A close reading of George Seferis' Poem "Helen"


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Essay from the year 2017 in the subject Literature - Basics, grade: 90.00, , course: Poetry, language: English, abstract: A close reading of Seferis' poem Helen including elements around the Greek myth as the background of the poem. A verse by verse examination is done for crucial verses in the poem and potential meanings are discussed. Seferis’ “Helen” is written in free verse and does not feature a fixed rhyme scheme straying this way away from traditional forms of poetry. While the poem is written in a modernist form, the mythical element is overwhelming in the poem, a contradiction that connects the present with the past. The poem’s epigraph sets the mythological background which relates the poem to the Greek mythology tradition. Homer’s myth about Paris’ choice of Helen as fairer than goddesses lingers in the background as the basis of all that follows and as the initial cause of the Trojan War. In the first three verses of the epigraph, it is established that the speaker is in exile ordered by “Appolow”, a man away from his home. Finally the epigraph, informs in the words of Helen that she was never in Troy, instead there was just a phantom image of hers there. The myth sets the context of the poem while the myths are further elaborated as the memories of the speaker who reminisces in a dramatic monologue triggered by the nightingale’s song and his inability to sleep, tormented by these memories. The repetition of the phrase “The nightingales won’t let you sleep in Platres”, written in quotation marks as if someone else is uttering them, also points to the use of the chorus in the ancient tragedy form, in which the chorus often repeats certain words connecting the poem even more to the ancient Greek mythology tradition.




George Seferis


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Why Homer Matters


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"Adam Nicolson writes popular books as popular books used to be, a breeze rather than a scholarly sweat, but humanely erudite, elegantly written, passionately felt...and his excitement is contagious."—James Wood, The New Yorker Adam Nicolson sees the Iliad and the Odyssey as the foundation myths of Greek—and our—consciousness, collapsing the passage of 4,000 years and making the distant past of the Mediterranean world as immediate to us as the events of our own time. Why Homer Matters is a magical journey of discovery across wide stretches of the past, sewn together by the poems themselves and their metaphors of life and trouble. Homer's poems occupy, as Adam Nicolson writes "a third space" in the way we relate to the past: not as memory, which lasts no more than three generations, nor as the objective accounts of history, but as epic, invented after memory but before history, poetry which aims "to bind the wounds that time inflicts." The Homeric poems are among the oldest stories we have, drawing on deep roots in the Eurasian steppes beyond the Black Sea, but emerging at a time around 2000 B.C. when the people who would become the Greeks came south and both clashed and fused with the more sophisticated inhabitants of the Eastern Mediterranean. The poems, which ask the eternal questions about the individual and the community, honor and service, love and war, tell us how we became who we are.




Performing Gods in Classical Antiquity and the Age of Shakespeare


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The gods have much to tell us about performance. When human actors portray deities onstage, such divine epiphanies reveal not only the complexities of mortals playing gods but also the nature of theatrical spectacle itself. The very impossibility of rendering the gods in all their divine splendor in a truly convincing way lies at the intersection of divine power and the power of the theater. This book pursues these dynamics on the stages of ancient Athens and Rome as well on those of Renaissance England to shed new light on theatrical performance. The authors reveal how gods appear onstage both to astound and to dramatize the very machinations by which theatrical performance operates. Offering an array of case studies featuring both canonical and lesser-studied texts, this volume discusses work of Aeschylus, Sophocles, Euripides, Aristophanes, and Plautus as well as Beaumont, Heywood, Jonson, Marlowe, and Shakespeare. This book uniquely brings together the joint perspectives of two experts on classical and Renaissance drama. This volume will appeal to students and enthusiasts of literature, classics, theater, and performance studies.




The King of Asine


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Voices of Modern Greece


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This anthology is composed of revised translations selected from five volumes of work by major poets of modern Greece offered by Keeley and Sherrard during the 1960s and '70s. Poems chosen are those that translate most successfully into English and that are also representative of the best work of the original poets--C.P. Cavafy, Angelos Sikelianos, George Seferis, Odysseus Elytis, and Nikos Gatsos.




World Poetry


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An anthology of the best poetry ever written contains more than sixteen hundred poems, spanning more than four millennia, from ancient Sumer and Egypt to the late twentieth century







The Unaccompanied


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From the prize-winning poet and former Poet Laureate of the United Kingdom comes a powerful collection of poetry that gives voice to the people of Britain with a haunting grace. We meet characters whose sense of isolation is both emotional and political, both real and metaphorical, from a son made to groom the garden hedge as punishment, to a nurse standing alone at a bus stop as the centuries pass by, to a latter-day Odysseus looking for enlightenment and hope in the shadowy underworld of a cut-price supermarket. We see the changing shape of England itself, viewed from a satellite "like a shipwreck's carcass raised on a sea-crane's hook, / nothing but keel, beams, spars, down to its bare bones." In this exquisite collection, Armitage X-rays the weary but ironic soul of his nation, with its "Songs about mills and mines and a great war, / lines about mermaids and solid gold hills, / songs from broken hymnbooks and cheesy films"—in poems that blend the lyrical and the vernacular, with his trademark eye for detail and biting wit.