Background
The winner of the 1963 Nobel Prize in Literature, Giorgios Seferis was often a stranger in a strange land (not unlike the wandering heroes of Greek legend). From a childhood in Smyrna that was marked by a Greek invasion of the Ottoman empire, Seferis moved to France to study law and poetry, then back to Greece to help the government. When World War II broke out, Seferis helped the government in exile and then continued a long career as a diplomat around Europe. The award gave particular citation to ” his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture” (Nobel Prize site)
Works
From: “Erotikos Logos Pt. V”
On the stone of patience we wait for the miracle
that opens the heavens and makes all things possible
we wait for the herald as in the ancient drama
at the moment when the open roses of twilightdisappear…Red rose of the wind and of fate,
–1930
you remained in memory only, a heavy rhythm
rose of the night, you passed, undulating purple
undulation of the sea…The world is simple
From: “The Light”
As the years go by
–1946
the judges who condemn you grow in number;
as the years go by and you converse with fewer voices,
you see the sun with different eyes:
you know that those who stayed behind were deceiving you
the delirium of flesh, the lovely dance
that ends in nakedness.
Message
I had never heard of Seferis before, I found him for this project. So it was kind of amazing when I found a collection of his poems from Edmund Keely and Phillip Sherrard that included this line: “”The distinguishing attribute of Seferis’ genius–one that he shares with Yeats and Eliot–has always been his ability to make out of local politics, out of personal history or mythology, some sort of general statement or metaphor.”
I mean, how amazingly convenient that Seferis shares a stylistic trait with the other two poets I wrote about this year.
Also, how…uh…underwhelming it made this feel.
It’s certainly not bad poetry. Believe me, I write bad poetry, this ain’t it. It’s just very familiar. Reading all these poems gave me a sense that Seferis has a sense of history that justifies the modern sensibility of somber doom. Lots of poets allude to mythology and history, but few of them have the personal and cultural connection that Seferis has. The examples I gave above capture that whatever we feel now, will fade and vanish. He’s able to bring that out in other poems by evoking forgotten Kings in tossed off lines of the Iliad, or empires that crumbled. I didn’t see as much of the “genius [or] personal history” use that Keely and Sherrard did, but the overriding general statement of our present as an echo of our past certainly came through.
Position:
Given that Seferis has some clear comparisons with Yeats and Eliot, it was easy to see him as a defender. The common perception of Greek football as extremely defensive didn’t hurt matters either. But for me, there was something that didn’t quite fit with Seferis being an outfield player. Certainly, outside backs can get a little wild and wander through things (just as Seferis wanders through centuries of Greek history) but to me, he seemed less like an outfield player and more of a goalkeeper. He seems to alternate between letting his mind wander and suddenly feeling an impending sense of doom…as I expect goalkeepers far removed from action often would. And given his fondness for mythology and closeness to the Mediterranean I thought he fit best as part of FK Vozdovac (hence the red and white shield provided here).
What do you think? Greek scholars, I’m looking particularly at you as I’m a little out of my depth here. Do you have a different view of Greek soccer than I do, please bring on the corrections!
Not to give too much away, but after all these defensive writers, I’m excited for the next one to shake things up a bit…
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