The Second Advent of Zeus-Review

merging dimensions cover

 

THE SECOND ADVENT OF ZEUS// REVIEW

By João da Penha

 

 

POET, OF FACT.

 

 

Singing, everyone sings, but singers only about ten or twelve.

 

The boutade, they say, is by Frank Sinatra, whose remarkable vocal skills – it seems to me – have not been contested to this day.

To paraphrase the song of the great American singer, it can be said that there are not so many poets like this in the world – here and elsewhere, yesterday and today. I suspect that there will never be many poets, or at least many great poets. At least, I am convinced, not as many as the growing number of edited collections suggest, by marketing strategy arts, just under hyperbolic titles.

Many poetic exercise exercises it, or imagine exercising it. But to make great poetry is grace granted to a minority; to a caste of elect, therefore.

Schiller, by the way, has already warned that it is not enough to create good verses so that its author considers himself a poet. Now, to do verses, almost everyone, at some point in life, has already done. To make POETRY, however, is the road traveled by the minority referred to above. Only she, this chosen caste, has the map of the trail. Whoever holds it, who knows how to read it, interprets its coordinates, leads the others, that is, all of us, who have formed this majority, as creators, of the poetic territory, only by traveling, if sensitive to the Muses, as travelers. For the senseless, the tour of this territory will be nothing more than mere tourism.

Eric Ponty has the map of the trail. He is an authentic poet. Maturity is everything, the supreme bard in the “King Lear” told us. Poet, owner of his craft, poet who reached the full domain of poetic making.

His poetic virtuosity, Ponty has already shown and demonstrated in the magnificent “Retirement Boy Goes to the Circus in Brodowski” (Musa Publishing House, São Paulo, 2003.) In this book with its translation, our poet only makes it reaffirmed. For example when translating this stanza of Manolis’ poem Apollo, which reminds us of Paul Valéry’s Socratic prose in Eupalinos Lame et la Danse Dialogue De L arbre:

 

APOLLO

 

And I grew under Apollo’s sun

 

minutes of expressiveness

alone in darkness and

before I opened my eyes

I was accompanied

by the law of failure

born blind and

accused of heresy

a revolution in its making

even before I could utter

a groan or a begging cry

 

I gathered all my strength

to pick a date with death

hours before I appeared

in my mother’s arms

newborn festivity

error permitted

two legs just to walk

a heart as if

to feel emotion and

other human traces

of grandeur

 

 

 

APOLO

 

E eu cresci sob o sol de Apolo

 

Minutos de expressividade

Sozinho nas trevas e

Antes de abrir os meus olhos

Eu estava acompanhado

Pela lei da bobagem

 

Nasceu cega e

Acusada de heresia

Uma conflagração na sua fazendo

Mesmo antes que eu pudesse articular

Um suspiro ou um grito a mendigar

 

Eu ajuntei toda minha força

A seleção de uma data com a morte

Horas antes eu semelhava

Nos meus braços da minha mãe

Festa de um recém-nascido

Erro admitido

As duas pernas apenas a pé

Um coração como se

Sentisse à emoção e

Outros traços humanos

Da grandeza

 

This defense can be translated as the recognition that poets inhabit a province where logic does not bow down to the principles that govern the empirical world (nothing is more real than nothing, pre-Socratic Democritus preached). Poets know that. That’s why your particular logic. Particular, but not arbitrary. Particular because only they have the “kingdom key”.

Croce and Vossler, the memory comes to me now, they polemicized around the phrase: “The round table is square”. For the Italian thinker, the phrase would sum up to a total absence of meaning, illogical, while the German critic saw it as true, aesthetically and grammatically valid, caring little that logically impossible. Vossler, like so many others, before and after him, realized that the poet is the one who creates realities. Poets are creators of worlds. Therefore, in the poems translated by Eric Ponty, a musician, as well as a poet, he follows the Wagnerian advice that the poet does nothing but stimulate the understanding, leading the reader to make new combinations on the subject already known by means of sensory perception.

If, as Ponty tells us in one of the translated poems, “In My Mother’s Arms /newborn festivity / error permitted / two legs just to walk” it is equally true that we should listen to what poets have to say (few decipher the world better than poets, neighbors to philosophers). Eric Ponty, at the height of his creative force, has much to tell us through these translations as he did with Manolis-a Canadian Greek poet who’s credit is The Second Advent of Zeus a masterful piece.

