To them it is I send my farewell cry...

Anna Akhamatova (1889-1966)
Portrait by Kuzma Petrov-Vodkin (1922)

Anna Akhmatova

Dedication

Before this sorrow mountains bow,
the vast river’s ceased to flow,
the ever-strong prison bolts
hold the ‘convict crews’ now,
abandoned to deathly longing.
For someone the sun glows red,
for someone the wind blows fresh –
but we know none of that, instead
we only hear the soldier’s tread,
keys scraping against our flesh.
Rising as though for early mass,
through the city of beasts we sped,
there met, breathless as the dead,
sun low, a mistier Neva. Far ahead,
hope singing still, as we passed.
Sentence given…tears pour out,
she thought she knew all separation,
in pain, blood driven from the heart,
as if she’s hurled to earth, apart,
yet walks…staggers…is in motion…
Where now my chance-met friends
of those two years satanic flight?
What Siberian storms do they resist,
and in what frosted lunar orb exist?
To them it is I send my farewell cry.

Comments & Greek artists, painters: hope your road is a long one, full of adventure, full of discovery...

Journey & Greek seascapes, contemporary Greek artists


Yannis Stavrou, Port of Piraeus, oil on canvas

Ithaka gave you the marvelous journey.
Without her you wouldn't have set out.
She has nothing left to give you now...

Konstantinos Kavafis

Ithaka

As you set out for Ithaka
hope your road is a long one,
full of adventure, full of discovery.
Laistrygonians, Cyclops,
angry Poseidon-don't be afraid of them:
you'll never find things like that on your way
as long as you keep your thoughts raised high,
as long as a rare excitement
stirs your spirit and your body.
Laistrygonians, Cyclops,
wild Poseidon-you won't encounter them
unless you bring them along inside your soul,
unless your soul sets them up in front of you.

Hope your road is a long one.
May there be many summer mornings when,
with what pleasure, what joy,
you enter harbors you're seeing for the first time;
may you stop at Phoenician trading stations
to buy fine things,
mother of pearl and coral, amber and ebony,
sensual perfume of every kind-
as many sensual perfumes as you can;
and may you visit many Egyptian cities
to learn and go on learning from their scholars.

Keep Ithaka always in your mind.
Arriving there is what you're destined for.
But don't hurry the journey at all.
Better if it lasts for years,
so you're old by the time you reach the island,
wealthy with all you've gained on the way,
not expecting Ithaka to make you rich.
Ithaka gave you the marvelous journey.
Without her you wouldn't have set out.
She has nothing left to give you now.

And if you find her poor, Ithaka won't have fooled you.
Wise as you will have become, so full of experience,
you'll have understood by then what these Ithakas mean.

Comments & contemporary Greek artists: by this distant northern sea...

Sea & Greek artists, modern Greek artists, Greek painting


Yannis Stavrou, Thermaikos, Thessaloniki, oil on canvas

Sophocles long ago
Heard it on the Agaean, and it brought
Into his mind the turbid ebb and flow
Of human misery; we
Find also in the sound a thought,
Hearing it by this distant northern sea...

Matthew Arnold

Dover Beach

The sea is calm to-night.
The tide is full, the moon lies fair
Upon the straits; on the French coast the light
Gleams and is gone; the cliffs of England stand;
Glimmering and vast, out in the tranquil bay.
Come to the window, sweet is the night-air!
Only, from the long line of spray
Where the sea meets the moon-blanched land,
Listen! you hear the grating roar
Of pebbles which the waves draw back, and fling,
At their return, up the high strand,
Begin, and cease, and then again begin,
With tremulous cadence slow, and bring
The eternal note of sadness in.

Sophocles long ago
Heard it on the A gaean, and it brought
Into his mind the turbid ebb and flow
Of human misery; we
Find also in the sound a thought,
Hearing it by this distant northern sea.

