The Essence of Astonishment

"Astonishment," penned in 1972, captures the timeless reflections found throughout Szymborska's body of work, both earlier and later. This piece delves deep into the poet's perpetual sense of wonder at the universe's intricate fabric. Her poetry is a canvas painted with hues of curiosity, astonishment, sorrow, and even exuberance, as she contemplates the fragile nature of human existence and our place in the cosmos. Szymborska, in her illustrious 1996 Nobel lecture, expressed that inspiration is born from an ever-present "I don’t know." She believed that inspiration is not reserved for poets alone—it graces doctors, teachers, and gardeners alike. Yet, genuine poets must persistently echo the mantra "I don’t know," with each poem an earnest endeavor to uncover truths, though inevitably leaving the poet unsatisfied in their quest. As she gazes upon the world, the poet finds herself overwhelmed by its magnitude, recognizing humans and all creatures as mere flecks in a limitless "theater of the immeasurable." Life is humorously brief, bounded by two unconcerned dates—birth and death. Nonetheless, as Szymborska asserts, what remains undeniable is the world's sheer "astonishing" nature. Intriguingly, the world amazes not because it deviates from human norms, but because it is inherently extraordinary, without comparison. Nothing about the world is ordinary, she claims. It stands as a marvel, and poets, in particular, are forever mesmerized by its spectacle. Their lack of complete understanding fuels their astonishment and sense of disbelief. In her poem "Astonishment," Szymborska intimately examines the wonder she experiences as both an individual and a poet, amidst what appears to be an ordinary world brimming with unfathomable mysteries.

The Unanswerable Questions: Lines 1–4

The poem unfolds as a series of ten profound questions. The precise number instills a sense of order, only to be disrupted by the questions' elusive answers. As the inquiry begins, the poet subtly references herself, made explicit only occasionally throughout the verses. In the initial four lines, a cascade of "why" questions unfolds. She ponders why she exists as the unique being she is, rather than one of the myriad possibilities offered by the universe. In line two, the query arises: why does she inhabit this distinct identity? She continues to muse on her existence as a human residing in a house, rather than, say, a bird nestled in a tree. Why is her essence enveloped in human skin rather than fish scales? Why does she possess a face instead of a leaf crowning a tree?

Yet, as she poses these questions, she refrains from explicitly naming herself, humans, birds, fish, or trees. Instead, she speaks of the external habitats of these creatures. She questions why her self resides in a house instead of a nest, subtly implying birds and humans without direct mention. Fish are hinted at through "scales," while "leaf" alludes to a tree. By focusing on the external aspects of humans and animals, the poet suggests that the "self" within each is surprisingly similar. Each creature, a living entity, finds itself in a specific scenario, ensnared in a particular form. Yet, the poet perceives no discernible reason why each should be confined to its designated form. She remains baffled as to why her self resides within her human form, or why she embodies this specific identity at all.

The Mysteries of Existence: Lines 5–9

In the following five lines, the poet launches into another series of "why" questions, shifting focus from her identity to matters of time and place. She inquires why she exists in this exact moment. She marks the day—Tuesday—and questions why this day among all others. Furthermore, she wonders about...