 

“…for his sustained reflection, for a lyrical voice, and an invitation to see life not as a barren subject, but as a complex dynamic that has its own extraordinary design and imago of truth” as Ilya Tourtidis tells us, it is urgent that we listen to Manolis’ voice through the translation of the poet-translator Ponty, one of the most talented of his time.

 

 

 

João da Penha, a journalist and retired professor, collaborated in cultural publications such as Encounters with Brazilian Civilization, Cult and Tempo Brasileiro. Author, among other books, of What Is Existentialism (Brasiliense, 2011, 17. ed.) And Philosophical Periods (Ática 2000, 4. ed.), Translated for magazines and newspapers poems by Russians Sierguêi Iessiênin and Alieksandr Blok, and short stories By José María Argüedas, Júlio Cortázar and Gabriel García Márquez, published in The first short stories of ten masters of Latin American narrative (Paz e Terra, 1978). How to read Wittgenstein. São Paulo: Paulus, 2013.

 

 

Δημήτρης Λιαντίνης: Η 25η Μαρτίου

ΕΛΛΑΣ

Γιορτάζει σήμερα η πατρίδα. Γιορτάζει τη μεγάλη γιορτή. Μέσα από τη γη, τη φτωχή και ακριβοχώματη γη, τινάζεται και ανεβαίνει στο φως, πλεγμένη και πνιγμένη στο αστερόφωτο ποτάμι της αφθαρσίας η μορφή της φυλής μας. Η φυλή μας που την έθρεψαν τα οράματα, τη στεφάνωνε κάθε φορά η αιματόχρωμη μαρμαρυγή της δύσης και τη λίκνιζε πάλι με χρόνια και καιρούς η ανάσταση και η ανατολή.

View original post 479 more words

«Aphrodite Cup 2017»Εθνική ομάδα ανσάμπλ πέντε στεφάνια ΕΝΑΤΗ

ΕΝΑΤΗ ΕΝΑΛΛΑΚΤΙΚΗ ΤΗΛΕΟΡΑΣΗ

Η ΕΝΑΤΗ Εναλλακτική Τηλεόραση ως χορηγός επικοινωνίας του διεθνούς τουρνουά ρυθμικής γυμναστικής #Αphrodite Cup 2017, εξασφαλίζει και σας μεταφέρει την πρώτη παρουσίαση των νέων προγραμμάτων της Εθνικής ομάδας του Ανσάμπλ. στο Ελληνικό κοινό. Την υψηλότερη βαθμολογία συγκέντρωσε η ανανεωμένη εθνική ομάδα του ανσάμπλ κατά την πρώτη ημέρα του διεθνούς τουρνουά «Aphrodite Cup», που διεξάγεται στο Ολυμπιακό Κλειστό του Παλαιού Φαλήρου. Στη διοργάνωση, η οποία θα ολοκληρωθεί στις 26 Μαρτίου, παίρνουν μέρος 265 αθλήτριες από 23 χώρες. Ελπιδοφόρα ήταν και η εμφάνιση των νεανίδων στο ατομικό (στεφάνι, μπάλα).
Το αντιπροσωπευτικό συγκρότημα στα πέντε στεφάνια συγκέντρωσε 15,950, με δεύτερη την Κίνα (15,750) και τρίτο το Καζακστάν (12,250). Η ελληνική ομάδα αποτελείται από τις Ερατώ Θεοπίστου, Χρύσα Μουτάφη, Κωνσταντίνα Τσαγκά, Αγγελική Αποστολίδου, Αναστασία Δογραμματζή και Μαριάννα Μανδέλλου. Αύριο (18.20) θα αγωνιστεί στις τρεις μπάλες – δύο σχοινάκια.
«Ήταν ο πρώτος μας αγώνας και μπορούμε να πούμε ότι είμαστε ικανοποιημένες από την εμφάνισή μας. Θέλουμε…

View original post 69 more words

Γιῶργος Σεφέρης: Ἕνας Ἕλληνας – ὁ Μακρυγιάννης

the Tempest Ahead


1

ΤΗΝ ΠΑΛΙΑ συνοικία τοῦ Μακρυγιάννη τὴν ξέρουν ὅλοι οἱ Ἀθηναῖοι. Τὴ δράση τοῦ ἀγωνιστῆ τοῦ 1821, τοῦ πρωτεργάτη τῆς Γ´ Σεπτεμβρίου καὶ τοῦ κατάδικου τῶν στρατοδικείων τοῦ Ὄθωνα, τὴν ξέρουν ὅσοι μελέτησαν τὰ χρονικὰ τῆς Ἐπανάστασης καὶ τῆς βαυαροκρατίας. Εἶναι ὅμως λιγοστοὶ ἐκεῖνοι ποὺ πρόσεξαν πὼς ὁ Μακρυγιάννης μας ἄφησε ἕνα πολὺ σημαντικὸ βιβλίο -τὴν ἱστορία τῆς ζωῆς του- ἴσως ἐπειδὴ ἦταν ἕνας ἀγράμματος.

