on sand.'
At the end of the claw marks that there is a line break. With the same breath, the Polish poet also wrote about the 'disappeared' - about the loss of connection that can not be changed. In a room, so the rows in Kot W Pustym Mieszkaniu, the doorman ("Cats in Apartment"),
Vanish. Or better: to die. But death has limits. With irony and low tone, Szymborska tell, 'anyone who says that the all-powerful death proof that he himself is not the case'. For him,
Not because he was a believer in the transcendental. I did not really know whether he was a believer. For him, 'eternal' that 'just a minute' it appears on materia, in nature ('landscape') changes continuously. The clouds never repeat its original shape. In the 'flow times, the shape of forests, beaches, deserts, and glaze', we feel as if there is' little soul 'who the doorman wander in between,' disappeared, back, close, move away, dodge and so foreign to himself '.
A poet often has a kind of animism in itself: find something that makes a natural feel sometimes intimate sometimes odd, sometimes challenging, sometimes persuade. Nothing is 'finished'. That there are 'men-so'. Yes, 'little soul' was there.
The knocker seems to assume that his testimony was so decisive: only the presence of the world can spread the doorman has value and meaning. But for the stone, even assuming that must be rejected. Which is in itself not require testimony from afar. Maybe the room was beautiful, she said, but did not make that taste just that much. 'Go', he said, 'I shut'. Then he break his ambition in front of the door:
'Go' means 'invasion', attempt to occupy, when accompanied by desire 'fully aware'. And this is important presented to the knocker, which is considered 'not knowing' a flaw, as he stated to the stone: Admit it, that you yourself do not know the hall in you.
'Not knowing' ... Should it be sad? In his speech received the Nobel Prize in Literature was the time in 1996, Szymborska it confirms the importance of the position. 'I-didn't-know', the doorman he said, is a phrase that should always the doorman be repeated poet. 'Each poem marks an effort to answer the statement. But once the final stage up at home, the poet began to doubt, began to realize that the answer is just something poorly constructed ... '
So important is not the ambition of 'I-know'. The ambition was finally could only moment 'enter' achieve a mastery of cognitive ('know'). Moreover, the ambition - and ultimately a claim - will only put the world and otherness as an object. Yet in a world plagued by this rule (we kid 'political era', says Szymborska) is needed is a behavior the doorman that is more familiar, more warm.
In the poem above, the blame his stone: you do not have a 'sense of taking part' (a sense of taking part), he said. At the time of 'take-part', I'm not obyekmu, you're not obyekku. We are active in a process called 'no', or more precisely, 'men-so'.
With it, the finite gain meaning. And the work of a poet is 'taking part' in mortal: the doorman diversity and transience of objects from moment to moment. Szymborska quoting the doorman Rilke, the doorman whose poem, 'Autumn', once translated Anwar beautifully it. Rilke advising young poets not to write great concepts, but rather the doorman welcomes the everyday. 'If the daily life seems to impoverish you', Rilke wrote, 'do not blame life. Blame yourself. You do not quite adequate as a poet to perceive his fortune '.
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