The Sea of Faith
Was once, too, at the full, and round earth's shore
Lay like the folds of a bright girdle furled.
But now I only hear
Its melancholy, long, withdrawing roar,
Retreating, to the breath
Of the night-wind, down the vast edges drear
And naked shingles of the world.

Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.


Matthew Arnold (1822-1888)

Apolo Mousagetes

Through the black, rushing smoke-bursts,
Thick breaks the red flame;
All Etna heaves fiercely
Her forest-clothed frame.

Not here, O Apollo!
Are haunts meet for thee.
But, where Helicon breaks down
In cliff to the sea,

Where the moon-silver'd inlets
Send far their light voice
Up the still vale of Thisbe,
O speed, and rejoice!

On the sward at the cliff-top
Lie strewn the white flocks,
On the cliff-side the pigeons
Roost deep in the rocks.

In the moonlight the shepherds,
Soft lull'd by the rills,
Lie wrapped in their blankets
Asleep on the hills.

--What forms are these coming
So white through the gloom?
What garments out-glistening
The gold-flower'd broom?

What sweet-breathing presence
Out-perfumes the thyme?
What voices enrapture
The night's balmy prime?

'Tis Apollo comes leading
His choir, the Nine.
--The leader is fairest,
But all are divine.

They are lost in the hollows!
They stream up again!
What seeks on this mountain
The glorified train?--

They bathe on this mountain,
In the spring by their road;
Then on to Olympus,
Their endless abode.

--Whose proase do they mention?
Of what is it told?--
What will be for ever;
What was from of old.

First hymn they the Father
Of all things; and then,
The rest of immortals,
The action of men.

The day in his hotness,
The strife with the palm;
The night in her silence,
The stars in their calm.

Comments & Greek artists, painters: love took her in his big boat...

Poetry & Greek artists, Greek painters


Yannis Stavrou, Red Boat (detail), oil on canvas

love took her in his big boat
and she shoveled the ocean
in a scalding joy...

Anne Sexton

End, Middle, Beginning

There was an unwanted child.
Aborted by three modern methods
she hung on to the womb,
hooked onto I
building her house into it
and it was to no avail,
to black her out.

At her birth
she did not cry,
spanked indeed,
but did not yell-
instead snow fell out of her mouth.

As she grew, year by year,
her hair turned like a rose in a vase,
and bled down her face.
Rocks were placed on her to keep
the growing silent,
and though they bruised,
they did not kill,
though kill was tangled into her beginning.

They locked her in a football
but she merely curled up
and pretended it was a warm doll's house.
They pushed insects in to bite her off
and she let them crawl into her eyes
pretending they were a puppet show.

Later, later,
grown fully, as they say,
they gave her a ring,
and she wore it like a root
and said to herself,
'To be not loved is the human condition,'
and lay like a stature in her bed.

Then once,
by terrible chance,
love took her in his big boat
and she shoveled the ocean
in a scalding joy.

Then,
slowly,
love seeped away,
the boat turned into paper
and she knew her fate,
at last.
Turn where you belong,
into a deaf mute
that metal house,
let him drill you into no one.

Anne Sexton (1928-1974)

45 Mercy Street


In my dream,
drilling into the marrow
of my entire bone,
my real dream,
I'm walking up and down Beacon Hill
searching for a street sign -
namely MERCY STREET.
Not there.

I try the Back Bay.
Not there.
Not there.
And yet I know the number.
45 Mercy Street.
I know the stained-glass window
of the foyer,
the three flights of the house
with its parquet floors.
I know the furniture and
mother, grandmother, great-grandmother,
the servants.
I know the cupboard of Spode
the boat of ice, solid silver,
where the butter sits in neat squares
like strange giant's teeth
on the big mahogany table.
I know it well.
Not there.