Τὸν Μακρυγιάννη τῶν Ἀπομνημονευμάτων τὸν ἀγάπησαν πραγματικὰ μερικοὶ νέοι ποὺ ἄρχισαν νὰ δημοσιεύουν ὕστερα ἀπὸ τὴ μικρασιατικὴ καταστροφή. Δὲ νομίζω πὼς θὰ γελαστῶ πολὺ ἂν προσθέσω πὼς ἡ φωνὴ τοῦ μπαίνει δειλὰ καὶ ψιθυριστὰ στὴν ἑλληνικὴ ζωὴ ἀνάμεσα στὰ 1925 καὶ στὰ 1935. Κι αὐτὸ δὲν μποροῦσε νὰ φανεῖ στὸ πλατὺ κοινό. Οἱ νέοι ποὺ μεγάλωσαν στὸν περασμένο παγκόσμιο πόλεμο καὶ ἦταν ἀκόμη στὴν ἀκμὴ τῆς ἡλικίας τοὺς ὅταν ἄρχισε ἡ σημερινὴ κρίση, δὲν πρόφτασαν οὔτε τὸ ἔργο τους νὰ ὡριμάσουν οὔτε νὰ ἀποκαταστήσουν τὴ…

View original post 8,653 more words

Λέγεται καριοφίλι γιατί..

Περιθώριο

nme-proepanastatikaxronia-im3.jpg

Πέρυσι, τέτοιο καιρό περίπου, είχα αναφέρει πως ο λόγος που ονομάζουμε το συγκεκριμένο τουφέκι καριοφίλι ήταν γιατί προέρχονταν από το ιταλικό οπλουργείο “Carlo e Figli” δηλαδή Κάρολος και Υιοί. Οι Έλληνες, την τότε εποχή, διάβαζαν το όνομα του οπλουργείο ως καριοφίλι, έτσι η λέξη έμεινε στο ελληνικό λεξιλόγιο.

Μετά από λίγο καιρό, που είχα γράψει ήδη το κείμενο, είχα διαβάσει σε διάφορα ιστολόγια, όπως για παράδειγμα στο ιστολόγιο του κ. Νίκου Σαραντάκου, που το θεωρώ εγκυρότατόν, πως νεότερες έρευνες, δεν βρήκαν κανένα οπλουργείο με το όνομα “Carlo e Figli” έτσι έμμεσα η εν λόγω ετυμολογία ήταν λανθασμένη. Όπως αναφέρεται στο ιστολόγιο του κ. Νίκου, η λέξη ήταν γνωστή στα τούρκικα από τον 16ον αιώνα, ως karanfil (γαρίφαλο, όπλο) που προέρχεται από την αραβική قَرَنْفِل (qaranfil) που ήταν αντιδάνειο από την αρχαία ελληνική λέξη  καρυόφυλλον (κάρυον + φύλλον). Λέγεται πως η ονομασία αυτή δόθηκε στο συγκεκριμένο τουφέκι γιατί το…

View original post 8 more words

John Lennon: James Joyce’s Illegitimate Son?

A R T L▼R K

Desktop5On the 23rd of March 1964, In His Own Writeby John Lennon was first published. The book was the first solo Beatle project in any form that turned out to be an instant success. Printed initially by Jonathan Cape of Great Britain, it sold only in England 50,000 copies on the first day. In America, printed by Simon & Schuster, the book sold 90,000 copies. The original cover photo of John Lennon was taken by Robert Freeman. In 1968, In His Own Write was adapted into a one-act play, co-authored and directed by Victor Spinetti, and staged at the Old Vic Theatre on Waterloo Road in London. Its premiere on the 18th of June 1968 drew public attention mostly for the fact that Lennon and Yoko Ono appeared for the first time publicly as a couple. “Photographers shouted out, “Where is your wife?” as the two entered…

View original post 566 more words