page_title: Zbigniew Herbert
section_title: Poetry
hierarchical_section_title: Zbigniew Herbert / Writing / Poetry
caption_attribution_description: Bust of Zbigniew Herbert in Celebrity Alley in Kielce (Poland)
context_page_description: Zbigniew Herbert was a Polish poet, essayist, drama writer and moralist. He is one of the best known and the most translated post-war Polish writers. While he was first published in the 1950s, soon after he voluntarily ceased submitting most of his works to official Polish government publications. He resumed publication in the 1980s, initially in the underground press. Since the 1960s, he was nominated several times for the Nobel Prize in literature. His books have been translated into 38 languages.
  Herbert claimed to be a distant relative of the 17th-century Anglo-Welsh poet George Herbert.
  Herbert was educated as an economist and a lawyer. Herbert was one of the main poets of the Polish opposition to communism. Starting in 1986, he lived in Paris, where he cooperated with the journal Zeszyty Literackie. He came back to Poland in 1992.
  On 1 July 2007 the Polish Government instituted 2008 as the Year of Zbigniew Herbert. In 2013, the Zbigniew Herbert International Literary Award was established in honour of the poet and his literary legacy.
context_section_description: The first poems by Zbigniew Herbert were published in Dziś i jutro (#37, 1950). Poems entitled: Napis (Inscription), Pożegnanie września and Złoty środek were printed however, without the permission of the author. The real debut occurred at the end of the same year with the publishing of the poem without the title (Palce wrzeciona dźwięków…) in Tygodnik Powszechny (#51). Until 1955 the poet published some of his works in that newspaper; however, kept out of the literary environment. Not having a chance for his own volume of poems, he decided to publish 22 poems in the anthology of modern catholic poetry …każdej chwili wybierać muszę… (Warsaw, 1954).
  Herbert was introduced to the bigger audience in Premiera pięciu poetów (The debut of five poets) in magazine Życie Literackie (#51, December 1955). He was presented together with other young poets, such as Miron Białoszewski, Bohdan Drozdowski, Stanisław Czycz and Jerzy Harasymowicz.  In 1956 he published his debut book of poetry Struna światła (Chord of Light) and year later another one Hermes, pies i gwiazda (Hermes, Dog and Star). A relatively late debut of Herbert made him belong to the modern generation in literature which appeared after 1956, whereas biographically he belonged to the same generation as Krzysztof Kamil Baczyński and Tadeusz Różewicz.
  Another two books of poetry: Studium przedmiotu (Study of the Object) and Napis (Inscription) were published in 1961 and 1969. In 1974 the main character from another book of poetry Pan Cogito (Mr. Cogito) appeared in the Polish culture. The character of Pan Cogito appeared also in the later works of the author. The poet always liked to use the lyric of role (in which the lyrical persona cannot be identified with the author), multistage irony – the character introduced for good favored the game conducted by the author, between him and the reader.
  In 1983 the Literary Institute in Paris published another book of poetry by Herbert entitled Raport z oblężonego Miasta i inne wiersze (Report from a Besieged City and Other Poems). In Poland it was reprinted by the underground publishing houses. The time and the circumstances favored the literal understanding of the poem's title. Despite the fact that the title provoked such understanding, it led to the simplification in interpreting the poem. Another book of poems Elegia na odejście (Elegy for the Departure) (1990) was published also in Paris. In 1992, back in Poland, Herbert published Rovigo (Wrocław). Finally, the last work of the poet Epilog burzy (Epilogue to a Storm) came out shortly before his death.
  Herbert often used elements of mythology, medieval heroes and works of art in his writing, which attracted the attention of the critics. Those elements, however, didn't mean the dead parts of literary convention. Herbert uses the mechanism of special demythologization – he tries to get rid of any cultural layers (if possible) and reach the prototypes, face the antique heroes. In his literary output the past is not treated as something distant or closed – revived characters and events allow making an attempt at understanding not only history but also the current moment. The past is a measure of the present.
  In Herbert's poetry there is no consistent historiosophic conception. Quite the opposite – there is a clear reluctance towards systems which clarify everything, which explain a course of events as an inevitable logic of history. Everything what can be said about history is a result of a simple observation – namely, that history is (at least it used to be so far) the area where evil is rife, which is accompanied by a handful of indomitable people constantly opposed to it. An individual is not able to change the course of history. However, he is obliged to put up hopeless resistance despite everything. The ethical base of Herbert's artistic work constitutes the conviction that justice of a particular matter and actions taken in its defense; do not depend on a chance of victory. This pathetic message is accompanied by ironic consciousness of the fact that it is delivered in not 
caption: Statue of Zbigniew Herbert in Kielce, Poland
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