Where did you go?
45 Mercy Street,
with great-grandmother
kneeling in her whale-bone corset
and praying gently but fiercely
to the wash basin,
at five A.M.
at noon
dozing in her wiggy rocker,
grandfather taking a nap in the pantry,
grandmother pushing the bell for the downstairs maid,
and Nana rocking Mother with an oversized flower
on her forehead to cover the curl
of when she was good and when she was...
And where she was begat
and in a generation
the third she will beget,
me,
with the stranger's seed blooming
into the flower called Horrid.

I walk in a yellow dress
and a white pocketbook stuffed with cigarettes,
enough pills, my wallet, my keys,
and being twenty-eight, or is it forty-five?
I walk. I walk.
I hold matches at street signs
for it is dark,
as dark as the leathery dead
and I have lost my green Ford,
my house in the suburbs,
two little kids
sucked up like pollen by the bee in me
and a husband
who has wiped off his eyes
in order not to see my inside out
and I am walking and looking
and this is no dream
just my oily life
where the people are alibis
and the street is unfindable for an
entire lifetime.

Pull the shades down -
I don't care!
Bolt the door, mercy,
erase the number,
rip down the street sign,
what can it matter,
what can it matter to this cheapskate
who wants to own the past
that went out on a dead ship
and left me only with paper?

Not there.

I open my pocketbook,
as women do,
and fish swim back and forth
between the dollars and the lipstick.
I pick them out,
one by one
and throw them at the street signs,
and shoot my pocketbook
into the Charles River.
Next I pull the dream off
and slam into the cement wall
of the clumsy calendar
I live in,
my life,
and its hauled up
notebooks.

Comments & Greek artists, modern Greek artists: And where the sunshine and shade of the earth ?

Poets & Greek artists, modern Greek painters, Greek painting


Yannis Stavrou, Seascape 2, oil on canvas

And where the sunshine
And shade of the earth ?
Walls stand cold
And speechless, in the wind
The wheathervanes creak...

Friedrich Hölderlin

In Lovely Blue

Like the stamen inside a flower
The steeple stands in lovely blue
And the day unfolds around its needle;
The flock of swallows that circles the steeple
Flies there each day through the same blue air
That carries their cries from me to you;
We know how high the sun is now
As long as the roof of the steeple glows,
The roof that’s covered with sheets of tin;
Up there in the wind, where the wind is not
Turning the vane of the weathercock,
The weathercock silently crows in the wind.


Half of Life

With its yellow pears
And wild roses everywhere
The shore hangs into the lake,
O gracious swans,
And drunk with kisses
You dip your heads
In the sobering holy water.
Ah, where will I find
Flowers, come winter,
And where the sunshine
And shade of the earth ?
Walls stand cold
And speechless, in the wind
The wheathervanes creak.

Comments & Greek artists, modern Greek artists: Rationalism is not enough in our times...

Short stories & Greek artists, modern Greek painters


Yannis Stavrou, Pomegranates (detail), oil on canvas

Pomegranates* for good luck...

Rationalism is not enough in our times...

We need other weapons to explain the huge barbarism around us...

Maybe, we should follow quantic paths...

Or science fiction...

Arthur Clark

Some Quotes

The greatest tragedy in mankind's entire history may be the hijacking of morality by religion.

The intelligent minority of this world will mark 1 January 2001 as the real beginning of the 21st century and the Third Millennium.

The limits of the possible can only be defined by going beyond them into the impossible.

The only way to discover the limits of the possible is to go beyond them into the impossible.

There is hopeful symbolism in the fact that flags do not wave in a vacuum.

This is the first age that's ever paid much attention to the future, which is a little ironic since we may not have one.

We have to abandon the idea that schooling is something restricted to youth. How can it be, in a world where half the things a man knows at 20 are no longer true at 40 - and half the things he knows at 40 hadn't been discovered when he was 20?

When a distinguished but elderly scientist states that something is possible, he is almost certainly right. When he states that something is impossible, he is very probably wrong.

I don't pretend we have all the answers. But the questions are certainly worth thinking about.

I have a fantasy where Ted Turner is elected President but refuses because he doesn't want to give up power.

