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Comments on Greek painting, art, contemporary thought

Our blog is an artistic, cultural guide to the Greek landscapes. At the same time it offers an introduction to the history of Greek fine arts, Greek artists, mainly Greek painters, as well as to the recent artistic movements

Our aim is to present the Greek landscapes in a holistic way: Greek landscapes refer to pictures and images of Greece, to paintings and art, to poetry and literature, to ancient philosophy and history, to contemporary thought and culture...
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greek artists, contemporary thought, greek painters, literature, greek paintings, modern greek artists



Showing posts with label T. S. Eliot. Show all posts
Showing posts with label T. S. Eliot. Show all posts

Tuesday, November 9, 2010

Comments & Greek artists, Greek painters: Under the brown fog of a winter noon...

Unreal City
Under the brown fog of a winter noon...

T.S. Eliot
The Waste Land
to Ezra Pound, "Il miglior fabbro"

(from) III. The Fire Sermon

The river's tent is broken; the last fingers of leaf
Clutch and sink into the wet bank. The wind
Crosses the brown land, unheard. The nymphs are departed.
Sweet Thames, run softly, till I end my song. The river bears no empty bottles, sandwich papers,
Silk handkerchiefs, cardboard boxes, cigarette ends
Or other testimony of summer nights. The nymphs are departed.
And their friends, the loitering heirs of City directors;
Departed, have left no addresses.
By the waters of Leman I sat down and wept ...
Sweet Thames, run softly till I end my song,
Sweet Thames, run softly, for I speak not loud or long.
But at my back in a cold blast I hear
The rattle of the bones, and chuckle spread from ear to ear.
A rat crept softly through the vegetation
Dragging its slimy belly on the bank
While I was fishing in the dull canal
On a winter evening round behind the gashouse
Musing upon the king my brother's wreck
And on the king my father's death before him.
White bodies naked on the low damp ground
And bones cast in a little low dry garret,
Rattled by the rat's foot only, year to year.
But at my back from time to time I hear
The sound of horns and motors, which shall bring
Sweeney to Mrs. Porter in the spring.
O the moon shone bright on Mrs. Porter
And on her daughter
They wash their feet in soda water

Et O ces voix d'enfants, chantant dans la coupole!


Twit twit twit
Jug jug jug jug jug jug

So rudely forc'd.
Tereu


T. S. Eliot (1888-1965)

Unreal City
Under the brown fog of a winter noon
Mr. Eugenides, the Smyrna merchant
Unshaven, with a pocket full of currants
C.i.f. London: documents at sight,
Asked me in demotic French
To luncheon at the Cannon Street Hotel
Followed by a weekend at the Metropole.

At the violet hour, when the eyes and back
Turn upward from the desk, when the human engine waits
Like a taxi throbbing waiting,
I Tiresias, though blind, throbbing between two lives,
Old man with wrinkled female breasts, can see
At the violet hour, the evening hour that strives
Homeward, and brings the sailor home from sea,
The typist home at teatime, clears her breakfast, lights
Her stove, and lays out food in tins.
Out of the window perilously spread
Her drying combinations touched by the sun's last rays,
On the divan are piled (at night her bed)
Stockings, slippers, camisoles, and stays.
I Tiresias, old man with wrinkled dugs
Perceived the scene, and foretold the rest -
I too awaited the expected guest.
He, the young man carbuncular, arrives,
A small house agent's clerk, with one bold stare,
One of the low on whom assurance sits
As a silk hat on a Bradford millionaire.
The time is now propitious, as he guesses,
The meal is ended, she is bored and tired,
Endeavours to engage her in caresses
Which are still unreproved, if undesired.
Flushed and decided, he assaults at once;
Exploring hands encounter no defence;
His vanity requires no response,
And makes a welcome of indifference.
(And I Tiresias have foresuffered all
Enacted on this same divan or bed;
I who have sat by Thebes below the wall
And walked among the lowest of the dead.)
Bestows one final patronising kiss,
And gropes his way, finding the stairs unlit...
She turns and looks a moment in the glass,
Hardly aware of her departed lover;
Her brain allows one half-formed thought to pass:
'Well now that's done: and I'm glad it's over.'
When lovely woman stoops to folly and
Paces about her room again, alone,
She smoothes her hair with automatic hand,
And puts a record on the gramophone.
'This music crept by me upon the waters'
And along the Strand, up Queen Victoria Street.
O City city, I can sometimes hear
Beside a public bar in Lower Thames Street,
The pleasant whining of a mandoline
And a clatter and a chatter from within
Where fishmen lounge at noon: where the walls
Of Magnus Martyr hold
Inexplicable splendour of Ionian white and gold.

The river sweats
Oil and tar
The barges drift
With the turning tide
Red sails
Wide
To leeward, swing on the heavy spar.
The barges wash
Drifting logs
Down Greenwich reach
Past the Isle of Dogs.

Weialala leia
Wallala leialala

Elizabeth and Leicester
Beating oars
The stern was formed
A gilded shell
Red and gold
The brisk swell
Rippled both shores
Southwest wind
Carried down stream
The peal of bells
White towers

Weialala leia
Wallala leialala

Monday, November 8, 2010

Comments & Greek artists: We understood the private catastrophe, The personal loss, the general misery...

Greek landscapes & Greek artists, modern Greek artists


Yannis Stavrou, Ships in Thessaloniki's Port, oil on canvas

How how can I ever return, to the soft quiet seasons?
Night stay with us, stop sun, hold season, let the day not come,
let the spring not come...

T. S. Eliot

Murder in the Cathedral

Chorus

Clean the air! clean the sky! wash the wind! take stone from stone and wash them.
The land is foul, the water is foul, our beasts and outselves are defiled with blood.
A rain of blood has blinded my eyes. Where is England?
where is Kent? where is Canterbury?
O far far far far in the past; and I wander in a land of barren boughs:
if I break them, they bleed; I wander in a land of dry stones:
if I touch them they bleed.
How how can I ever return, to the soft quiet seasons?
Night stay with us, stop sun, hold season, let the day not come,
let the spring not come.
Can I look at the day and its common things, and see them all smeared with blood,
through a curtain of falling blood?
We did not wish anything to happen.
We understood the private catastrophe,
The personal loss, the general misery,
Living and partly living;
The terror by night that ends in daily action,
The terror by day that ends in sleep;
But the talk in the market-place, the hand on the broom,
The night-time heaping of the ashes,
The fuel laid on the fire at daybreak,
These acts marked a limit to our suffering.
Every horror had its definition,
Every sorrow had a kind of end:
In life there is not time to grieve long.
But this, this is out of life, this is out of time,
An instant eternity of evil and wrong.
We are soiled by a filth that we cannot clean, united to
supernatural vermin,
It is not we alone, it is not the house, it is not the city that is
defiled,
But the world that is wholly foul.
Clean the air! clean the sky! wash the wind! take the stone
from the stone, take the skin from the arm, take the
muscle from the bone, and wash them. Wash the stone,
wash the bone, wash the brain, wash the soul, wash
them wash them!