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35 pages 1 hour read

The End and the Beginning

Fiction | Poem | Adult | Published in 2001

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Themes

The Unifying Effect of Colloquial Diction

In Szymborska’s work, the use of colloquial diction signifies shared history and humanity. Language becomes a mechanism by which to understand a complicated world through seemingly simplistic means. The poet shares history without fanfare; in doing so, she shows that everyone has a story worth sharing and that these stories are often universal. As a literary device that underscores unification, colloquial diction is also seminal to understanding the larger implications of Szymborska’s body of work, of which “The End and the Beginning” is an illustrative microcosm. Szymborska’s use of colloquial language itself is a political act: She seeks to give voice to common voices, to those marginalized as too simple or too un-newsworthy.

“The End and the Beginning” exposes how sensationalism and sheer forgetfulness can (un)wittingly aid history in repeating itself. If people strive to remember the everyday instances from which everyday language stems, humankind can not only remember how much it has in common, but it can remember how best to address traumas like war and wartime atrocities. Colloquial diction, also known as ordinary speech, denotes shared history and humanity by revealing how humankind is not so different. As opposed to other forms of poetry, which might focus on form or meter or heavy symbolism over general understanding, Szymborska chooses to imbue her poetic subjects with speech used by the general population.

Szymborska uses simple verbs like “push” (Line 5) and “drag” (Line 14) to describe the physical work required for the reconstruction efforts that arise after war. Szymborska’s repetition of the phrase “someone has to” is also familiar, common within day-to-day conversations (Line 2). The poem’s diction both sets the stage for the inevitability of postwar reconstruction (“someone has to”) and addresses the subject like one might address what items to buy for dinner. In other words, Szymborska posits that nothing is truly new under the sun. And in keeping with the concept that nothing is new, Szymborska gives a warning by the end of the poem: There might come a time when people would rather lounge dreamily on the grass and ignore history rather than remember (or even honor) the past. This willful forgetting leads to friction, to further wars, to history repeating itself because humankind fails to remember what it has in common and/or how it resolved issues previously. Colloquial diction signifies understanding: it isn't coded, it isn't meant to detract, obscure, or hide something. Colloquial language connects us instead of dividing us.

Szymborska’s colloquial diction, or her intentional selection of everyday vocabulary throughout the poem, helps unify and bridge the gap between seemingly disparate subjects. She embraces the quotidian as a clearer expression of real life. Her work, including “The End and the Beginning,” hopes that humankind can remember to include the colloquial and the quotidian in the definition of what it means to be human and humane.

Sensationalism in the News Media

Readers are privy to small portions of the sensationalized stories characteristic of the news media through Szymborska’s limited inclusion of graphic language. The cameras “have left / for another war” (Lines 20-21) by the time Szymborska introduces them; however, the language of sensationalism, or the use of exciting and shocking stories at the expense of accuracy, seeps into parts of “The End and the Beginning,” exposing just how pervasive modern media is in times of mass crisis (see: Further Reading “Regarding the Torture of Others” by Susan Sontag).

In order to provoke public interest, news stories are likely to include the unsavory details of war such as the “corpse-filled wagons,” or “bloody rags” left behind after the conflict in order to keep audience attention (Lines 7, 13). However, this language is used sparingly throughout the poem, showing that the news media’s agenda lies more in the gore of severed heads and gunshot wounds, and less in stories of the “unsevered” heads (Line 29). Szymborska uses these small moments of sensationalism to show how the stories of individuals are erased from popular media. Survivors’ stories are deemed less important, less appealing because they are more real. There is a distance between audiences and the abstract concept of violence and war than there is between them and the destruction of their everyday lives. Szymborska’s thematic concern with sensationalism amplifies the ordinary, giving voice to the struggles that come after the war, after the cameras are turned off.

The aftermath—the moments, days, weeks, and even years after a war ends—is rarely discussed within the genre of war poetry. The overarching theme of aftermath in Szymborska’s “The End and the Beginning” exposes the inhuman quality of sensationalism and the consequences of the significantly traumatic event of human conflict, adding nuance to this already established literary genre (see: Poem Analysis for a more in-depth thematic investigation).

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