If an elderly but distinguished scientist says that something is possible, he is almost certainly right; but if he says that it is impossible, he is very probably wrong.

It has yet to be proven that intelligence has any survival value.

It is not easy to see how the more extreme forms of nationalism can long survive when men have seen the Earth in its true perspective as a single small globe against the stars.

It may be that our role on this planet is not to worship God - but to create him.

New ideas pass through three periods: 1) It can't be done. 2) It probably can be done, but it's not worth doing. 3) I knew it was a good idea all along!

Our lifetime may be the last that will be lived out in a technological society.

Perhaps, as some wit remarked, the best proof that there is Intelligent Life in Outer Space is the fact it hasn't come here. Well, it can't hide forever - one day we will overhear it.

Politicians should read science fiction, not westerns and detective stories.

Reading computer manuals without the hardware is as frustrating as reading manuals without the software.

Sometimes I think we're alone in the universe, and sometimes I think we're not. In either case the idea is quite staggering.

-----------------

* The Pomegranate is a symbol of Good Luck in Greece

Comments & Greek painting: the paths of poets & modern Greek artists...

Greek landscapes & Greek artists, modern Greek arists


Yannis Stavrou, Olives in Attica, oil on canvas

The field
of olives
like a fan,
opens, and closes
Over the olives,
deep sky,
and dark rain,
of frozen stars...

Federico Garcia Lorca

The Little Ballad of the Three Rivers

The Guadalquivir’s river
runs past oranges and olives.
The two rivers of Granada,
fall, to wheatfields, out of snow.

Ay, Love, that goes,
and never returns!

The Guadalquivir’s river
has a beard of clear garnet.
The two rivers of Granada
one of sorrow, one of blood.

Ay, Love,
vanished down the wind!

For the sailing-boats,
Seville keeps a roadway:
Through the waters of Granada
only sighs can row.

Ay, Love,
that went,
and never returned!

Guadalquivir – high tower,
and breeze in the orange-trees.
Dauro, Genil – dead turrets,
dead, above the ponds.

Ay, Love,
vanished down the wind!

Who can say,
if water carries
a ghost-fire of cries?

Ay, Love,
that went, and never returned!

Take the orange petals,
take the leaves of olives,
Andalusia, down to your sea.

Ay, Love,
vanished on the wind!


Landscape

The field
of olives
like a fan,
opens, and closes.
Over the olives,
deep sky,
and dark rain,
of frozen stars.
Reeds, and blackness,
tremble, by the river.
Grey air shivers.
The olives are full of cries.
A crowd of imprisoned birds,
moving long tails in shadow.

Paisaje

El campo
de olivos
se abre y se cierra
como un abanico.
Sobre el olivar
hay un cielo hundido
y una lluvia oscura
de luceros fríos.
Tiembla junco y penumbra
a la orilla del río.
Se riza el aire gris.
Los olivos,
están cargados
de gritos.
Una bandada
de pájaros cautivos,
que mueven sus larguísimas
colas en lo sombrío.

Comments & Greek artists, modern Greek artists, painters: An altered look about the hills...

Poetry & Greek artists, modern Greek artists, Greek painters


Yannis Stavrou, Man & Tree, oil on canvas

Emily Dickinson

An altered look about the hills

An altered look about the hills—
A Tyrian light the village fills—
A wider sunrise in the morn—
A deeper twilight on the lawn—
A print of a vermillion foot—
A purple finger on the slope—
A flippant fly upon the pane—
A spider at his trade again—
An added strut in Chanticleer—
A flower expected everywhere—
An axe shrill singing in the woods—
Fern odors on untravelled roads—
All this and more I cannot tell—
A furtive look you know as well—
And Nicodemus' Mystery
Receives its annual reply!

Delight becomes pictorial

Delight becomes pictorial
When viewed through pain,--
More fair, because impossible
That any gain.

The mountaln at a given distance
In amber lies;
Approached, the amber flits a little,--
And that's the skies!